A Tale of Love and Darkness - Amos Oz [181]
On each side of the room six or eight doors opened. The walls were draped with rugs, and between the rugs the plaster was visible; it too was patterned with flowers, and colored pink, lilac, and pale green. Here and there, beneath the high ceiling, ancient weapons were hung as decorations: Damascus swords, a scimitar, daggers and spears, pistols, longbarreled muskets and double-barreled rifles. Facing the entrance, and flanked by a burgundy-covered sofa on one side and a lemon-colored one on the other, stood a huge, heavily ornamented brown sideboard in baroque style looking like a small palace, with many glass-fronted compartments containing porcelain cups, crystal goblets, silver and brass goblets, and numerous ornaments of Hebron or Sidon glass.
In a deep recess in the wall between two windows nestled a green vase inlaid with mother-of-pearl from which rose several peacocks' feathers. Other recesses housed large brass pitchers and glass or earthenware beakers. Four fans hung from the ceiling, constantly making a wasplike buzz and stirring the smoke-laden air. In between the fans a huge, splendid brass chandelier sprouted from the ceiling, resembling a great tree with a profusion of branches, boughs, twigs, and tendrils all blooming with shining stalactites of crystal and quantities of pear-shaped lightbulbs that were all lit despite the summer morning light streaming through the open windows. The arches of the windows were fitted with stained glass representing wreaths of trefoils, each of which colored the daylight a different color: red, green, gold, and purple.
Two cages hung from brackets on facing walls, each containing a pair of solemn parrots whose feathers were a riot of orange, turquoise, yellow, green, and blue. Every now and again one of them would exclaim in a hoarse voice like that of a heavy smoker: " Tfaddal! S'il vous plaît! Enjoy!" And from the other cage, at the other end of the room, a wheedling soprano voice replied at once in English: "Oh, how very, very sweet! How lovely!"
Above the lintels of the doors and windows and on the flowery plaster Quranic verses or lines of poetry were inscribed in curling green Arabic writing, and between the rugs on the wall there were family portraits. Some were of portly, plump-faced, clean-shaven effendis, wearing red fezzes with black tassels, and squeezed into heavy blue suits, with gold chains suspended across their bellies and disappearing into their vest pockets. Their predecessors were mustachioed men with an authoritative air and a sullen mien, robed in responsibility, awe-inspiring, with a commanding presence, wearing embroidered robes and gleaming white keffiyehs held in place by black rings. There were also two or three mounted figures, ferocious-looking bearded men riding on magnificent horses, galloping at such speed that their keffiyehs trailed behind and their horses' manes streamed; they had long daggers thrust through their belts and curved scimitars tied at the side or brandished aloft.
The deep-set windows of this reception hall faced north and east toward Mount Scopus and the Mount of Olives, a pine copse, rocky slopes, the Ophel, and the Augusta victoria hospice, its tower crowned like an imperial helmet with a sloping gray Prussian roof. A little to the left of Augusta Victoria