on the south side stand on earlier church towers. The indigenous Syrian type of minaret, a plain square structure, is clearly descended from the watch or church tower. The slender, tapering, round style, reminiscent of classical Roman columns, was a later adoption by the Turks, who introduced it into Syria as exemplified at Horns.
Al-Walid I, greatest among Umayyad builders, was also responsible for rebuilding the mosque of Medina, enlarging and beautifying that of Mecca and erecting in Syria a number of schools, hospitals and places of worship. In his reign, peaceful and opulent, whenever people in Damascus got together — according to Arab historians — fine build- ings formed the chief topic of conversation.
In the palaces and mosques left by the Umayyads the harmonization of Arabian, Persian, Syrian and Greek elements is accomplished and the resultant synthesis called Moslem art makes its debut. The Arabian element is end- less repetition of small units to which one could add or from which he could subtract without materially affecting the whole. The columns of the Cordova mosque illustrate the point. The motif suggests the monotony of the desert, the seemingly endless rows of trunks of date palms in an oasis or the legs of a caravan of camels. The Persians contributed delicacy, elegance, multicolour. In Umayyad Syria the ancient Semitic and the intruding Greek elements and motifs were reconciled and pressed into the permanent service of Islam.
Hisham's four successors were incompetent even if not dissolute and degenerate. Corruption was widespread. The eunuch system, inherited from Byzantium and Persia, was now assuming large proportions and facilitating the harem institution. Increased wealth brought in its wake a super- abundance of slaves, and both resulted in general indulgence in luxurious living. Nor was the moral turpitude limited to high classes. The vices of civilization, including wine, women and song, had evidently seized upon the sons of the
