Farewell Shiraz Reviews

The Treaty of Ghent signed in 1814, ending the War of 1812, allowed Americans once again to travel abroad. Medical students went to Paris, artists to Rome, academics to Göttingen, and tourists to all European capitals. More intrepid Americans ventured to Athens, to Constantinople, and even to Egypt. Beginning with two eighteenth-century travelers, this book then turns to the 25-year period after 1815 that saw young men from East Coast cities, among them graduates of Harvard, Yale, and Columbia, traveling to the lands of the Bible and of the Greek and Latin authors they had first known as teenagers. Naval officers off ships of the Mediterranean squadron visited Cairo to see the pyramids. Two groups went on business, one importing steam-powered rice and cotton mills from New York, the other exporting giraffes from the Kalahari Desert for wild animal shows in New York. Drawing on unpublished letters and diaries together with previously neglected newspaper accounts, as well as a handful of published accounts, this book offers a new look at the early American experience in Egypt and the eastern Mediterranean world. More than thirty illustrations complement the stories told by the travelers themselves.

Yuhanna al-Armani has long been known by historians of Coptic art as an eighteenth-century Armenian icon painter who lived and worked in Ottoman Cairo. Here for the first time is an account of his life that looks beyond his artistic production to place him firmly in the social, political, and economic milieu in which he moved and the confluence of interests that allowed him to flourish as a painter. Who was Yuhanna al-Armani? What was his network of relationships? How does this shed light on the contacts between Cairo’s Coptic and Armenian communities in the eighteenth century? Why was there so much demand for his work at that particular time? And how did a member of Cairo’s then relatively modest Armenian community reach such heights of artistic and creative endeavor? Drawing on eighteenth-century deeds relating to al-Armani and other members of his social network recorded in the registers of the Ottoman courts, Magdi Guirguis offers a fascinating glimpse into the ways of life of urban dwellers in eighteenth-century Cairo, at a time when a civilian elite had reached a high level of prominence and wealth. Illustrated with 28 full-color reproductions of al-Armani’s icons, An Armenian Artist in Ottoman Egypt is a rich and compelling window on Cairene social history that will interest students and scholars of art history, Coptic studies, or Ottoman history.