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.