Part 21

Persian pictorial art is original, and it is cheap; the wages of a clever artist are about one shilling and sixpence a day. In fact, he is a mere day-laborer, and his terms are, so many days' pay for a certain picture. In this pernicious system of time-work lies the cause of the scamping of many really ingenious pieces of work.

As a copyist the Persian is unrivalled; he has a more than Chinese accuracy of reproduction; every copy is a fac-simile of its original, the detail being scamped, or the reverse, according to the scale of payment. In unoriginal work, such as the multiplication of some popular design, a man will pass a lifetime, because he finds it pay better to do this than to originate. This kind of unoriginal decoration is most frequent in the painted mirror cases and book-covers, the designs of which are ancient; and the painter merely reproduces the successful and popular work of some old and forgotten master.

But where the Persian artist shines is in his readiness to undertake any style or subject; geometrical patterns—and they are very clever in originating these; scroll-work scenes from the poets; likenesses, miniatures, paintings of flowers or birds; in any media, on any substance, oils, water, or enamel, and painting on porcelain; all are produced with rapidity, wonderful spirit, and striking originality. In landscape, the Persian is very weak; and his attempts at presenting the nude, of which he is particularly fond, are mostly beneath contempt. A street scene will be painted in oils and varnished to order “in a week” on a canvas a yard square, the details of the painting desired being furnished in conversation. While the patron is speaking, the artist rapidly makes an outline sketch in white paint; and any suggested alterations are made in a few seconds by the facile hand of the _ustad nakosh_ (master-painter), a term used to distinguish the artist from the mere portrait-painter or _akkas_, a branch of the profession much despised by the artists, a body of men who consider their art a mechanical one, and their guild no more distinguished than those of other handicraftsmen.

A Persian artist will always prefer to reproduce rather than originate, because, as a copy will sell for the same price as an original, by multiplication more money can be earned in a certain time, than by the exercise of originality. Rarely, among the better class of artists, is anything actually out of drawing; the perspective is of course faulty, and resembles that of early specimens of Byzantine art. Such monstrosities as the making the principal personages giants, and the subsidiaries dwarfs, are common; while the beauties are represented as much bejewelled; but this is done to please the buyer's taste, and the artist knows its absurdity. There is often considerable weakness as to the rendering of the extremities; but as the Persian artist never draws, save in portraiture, from the life, this is not to be wondered at.

The writer has before him a fair instance of the native artist's rendering of the scene at the administration of the bastinado. This picture is an original painting in oils, twenty-four inches by sixteen on _papier-mâché_. The details were given to the artist by the writer in conversation, sketched by him in white paint on the _papier mâché_ during the giving of the order, in the course of half an hour; and the finished picture was completed, varnished, and delivered in a week. The price paid for this original work in oils in 1880 was seven shillings and sixpence. The costumes are quite accurate in the minutest detail; the many and staring colors employed are such as are in actual use; while the general _mise en scène_ is very correct.

Many similar oil-paintings were executed for the writer by Persian artists, giving graphic renderings of the manners and customs of this little-known country. They were always equally spirited, and minutely correct as to costume and detail, at the same low price; a small present for an extraordinarily successful performance gladdening the heart of the artist beyond his expectations.

As to original work by Persian artists in water-color, remuneration is the same—so much per diem. A series of water-colors giving minute details of Persian life were wished; and a clever artist was found as anxious to proceed as the writer was to obtain the sketches. The commission was given, and the subjects desired carefully indicated to the artist, who, by a rapid outline sketch in pencil, showed his intelligence and grasp of the subject. The writer, delighted at the thought of securing a correct and permanent record of the manners and customs of a little-known people, congratulated himself. But, alas! he counted his chickens before hatching; for the artist, on coming with his next water-color, demanded, and received, a double wage. A similar result followed the finishing of each drawing; and though the first only cost three shillings, and the second six, the writer was reluctantly compelled to stop his commissions, after paying four times the price of the first for his third water-color, on the artist demanding twenty-four shillings for a fourth—not that the work was more, but as he found himself appreciated, the wily painter kept to arithmetical progression as his scale of charge; a very simple principle, which all artists must devoutly wish they could insist on.

For a reduced copy of a rather celebrated painting, of which the figures were life-size, of what might be called, comparatively speaking, a Persian old master—for this reduction, in oils, fourteen inches by eight, and fairly well done, the charge was a sovereign. The piece was painted on a panel. The subject is a royal banqueting scene in Ispahan—the date a century and a half ago. The dresses are those of the time—the ancient court costume of Persia. The king in a brocaded robe is represented seated on a carpet at the head of a room, his drinking-cup in his hand; while his courtiers are squatted in two rows at the sides of the room, and are also carousing. Minstrels and singers occupy the foreground of the picture; and a row of handsome dancing-girls form the central group. All the figures are portraits of historical personages; and, in the copy, the likenesses are faithfully retained.

The palaces of Ispahan are decorated with large oil paintings by the most eminent Persian artists of their day. All are life-size, and none are devoid of merit. Some are very clever, particularly the likenesses of Futteh Ali Shah and his sons, several of whom were strikingly like their father. As Futteh Ali Shah had an acknowledged family of seventy-two, this latter fact is curious. These paintings are without frames, spaces having been made in the walls to receive them. The Virgin Mary is frequently represented in these mural paintings; also a Mr. Strachey, a young diplomate who accompanied the English mission to Persia in the reign of our Queen Elizabeth, is still admired as a type of adolescent beauty. He is represented with auburn hair in the correct costume of the period; and copies of his portrait are still often painted on the pen-cases of amateurs. These pen-cases, or _kalamdans_, are the principal occupation of the miniature-painter. As one-fourth of the male population of Persia can write, and as each man has one or more pen-cases, the artist finds a constant market for his wares in their adornment. The pen-case is a box of _papier-mâché_ eight inches long, an inch and a half broad, and the same deep. Some of them, painted by artists of renown, are of great value, forty pounds being a common price to pay for such a work of art by a rich amateur. Several fine specimens may be seen in the Persian Collection at the South Kensington Museum. It is possible to spend a year's hard work on the miniatures painted on a pen-case. These are very minute and beautiful. The writer possesses a pen-case, painted during the lifetime of Futteh Ali Shah, a king of Persia who reigned long and well. All the faces—none more than a quarter of an inch in diameter—are likenesses; and the long black beard of the king reaching to his waist, is not exaggerated, for such beards are common in Persia.

Bookbinding in Persia is an art, and not a trade; and here the flower and bird painter finds his employment. Bright bindings of boards with a leather back are decorated by the artist, principally with presentments of birds and flowers, both being a strange mixture of nature and imagination; for if a Persian artist in this branch thinks that he can improve on nature in the matter of color, he attempts it. The most startling productions are the result; his nightingales being birds of gorgeous plumage, and the colors of some of his flowers saying much for his imagination. This method of “painting the lily” is common in Persia; for the narcissus—bouquets of which form the constant ornament in spring of even the poorest homes—is usually “improved” by rings of colored paper, silk, or velvet being introduced over the inner ring of the petals. Startling floral novelties are the result; and the European seeing them for the first time, is invariably deceived, and cheated into admiration of what turns out afterwards to be a transparent trick. Of course, this system of binding each book in an original cover of its own, among a nation so literary as the Persians, gives a continuous and healthy impetus to the art of the flower-painter.

Enamelling in Persia is a dying art. The best enamels are done on gold, and often surrounded by a ring or frame of transparent enamel, grass-green in color. This green enamel, or rather transparent paste, is supposed to be peculiar to the Persian artist. At times, the gold is hammered into depressions, which are filled with designs in enamel on a white paste, the spaces between the depressions being burnished gold. Large _plaques_ are frequently enamelled on gold for the rich; and often the golden water-pipes are decorated with enamels, either alone, or in combination with incrusted gems.

Yet another field remains to the Persian artist—that of engraving on gold, silver, brass, copper, and iron. Here the work is usually artistically good, and always original, no two pieces being alike.

Something must be said about the artist and his studio. Abject poverty is the almost universal lot of the Persian artist. He is, however, an educated man, and generally well-read. His marvellous memory helps him to retain the traditional attributes of certain well-known figures: the black-bearded Rustum (the Persian Hercules), and his opponent the Deev Suffid or White Demon; Leila and Mujnūn, the latter of whom retired to the wilderness for love of the beautiful Leila; and in a painfully attenuated state, all his ribs being very apparent, is always represented as conversing with the wild beasts, who sit around him in various attitudes of respectful attention. Dr. Tanner could never hope to reach the stage of interesting emaciation to which the Persian artists represent Mujnūn to have attained. Another popular subject is that of Solomon in all his glory.

These legends are portrayed with varying art but unquestionable spirit, and often much humor; while the poetical legends of the mythical history of ancient Persia, full of strange imagery, find apt illustrators in the Persian artist. The palmy days of book-illustration have departed; the cheap reprints of Bombay have taken away the _raison d'être_ of the caligraphist and book-illustrators, and the few really great artists who remain are employed by the present Shah in illustrating his great copy of the _Arabian Nights_ by miniatures which emulate the beauty and detail of the best specimens of ancient monkish art, or in making bad copies of European lithographs to “adorn” the walls of the royal palaces.

As for the painter's studio, it is usually a bare but light apartment, open to the winds, in a corner of which, on a scrap of matting, the artist kneels, sitting on his heels. (It tires an oriental to sit in a chair.) A tiny table a foot high holds all his materials; his paints are mixed on a tile; and his palette is usually a bit of broken crockery. His brushes he makes himself. Water-pipe in mouth—a luxury that even an artist can afford, in a country where tobacco is fourpence a pound—his work held on his knee in his left hand, without a mahl-stick or the assistance of a color-man, the artist squats contentedly at his work. He is ambitious, proud of his powers, and loves his art for art's sake. Generally, he does two classes of work—the one the traditional copies of the popular scenes before described, or the painting on pen cases—by this he lives; the other purely ideal, in which he deals with art from a higher point of view, and practises the particular branch which he affects.

As a painter of likenesses, the Persian seldom succeeds in flattering. The likeness is assuredly obtained; but the sitter is usually “guyed,” and a caricature is generally the result. This is not the case in the portraits of females, and in the ideal heads of women and children. The large dreamy eye and long lashes, the full red lips, and naturally high color, the jetty or dark auburn locks (a color caused by the use of henna, a dye) of the Persian women in their natural luxuriance, lend themselves to the successful production of the peculiarly felicitous representation of female beauty in which the Persian artist delights. Accuracy in costume is highly prized, and the minutiæ of dress are indicated with much aptness, the varied pattern of a shawl or scarf being rendered with almost Chinese detail. Beauty of the brunette type is the special choice of the artist and amateur, and “salt”—as a high-colored complexion is termed—is much admired.

Like the ancient Byzantine artist, the Persian makes a free use of gold and silver in his work. When wishing to represent the precious metals, he first gilds or silvers the desired portion of the canvas or panel, and then with a fine brush puts in shadows, etc. In this way a strangely magnificent effect is produced. The presentments of mailed warriors are done in this way; and the jewelled chairs, thrones, and goblets in which the oriental mind delights. Gilt backgrounds, too, are not uncommon, and their effect is far from displeasing.

The painting of portraits of Mohammed, Ali, Houssein, and Hassan—the last three, relatives of the Prophet, and the principal martyred saints in the Persian calendar, is almost a trade in itself, though the representation of the human form is contrary to the Mohammedan religion, and the saints are generally represented as veiled and faceless figures. Yet in these particular cases, custom has overridden religious law, and the _Schamayūl_ (or portrait of Ali) is common. He is represented as a portly personage of swarthy hue; his dark and scanty beard, which is typical of the family of Mohammed, crisply curled; his hand is grasping his sword; and he is usually depicted as wearing a green robe and turban (the holy color of the _Seyyuds_ or descendants of the Prophet). A nimbus surrounds his head; and he is seated on an antelope's skin, for the Persians say that skins were used in Arabia before the luxury of carpets was known there.

Humble as is the lot of the Persian artist, he expects to be treated by the educated with consideration, and would be terribly hurt at any want of civility. One well-known man, Agha Abdullah of Shiraz, generally insisted on regaling the writer with coffee, which he prepared himself when his studio was visited. To have declined this would have been to give mortal offence. On one of these visits, his little brasier of charcoal was nearly extinguished, and the host had recourse to a curious kind of fire-igniter, reviver, or rather steam-blast, that as yet is probably undescribed in books. It was of hammered copper, and had a date on it that made it three hundred years old. It was fairly well modelled; and this curious domestic implement was in the similitude of a small duck preening its breast; consequently, the open beak, having a spout similar to that of a tea-kettle, was directed downwards. The Persian poured an ounce or so of water into the copper bird, and placed it on the expiring embers. Certainly the result was surprising. In a few minutes the small quantity of water boiled fiercely; a jet of steam was emitted from the open bill, and very shortly the charcoal was burning brightly. The water having all boiled away, the Persian triumphantly removed this scientific bellows with his tongs, and prepared coffee.

No mention has been made of the curious bazaar pictures, sold for a few pence. These cost little, but are very clever, and give free scope for originality, which is the great characteristic of the Persian artist. They consist of studies of town-life, ideal pictures of dancing-girls, and such-like. All are bold, ingenious, and original. But bazaar pictures would take a chapter to themselves, and occupy more space than can be spared.—_Chambers's Journal._

HOW INSECTS BREATHE.

BY THEODORE WOOD.

Perhaps in the entire range of insect anatomy there is no point more truly marvellous than the manner in which the respiratory system is modified, in order to suit it to the peculiar requirements of its owners.

In many ways the structure of the insects is wonderful enough. They are gifted with muscles of extraordinary strength, and are yet destitute of bones to which those muscles can be attached; they possess a circulatory system, and are yet without a heart; they perform acts involving the exercise of certain mental qualities, and are yet without a brain. But, more remarkable still, they breathe atmospheric air without the aid of lungs.

And this for a very good reason. It can be neither too often nor too strongly insisted upon that, throughout animated nature, Structure is in all cases subservient to Habit. If in any animal we find some singular development in bodily form, we may be quite sure that there is a peculiarity in the life-history which renders such development of particular service, and so may often gain very complete information with regard to the habits by a mere glance at external characteristics. If, for example, the general shape is cylindrical, the toes webbed, and the hair set closely against the body, we may safely conclude that the animal is one intended for a life in the water. If the form is conical, the limbs short, and the claws large and strong, that it is one which burrows in the earth. If the jaws are large and massive, the teeth long and sharply pointed, and the muscular power is concentrated principally into the fore-parts of the body, that it is a beast of prey. And so on with minor details.

And this rule holds equally good in the case of the insects, which are devoid of lungs for the very sufficient reason that those organs are necessarily weighty, and consequently unsuitable to the requirements of beings which are in great measure creatures of air. In all animals intended for a more or less aerial existence every particle of superfluous weight must be dispensed with, in order that the strain upon the muscles of flight may be reduced to the least possible degree. Take the bats, and see how the skeleton has been attenuated until it scarcely seems capable of affording the necessary rigidity to the frame. Take the birds, and see how a large portion of the body is occupied by supplementary air-cells, which permeate the very bones themselves, and thus minimize the weight without detracting from the strength. And so also with the insects, but in a different manner.

For in them the very lungs themselves are taken away, and replaced by a respiratory system of great simplicity, and yet of wonderful intricacy, which penetrates to every part of the structure, and simultaneously aerates the whole of the blood contained in the body. In other words, an insect is one large Lung.

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If we take any moderately large insect, say a wasp or a hornet, we can see, even with the naked eye, that a series of small spot-like marks runs along either side of the body. These apparent spots, which are generally eighteen or twenty in number, are in fact the apertures through which air is admitted into the system, and are generally formed in such a manner that no extraneous matter can by any possibility find entrance. Sometimes they are furnished with a pair of horny lips, which can be opened and closed at the will of the insect; in other cases they are densely fringed with stiff, interlacing bristles, forming a filter, which allows air, and air alone, to pass. But the apparatus, of whatever character it may be, is always so wonderfully perfect in its action that it has been found impossible to inject the body of a dead insect with even so subtle a medium as spirits of wine, although the subject was first immersed in the fluid, and then placed beneath the receiver of an air-pump.

The apertures in question, which are technically known as “spiracles,” communicate with two large breathing-tubes, or “tracheæ,” which extend through the entire length of the body. From these main tubes are given off innumerable branches, which run in all directions, and continually divide and subdivide until a wonderfully intricate network is formed, pervading every part of the structure, and penetrating even to the antennæ and claws.

Physiologists tell us that if in the human frame the nerves, the muscles, and the veins and arteries could be separated from one another, while retaining their own relative positions, each would be found to possess the perfect human form. In other words, there would be the nerve-man, the muscle-man, and the blood-vessel-man, as well as the bone-man which supplies the framework of the whole. In the same way we may speak of the tracheal, or breathing-tube insect; for the two main tubes and the endless ramifications of their branches, if they could be detached from the surrounding tissues while themselves suffering no displacement, would exhibit to us the form of the insect from which they were taken, and that so exactly that in many cases we should almost be able to recognize the species.

In the smaller branches of these air-vessels considerable variety is to be found. Some retain their tubular character to their very termination. Others assume a curious beaded form, dilating at short intervals into small chambers; while yet others abruptly resolve themselves into sac-like reservoirs, in which a comparatively large quantity of air is stored up. From the larger vessels are thrown off vast numbers of exceedingly delicate filaments, so small that a very powerful microscope is necessary in order to detect them, which float loosely in the blood, and furnish it with the constant supply of oxygen necessary for its purification.

Now, we may well ask ourselves how it is that these tubes, which are of almost inconceivable delicacy, should remain open during the various movements of which the flexible body is capable. Why is it, for instance, that the air-supply of the lower leg is not cut off when the limb is bent at the knee-joint? or from the head, when that important part of the frame is tucked away beneath the body? How does the Earwig contrive to breathe while folding its wings by the aid of its tail-forceps? or many of the Cocktail-beetles when curled up in their peculiar attitude of repose?