288 A HISTORY OF ART IN CHALD/EA AND ASSYRIA. If we should set about making such a comparison, the principal difference to be noticed would be that arising out of the prohibitions of the Koran. The Persian potter had to content himself with the resources of pure ornament, resources upon which he drew with an exquisite skill that forbids us to regret the absence of men and animals from his work. The coloured surfaces of the Babylonian buildings must have had more variety than those of the great mosque at Ispahan or the green mosque at Broussa. But the same groups and the same personages were constantly repeated in the same attitudes and tints, so that their general character must have been purely decorative. Even when they were com- bined into something approaching a scene, care was taken to guard, by conventionality of treatment and the frequent repetition of familiar types and groups, against its attracting to itself the attention that properly belonged to the composition of which it formed a part. The artist was chiefly occupied with the general effect. His aim was to give a certain rhythm to a succession of traditional forms whose order and arrangement never greatly varied, to fill the wide surfaces of his architecture with contrasts and harmonies of colour that should delight the eye and prevent its fatigue. Were the colours as soft and harmonious as we now see them in those buildings of Persia and Asia Minor that will themselves soon be little more than ruins ? It is difficult to answer this question from the very small fragments we possess of the coloured decorations of the Babylonian temples and palaces, but the conditions have remained the same ; the wants to be satisfied and the processes employed a century ago were identical with those of Babylon and Nineveh ; architect and painter were confronted by the same dazzling sun, and, so far as we can tell, taste has not sensibly changed over the whole of the vast extent of country that stretches At many centres in Sindh and the Punjab, glazed tiles almost exactly similar to those on the mosque at Ispahan, so far as colours and ornamental motives are concerned, are made in great numbers and used for the same purposes as in Persia and ancient Mesopotamia There is a tradition in India that the art was brought from China, through Persia, by the soldiers of Gingiz-Khan, but a study of the tiles themselves is enough to show that they are a survival from the art manufactures of Babylon and Nineveh. For detailed information on the history and processes used in the manufacture of these tiles, see Sir George BIRDWOOD'S Industrial Arts of India, part ii. pp. 304-310, 321, -and 330; also Mr. DRURY FORTNUM'S report on the Sindh pottery in the International Exhibition of 1871. ED.]
