Note 3 — The First Book.

The magnificent Mosque Tauris is faced with varnished bricks of various colours, like most fine buildings in Persia, says Tavernier. One of its domes is covered with white flower work upon a green ground, the other has a black ground, spotted with white stars. Gilding is also common upon Oriental buildings. At Boghar in Bactria our old traveller Jenkinson[a] saw “many houses, temples, and monuments of stone sumptuously builded and gilt.”

In Pegu “they consume about their Varely or idol houses great store of leafe-gold, for that they overlay all the tops of the houses with gold, and some of them are covered with gold from the top to the foote; in covering whereof there is great store of gold spent, for that every ten years they new overlay them with gold, from the top to the foote, so that with this vanetie they spend great aboundance of golde. For every ten years the rain doeth consume the gold from these houses.”

Cæsar Frederick, in Hakluyt.

A waste of ornament and labour characterises all the works of the Orientalists. I have seen illuminated Persian manuscripts that must each have been the toil of many years, every page painted, not with representations of life and manners, but usually like the curves and lines of a Turkey carpet, conveying no idea whatever, as absurd to the eye as nonsense-verses to the ear. The little of their literature that has reached us is equally worthless. Our barbarian scholars have called Ferdusi the Oriental Homer. We have a specimen of his poem; the translation is said to be bad, and certainly must be unfaithful, for it is in rhyme; but the vilest copy of a picture at least represents the subject and the composition. To make this Iliad of the East, as they have sacrilegiously stiled it, a good poem, would be realizing the dreams of Alchemy, and transmuting lead into gold.

The Arabian Tales certainly abound with genius; they have lost their metaphorical rubbish in passing through the filter of a French translation.