g in common with the Arabs, but are as unlike
that race as a Scotchman is unlike an Italian. Berber is of course their
common origin, and they are identical with the Kabyles of Algeria, the
Touariks of the Sahara, and the Guanches of the Canary Isles. Shillah,
the Berber dialect which they speak--one of the many dialects belonging
to that race--is not a written language; but an educated Riffi learns to
write and read at his village _jama_ (mosque school); he uses the Arabic
character in writing, and he learns to read the Kor[=a]n.

Yet in one great point, like the Arabs, the Riffi, in common with the
Berber race, lacks the power of cohesion and the spirit of patriotism,
which should have welded all Berbers into one powerful people. Internal
strife, that curse of Africa, has split them up into isolated units, and
they stand at the same point they stood at a thousand years ago.

Nor have the Riffis, in common with the Moors, reached the point of
discarding "petticoats and drapery"--that is to say, they wear the brown,
hooded, woollen jellab, and the white woollen haik--a sheet of material
without seam, which they cast round themselves something like a Roman
toga. Perhaps a cotton tunic is worn underneath.

Part of the sleeves, the hood, and front of the jellab are often
beautifully embroidered in coloured silks. On the border of the cloth
thin leaves of dried grass are laid, which are worked over and over with
coloured silk, and make a thick, handsome edging. The coloured leather
belts which they wear; the large embroidered leather pouches, with
deep-cut leather fringes, which hold bullets and powder and money and
hemp-tobacco; their shaved heads, with one long oiled and combed or
plaited lock; their turbans, red or brown, of strings of wool,--all
complete a Riffi, and a very fine-looking fellow he can be.

The labour element, which as a whole is antagonistic to the spirit of
Morocco, crops up here and there, less in the casually fanned fields than
in out-of-the-way corners. The Potters' Caves just outside Tetuan
constitute one of those corners. There is always work going on in the
caves, and smoke coming out of one or other of the many kilns, all the
year round. Morocco and Moorish architecture would be nowhere without the
potteries. Those infinitesimal little tiles which fit together and make
such artistic colour-patterns, lining the _al-fresco_ patios, facing the
walls of the rooms, the pillars and doorways and floor