On the death of Jelāl, a party of zealots went in a body to the Perwāna, explaining to him that the new practices of music and dancing, introduced by Jelāl, were innovations altogether contrary to the canonical institutes, and begging him to use his utmost endeavours to suppress them. The Perwāna called on the learned Mufti of Qonya, Sheykh Sadru-’d-Dīn, and consulted him on the subject. The Mufti’s answer was: “Do nothing of the kind. Listen not to such biased suggestions. There is an apostolical saying to this effect: ‘A laudable innovation, introduced by a perfect follower of the prophets, is of the same nature with the customary practices of the prophets themselves.’” The Perwāna resolved, therefore, to do nothing towards suppressing Jelāl’s institutions. 84. A certain great man, who esteemed Jelāl, was nevertheless shocked that he should, with all his learning and piety, sanction the use of music and dancing. He had occasion to visit Jelāl, who at once addressed him as follows:—“It is an axiom in the sacred canons that a Muslim, if hard pressed, and in danger of death, may eat of carrion and other forbidden food, so that the life of a man be not sacrificed. This rule is admitted and approved by all the authorities of the law. Now, we _men of God_ are exactly in that position of extreme danger to our lives; and from that danger there is no escape, save by song, by music, and by the dance. Otherwise, through the awful majesty of the divine manifestations, the bodies of the saints would melt away as wax, and disappear like snow under the beams of a July sun.” The personage thus addressed was so struck with the earnestness of Jelāl’s manner, and the cogency of his reasoning, that he became convinced, and thenceforward was a defender and upholder of Jelāl’s institutions, so that these formed, as it were, the very nourishment of his heart. Many of the learned followed his example, and joined themselves to Jelāl’s followers and disciples. 85. Kālūmān and ‘Aynu-’d-Devla were two Roman painters. They were unrivalled in their art of painting portraits and pictures. Both were disciples of Jelāl. Kālūmān one day narrated that in Constantinople, on a certain tablet, the portraits of the Lady Meryem and of Jesus were painted, in such style as to be matchless. From all parts of the world artists came and tried their best; but none could produce the equal of those two portraits. ‘Aynu-’d-Devla undertook, therefore, to journey to Constantinople, and see this picture. He made himself an inmate of the great church of Constantinople for a whole year, and served the priests thereof in various ways. One night, then, he spied his opportunity, took the tablet under his arm, and absconded with it. On reaching Qonya, he paid his respects to Jelāl, who inquired of him where he had been. He narrated to Jelāl all that had occurred with the tablet, which he exhibited.