Well worth visiting, in spite of modern plaster and paint. Date—1684. The little doorway on the street is in the “Delta” style—bricks painted black and red, with occasional courses of wood between them and Cufic inscriptions above: “There is no God but God,” and “Mohammed is the Prophet of God”; better examples of the style at Rosetta (p. 185). The rest of the ground floor is occupied by shops. At the top of the stairs an interesting scene unfolds. To the left are two great antique granite columns with Corinthian capitals, and through them an open air terrace with an iron trellis and barred windows. To the right is the Vestibule of the Mosque, once very beautiful; two thirds of the entrance wall are still covered with tiles, designed like those in the Chorbagi, and over the door is the inscription “Built in 1097 A.H. by Haj Ibrahim Terbana,” surmounted by a trefoil arch. More antique columns. The Interior is a rectangle, divided up by eight columns, disfigured but antique. Good painted ceiling, best seen from the western gallery. The Prayer Niche is finely tiled, as is the wall to its right; the large tiles with white daisies on them are inferior modern work. Lamentable chandeliers.—There is an external gallery with antique columns. The Minaret rises above the entrance landing; its topmost gallery is tiled. The main route now takes the name Rue Ras-el-Tin. Here once began the southern shore of the Island of Pharos. Consequently ancient remains occur in situ. Right: Rue Sidi Abou el Abbas leads to the square of that name—the most considerable in the Turkish Town; here, by evening light, one sometimes has the illusion of oriental romance; here (1922) is the rallying point of the Nationalist demonstrations. The road, just before it enters the square, crosses the site of a temple to Isis Pharia who watched over the lighthouse. (see coin in Museum, Room 2).