prophecies of the French occupation of the city. On inspection, however, they turned out to be an enumeration of French measures. The tomb of Amír Abádah is barely a yard long. At his head are three Russian cannon- balls, at his feet three large iron shells. Above the grave is a great carved and painted wooden case, supporting one of the famous inscribed tablets, at least twelve feet high, and a pipe of enormous dimensions, covered with writing, and having a bowl capable of containing many pounds of tobacco. Several stools around the tomb are curiously carved, and on racks against the walls are sixty enormous iron swords (weighing seventy or eighty pounds each), covered with mystical inscriptions. All these weapons were manufactured by order of Ahmed Bey at Sheikh Amír Abádah’s request; and he assured that prince (the prophecy now discovered by his son-in-law notwithstanding), that as long as these swords remained in holy Kairwán, no Christian enemy could invade the Mecca of Tunis and Africa. From the Amír Abádah mosque a walk of half a mile brought us to the grandest and most important building in Kairwán—the tomb, _zaouia_, and mosque of Abdullah Ben Wádib el Belawi, _Saheb Ennabi_,—“the shrine of my Lord, the Companion of the Prophet.” The entrance to the interior of the sanctuary is through a doorway in the base of a _minár_, which is built in the angle of a spacious court. The exterior of the _minár_ is almost entirely coated with blue and green tiles, and on either side of its upper portion there is a double round-headed window divided by a marble pilaster in the centre. Its roof is formed of bright green tiles terminating in a gilded crescent. The lower storey of the tower forms the lobby or vestibule of the main building. Its interior is lined with the brilliant Tunisian _faïence_ of the seventeenth century, surmounted by panels of arabesque fretwork. A second door opens from this apartment into an oblong cloister. The arcade running round it rests on white marble pillars and arches, and it covers a low marble seat on either side. The walls are decorated in the same fashion as the lobby. At the upper end are two windows and a door of pure white marble, highly decorated, and of Italian origin. This leads into a second vestibule crowned with a fluted cupola, each division of which is adorned with lace-like fretwork. The sides are covered with _faïence_ and panels of finely chiselled carving in cement. A door at one side communicates with a mosque and two other cloisters surrounded by conventual cells. In each of the four walls of the apartment is a small window filled with old stained glass; and the circular band of arabesque design from which the melon-shaped dome springs, is pierced with eight other apertures filled with coloured glass, which is nearly concealed by delicate tracery, throwing a thousand variegated reflections on the marble pavement beneath. Beyond this beautiful room is a broad court surrounded by an arcade of white