The window was minute; the door (if one might say so in reference to so small a body,) grand. Its horse-shoe arch expanded to the sides and reached the vault, displaying the little vestibule, all variegated in colours, all ornamented in form like the ceiling. It was a thing not to live in, but to gaze at. We next got our host to permit us to examine the arms. One was of Tetuan manufacture, one of Fez; the first spirally fluted on the outside: both barrels were inlaid with gold, were four feet and a half long, and ornamented at the muzzle like old pieces of ordnance. The mounting was silver, ornamented with the black figures which in the East are called _Sabat_. The locks were cumbersome, the work intricate, and all outside. There is a covering to the powder in the pan like the old pieces of the French Gardes du Corps. The price was twenty-five and thirty-five dollars: I should have guessed them at double. The daggers were in no way remarkable; but the cases, handles, and cords were very rich: one sword rang like a Damascus blade. Their swords are long and straight, slightly bent towards the point, and have a heavy thick handle with a peculiar guard.[241] The only other piece of furniture was a Turkish _sofra_, or small hexagonal stool inlaid in tortoiseshell and mother of pearl, on which is placed the _tepsi_, or round tray for dinner. The carving of the _sofra_ is peculiar, and might be taken for the model of some portion of a Gothic building. I now saw that this was no Turkish piece of furniture: the Turks, like the Romans, have borrowed from every other people what was most elegant or useful. Augustus introduced a stool from Spain to Rome--why should not one have been carried from Morocco to Constantinople? As this Moor was reaching down one of the guns, his haïk fell off, displaying a rich blue and red vesture, while the volumes of the white toga cast their majestic folds around. Close by stood the Numidians--two antique bronzes. _We_ cultivate the arts: _we_ raise to the rank of sages and princes the men who excel in conceiving and portraying beautiful forms. _Their_ works are the embellishments of temples and palaces, the glory of empires and the worth of millions. _They_ have no schools of design; no science of colours; no artist--no, nor even tailors; and yet there was his costume--there was mine. I attempted to convey this to him: he said, “Our fathers have left us many good things, and we are content with them.”