The Durgah is a square building, entered by flights of steps from the court-yard; the banner of each person is conveyed through the right entrance, opposite the platform, where it is immediately presented to touch the revered crest; this is only the work of a few seconds; that party walks on, and moves out to the left again into the court-yard; the next follows in rapid succession, and so on till all have performed this duty:  by this arrangement, confusion is obviated; and, in the course of the day, perhaps forty or fifty thousand banners[6] may have touched the Emaum’s consecrated crest.  On these occasions, the vast population of Lucknow may be imagined by the almost countless multitude, of every rank, who visit this Durgah:  there is no tax levied on the people, but the sums collected must be immense, since every one conscientiously offers something, according to his inclination or his means, out of pure respect to the memory of Hosein.

The order of procession, appointed by each noble proprietor of banners, to be consecrated at the Durgah, forms a grand spectacle.  There is no material difference in their countless numbers; the most wealthy and the meanest subjects of the province make displays commensurate with their ability, whilst those persons who make the most costly exhibitions enjoy the greatest share of popular favour, as it is considered a proof of their desire to do honour to the memory of Hosein and Hasan, their venerated Emaums.

A description of one, just passing my house, will give you a general idea of these processions,—­it belongs to a rich man of the city:—­A guard of soldiers surrounds four elephants on which several men are seated, on pads or cushions, supporting the banners; the staffs of several are of silver,—­the spread hand, and other crests, are formed of the same metal, set with precious stones.  Each banner—­they all resemble—­is in the shape of a long scarf of rich silk, of bright florid colours, embroidered very deep at the ends, which are finished with gold and silver bullion fringes; it is caught together near the middle, and tied with rich gold and silver cords and tassels to the top of the staff, just under the hand or crest.  The silks, I observe, are of many different colours, forming an agreeable variety, some blue, purple, green, yellow, &c.  Red is not used; being the Soonies’ distinguishing colour at Mahurrum it is carefully avoided by the zealous Sheahs—­the Soonies are violently opposed to the celebration of this festival.  After the elephants, a band of music follows, composed of every variety of Native instruments, with drums and fifes; the trumpets strike me as the greatest novelty in their band; some of them are very long and powerful in their effect.

Next in the order of procession I observe a man in deep mourning, supporting a black pole, on which two swords are suspended from a bow reversed—­the swords unsheathed glittering in the sun.  The person who owns the banners, or his deputy, follows next on foot, attended by readers of the Musseeah, and a large party of friends in mourning.  The readers select such passages as are particularly applicable to the part Abass Ali took in the affair at Kraabaallah, which is chanted at intervals, the procession pausing for that purpose.