New ideas for bogey might be derived from his very vivid treatment of the devils. George Cruikshank, the devil-drawer _par excellence_, is nowhere with the Eastern artist. These devils are life-size, and so are the nude male and female figures suffering torments. The mouth of hell is represented as a yawning beast, vomiting fire and smoke, into the jaws of which the nude wicked are tumbling. As a popular preacher is reported to have said, “The devil feeds you on fire, and if you don’t take it properly you get touched up with the spoon.” This is actually represented. The position of the picture is well chosen, being over the door. All the congregation must see it on going out; and if they feel certain of getting their deserts, it must make them uncomfortable indeed. Julfa was once a very large place, having twenty-four well-populated parishes, and the Armenians were extremely prosperous. A large village, with valuable lands, and an energetic trading population, the agricultural portion of the community being market gardeners, within a couple of miles of the then capital Ispahan; it was a very different place from the Julfa of to-day, which contains merely a population of old men, women, and girls, the better description of male having all emigrated. Ispahan, too, is now merely a vast ruin, with small local trade and few wants. Shah Abbas the Great brought away the entire population of Julfa on the Araxes, which now marks the Russo-Persian frontier on the road between Tabriz and Tiflis, and is now merely a village of a few hovels; and, giving them lands in the immediate and best part of the environs of Ispahan, in fact its present site, called it Julfa. The far-seeing monarch sought to introduce the thrifty trading habits of the Armenian among his own subjects, and to give an impulse to the commerce of his country, and the Julfa artisans in those days were not to be despised; travelling east and west, they brought many arts from Europe, India, and China. The weaving of shawls at Kerman and Yezd is still an important trade, and only the connoisseur can detect the difference between the Cashmere shawl and its imitation, that of Kerman: probably the European would prefer the Kermani one. Silk weaving was doubtless brought from China to Yezd. Coarse imitations of the Chinese porcelain are to this day common in Persia, but the art is dead. Enamelling, which the Armenians practised, and even patronised—for in the Persian collection in the South Kensington Museum may be seen a large enamelled tray, quite a unique specimen, which bears an inscription saying it was made for ⸺, prince of the Armenians—is a dying art.