a thousand combinations, not one of which is in discord with the grand design. It is useless to attempt a detailed description of this architecture; and it is so unlike anything else in the world, that, like Karnak and Baalbec, those only know the Alhambra who see it. When you can weave stone, and hang your halls with marble tapestry, you may rival it. It is nothing to me that these ornaments are stucco; to sculpture them in marble is only the work of the hands. Their great excellence is in the design, which, like all great things, suggests even more than it gives. If I could create all that the Court of Lions suggested to me for its completion, it would fulfil the dream of King Sheddad, and surpass the palaces of the Moslem Paradise.
The pavilions of the Court of Lions, and the halls which open into it, on either side, approach the nearest to their origihal perfection. The floors are marble, the wainscoting of painted tiles, the walls of embroidery, still gleaming with the softened lustre of their original tints, and the lofty conical domes seem to be huge sparry crystalizations, hung with dropping stalactites, rather than any work of the human hand. Each of these domes is composed of five thousand separate pieces, and the pendent prismatic blocks, colored and gilded, gradually resolve themselves, as you gaze, into the most intricate and elegant designs. But you must study long ere you have won all the secret of their beauty. To comprehend them, one should spend a whole day, lying on his back, under each one. Mateo spread his cloak for me in the fountain in the Hall of the Abencerrages, over the blood-stains made by the decapitation of those gallant chiefs, and I lay half an hour looking upward: and this is what I made out of the dome. From its central pinnacle hung the chalice of a flower with
