Arab. “Hammam-hu” = went through all the operations of the Hammam, scraping, kneading, soaping, wiping and so forth. Footnote 164: For this aphrodisiac see vol. vi. 60. The subject of aphrodisiacs in the East would fill a small library: almost every medical treatise ends in a long disquisition upon fortifiers, provocatives, etc. We may briefly divide them into three great classes. The first is the medicinal, which may be either external or internal. The second is the mechanical, such as scarification, flagellation, and the application of insects as practised by certain savage races. There is a venerable Joe Miller of an old Brahmin whose young wife always insisted, each time before he possessed her, upon his being stung by a bee in certain parts. The third is magical, superstitious and so forth. Footnote 165: This may sound exaggerated to English ears, but a petty Indian Prince, such as the Gáikwár, or Rajah of Baroda, would be preceded in state processions by several led horses all whose housings and saddles were gold studded with diamonds. The sight made one’s mouth water. Footnote 166: _i.e._ the ’Arab al-’Arbá; for which see vols. i. 112; v. 101. Footnote 167: Arab. “Al-Kandíl al-’ajíb:” here its magical virtues are specified and remove many apparent improbabilities from the tale. Footnote 168: This was the highest of honours. At Abyssinian Harar even the Grandees were compelled to dismount at the door of the royal “compound.” See my “First Footsteps in East Africa,” p. 296. Footnote 169: “The right hand” seems to me a European touch in Galland’s translation, _leur chef mit Aladdin à sa droite_. Amongst Moslems the great man sits in the sinistral corner of the Divan as seen from the door, so the place of honour is to his left. Footnote 170: Arab. “Músiká,” classically “Musikí” = Μουσικὴ: the Pers. form is “Músikár”; and the Arab. equivalent is Al-Lahn. In the H. V. the King “made a signal and straightway drums (_dhol_) and trumpets (_trafír_) and all manner wedding instruments struck up on every side.” Footnote 171: Arab. “Marmar Sumáki” = porphyry of which ancient Egypt supplied the finest specimens. I found a vein of it in the Anti-Libanus. Strange to say, the quarries which produced the far-famed giallo antico, verd’ antico (serpentine limestone) and rosso antico (mostly a porphyry) worked by the old Nilotes, are now unknown to us. Footnote 172: _i.e._ velvets with gold embroidery: see vol. viii. 201. Footnote 173: