France

Variant

In addition to the Egyptian windows donated by his sister, MIT possesses countless books gifted directly by Arthur Rotch that reflect his keen interest in Islamic architecture. Their bookplates help to reconstruct the original contours of his collection. These volumes illuminate the bibliophile’s fascination with certain creators, including the Frenchman Pascal Xavier Coste (d. 1879). Coste served as the personal architect to the Khedive of Egypt Muhammad Ali Pasha (r. 1805–1848). Between 1817 and 1825, Coste produced significant early drawings and prints of&nbsp; Cairo’s Islamic architecture, which inspired many subsequent artists. Conservators preserved this cover from the original binding of Architecture arabe, which provides precious insight into its publication process. The owner pasted archival documents, including a letter from the author to a Monsieur Hugot at the “Institute” (likely referring to the Institut d’Egypt, the learned society in Cairo devoted to Egyptian culture). In it, Coste asks Hugot for feedback on a draft of his frontispiece design to avoid complicated alterations with his printers. Below the letter appears the pen-and-ink drawing in question. Pascal Xavier Coste, Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826. Paris: Typ. de Firmin Didot frères et compagnie, 1839.Rotch Library Limited Access Collection, Department of Distinctive Collections, MIT Libraries: <a href="https://mit.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma990006594450106761&amp;context=L&amp;vid=01MIT_INST:MIT&amp;lang=en&amp;search_scope=all&amp;adaptor=Local%20Search%20Engine&amp;tab=all&amp;query=any,contains,Architecture%20arabe;%20ou,%20Monuments%20du%20Kaire&amp;offset=0" rel="noopener noreferrer" target="_blank">10391413</a>

Inner paste down with letter from Pascal Xavier Coste and gift plate of Arthur Rotch 

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color digital photograph

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View of casinos along the canal near the Bab-el-Charyeh (Vue des Casins sur le Canal El-Khalyg, hors la Porte Bab-el-Charyeh), color plate XXIII&nbsp;This chromolithograph from Coste’s Architecture arabe captures public leisures along a canal at Bab al-Sha‛riyah, a quarter in eastern Cairo. There, men smoke opium and water pipes in the open-air terraces that line the banks, as others enjoy a ride in caiques. Above this bustling scene, the windows of elite homes project outwards, encased by delicate wooden screens known as mashrabiyyāt. Such screens not only facilitated air circulation, they also allowed unseen inhabitants, like women and children, to watch the activities below while remaining hidden from prying eyes. On the right, intricate stucco windows crown the mashrabiyyāt, which bear yellow split palmettes in blue, red, and green frames. Such examples suggest that stained- glass windows were often double-sided to conceal the maker’s side that revealed the production process on the back. Thus both interior and exterior viewers of these windows could appreciate their stunning patterns. Pascal Xavier Coste, Architecture arabe; ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826. Paris: Typ. de Firmin Didot frères et compagnie, 1839.ChromolithographRotch Library Limited Access Collection, Department of Distinctive Collections, MIT Libraries: <a href="https://mit.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma990006594450106761&amp;context=L&amp;vid=01MIT_INST:MIT&amp;lang=en&amp;search_scope=all&amp;adaptor=Local%20Search%20Engine&amp;tab=all&amp;query=any,contains,Architecture%20arabe;%20ou,%20Monuments%20du%20Kaire&amp;offset=0" rel="noopener noreferrer" target="_blank">10391413</a>

View of casinos along the canal near the Bab-el-Charyeh

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Pascal Coste

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architectural drawing

Egypt

The Complex of Sultan Hasan was built between 1356 and 1363, and included a madrasa, congregational mosque, and mausoleum. The free-standing complex, which had a monumental domed mausoleum flanked by minarets, only one of which survives, is located in a prominent position below the Citadel, toward which the monumental portal is oriented. The muqarnas-hood portal occupies the entire length of the façade. The height of the exterior walls and the arrangement of the windows give the facades a strongly vertical emphasis. The four iwan arrangement of the madrasas takes up the center of the plan, with an ablutions fountain in the center of the courtyard and the four madrasas accommodated in the corners of the plan. The qibla iwan is significantly larger than the remaining three, which are also monumental in size and scale. Rather than integrating the students' cells into the central space, the cells were arranged along the street facades and their windows comprise an integral part of the architecture of the facades. Sources: Behrens-Abouseif, Doris. Islamic Architecture in Cairo. Leiden: E. J. Brill, 1989. Jarrar, Sabri, András Riedlmayer, and Jeffrey B. Spurr. <a href="https://www.archnet.org/publications/2704" rel="noopener noreferrer" target="_blank">Resources for the Study of Islamic Architecture</a>. Cambridge, MA: Aga Khan Program for Islamic Architecture, 1994. Meinecke, Michael. Die Mamlukische Architektur in Ägypten und Syrien (648/1250 bis 923/1517). Glückstadt: Verlag J. J. Augustin, 1992.

Masjid al-Sultan Hasan

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This tomb is one of the major monuments of Cairo and one of the three outstanding structures of the Northern Cemetery. The impetus for the development of the Northern Cemetery was initiated by the desire of Sultan Barquq, the first of the Circassian or Burgi Mamluks (1382-99), to be buried in the desert next to the tombs of venerated Sufi shaykhs, and not in his state monument in Bayn al-Qasrayn. The complex built for him by his son Faraj, at the foot of the Muqattam range, was in reality the first attempt to urbanize the desert. Originally, the complex was planned as the center of a large residential area that was to include, in addition to the main funerary endowment with its kitchens and living units, subsidiary establishments such as baths, bakeries, grain mills, rooms for travelers, alleys, and a marketplace. The complex of Sultan Faraj was built between 1398 and 1411. The khanqah is unique in its inclusion of twin minarets, twin carved masonry domes covering the two burial chambers, and twin sabil-kuttabs, all organized in bilaterally symmetrical fashion. However, the plan, which comprises a hypostyle scheme deploying arcades on piers and an open central courtyard with adjoining arcades, is that of a congregational mosque. Unlike madrasas, which adopted the extroverted four-iwan plan with the students' cells looking onto the streets and which expanded their role to include Friday prayers, khanqah architecture generally adopted an introverted scheme to ensure the necessary seclusion for the Sufis. However, many of the living units of the khanqah of Faraj have their windows facing outward toward the desert and structures of the dead, which would serve as objects for contemplation. At the main entrance, visitors can orient themselves with a sign showing the plan of the building, put up by the Egyptian Antiquities Organization as part of their restoration efforts. From the vestibule into the corridor that leads to the courtyard, one steps over an ancient pharaonic slab. The shafts that pierce the ceiling of the long corridor offer both illumination and air circulation. The cooler evening air would force out the warm air and create, by convection, a natural cooling system. From the courtyard, stairs in the northwest corner lead to the upper floors - a complex of rooms, passageways, and cubicles that one both passes on the way up and looks down upon from the roof. In these deserted chambers the dervishes once studied, chanted, and slept. On the second floor, one can sit in the porch of the kuttab over the front entrance. One can climb both minarets, from which there is a splendid view not only of the necropolis but of the surrounding areas. To the north is Heliopolis; to the west, the modern city of Cairo behind the medieval nucleus of al-Qahira; and to the south, the complexes of Barsbay, Qaytbay, and the Citadel. The two chevron-carved stone domes are the earliest and largest in Cairo. Instead of being simply stepped, their exterior transitional zones have undulating stone moldings. This decorative feature, which was introduced for the first time at the transitional zone between the square base and the octagonal shaft of the minaret of Bashtak (1336), makes its first appearance here on the base of a dome. Like the circular second story of the minaret of Assanbugha, which also has undulating moldings between its triangular base and hexagonal first story, the circular second story of the minarets of Faraj is carved with an interlacing design. The circular second story of the minarets is set directly above the square first story without the standard transitional octagonal shaft. To the north of Barquq's mausoleum is the tomb of his father Anas, whom he had brought from Circassia and given a position. The building was joined to the mausoleum by an arcade, now in ruins. Faraj was described by the fifteenth-century historian al-Maqrizi as "the most tragic king of Egypt." Faraj took the throne at the age of ten, and was twenty-three when he was deposed and killed in Damascus. His reign was one of continual strife among the amirs and as such was also a history of their rivalries. Sources: Behrens-Abouseif, Doris. "Change in Function and Form of Mamluk Religious Institutions." Annales Islamologiques 21 (1985): 73-93. Behrens-Abouseif, Doris. Islamic Architecture in Cairo. Leiden: E. J. Brill, 1989. Behrens-Abouseif, Doris. The Minarets of Cairo. Cairo, Egypt : American University in Cairo Press, 1985. Jarrar, Sabri, András Riedlmayer, and Jeffrey B. Spurr. <a href="https://www.archnet.org/publications/2704" rel="noopener noreferrer" target="_blank">Resources for the Study of Islamic Architecture</a>. Cambridge, MA: Aga Khan Program for Islamic Architecture, 1994. Williams, Caroline. Islamic Monuments in Cairo:The Practical Guide, 212-214. Cairo: The American University in Cairo Press, 2002.

Khanqah al-Nasir Faraj ibn Barquq

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Iran

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Better known as a part of the Sultani Madrasa, Chahar Bagh Madrasa or Madrasa Madar-i Shah, the Caravanserai and Bazaar of Shah Husayn I is an integral constituent of one of the largest urban complexes in medieval Iran. A sophisticated architectural arrangement of diverse institutional functions, this complex consists of a madrasa, a mosque, a caravanserai, and a bazaar. The scale and complexity of interrelations within this cluster of buildings justifies comparison to the diverse groupings of mosque, inn, madrasa, bazaar and public bath in Anatolian complexes such as that of Ibrahim Bey at Qaraman. Often considered the last great monumental building project in Safavid Iran, this was the last imperial complex on the Chahar Bagh Avenue, the primary axis of Isfahan to the Allahverdi Bridge across the Zayandeh River. The buildings are predominantly on an east-west axis, determined by and built upon the Farshadi canal that once flowed through the mulberry gardens of the neighboring imperial Naqsh-i Jahan palace. Construction of the complex began in 1704 under the patronage of Shah Hussein I, the last Safavid emperor, and continued until the end of the eighteenth century. The complex is attributed to the influence of the then-Mudarris (head religious scholar), Mir Muhammad Baqir Khatunabadi, on the reigning Shah Hussain I. The relationship between this scholar and ruler has been likened to that between the scholar Sheikh Lutfallah and the Safavid ruler Shah Abbas, which gave rise to Isfahan's famed Sheikh Lutfallah mosque. The complex system of finances, grants and taxes that sustained the caravanserai and bazaar of Shah Husain I was a seminal act of financial engineering. It cross-subsidized the public functions of the college and mosque from the monetary income generated by the inn and shops. An entire ministry headed by a Vizier-i Halal (minister of religiously lawful things) was created to govern this unprecedented denomination of waqf (charitable endowment) in cash rather than the traditional land revenue grant. Equally noteworthy is the admirable architectural quality of the complex, contrasting with the decline of Safavid prosperity and the associated loss of aesthetic taste and patronage typical to waning imperial dynasties, as seen in Safavid contemporaries, the later Mughals of India. Ironically, Shah Hussain I is believed to have spent his last night as a captive in the Madrasa Madar-i-Shah before his decapitation by invading Afghans. The complex today houses the graves of many of its patrons and members of the Safavid royal family.&nbsp;<div> </div><div>The caravanserai portion of the complex was converted into a luxury hotel called the&nbsp;<a href="https://archnet.org/sites/104" target="_blank" data-bypass="true">Shah Abbas Hotel</a>&nbsp;or Abbasi Hotel in the early 20th century. &nbsp;&nbsp; The madrasa (theological college), the pivotal building at the southern end of the institutional ensemble, is built around an idyllic central courtyard within which the ancient Farshadi Canal is reinterpreted as a central waterway lined with cypress and fir trees. Connected by a gateway to the north is the bazaar or market with its thousand two-storied shops in a street covered by a series of brick domes. Also known as the Bazarcha Buland (great market), this space was once famed for its oil pressers and coffee shops. This space has a remarkable quality of light; daylight filters through the skylights located in the eyes of the domes which cover the street. To the east of the bazaar and madrasa lies the caravanserai (travelers' inn), which forms the single largest component of the complex with porticos at its corners and rooms at two floor levels. This inn finds repeated mention in travelers' accounts of Iran from the eighteenth century and was the hub of international trade in late Safavid Isfahan. This spatial interconnectedness reflected the underlying functional and financing mechanisms by which the inn, with its stables, and the bazaar generated income for the upkeep and maintenance of the scholars, students, buildings and ceremonies of the mosque and madrasa. The early Safavid tradition of decorative color and tile work can be traced through the yellow and blue tiles in the madrasa's main portal iwan and the enameled tile work on its flanking minarets. The southern dome adorned with intertwining black, yellow and white arabesques on a turquoise blue base also has the traditional alternate bands of lapis lazuli blue and calligraphic inscriptions on its drum. The previous emphasis on floral patterns is reduced in favor of a simpler contrast between yellow brickwork and inset tile mosaic panels. Greatly restored in recent decades, the caravanserai and bazaar of Shah Husain I still provide calm oases in the center of Isfahan. Sources: Blake, Stephen. Half the World: The Social Architecture of Safavid Isfahan, 1590-1722. Costa Mesa: Mazda Publishers, 1999. 159. Blunt, Wilfrid. Isfahan: Pearl of Asia. London: Elek Books, 1966. 149-150. Hillenbrand, Robert. Islamic Architecture: Form, Function, and Meaning. Edinburgh: Edinburgh University Press, 2000. 210, 234, 522. Hutt, Anthony and Leonard Harrow. Iran. Islamic Architecture. London: Scorpion Publishers, 1978. 2, 93-95, 114-116.</div>

Madrasah-i Madar-i Shah

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IMG28209

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The most celebrated Persian poet, Khwaja Shams-ud-Din Muhammad Hafez-e Shirazi (c. 1320-1389), known by his pen name Hafez, lived and died in Shiraz. Hafez’s collection of poetry, the Divan-i Hafez, is mostly composed of short poems with lyrical and mystical themes (Ghazal), and is commonly considered to be the zenith of Persian poetry. Hafez was buried in a garden located in Gulgasht-i Musalla, a famous resort on the northern outskirts of medieval Shiraz that was covered with gardens and praised frequently in Hafez’s poems for its beauty and cool breezes that "one could not even find in paradise." According to literary sources, an aged cypress tree said to be planted by the poet stood at the head of the his grave. Historical accounts suggest that in the fifteenth century, under the Timurids, a domed structure and pool were built on the site, of which only the rectangular pool in front of Hafez's grave remained by the first half of the twentieth century. By the sixteenth century, the garden had become a popular Shiraz cemetery called Khak-i Musalla, with Hafez’s grave at its center. In the second half of the eighteenth century, under the Zand ruler Karim Khan, a talar (columnar porch) flanked by rows of rooms used as a teahouse and shelters for dervishes and visitors was added to the south side of the cemetery. In the same period, a garden was laid out to the south of the walled garden-cemetery. The elevated talar was the focal point of the Zand tomb-garden, overlooking the garden and the city on its south side and Hafez’s tomb on its north side. The present complex was shaped in the 1930s when, on the proposal of Ali Asghar Hekmat (1892-1980), the minister of education under Reza Shah (and a member of the society for national heritage), the tomb-garden went through an extensive renovation. The central talar was extended from both sides, incorporating the four original columns into an elongated colonnaded hall 56 meters in length. The pool and surrounding tombstones (except for a few belonging to well-known figures) were eradicated, and a modern open pavilion was erected over Hafez’s grave in lieu of the modest metal enclosure that had been built in the early twentieth century. The French architects and archaeologists Andre Godard and Maxime Siroux are credited with the renovation plan and design of the modern pavilion. Oriented toward qibla (southwest), the present complex is composed of two courts separated by a colonnaded hall of twenty columns standing at right angles to the entrance axis of the complex. The south garden consists of a central path with a flower bed in the middle and is lined with cypress trees. Behind the cypresses on either side of the south garden are groves of orange trees, each with a rectangular pool added during the 1930s renovation. The colonnaded hall is accessed by two series of wide steps and terminates in two rooms at its eastern and western ends. In the middle of the north side of the colonnaded hall five steps descend to the inner court, which is square in plan and surrounded on all sides by walls with arched niches and iwans housing private graves. At the center of the north court is the tomb of the poet, crowned by an open pavilion. The pavilion covering Hafez’s grave is the most remarkable addition of the modern intervention. Standing on a circular plinth with five steps, it is composed of eight stone columns supporting an octagonal frieze topped by a metal roof whose form was inspired by a dervish's hat. The columns bear muqarnas capitals similar to those of the Zand period buildings in Shiraz. Tile inscriptions of Hafez’s poems run along the internal surface of the octagonal frieze. The interior of the dome is decorated with "arch-net" (rasmi bandi) and intricate inlay work (khatam kari). Hafez’s grave is marked by the original marble tombstone from the Zand period, engraved with his own poems in nastaliq script and dated to 1773. Currently, the tomb-garden of Hafez is a charming spot enjoyed by tourists and the people of Shiraz. Sources: Grigor, Talinn. 2009. Building Iran: modernism, architecture, and national heritage under the Pahlavi monarchs. New York: Periscope Publishing, 82-106. Grigor, Talinn, 2005. Cultivat(ing) modernities: the Society for National Heritage, political propaganda and public architecture in twentieth-century Iran. Ph.D diss., Massachusetts Institute of Technology. "Hafez's Tomb." Encyclopedia Iranica. <a href="http://www.iranica.com&quot;target=&quot;_blank&quot;">http://www.iranica.com</a>. [Accessed Aug. 18, 2010]

Aramgah-i Hafez

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Al-Mu'ayyad Shaykh, a Burji, or Circassian, Mamluk, was sultan from 1412 to 1421. Al-Maqrizi relates that during the reign of Faraj ibn Barquq, al-Mu'ayyad, a great intriguer during a time of great intrigues, was captured and thrown into a prison on this site. He suffered terribly from the lice and the fleas, and vowed then that if he ever came to power he would transform the infested prison into a "saintly place for the education of scholars." Sultan al-Mu'ayyad spent forty thousand dinars on its construction. Due to the sultan's lavish endowments, the madrasa became one of the prominent academic institutions of the fifteenth century. A large library was collected; the most eminent scholars of the day filled professorial chairs; and the most famous specialist in Quaranic exegesis in Egypt, Ibn Hajar al-'Asqalani, was installed as lecturer in Shafi'i jurisprudence. Unlike Barquq's madrasa-khanqah, in which the Sufis of the khanqah and students of the madrasa dwelt under the same roof and enjoyed exposure to each other's teachings and religious practices, this madrasa, whose curriculum comprised the study of official religion according to the four rites, was dedicated to Sufis only. This was the last great hypostyle mosque to be built in Cairo. Among other things incorporated into the hypostyle scheme are a bent entrance and a burial chamber covered with a monumental dome, two hallmarks of Mamluk architecture. The muqarnas portal is set in a pishtaq, or rectangular frame, that rises above the wall of the facade. The door, which was reputed to have been illegally taken from the <a href="http://archnet.org/sites/1549" rel="noopener noreferrer" target="_blank">Madrasa of Sultan Hasan</a>, is a masterpiece of Mamluk metalwork. The architect, Muhammad ibn al-Qazzaz exploited the mosque's proximity to <a href="http://archnet.org/sites/2728" rel="noopener noreferrer" target="_blank">Bab Zuwayla</a> by using its towers as both buttresses and bases from which the two identical minarets rise. The carved chevrons decorating the exterior of the stone dome, which are also to be seen on the octagonal second stories of the twin minarets, provide an excellent example of this type of surface decoration for carved masonry domes from this period. From the entrance vestibule one passes into the mausoleum, where the sultan and his eldest son are buried. On the largest cenotaph is a beautiful reused panel of tenth-century Kufic script, a verse from the Quran: "surely those who avoid evil will be among gardens and fountains: Enter them in peace, secure" (15:45-46). The graceful leaf forms that emanate from the vertical letters and fill the empty spaces over the horizontal letters are characteristic in early Islamic art of the desire to fill voids. These foliate beginnings led to very lush arabesque backgrounds for scripts. From the mausoleum one enters the sanctuary of the congregational mosque, which is a late example in Cairo of the open courtyard plan on a large scale. The mosque originally had four facades, but in the late nineteenth century it was in such disrepair that the Comite rebuilt the western facade and turned the courtyard into a garden. The 2001 restorations by the Ministry of Culture removed this garden, however. The restorations also include the re-building of the missing arcades around the courtyard. Part of al-Qahira's southern wall has also been discovered. It is on display on the south side of the courtyard. On the western side of the courtyard is a hammam (bath) that is worth seeing. The decoration of the sanctuary is also of a richness and scale that scarcely occurs later in the Mamluk period. The mihrab and the minbar are both fine examples of the style of the period, while the ceilings, which were restored in the early twentieth century, look like suspended carpets. A tomb chamber at the southwest end of the sanctuary was for the female members of the sultan's family. The chamber once had a dome, but now its cover is a flat roof. The Turkish tiles in the qibla wall were added during restoration work by Ibrahim Pasha, the son of Muhammad 'Ali, in 1839 or 1840. A door at this end of the sanctuary leads to the second-story platform of Bab Zuwayla and to the minarets. The view from the top is well worth the climb because it offers a superb perspective on the extent and contours of the mediaval city to the north and the south. Above the entrance of each minaret is a cartouche in which the architect al-Mu'allim Muhammad ibn al-Qazzaz has left his name and the dates of completion, 1421 and 1422. This signature by an architect is rare in Cairo. Sources: Behrens-Abouseif, Doris. "Change in Function and Form of Mamluk Religious Institutions." Annales Islamologiques 21 (1985): 73-93. Behrens-Abouseif, Doris. Islamic Architecture in Cairo. Leiden: E. J. Brill, 1989. Jarrar, Sabri, András Riedlmayer, and Jeffrey B. Spurr. <a href="https://www.archnet.org/publications/2704" rel="noopener noreferrer" target="_blank">Resources for the Study of Islamic Architecture</a>. Cambridge, MA: Aga Khan Program for Islamic Architecture, 1994. Meinecke, Michael. Die Mamlukische Architektur in Ägypten und Syrien (648/1250 bis 923/1517). Glückstadt: Verlag J. J. Augustin, 1992. Swelim, Tarek. "The Complex of Sultan al-Mu'ayyad Shaykh at Bab Zuwayla." M.A. thesis, American University in Cairo, 1986. Williams, Caroline. Islamic Monuments in Cairo:The Practical Guide, 143-144. Cairo: The American University in Cairo Press, 2002.

Sultan al-Mu'ayyad Shaykh Complex

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<blockquote>The royal pleasance known as Bagh-i Sa‘adatabad or Hizar Jarib-i Naw (New Hizar Jarib) stood across the river near the Hasan Bayk Bridge at least until the 1840s, when<a href="https://www.archnet.org/authorities/2793" rel="noopener noreferrer" target="_blank"> Pascal Coste</a> drew it in his plan of Isfahan. Ernst Hoeltzer, a German photographer who lived in Isfahan, took a number of pictures of its palaces in the 1890s, in which the grounds seem abandoned. The first news regarding this garden and its main building called Ayina Khanah appears in Shamlu, who calls it the pleasure house of <a href="https://www.archnet.org/authorities/2600" rel="noopener noreferrer" target="_blank">Shah Safi</a>, and Khwajigi Isfahani recounts a public audience taking place there in 1050 AH/1641. It was thus built sometime during the reign of Shah Safi (1629–1641).</blockquote><blockquote>The garden was linked to the city through a new khiyābān that ran from the bridge to the Chaharsu-yi Naqashan and from here, through the bazaar, to <a href="https://www.archnet.org/sites/2717" rel="noopener noreferrer" target="_blank">Maydan-i Shah</a>. Tavernier compares this promenade to the one created by <a href="https://www.archnet.org/authorities/2598" rel="noopener noreferrer" target="_blank">Shah ‘Abbas</a>, remarking that, although wider, it lacked such important garden and architectural features as the water channel in the middle and the beautiful gate-buildings of the flanking gardens. The Hasan Bayk Bridge was transformed into a monumental theater on water in 1650. Ramzi, the poet of the court, wrote a poem lauding Bagh-i Sa'adat, its annexed bridge, and khiyābān, depicting <a href="Shah ‘Abbas II" rel="noopener noreferrer" target="_blank">Shah ‘Abbas II</a> as a young king enjoying the pleasures of royal life. A smaller aqueduct-bridge called <a href="https://www.archnet.org/sites/16789" rel="noopener noreferrer" target="_blank">Pul-i Jubi</a>, east of the Hasan Bayk Bridge, was created to supply water to the garden. The plan of the garden drawn in 1840 by Pascal Coste shows its layout, the main waterline, the āyina khānah, the Namakdan pavilion, and the Haft Dast buildings of the haram. The Namakdan was destroyed in the year 1306 AH/1889, as reported by Jabiri Ansari.</blockquote><blockquote>Sources: Travel Account,&nbsp;1840 | Court Chronicle,&nbsp;1650</blockquote> <a href="https://www.archnet.org/authorities/517" rel="noopener noreferrer" target="_blank">-Mahvash Alemi</a> Resources:Khulaṣat al-Siyar&nbsp;<a href="https://www.zotero.org/groups/4419435/items/JGYPZQAV" rel="noopener noreferrer" target="_blank">(Open in Zotero)</a>Safavid Palaces at Isfahan: Continuity and Change (1590–1666)&nbsp;<a href="https://www.zotero.org/groups/4419435/items/7DDL348G" rel="noopener noreferrer" target="_blank">(Open in Zotero)</a>Tarikh-i Isfahan va Ray va hamah-i jahan&nbsp;<a href="https://www.zotero.org/groups/4419435/items/9B6YYJ4U" rel="noopener noreferrer" target="_blank">(Open in Zotero)</a>Ramz al-rayāḥīn: dar vasf-i Isfahān va munāzara-yi gulhā&nbsp;<a href="https://www.zotero.org/groups/4419435/items/Y5SIIKCB" rel="noopener noreferrer" target="_blank">(Open in Zotero)</a>MS Add. 7656&nbsp;<a href="https://www.zotero.org/groups/4419435/items/PBQZJ4AY" rel="noopener noreferrer" target="_blank">(Open in Zotero)</a> Originally published at: Alemi, Mahvash. “Bagh-i Hizar Jarib-i Naw.” Middle East Garden Traditions. Dumbarton Oaks, November 18, 2014. https://www.doaks.org/resources/middle-east-garden-traditions/catalogue#b_start=0&amp;c6=Safavid+Gardens. Archived at:https://perma.cc/H4VG-8VF7

Bagh-i Hizar Jarib-i Naw (MEGT)

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Pascal Coste
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