.Meanwhile, other Mohammedan lands had been following the example of Iy;gwpt, butt with the exception of Spain their architecture has been neglected by students. The .\ I.:duo-Byzantine style of the monuments of Cordova had ruled for about two centuries; a national Mohammedan style was formed shortly before 1000, as in I•.gypt, a, shown in monuments of Tarragona. Se govia. and especially Toledo and Seville. The cusped and horseshoe arches 'Very decora tive. Christian influence is still shown in mosques covered entirely hy domes o• roofs, like churches. The famous Giralda tower at Seville belongs to this middle style, while the aleazars, or Aloorish palaces, at Seville, Segovia. and 1\1:1 laga usher in the style of the Alhambra at Gra nada. \\lien in I23S Granada beeame the capi tal of the 'Moors in Spain, its monuments ex pressed the development of native arts for the ensuing century. llere is found the richest ex tant eombinat ion of the different I:inds of deeoration in which Aloha numedan art excelled. however faulty it was in composition. construc tion, and form. Arabesque geometrical ornament, stucco and faience. mosaie and marble inlay cover every 'nett of space• and stalaetites abound as well as open-work tracery. The round horseshoe areh yields to the that pointed, stilted, and slightly ineurving arch. But though so Holt. the Or11:11111.11t of the .\Iliambra, being molded, lacks the life and flexibility of, the Egyptian work of the same kind• whieh is done by hand in the soft plaster. See .\ frt.\ MIIRA.
PEtistA. The Turk, and _Mongols made suet' toe of the earlier monuments of .11oliammedan;
Persia. the of Bagdad and the great north ern States of Bukhara and Samarkand. that noth ing has survived in these region= belonging to the periods thus far mentioned. But the four teenth and fifteenth centuries, while they show a style certainly in full decadenee, are interesting because we can study it in such a variety of forms in different countries. The Tatars and Turks give their version of it. adapted both from Persia, and Armenia, and Georgia, in the buildings of the thirteenth and fourteenth centuries at Sivas, Kaisarieh, Konieh, Niewa, etc. The contemporary buildings in Persia, at Tabriz, Sultanieh, Teheran, and especially 1,T:than (the Meidan, mosque of Mesjid Shah, Bazar, and Me dresseh of Hosein Shah), scattered over a period of about three centuries. show that Persian art was never led to abandon flowing lines for angular and geometrical designs; even its ara besques are more continuous and soft. and it hardly ever resorted to stalactite design. The form of its domes also varied essentially from those elsewhere. It is usually flat-sided and pointed on the interior and bulbous outside, built of brick, which was almost entirely used in place of stone. The minarets have the late circular shape and are exceedingly slender, being topped by small domes. Another peculiarity is the facade of various classes of buildings formed. of high recessed pointed arches of the same pecu liar flat-sided outline as the domes, and remind ing distantly of such English screen facades as Lincoln and Peterborough.