Moroccan architecture, then, is easily divided into four groups: the fortress, the mosque, the collegiate building and the private house.

The kernel of the mosque is always the mihrab, or niche facing toward the Kasbah of Mecca, where the imam[A] stands to say the prayer. This arrangement, which enabled as many as possible of the faithful to kneel facing the mihrab, results in a ground-plan necessarily consisting of long aisles parallel with the wall of the mihrab, to which more and more aisles are added as the number of worshippers grows. Where there was not space to increase these lateral aisles they were lengthened at each end. This typical plan is modified in the Moroccan mosques by a wider transverse space, corresponding with the nave of a Christian church, and extending across the mosque from the praying niche to the principal door. To the right of the mihrab is the minbar, the carved pulpit (usually of cedar-wood incrusted with mother-of-pearl and ebony) from which the Koran is read. In some Algerian and Egyptian mosques (and at Cordova, for instance) the mihrab is enclosed in a sort of screen called the maksoura; but in Morocco this modification of the simpler plan was apparently not adopted.

[Footnote A: The "deacon" or elder of the Moslem religion, which has no order of priests.]

[Illustration: From a photograph from the Service des Beaux-Arts au
Maroc
Fez—the praying-chapel in the Medersa el Attarine]

The interior construction of the mosque was no doubt usually affected by the nearness of Roman or Byzantine ruins. M. Saladin points out that there seem to be few instances of the use of columns made by native builders; but it does not therefore follow that all the columns used in the early mosques were taken from Roman temples or Christian basilicas. The Arab invaders brought their architects and engineers with them; and it is very possible that some of the earlier mosques were built by prisoners or fortune-hunters from Greece or Italy or Spain.

At any rate, the column on which the arcades of the vaulting rests in the earlier mosques, as at Tunis and Kairouan, and the mosque El Kairouiyin at Fez, gives way later to the use of piers, foursquare, or with flanking engaged pilasters as at Algiers and Tlemcen. The exterior of the mosques, as a rule, is almost entirely hidden by a mushroom growth of buildings, lanes and covered bazaars, but where the outer walls have remained disengaged they show, as at Kairouan and Cordova, great masses of windowless masonry pierced at intervals with majestic gateways.

Beyond the mosque, and opening into it by many wide doors of beaten bronze or carved cedar-wood, lies the Court of the Ablutions. The openings in the façade were multiplied in order that, on great days, the faithful who were not able to enter the mosque might hear the prayers and catch a glimpse of the mihrab.

In a corner of the courts stands the minaret. It is the structure on which Moslem art has played the greatest number of variations, cutting off its angles, building it on a circular or polygonal plan, and endlessly modifying the pyramids and pendentives by which the ground-plan of one story passes into that of the next. These problems of transition, always fascinating to the architect, led in Persia, Mesopotamia and Egypt to many different compositions and ways of treatment, but in Morocco the minaret, till modern times, remained steadfastly square, and proved that no other plan is so beautiful as this simplest one of all.

Surrounding the Court of the Ablutions are the school-rooms, libraries and other dependencies, which grew as the Mahometan religion prospered and Arab culture developed.

The medersa was a farther extension of the mosque: it was the academy where the Moslem schoolman prepared his theology and the other branches of strange learning which, to the present day, make up the curriculum of the Mahometan university. The medersa is an adaptation of the private house to religious and educational ends; or, if one prefers another analogy, it is a fondak built above a miniature mosque. The ground-plan is always the same: in the centre an arcaded court with a fountain, on one side the long narrow praying-chapel with the mihrab, on the other a classroom with the same ground-plan, and on the next story a series of cell-like rooms for the students, opening on carved cedar-wood balconies. This cloistered plan, where all the effect is reserved for the interior façades about the court, lends itself to a delicacy of detail that would be inappropriate on a street-front; and the medersas of Fez are endlessly varied in their fanciful but never exuberant decoration.

M. Tranchant de Lunel has pointed out (in "France-Maroc") with what a sure sense of suitability the Merinid architects adapted this decoration to the uses of the buildings. On the lower floor, under the cloister, is a revêtement of marble (often alabaster) or of the almost indestructible ceramic mosaic.[A] On the floor above, massive cedar-wood corbels ending in monsters of almost Gothic inspiration support the fretted balconies; and above rise stucco interfacings, placed too high up to be injured by man, and guarded from the weather by projecting eaves.

[Footnote A: These Moroccan mosaics are called zellijes.]
[Illustration: From a photograph from the Service des Beaux-Arts au
Maroc
Salé—interior court of the Medersa]

The private house, whether merchant's dwelling or chieftain's palace, is laid out on the same lines, with the addition of the reserved quarters for women; and what remains in Spain and Sicily of Moorish secular architecture shows that, in the Merinid period, the play of ornament must have been—as was natural—even greater than in the medersas.

The Arab chroniclers paint pictures of Merinid palaces, such as the House of the Favourite at Cordova, which the soberer modern imagination refused to accept until the medersas of Fez were revealed, and the old decorative tradition was shown in the eighteenth century Moroccan palaces. The descriptions given of the palaces of Fez and of Marrakech in the preceding articles, which make it unnecessary, in so slight a note as this, to go again into the detail of their planning and decoration, will serve to show how gracefully the art of the mosque and the medersa was lightened and domesticated to suit these cool chambers and flower-filled courts.

With regard to the immense fortifications that are the most picturesque and noticeable architectural features of Morocco, the first thing to strike the traveller is the difficulty of discerning any difference in the probable date of their construction until certain structural peculiarities are examined, or the ornamental details of the great gateways are noted. Thus the Almohad portions of the walls of Fez and Rabat are built of stone, while later parts are of rubble; and the touch of European influence in certain gateways of Meknez and Fez at once situate them in the seventeenth century. But the mediaeval outline of these great piles of masonry, and certain technicalities in their plan, such as the disposition of the towers, alternating in the inner and outer walls, continued unchanged throughout the different dynasties, and this immutability of the Moroccan military architecture enables the imagination to picture, not only what was the aspect of the fortified cities which the Greeks built in Palestine and Syria, and the Crusaders brought back to Europe, but even that of the far-off Assyrio-Chaldaean strongholds to which the whole fortified architecture of the Middle Ages in Europe seems to lead back.

[Illustration: From a photograph from the Service des Beaux-Arts au
Maroc
Marrakech—the gate of the Portuguese]