black and white photography

Images of various locations in Morocco. Currently 86 images are available from this box.

Paul Servant

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View pedestrians and pack animals on the shoreline passing the city walls

glass plate negative

Pedestrians and pack animals on the beach

Morocco

The Qasba of the Udayas is at the mouth of the Bou Regreg River on the shore opposite Salé.&nbsp; Originally a small fortress was built by the Almoravids to defend against the Berghouata.&nbsp; The qasba as it exists today was rebuilt by the Almohads in 1150/544 AH.&nbsp;&nbsp; The mosque, Jami' al-'Atiq, built at the same time, still stands and is the oldest mosque in Rabat.&nbsp; The city was renamed al-Mahdiyya, after the Mahdi Ibn Tumart.&nbsp; At the end of the Almohad reign, the Qasba was abandoned and not inhabited again until arrival of Moors, expelled from Spain in the 17th century 17th century/11th century AH. They settled in the lower part of the qasba. &nbsp; The walls and monumental gate are <a href="http://www.discoverislamicart.org/database_item.php?id=monument;ISL;ma;Mon01;6;en">described by Discover Islamic Art</a> as follows: <blockquote>The Almohad wall that surrounds the kasbah, 2.50 m wide and 8–10 m tall, is built with ashlars and bordered by a sloping esplanade where some old cannon still stand. Built by Ya'qub al-Mansur, the monumental gateway stands on a knoll and dominates the town. Built of red ochre freestone, it is made up of an arch flanked by two towers and bears repeated sculptural decoration on the inner façade. The spandrels of the arch are framed with a kufic inscription. Snake motifs at the springing point of the festooned arches constitute an unusual addition in Moroccan decoration. This gateway leads to a series of three square rooms separated by steps: the first is covered with a domed vault resting on squinches, the second with a dome on pendentives and the third with a barrel vault. One large and one small door open onto the inside of the fortress. A flight of stairs at the back leads to the terrace. </blockquote>In 2012 the Qsaba was added to UNESCO's World Heritage List. &nbsp;

Qasba al-Udaya

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View across Jama' el-Fna toward the Koutoubia

View of Jamaa al-Fna

Marrakech is the 4th largest city in Morocco, after <a target="_blank" href="http://archnet.org/authorities/6567">Casablanca</a>, <a target="_blank" href="http://archnet.org/authorities/3657" data-bypass="true">Fès</a>, and <a target="_blank" href="http://archnet.org/authorities/3987">Tangier</a>.&nbsp; It is inland, approximately 240 km south of Casablanca and 246 km north of Agadir.&nbsp; It was founded in 1062 by the Almoravids, and the city fortifications were built during the reign of Ali ibn Yusuf.&nbsp; The snow covered peaks of the Atlas mountains are visible from the city. &nbsp;

Marrakech

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Travelers outside the east wall where the stairs to the main entrance are now located

 Casablanca

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Casablanca

Situated on United Nations Square at the entrance to the medina, the clock tower was built in 1908 by Commandant Dessigny.&nbsp;Because of poor construction, it had to be destroyed in 1948, but it was rebuilt in 1994.&nbsp;

Tour de l'Horloge

 Meknès

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View of Place Lahdid

Sahat al-Hadim

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Exterior view, European soldiers coming our of Bab al-Had

Box 4-4

Originally built in the middle of the 11th c., and restored by Moulay Slimane in the 19th, this monumental port has three room in the interior.&nbsp; A medallion over the central arch commemorates the restoration in 1814.

Bab el Had

 Marrakech

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View of 'Jma al-Fna

The Jama' al-Fna is a large open-air market at the southwestern edge of the medina of Marrakesh. Defined only by the streets and buildings that surround it, the market square has been used as a public gathering place since the eleventh century, when Marrakech became a lively international capital under the rule of the Almohad dynasty (1130-1269). Merchants from distant regions of the Almohad empire, then stretching across much of northern Africa and into Spain, assembled daily in the Jama' al-Fna to distribute their wares, but the traditional functions of the square have never been confined to trade and commerce alone: dining, political and religious assembly, and many forms of entertainment are essential in defining the character of the highly dynamic space. The square persisted as a key urban hub for centuries after the decline of the Almohads, and is still functioning today. The Jama' al-Fna is a triangular space bounded by Rue de la Koutoubia to the northeast, Rue Moulay Ismail to the west, and Rue Dabachi to the south. The side of the square along Rue de la Koutoubia is 136 meters long, the side along Rue Moulay Ismail is 146 meters long, and the side along Rue Dabachi is 166 meters long. The triangle bounded by the three major thoroughfares is roughly equilateral. The angle between Rue Dabachi and Rue de la Koutoubia is fifty-one degrees, the angle between the Rue de la Koutoubia and Rue Moulay Ismail is sixty-one degrees, and the angle between Rue Mouay Ismail and Rue Dabachi is sixty-eight degrees. In terms of orientation, the side of the square that borders Rue de la Koutoubia is rotated fifty-four degrees clockwise from the north-south meridian. The crossing of Rue Moulay Ismail and Rue Dabachi forms a second triangular space, roughly equal in size to the Jama' al-Fna, directly to the southwest of the square. This space is bounded by Rue El Mouahidine to the southwest and is landscaped as a public garden. Several significant buildings either border or are axially linked to the Jama' al-Fna. The Commissariat building is located opposite the west side of the square along Rue Moulay Ismail. Fifty meters northwest of the northern vertex of the triangular square, Rue de la Koutoubia turns approximately ninety degrees toward the southwest, then terminates after 360 meters at the foot of the Kutubiyya Mosque (1147-1162). Rue Moulay Ismail continues to the north of the square as Souk Laksour, the principal route that cuts through the dense souks of the medina. Souk Laksour ends 320 meters to the north of Jama' al-Fna at the Ali bin Yusuf Madrasa (1564-1565). The ground surface of the square is paved with concrete. A repeating geometric pattern of expansion joints within the slab suggests tile-work. Though there are no permanent structures within the square, temporary market stalls define the street edge while portable carts, tents, and umbrellas create a dynamic "roofscape" and provide shade in the center of the large open space. Depending on the time of day, the square may be as densely occupied as the souks that border it to the north. Several possible explanations are given for the origin of the name of the square. The word jama', or djemma, is an Arabic term meaning "gathering" or "assembly," sometimes carrying the more religious connotation "mosque." The word fna means "nothing" or "end." The interpretation of Jama' al-Fna as "the mosque that came to nothing" refers to an unbuilt mosque that was planned for the site by Sa'di Sharif Ahmad al-Mansur (reg. 1578-1603) but was never erected. Another rendering of the name's meaning is "the gathering at the end of the world," an understanding that derives from the chaotic atmosphere of the space. The Jama' al-Fna accommodates such a wide variety of activities and populations that it is occupied twenty-four hours a day, with a patterns of use that vary each hour yet repeat daily. The complete lack of physical programming of the space affords extreme flexibility of use over time, and the square's grand scale is especially effective as an urban gesture when contrasted with the high density of the adjacent souks in the medina. While the square is flooded during the day with international tourists on their way in and out of the neighboring souks, after dark the lingering crowds in the square are mostly composed of Marrakech locals, who come to hear the traditional storytellers and singers perform late into the night. The Jama' al-Fna was listed as an UNESCO World Heritage Site in 1985 as a part of the "Medina of Marrakesh" site. Sources: Allen, James Sloan. 1996. "The Storytellers of Marrakech." The Sewanee Review 104 (4): 497-520. Andrews, C. E. 1922. Old Morocco and the forbidden Atlas. New York: George H. Doran Co., 32. Blair, Sheila S. and Jonathan M. Bloom. 1995. The Art and Architecture of Islam 1250-1800. New Haven: Yale University Press, 123. Bosworth, Clifford Edumund. 1996. The New Islamic Dynasties. New York: Columbia University Press, 41-42. Grube, Ernst J., James Dickie, Oleg Grabar, Eleanor Sims, Ronald Lewcock, Dalu Jones, and Guy T. Petherbridge, ed. George Michell. 1978. Architecture of the Islamic World. Repr., London: Thames and Hudson, 1996, 218. Hillenbrand, Robert. 1999. Islamic Architecture. Edinburgh: Edinburgh University Press, 271-272.

Jama' al-Fna

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Exterior view of a camel caravan moving away from the medina walls, possibly Marrakech

Camel Caravan

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View into courtyard

The Bahia Palace is located in the medina of Marrakech along the northern edge of the Mellah, or Jewish quarter. Though the exact dates of the palace's construction are unknown, the building was commissioned between 1859 and 1873 and was completed by 1900. The palace was built in two phases by two different men, a father and son who each served as grand vizirs to 'Alawid Sharifs. The first part of the palace, known as Dar Si Moussa, was built sometime between 1859 and 1873 by Si Moussa, the grad vizir to sultan Sidi Muhammad bin 'Abd al-Rahman (reg. 1859-1873). Between 1894 and 1900, the second phase of construction was directed by Si Moussa's son Ba Ahmed, the grand vizir to sultan Mawlay 'Abd al-'Aziz (reg. 1894-1908). The palace complex was erected in piecemeal fashion as additional tracts of land were gradually made available to the vizirs by their sultans. Due to the additive nature of the design process, the plan is highly irregular and there are no continuous axes, unified elevations, or consistent ordering principles. The palace is quite large and spreads over almost eight hectares in plan, comprised of a series of walled gardens, pavilions, and courtyard buildings at varying scales. Though the footprint of the palace does not form an even rectangle, its dimensions can be approximated as 340 meters long at the longest point along its east-west axis, and between 45 and 95 meters wide along the majority of its north-south axis. The north-south axis of the palace is rotated eighteen degrees counter-clockwise from the north-south meridian. This does not include a loosely rectangular addition 60 meters wide east to west and 80 meters long north to south, which abuts the main portion of the complex near the center of its south edge. The older part of the palace, Dar Si Moussa, includes a courtyard in the north of the complex, as well as a central garden featuring several fountains and cypress, orange, jasmine, and banana trees. Two ornately decorated rooms roofed with ceramic tiles surround this lush garden, which contain inscriptions dating the construction of this part of the palace to 1867. Dar Si Moussa is only a small portion of the overall Bahia Palace complex, but it is noteworthy for its balance of refined decor and a charming pastoral ambiance. The newer portions of the palace were constructed by Ba Ahmed with the intention of surpassing the achievements of his father Si Moussa. It was Ba Ahmed who continually added section after to section to the palace, creating the intricate and irregular plan of the final complex. Ba Ahmed enlisted architect al-Hajj Muhammad bin Makki al-Misfiwi to design and decorate the major apartments of the additions to the palace. Muhammad bin Makki worked previously in Andalusia, and Spanish decorative motifs, materials, and arabesques can be seen in the fine craftsmanship of the later palace décor. One of the finest elements of the Bahia Palace is the grand marble-paved courtyard, constructed between 1896 and 1897. This courtyard measures 30 meters wide along its north-south axis and 50 meters long along its east-west axis. It is divided into quadrants by paths of multicolored zellige, or enameled terracotta tiles, in a simple checkered pattern. Each quadrant is paved in white marble with thin borders of zellige between each large marble tile. At the intersection of the zellige paths in the middle of the courtyard is a large rectangular fountain, equal in width to the zellige paths on each side, with a smaller round basin at its center. The courtyard is surrounded by open-air galleries roofed in green ceramic tile. The arches that support the inner sides of the galleries feature bright yellow and blue ceramic screens inset above their imposts. These screens incorporate vegetal sculpture in the traditional Andalusian style. Materials for the decoration of the Bahia Palace were sourced from all over North Africa. Marbles were brought from Meknès, which were likely originally quarried in Carerra, Italy, and may have been previously decorated the Palace of Moulay Ismail (1672) or the Badi' Palace in Marrakech (1578-1594). Cedar for the painted ceilings of the palace apartments was ordered from the Mid-Atlas region, and glazed terracotta tiles came from Tetouan. Artisans from across North Africa and Andalusia were employed in the construction of the palace. 	 Ba Ahmed was an extremely rich and powerful vizir whose fortunes were envied by the sultan himself. Only hours after Ba Ahmed's death in 1900, sultan Mawlay 'Abd al-'Aziz ordered the raiding of the Bahia Palace to collect its splendid furnishings and decorative materials. While much of the opulent ornament of the palace was lost during this incursion, some parts of the palace were spared and have retained their rich decor. The marble-paved courtyard and its neighboring apartments survived intact and remain an example of the former grandeur of the Bahia Palace complex. The Bahia Palace has been well-maintained over the past century by the Moroccan government and is currently used to receive foreign dignitaries. Part of the palace is occupied by the Moroccan Ministry of Cultural Affairs. Sources: Blair, Sheila S. and Jonathan M. Bloom. 1995. The Art and Architecture of Islam 1250-1800. New Haven: Yale University Press, 123. Bosworth, Clifford Edumund. 1996. The New Islamic Dynasties. New York: Columbia University Press, 41-42. Deverdun, Gaston. 1959-66. Marrakech, des origines à 1912. Repr., Casablanca: Editions Frontispice, 2004, 542-546. Hillenbrand, Robert. 1999. Islamic Architecture. Edinburgh: Edinburgh University Press, 271-272. Grube, Ernst J., James Dickie, Oleg Grabar, Eleanor Sims, Ronald Lewcock, Dalu Jones, and Guy T. Petherbridge, ed. George Michell. 1978. Architecture of the Islamic World. Repr., London: Thames and Hudson, 1996, 218. Métalsi, Mohamed, Cécile Tréal, and Jean-Michel Ruiz. 2000. The Imperial Cities of Morocco. Paris: Terrail, 107-111. Pickens, Samuel, Francoise Peuriot and Philippe Ploquin. 1995. Maroc: Les Cites Imperiales. Paris: ACR Edition, 136-139. "'Alawi" The Grove Encyclopedia of Islamic Art and Architecture. Ed. Jonathan M. Bloom and Sheila S. Blair. © Oxford University Press 2010. The Grove Encyclopedia of Islamic Art and Architecture: (e-reference edition). Oxford University Press. Massachusetts Institute of Technology (MIT). 8 February 2010 <a href=" http://www.oxford-islamicart.com/entry?entry=t276.e51" target="_blank"> http://www.oxford-islamicart.com/entry?entry=t276.e51</a>. "Architecture" The Grove Encyclopedia of Islamic Art and Architecture. Ed. Jonathan M. Bloom and Sheila S. Blair. © Oxford University Press 2010. The Grove Encyclopedia of Islamic Art and Architecture: (e-reference edition). Oxford University Press. Massachusetts Institute of Technology (MIT). 8 February 2010 <a href=" http://www.oxford-islamicart.com/entry?entry=t276.e89" target="_blank"> http://www.oxford-islamicart.com/entry?entry=t276.e89</a>. "Marrakesh" The Grove Encyclopedia of Islamic Art and Architecture. Ed. Jonathan M. Bloom and Sheila S. Blair. © Oxford University Press 2010. The Grove Encyclopedia of Islamic Art and Architecture: (e-reference edition). Oxford University Press. Massachusetts Institute of Technology (MIT). 8 February 2010 <a href=" http://www.oxford-islamicart.com/entry?entry=t276.e568" target="_blank"> http://www.oxford-islamicart.com/entry?entry=t276.e568</a>.

Bahia Palace

Box 4 - International Tangier

This collection currently contains approximately 2,000 images of the western Mediterranean, and particularly&nbsp;<a href="http://archnet.org/authorities/3987" rel="noopener noreferrer" target="_blank">Tangier</a>, Morocco, during the period in which the city truly was an International Zone.&nbsp;The images are&nbsp;believed to be the work of Spanish photographer and longtime resident of Tangier,&nbsp;<a href="http://archnet.org/authorities/2852" rel="noopener noreferrer" target="_blank">Paul Servant</a>.&nbsp;They document the city and multiple other locations in the region approximately between the last years of the 19th century and the 1930s. They are scanned from a large collection of medium-format, glass plate negatives in the collection of the Tangier American Institute for Moroccan Studies (<a href="http://archnet.org/sites/8271" rel="noopener noreferrer" target="_blank">TALIM</a>).&nbsp;The images of Morocco,&nbsp;<a href="http://archnet.org/collections/900" rel="noopener noreferrer" target="_blank">France</a>,&nbsp;<a href="https://archnet.org/collections/805" rel="noopener noreferrer" target="_blank">Spain</a>, <a href="#" rel="noopener noreferrer" target="_blank">Algeria</a>, <a href="#" rel="noopener noreferrer" target="_blank">Gibraltar</a>, and other places, provide important and rare visual documentation of these places between the First and Second World Wars, when nearly every aspect of society was in flux. Tangier is particularly well documented. Images capture the arrival of Europeans in the port, construction of the railway, some of the city's best-known buildings, and a wide variety of the city's inhabitants, Moroccan and European,&nbsp;civilian and military. With the help of multiple institutions,1&nbsp;most recently the&nbsp;<a href="http://www.wellesley.edu/mes#zSTCL0sb5iRCEj21.97" rel="noopener noreferrer" target="_blank">Program in Middle Eastern Studies</a>&nbsp;and the Center for Work and Service of Wellesley College, the entire collection is now digitized and catalogued to the best degree possible.&nbsp;&nbsp; For reasons explained in the fuller history of the collection, many images are only partially identified, and some may even be misidentified. Do not hesitate to&nbsp;<a href="https://libraries.mit.edu/akdc/services-and-staff/" rel="noopener noreferrer" target="_blank">contact us</a>&nbsp;if you are able to correct or provide further information on a photograph.&nbsp;&nbsp;Organization of the Collection:&nbsp;The complete collection is now online. The organization of the virtual collection reflects the organization of the physical glass negative collection as it is stored. Images are presented in sub-collections corresponding to the numbered boxes in which they are stored.&nbsp;The contents of each box are summarized on the description page for each collection.&nbsp; --Michael A. Toler, Archnet Content Manager (Updated October 8, 2016 ) 1&nbsp;For a fuller history and description of the project,&nbsp;see&nbsp;<a href="http://archnet.org/pages/TALIM-negatives" rel="noopener noreferrer" target="_blank">this page</a>.&nbsp;

International Tangier: Morocco & the Mediterranean as seen from Tangier in the Early 20th c.

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digital graphic

IAA708390

https://archnet-3-staging-iiif-cloud-52e731ed1e62.herokuapp.com/public/resources/155d2f13-7196-4688-884a-8d1953d3bd32/download

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Streetscape toward minaret 4-65

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Box 4 - International Tangier

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Box 4 - International Tangier

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