But yet beware, Be not by form belated,
Strive rather with all speed the bridge to traverse.
If to the bourn thou fain wouldst bear thy baggage,
Upon the bridge let not thy footsteps linger."_[10]

[Footnote 10: "Religious Systems of the World" (Swan Sonnenschein,
1892).]

The unreality of things material, the illusion of Self and desires,
the perception that all living things and apparent phenomena reflected
but one all-embracing GOOD and BEAUTY, was the philosophy of Hindu and
all Oriental mystics of old; but they attempted to destroy the self
and desires (Source of Sin) uncompromisingly and unreasonably. It was
a philosophy "cold" and "bloodless", as Professor BROWNE points out,
in trenchant terms. The MUHAMMADAN mystic became conscious that the
stream cannot be crossed without the aid of the BRIDGE constructed for
this purpose.

Here (as it seems to us) lies the KEYNOTE, the mainspring of
inspiration of artistic expression, which (for the lack of better
designation) might be termed MUHAMMADAN ART: A merging of physical and
spiritual, of worldly magnificence and eternal bliss.

[CONTINUED ON PAGE THIRTY-ONE]

* * * * *

THE PRINCES OF THE HOUSE OF TIMUR

EMIR TIMUR (TIMUR-I-LANG) on the throne (A.D. 1335-1405)

On the right of the throne:

BABUR A.D. 1526-1530
HUMAYUN A.D. 1530-1556
AKBAR A.D. 1556-1605
JAHANGIR A.D. 1605-1627
SHAH JAHAN A.D. 1627-1658

On the left are three sons of SHAH JAHAN:

DARA SHIKOH
SHAH SHUJA
AURENGZIB
(who succeeded Shah Jahan)

MUGHAL Painting from the Imperial Library of DELHI, A.D. 1640

[Illustration: THE PRINCES OF THE HOUSE OF TIMUR

MUGHAL PAINTING FROM THE IMPERIAL LIBRARY OF DELHI, A.D. 1640]

TALAR (HALL OF AUDIENCE) RUG

From the looms of ISPAHAN or the adjoining city of JOSHAGAN. Made
during the reign of SHAH SULEIMAN (A.D. 1667-1694), upon the model of
CHAHAR BAGH Royal Garden at ISPAHAN, on the grounds of which the Royal
Pavilion of HASHT BAHISHT (Eight Paradises) stands. The Rug measures
29 feet by 9 feet 5 inches.

LORD CURZON in his History of Persia, Vol. II, page 38, gives the
following description of the Garden of CHAHAR BAGH:

"At the upper extremity a two storeyed PAVILION connected by a
corridor with the SERAGLIO of the palace, so as to enable the ladies
of the harem to gaze unobserved upon the merry scene below, looked out
upon the centre of the avenue. Water conducted in stone channels ran
d