Caravanserais—fortified hostelries for travellers—are generally built on the plan of the /min mosque, the cells serving as stables and guest-rooms ; bazaars are covered streets with shops, having pillars with round-arched vaulting in the West, and long rows of ogee-arched vaults in the East. Most of the bridges disappeared long since, but Isfahan and Julfa are joined by two very beautiful examples dating from the i 7th century, with a two-storied super structure and pavilions.
Few hospitals have survived, though at one time there must have been a great number. The magnificent Mfiristan of Sultan Qalawfm at Cairo is essentially a monument of the Mame luke madrasa-style. Pump-rooms (sabil) were often philanthropic foundations ; in Egypt they usually included an elementary school on the upper floor, beneath which was the latticed pump-room proper, and in front of it a basin. The Ottomans, however, particularly in the 18th century, transformed them into delightful pavilions with immense overhanging roofs and a basin on each of the four sides.
Private houses are of extraordinarily varied types, but in all cases the living-rooms and reception-rooms are separate from the women's apartments. In the Mediterranean region the latter are generally on the upper storey, with windows closed with musharrabiya, but in the East they are in a second court. Here also, ever since the best period of Samarra, the walls are broken by stucco niches to hold lamps, glasses, bottles, books, etc., while
the West prefers painted wooden wainscoting with built-in cup boards. Furniture is almost wholly lacking. The methods of se curing protection from the heat are interesting : in the West, where water is more plentiful, there are half-darkened inner halls containing springs ; in dry Mesopotamia and Persia there are subterranean summer apartments with air-shafts like conning towers ; in India, quarters are transferred to lofty terraces ex posed to the wind and surrounded by small ponds. For archi tectural ornament see MOHAMMEDAN ART. See also, PERIODS OF ART.
BIELIOGRAPHY.—Saladin-Migeon, Manuel d'Art Musulman (2nd ed., 1926) ; E. Diez, Die Kunst der isldmischen Volker (1915) and Churasanische Baudenkmiiler (1918) ; G. Marcais, Manuel d'Art Musulman (1927) ; P. Coste, Monuments modernes de la Perse (1867) ; F. Sarre, Reise in Kleinasien (1896) and Denkmaler Persischer Baukunst (1910) ; Schubert-Soldern, Baudenkmaler von Samarkand (1898) ; A. Musil, Qusejr `Amra (19o7) ; F. Sarre and E. Herzfeld, Archdologische Reise im Euphrat- and Tigrisgebiet (i9ii) and Ausgrabungen von Samarra (1924 etc.) ; V. A. Smith, History of Fine Art in India and Ceylon (19II) ; C. Gurlitt, Konstantinopel (1912) ; G. L. Bell, Palace and Mosque at Ukhaidir (1914) ; R. L. Devonshire, L'Egypte Musulmane et les Fondateurs de ses Monuments (1926) ; R. E. Brunnow and A. von Domaszewski, Provinzia Arabia (Stras bourg, 1904-09). (H. GoE.)