If in the scheme of its buildings Moorish architecture followed earlier examples, the Byzantine basilica and the Roman house, in its decorative features it was more distinctively Mohammedan. Yet if the Semite nourished his traditional aversion from the graven image, if the Prophet forbade idolatry and his disciples extended the prohibition to the portrayal of the human body, and enjoined that only trees, flowers and inanimate objects should be depicted; it is nevertheless necessary to seek some deeper cause for the objection of the western Mohammedans to any artistic representation of animal forms. This objection was by no means universal in the Mohammedan world. The Persian rejoiced in his pictures and statues. The explanation may be found perhaps in the zeal of the iconoclasts which had rent North Africa before the Arab invasion. Fathers of the Church had thundered against images; humbler Christians, such as the Copts in Egypt, had striven to dissociate their art from materialistic suggestions, and to find in geometric designs some expression of their aspirations for the infinite. But Hellenism, with its delight in nature, and especially the human form, was still dominant in Christian art. It disappeared before the onslaught from Arabia. The Coptic builder saw his opportunity. His abstract ideas fitted exactly with those of his new master. In his rhythmical representations of foliage, his polygonal figures and intersecting angles, may perhaps be found the germ of the characteristic motives of Mohammedan decoration. [Illustration: ALGIERS: FOUNTAIN, RUE DE L’INTENDANCE] Its elements may be divided into three groups;—inscriptions in writing, and interlacements, rectilinear and curvilinear. It will be found that almost all Moorish decoration falls under one of these three heads. The inscriptions as a rule are not historic, but ornamental, verses of the Koran, pious sentences and so forth. The style is at first sober and monumental, more stately than the cursive hand in ordinary use. As we should expect, it became in time more elaborate and fantastic, harmonizing well with the decorative interlacements which commonly surround the lettering. The inscriptions themselves are often in geometrical form, so as to give at first sight the impression of a pattern; for instance, a sentence may be repeated four times around a central letter.