After waiting nearly half an hour, the sound of music and the appearance of the Sultan's body-guard proclaimed the return of the procession. It came in reversed order, headed by the Sultan, after whom followed the Grand Vizier and other Ministers of the Imperial Council, and the Pashas, each surrounded by his staff of officers. The Sultan dismounted at the entrance to the Seraglio, and disappeared through the door. He was absent for more than half an hour, during which time he received the congratulations of his family, his wives, and the principal personages of his household, all of whom came to kiss his feet. Meanwhile, the Pashas ranged themselves in a semicircle around the arched and gilded portico. The servants of the Seraglio brought out a large Persian carpet, which they spread on the marble pavement. The throne, a large square seat, richly carved and covered with gilding, was placed in the centre, and a dazzling piece of cloth-of-gold thrown over the back of it. When the Sultan re-appeared, he took his seat thereon, placing his feet on a small footstool. The ceremony of kissing his feet now commenced. The first who had this honor was the Chief of the Emirs, an old man in a green robe, embroidered with pearls. He advanced to the throne, knelt, kissed the Sultan's patent-leather boot, and retired backward from the presence. The Ministers and Pashas followed in single file, and, after they had made the salutation, took their stations on the right hand of the throne. Most of them were fat, and their glittering frock-coats were buttoned so tightly that they seemed ready to burst. It required a great effort for them to rise from their knees. During all this time, the band was playing operatic airs, and as each Pasha knelt, a marshal, or master of ceremonies, with a silver wand, gave the signal to the Imperial Guard, who shouted at the top of their voices: "Prosperity to our Sovereign! May he live a thousand years!" This part of the ceremony was really grand and imposing. All the adjuncts were in keeping: the portico, wrought in rich arabesque designs; the swelling domes and sunlit crescents above; the sycamores and cypresses shading the court; the red tunics and peacock plumes of the guard; the monarch himself, radiant with jewels, as he sat in his chair of gold--all these features combined to form a stately picture of the lost Orient, and for the time Abdul-Medjid seemed the true representative of Caliph Haroun Al-Raschid.