The fine arts, painting, and sculpture, were not so much cultivated among the early Mohammedans: they were thought to involve a breach of the divine law. In this particular they agreed with the Jews. Subsequently, however, these scruples were, by degrees, overcome; that style of embellishment denominated Arabesque, which rejects figures of men and animals, being first adopted, and afterward sculpture, more nearly resembling {262} that of modern times. The Alhambra, or palace of that suburb, had its lions, its ornamented tiles, and its paintings. Abdalrahman III. placed a statue of his favourite mistress over the palace he erected for her abode. Music was ardently cultivated. At first, in the desert, its strains were rude and simple; subsequently, the professors of the art were as much cherished, honoured, and rewarded, as were the poets in the courts of the Arab sovereigns. Many were celebrated for their skill in this art, especially Isaac Almouseli. Al Farabi has been denominated the Arabian Orpheus: by his astonishing command of the lute, he could produce laughter, or tears, or sleep in his auditors at pleasure. He wrote a considerable work on music, which is preserved in the Escurial. Abul Faragi is also a famous writer among the Mohammedans on this subject. To them we are indebted for the invention of the lute, which they accounted more perfect than any other instrument; the use, also, of many of our modern instruments, as the organ, flute, harp, tabor, and mandoline, was common among them. Some say that the national instrument of the Scottish highlander is taken from them.