ignorant of what the Greek conquest may have meant in the history of architecture and the lesser arts. We know only that at the end of the period of Greek rule the arts emerged profoundly modified, and thus modified governed the late antique and the early Christian world. I had no sooner appointed a camping-ground than I embarked on the broad waters of the Tigris in a basket. The craft that navigate that river are known in Arabic as guffahs, but I have applied to them the correct English word (Fig. 110). They are round with an incurving lip, like any other basket, made of plaited withes and pitched without and within to keep them water-tight. Their size and the pitch alone differentiate them from their fellows in the European market, and I readily admit that when first you are invited to cross a deep and rapid stream in a guffah you feel a shadow of reluctance. But for all their unpromising appearance they are stout and trustworthy vessels, and when you have crossed once, you and your zaptieh and your mares all in the same guffah, and accustomed yourself to its peculiar mode of progression, you come to feel a justifiable confidence in it. The guffah cannot make headway against stream; it must be pulled up the river to a distance considerably above the point you design to touch on the opposite bank--the two guffahjîs push off, the basket spins upon its axis, and so spinning advances, on the principle of the moon’s advance across space, or, for that matter, of the earth’s; the guffahjîs paddle with a genteel nonchalance, first on one side and then on the other, and at the end of all you reach your goal.