These shallow understandings of Eastern culture were developed and defined alongside the industrialization of the Western World during the 19th century.

Because we know the setting of the work, we are led to understand that the figures are present in the space to worship and practice their religion.

Similar to works like Diogenes[4] and Prayer in the Desert,[5] the curves are all extremely natural and give a more life-like feel.

The composition of the work features vertical and horizontal lines that create the interior and make the viewer feel like an observer in the mosque as well.

The actually structure of the mosque is characterized by lots of natural lighting that comes from a hole in the ceiling.

The light source coming from the ceiling helps to create a feeling of serenity and holiness as it fills the space in a softer way.

A work that can be compared to Interior of a Mosque that showcases blatant Orientalist thinking is The Snake Charmer.

The work also includes shimmering, intricate blue and silver tiles in the background that Edward Said describes to be along the lines of "Western Orientalists claiming to know and love better than decadent locals did".

Over the course of his remaining life, he would make another half dozen trips to Eastern Europe, spanning from the year of 1862 to 1880.

In 1893, Gérôme is named as the honorary president of Société des Peintres Orientalistes Français.

This group was formed to promote Orientalist painting and the travel of French artists such as Gérôme to the Middle and Far East.

Orientalism became a term that meant the study and representation of the Eastern world and its culture by Western scholars, artists and writers.

[10] Some other notable artists that were remembered as leading figures in the movement alongside Gérôme included Eugene Delacroix and Jean-Auguste-Dominique Ingres.

Neoclassicism and Romanticism fusion could be used to describe his style of work, which emphasized historical, mythological and exotic scenes.

Critics were highly judgmental of Gérôme’s representation of historical subjects as they tended to warp and distort source material to play up art to an audience.

[14] The painting utilizes bright colors such as vivid greens, blues and reds within the clothing of the figures.

[15] An interesting thing to note is that a different academic journal writes that blue has a negative connotation and is actually associated with the eyes of sinners.