the use of enamelled terra-cotta tiles as an external decoration. To these may be added the ogee arch (_ogee_ = double-reversed curve), as an occasional feature. The vaulting is most ingenious and beautiful, and its forms, whether executed in brick or in plaster, are sufficiently varied without resort to the perplexing complications of stalactite work. In Persian decoration the most striking qualities are the harmony of blended color, broken up into minute patterns and more subdued in tone than in the Hispano-Moresque, and the preference of flowing lines and floral ornament to the geometric puzzles of Arabic design. Persian architecture influenced both Turkish and Indo-Moslem art, which owe to it a large part of their decorative charm. +INDO-MOSLEM.+ The Mohammedan architecture of India is so distinct from all the native Indian styles and so related to the art of Persia, if not to that of the Arabs, that it properly belongs here rather than in the later chapter on Oriental styles. It was in the eleventh century that the states of India first began to fall before Mohammedan invaders, but not until the end of the fifteenth century that the great Mogul dynasty was established in Hindostan as the dominant power. During the intervening period local schools of Moslem architecture were developing in the Pathan country of Northern India (1193-1554), in Jaunpore and Gujerat (1396-1572), in Scinde, where Persian influence predominated; in Kalburgah and Bidar (1347-1426). These schools differed considerably in spirit and detail; but under the Moguls (1494-1706) there was less diversity, and to this dynasty we owe many of the most magnificent mosques and tombs of India, among which those of Bijapur retain a marked and distinct style of their own. [Illustration: FIG. 85.--TOMB OF MAHMUD, BIJAPUR. SECTION.]