Artists and Arabs; Or, Sketching in Sunshine. Blackburn Henry

doorways and carved lattices, some painted, some gilt; the little narrow windows and the grilles, being as perfectly after the old type as when the Moors held undivided possession of the city.

      One old street, now pulled down, we remember well; it was the one always chosen for an evening stroll because it faced the western sea, and caught and reflected from its pavement and from its white walls, the last rosy tints of sunset, long after the cobblers and the tinkers in the lower town had lighted their little lanterns, and the cafés were flaring in the French quarter. It was steep and narrow, so steep, in fact, that steps were made in the pavement to climb it, and at the upper end there was the dome of a mosque shining in the sun. It was like the child's picture of 'Jacob's ladder,' brighter and more resplendent at each step, and ending in a blaze of gold.

      We are often reminded of Spain in these old streets; there are massive wooden doors studded with iron bosses or huge nails as we see them at Toledo, and there is sometimes to be seen over them, the emblem of the human hand pointing upwards, which recalls the Gate of Justice at the entrance to the Alhambra at Granada.

      The Moors cling to their old traditions, and the belief that they will some day reconquer Spain is still an article of faith. But if ever the Moors are to regain their imaginary lost possessions in Spain, they must surely be made of sterner stuff than the present race, who, judging from appearances, are little likely to do anything great.

      There are little shops and dark niches where the Moors sit cross-legged, with great gourds and festoons of dried fruits hanging above and around them; the piles of red morocco slippers, the oddshaped earthenware vessels, and the wonderful medley of form and colour, resembling in variety the bazaars at Constantinople, or carrying us in imagination still further East.

      Other sights and sounds we might mention, some not quite so pleasant but peculiarly Eastern; and we should not forget to note the peculiar scent of herbs and stuffs, which, mingled with the aroma of coffee and tobacco, was sometimes almost overpowering in the little Covered streets; and one odour that went up regularly on Sunday mornings in the Moorish quarter that was not incense, and which it took us a long time to discover the origin of – an Arab branding his donkeys with his monogram!

      Everything we purchase is odd and quaint, irregular or curious in some way. Every piece of embroidery, every remnant of old carpet, differs from another in pattern as the leaves on the trees. There is no repetition, and herein lies its charm and true value to us. Every fabric differs either in pattern or combination of colours – it is something, as we said, unique, something to treasure, something that will not remind us of the mill.8

      If we explore still further we shall come to the Arab quarter, where we also find characteristic things. Here we may purchase for about thirty francs a Kabyle match-lock rifle, or an old sabre with beautifully ornamented hilt; we may, if we please, ransack piles of primitive and rusty implements of all kinds, and pick up curious women's ornaments, beads, coral, and anklets of filagree work; and, if we are fortunate, meet with a complete set or suit of harness and trappings, once the property of some insolvent Arab chief, and of a pattern made familiar to us in the illustrated history of the Cid.

      In the midst of the Moorish quarter, up a little narrow street (reached in five or six minutes from the centre of the town) passing under an archway and between white walls that nearly meet overhead, we come to a low dark door, with a heavy handle and latch which opens and shuts with a crashing sound; and if we enter the courtyard and ascend a narrow staircase in one corner, we come suddenly upon the interior view of the first or principal floor, of our Moorish home.

      The house, as may be seen from the illustration, has two stories, and there is also an upper terrace from which we overlook the town. The arrangement of the rooms round the courtyard, all opening inwards, is excellent; they are cool in summer, and warm even on the coldest nights, and although we are in a noisy and thickly populated part of the town, we are ignorant of what goes on outside, the massive walls keeping out nearly all sound. The floors and walls are tiled, so that they can be cleansed and cooled by water being thrown over them; the carpets and cushions spread about invite one to the most luxurious repose, tables and chairs are unknown, there is nothing to offend the eye in shape or form, nothing to offend the ear – not even a door to slam.

      Above, there is an open terrace, where we sit in the mornings and evenings, and can realise the system of life on the housetops of the East. Here we can cultivate the vine, grow roses and other flowers, build for ourselves extempore arbours, and live literally in the open air.

      From this terrace we overlook the flat roofs of the houses of the Moorish part of the city, and if we peep over, down into the streets immediately below us, a curious hum of sounds comes up. Our neighbours are certainly industrious; they embroider, they make slippers, they hammer at metal work, they break earthenware and mend it, and appear to quarrel all day long, within a few feet of us; but as we sit in the room from which our sketch is taken, the sounds become mingled and subdued into a pleasant tinkle which is almost musical, and which we can, if we please, shut out entirely by dropping a curtain across the doorway.

      Our attendants are Moorish, and consist of one old woman, whom we see by accident (closely veiled) about once a month, and a bare-legged, bare-footed Arab boy who waits upon us. There are pigeons on the roof, a French poodle that frequents the lower regions, and a guardian of our doorstep who haunts it day and night, whose portrait is given at Chapter V.

      Here we work with the greatest freedom and comfort, without interruption or any drawbacks that we can think of. The climate is so equal, warm, and pleasant – even in December and January – that by preference we generally sit on the upper terrace, where we have the perfection of light, and are at the same time sufficiently protected from sun and wind.

      At night we sleep almost in the open air, and need scarcely drop the curtains at the arched doorways of our rooms; there are no mosquitoes to trouble us, and there is certainly no fear of intrusion. There is also perfect stillness, for our neighbours are at rest soon after sundown.

      Such is a general sketch of our dwelling in Algiers; let us for a moment, by way of contrast, return in imagination to London, and picture to ourselves our friends as they are working at home.