At these Sweet Waters the sultan has his own kiosk, a gilded monstrosity of architecture, and at its window, worn, pallid, haggard, gazing out with lacklustre and indifferent eye upon the scene below, this shadow of the Prophet might frequently be seen a few years since. It was etiquette for him to come sometimes, so he did it as a duty, not a pleasure; for the poor man had no pleasures, being the most utterly _blasé_ man in this wide world. The drawback on all his pomp and power is the condition annexed to it, that no one is worthy of his society, and he must be ever alone, in public as in private. A representative of the faith as well as of the loyalty of his people, no one can be supposed to meet or associate with him on terms approaching equality, and hence his isolation from human sympathy or society.[25] The fountain is covered by a square roof, and all around it are marble slabs with Turkish inscriptions in gilt letters praising the virtues of the water. In that scriptural phraseology so common in the East you are notified that "These waters are as sweet as those of the well of Zemzem, of which Abraham drank, and like unto those of the rivers of Paradise to the hot and thirsty who come here to taste them." The water was really very good water, but its praises struck us as rather hyperbolical, possibly because the Frank at Constantinople generally drinks and prefers other and more potent beverages. But drinking the water is the least part of the performance here, and, unlike Saratoga, "flirtation around the spring" is a thing undreamed of where the sexes, at peril of life and limb, dare not even approximate, much less exchange courtesies over the draught.