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The effect of this chamber was that it was a "double room," for an exquisite screen of mashrebeeyeh work, in the centre of which was a small round arch, divided it into two compartments. On each side of this arch, facing the entrance door, were divans covered with embroideries and heaped with enormous cushions.

Against the walls, which were as dark in colour as the mashrebeeyeh work, there were a number of carved brackets, on which were placed various extremely common things cheap and gaudy vases from Naples and Paris, two more Swiss cuckoo-clocks, a third clock with a blue and white china face and a back that looked as if were made of brass, a musical-box, and a grotesque monster, like a dragon with a dog's head, in rough yellow and blue earthenware.

By the windows there were lattices of mashrebeeyeh work, which could be opened and closed at will. At present they were open. Beneath them were fitted book-cases containing rows of books, in English and French, many of them works on agriculture, on building, on mining, on the sugar and cotton industries in various parts of the world.

The mashrebeeyeh lattices were closed over the windows, but the sliding doors that gave on to the balcony were pushed back, and let in the light of evening, and a sound of water, and of voices along the Nile. She sat down on the divan, and almost immediately Hamza came in. "You are going to show me how to make Turkish coffee, Hamza?" she said, in her lazy and careless voice. "Yes," he replied.

The wooden ceiling was cut up into lozenges of black and gold, and was edged by minute inscriptions from the Koran, in gold on a black ground. All the windows had lattices of mashrebeeyeh work fitted to them, and all these lattices were closed.