towers of the Alhambra beetling above us; to our right, on the opposite side of the ravine, we were equally dominated by rival towers on a rocky eminence. These, we were told, were the Torres Vermejos, or Vermilion Towers, so called from their ruddy hue. No one knows

their origin. They are of a date much anterior to the Alhambra: some suppose them to have been built by the Romans; others by some wandering colony of Phoenicians, Ascending the steep and shady avenue, we arrived at the foot of a huge square Moorish tower, forming a kind of barbican, through which passed the main entrance to the fortress. Within the barbican was another group of veteran invalids, one mounting guard at the portal, while the rest, wrapped in their tattered cloaks, slept on the stone bences. This portal is called the Gate of Justice, from the tribunal held within its porch during the Moslem domination, for the immediate trial of petty causes: a custom common to the Oriental nations, and occasionally alluded to in the Sacred Scriptures. "Judges and officers shalt thou make thee in all thy gates, and they shall judge the people with just judgment.”

The great vestibule, or porch of the gate, is formed by an immense Arabian arch, of the horseshoe form, which springs to half the height of the tower. On the keystone of this arch is

engraven a gigantic hand. Within the vestibule, on the keystone of the portal, is sculptured, in like manner, a gigantic key. Those who pretend to some knowledge of Mohammedan symbols, affirm that the hand is the emblem of doctrine, the five fingers designating the five principal commandments of the creed of Islam -fasting, pilgrimage, alms-giving, ablution, and war against infidels. The key, say they, is the emblem of the faith or of power; the key of Daoud, or David, transmitted to the prophet. "And the key of the house of David will I lay upon his shoulder; so he shall open and none shall shut, and he shall shut and none shall open." (Isaiah xxii. 22.) The key, we are told, was emblazoned on the standard of the Moslems in opposition to the Christian emblem of the cross, when they subdued Spain or Andalusia. It betokened the conquering power invested in the prophet. "He that hath the key of David, he that openeth and no man shutteth; and shutteth and no man openeth." (Rev. iii. 7.)

A different explanation of these emblems, however, was given by the legitimate son of the Alhambra, and one more in unison with the notions of the common people, who attach something of mystery and magic to every thing Moorish, and have all kinds of superstitions

connected with this old Moslem fortress. According to Mateo, it was a tradition handed down from the oldest inhabitants, and which he had from his father and grandfather, that the hand and key were magical devices on which the fate of the Alhambra depended. The Moorish king who built it was a great magician, or, as some believed, had sold himself to the Devil, and had laid the whole fortress under a magic spell. By this means it had remained standing for several years, in defiance of storms and earthquakes, while almost all other buildings of the Moors had fallen to ruin and disappeared. This spell, the tradition went on to say, would last until the hand on the outer arch should reach down and grasp the key, when the whole pile would tumble to pieces, and all the treasures buried beneath it by the Moors would be revealed.

Notwithstanding this ominous prediction, we ventured to pass through the spellbound gateway, feeling some little assurance against magic art in the protection of the Virgin, a statue of whom we observed above the portal.

After passing through the barbican we ascended a narrow lane, winding between walls, and came on an open esplanade within the fortress, called the Plaza de los Algibes, or Place of the Cisterns, from great reservoirs which

undermine it, cut in the living rock by the Moors to receive the water brought by conduits from the Darro, for the supply of the fortress. Here, also, is a well of immense depth, furnishiug the purest and coldest of water,—another monument of the delicate taste of the Moors, who were indefatigable in their exertions to obtain that element in its crystal purity.

In front of this esplanade is the splendid pile commenced by Charles V., and intended, it is said, to eclipse the residence of the Moorish kings. Much of the Oriental edifice intended for the winter season was demolished to make way for this massive pile. The grand entrance was blocked up, so that the present entrance to the Moorish palace is through a simple and almost humble portal in a corner. With all the massive grandeur and architectural merit of the palace of Charles V., we regarded it as an arrogant intruder, and passing by it with a feeling almost of scorn, rang at the Moslem portal.

While waiting for admittance, our self-imposed cicerone, Mateo Ximenes, informed us that the royal palace was intrusted to the care of a worthy old maiden dame called Doña Antonia-Molina, but who, according to Spanish custom, went by the more neighborly appellation of Tia Antonia (Aunt Antonia), who maintained the Moorish halls and gardens in order

and showed them to strangers. While we were talking, the door was opened by a plump little black-eyed Andalusian damsel, whom Mateo addressed as Dolores, but who from her bright looks and cheerful disposition evidently merited a merrier name. Mateo informed me in a whisper that she was the niece of Tia Antonia, and I found she was the good fairy who was to conduct us through the enchanted palace. Under her guidance we crossed the threshold, and were at once transported, as if by magic wand, into other times and an Oriental realm, and were treading the scenes of Arabian story. Nothing could be in greater contrast than the unpromising exterior of the pile with the scene now before us. We found ourselves in a vast patio or court, one hundred and fifty feet in length, and upwards of eighty feet in breadth, paved with white marble, and decorated at each end with light Moorish peristyles, one of which supported an elegant gallery of fretted achitecture. Along the mouldings of the cornices and on various parts of the walls were escutcheons and ciphers, and cufic and Arabic characters in high relief, repeating the pious mottoes of the Moslem monarchs, the builders of the Alhambra, or extolling their grandeur and munificence. Along the centre of the court extended an immense