the house, it turns to the right. It is closed by a second party of musicians, similar to the first, or by two or three drummers. ------------------------------------------- [Illustration: BRIDAL PROCESSION. (Part I.)] _Lane’s Modern Egyptians_] [_Page 150_ ------------------------------------------- In the bridal processions of the lower orders, which are often conducted in the same manner as that above described, the women of the party frequently utter, at intervals, those shrill cries of joy called zagháreet, which I have before had occasion to mention; and females of the poorer classes, when merely spectators of a zeffeh, often do the same. The whole bath is sometimes hired for the bride and her party exclusively. They pass several hours, or seldom less than two, occupied in washing, sporting, and feasting; and frequently “’A′l’mehs” (or female singers) are hired to amuse them in the bath: they then return in the same order in which they came. The expense of the zeffeh falls on the relations of the bride; but the feast is supplied by the bridegroom. Having returned from the bath to the house of her family, the bride and her companions sup together. If ’A′l’mehs have contributed to the festivity in the bath, they also return with the bride, to renew their concert. Their songs are always on the subject of love, and of the joyous event which occasions their presence. After the company have been thus entertained, a large quantity of henna having been prepared, mixed into a paste, the bride takes a lump of it in her hand, and receives contributions (called “nukoot”) from her guests: each of them sticks a coin (usually of gold) in the henna which she holds upon her hand; and when the lump is closely stuck with these coins, she scrapes it off her hand upon the edge of a basin of water. Having collected in this manner from all her guests, some more henna is applied to her hands and feet, which are then bound with pieces of linen; and in this state they remain until the next morning, when they are found to be sufficiently dyed with its deep orange-red tint. Her guests make use of the remainder of the dye for their own hands. This night is called “Leylet el-Henna,” or “the Night of the Henna.” It is on this night, and sometimes also during the latter half of the preceding day, that the bridegroom gives his chief entertainment. “Mohabbazeen” (or low farce-players) often perform on this occasion before the house, or, if it be large enough, in the court. The other and more common performances by which the guests are amused have been before mentioned.