"When spread out it occupied half the land of Shurebah, for it was the load of forty camels; and there was an awning at the door of the pavilion under which 4000 of the Absian horse could skirmish. It was embroidered with burnished gold, studded with precious stones and diamonds, interspersed with rubies and emeralds, set with rows of pearls; and there was painted thereon a specimen of every created thing, birds and trees, and towns, and cities, and seas, and continents, and beasts, and reptiles; and whoever looked at it was confounded by the variety of the representations, and by the brilliancy of the silver and gold: and so magnificent was the whole, that when the pavilion was pitched, the land of Shurebah and Mount Saadi were illuminated by its splendour." Extravagant as seems this description, we are told that it is not so much exaggerated as we might imagine. "Poetical license" has indeed been indulged in to the fullest extent, especially as to the size of the pavilion; yet Marco Polo in sober earnest describes one under which 10,000 soldiers might be drawn up _without incommoding the nobles at the audience_. It is well known that Mohammed forbade his followers to imitate any animal or insect in their embroideries or ornamental work of any sort. Hence the origin of the term _arabesque_, which we now use to express all odd combinations of patterns from which human and animal forms are excluded. That portion of the race which merged in the Moors of Spain were especially remarked for their magnificent and beautiful decorative work; and from them did we borrow, as before alluded to, the custom of using tapestry for curtains. At the present day none are perhaps more patient and laborious embroiderers than the Chinese; their regularity and neatness are supposed to be unequalled, and the extreme care with which they work preserves their shades bright and shining.