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Within the building are the tombs of former sheikhs, enclosed and looked upon with reverence. These approximate to tablets to pious founders. The sheikh will tell you that, as he puts it, the Sultan pays for the education of all students: he is their patron. That is to say, in plain English, the University is State-controlled and State-supported. Moreover, the students sleep there. You may see their bedding piled on rafters. It is laid in the floor of the lecture-room at night.

When you have delivered over baksheesh to the sheikh and to the conductor and to the attendants who remove your slippers at exit, you move down to the brass and silver bazaar. Here is some of the most characteristic work you'll see in Egypt. Every vessel, every bowl and tray and pot, is Egyptian in shape or chiselled design, or both. As soon as you enter you are offered tea, and the bargaining begins, although Prix Fixé is the ubiquitous sign. It is in the fixed-price shops that the best bargains are struck, which is at one with the prevailing Egyptian disregard for truth. The best brass bazaars have their own workshops attached. Labour is obviously cheap—cheap in any case, but especially cheap when you consider that at least half the workers in brass and silver are the merest boys. Whatever may be the Egyptian judgment in colour, the Egyptian instinct for form is sound; for these boys of eight and ten execute elaborate and responsible work in design. They are entrusted with "big jobs," and they do them well. There is almost no sketching-out of the design for chisel work; the youngster takes his tool and eats-out the design without preliminaries. And much of it makes exacting demands upon the sense of symmetry. This is one of the most striking evidences of the popular artistic sense. The national handwriting is full of grace; the national music is of highly developed rhythm; and the national feeling for form and symmetry is unimpeachable.