Opposite, at the far end of the square, is Isfahan’s crowning masterpiece: the immense bulk of the Royal Mosque (Imam Mosque). Although the great entrance portal is centered on the end of the square, the mosque itself behind is off to one side, angled at 45 degrees so as to face Mecca. The effect, however, does not jar, but is entirely harmonious – indeed, the necessity of turning a corner after the entrance simply increases the effect, such is the unexpectedness of the fantastic riot of glazed timeworks that confronts one. All of the surfaces, both inside and out, are completely covered in what is probably the largest expanse of colored timeworks anywhere in the world. Such was the demand for covering such enormous surfaces with glazed timeworks that the traditional mosaic tile working techniques were soon discarded and a new technique was developed known as haft rangi or “seven colors”, where a design would be painted onto a single square tile before firing. The quality is not as fine as the older form, but the effect at the Royal Mosque (Imam Mosque) in Isfahan is without doubt utterly breathtaking.

The other mosque on the Royal Square, the Shaikh Lotfullah Mosque, could hardly be in more contrast. If the Royal Mosque (Imam Mosque) overwhelms by sheer size, the Shaikh Lotfullah Mosque impresses more by its restraint and refinement. It is very small and has no courtyard, in fact consists only of its monumental entrance from the square and a single dome chamber behind. But the dome is perfect in its proportions, and the eloquence of the muted interior makes this mosque the masterpiece of Safavid architecture. The Shaikh Lotfullah Mosque in fact had no public function like the Imam Mosque, but was a private chapel for the royal family built by Shah Abbas in honor of his holy father-in-law.

Once again the contrast is startling with the building opposite the Shaikh Lotfullah, the Palace Pavilion of Ali Qapu (or Aliqapoo) meaning “high gate”. This curious, six-storeyed building, which Robert Byron likened to an up-ended shoebox, had several functions: a palace pavilion, a monumental grandstand to view the ceremonies in the square below, and a monumental gateway to the series of palaces and formal gardens behind. Much of the decoration – mainly painted plasterwork and parquetry – which once lavishly embellished the interior of this building was whitewashed over or destroyed in the 19^th century, which only the music room at the very top retaining some of its original state. But its true value is appreciated on coming out onto the magnificent columned portico at first floor level, with its stunning views not only of the immense spectacle of the Royal Square below, but out over all Isfahan, with the skyline of minarets and the great domes of the Friday Mosque (Ja’ame Mosque) in the distance.