Round three sides above the tiles runs a decorative mosaic frieze, by Walter Crane, of an arabesque design on a gold ground. It is a beautiful and fanciful piece of work in itself, and it serves moreover to blend the prevailing colour of the tiles with the gilding of the upper regions. But it does not continue round the fourth side, because over the entrance, above the great inscription, an oriel window of musharabiyeh work looks down into the hall from the first floor of the house. The pierced windows, or at least eight of them, were brought from Cairo, and when bought had the original glass in them; but in the east the glass is stuck in with white of egg, and as they were, as usual, ill-packed, the glass all came out and was ground to fragments in the jolting of the journey. Only enough could be saved to fill the window in the upper part of the west recess opposite the entrance. The remainder had to be filled with English imitations. Returning now to the staircase, we find it ends on the first floor in a landing leading to the great studio. On the left it is open to the little studio; so-called because, having a skylight, Lord Leighton used it for painting out-of-door effects until he had the glass studio built. Adjoining it, or forming an extension of it, is another room, built only a year or two before the late owner's death. After the addition of the glass studio the two were only used as an antechamber, and were hung with the pictures presented by brother artists, and with a few old masters. The mouldings round the skylights are very pretty. The latticed window before mentioned looks down from the little studio into the Arab Hall.