The status of Tlemçen as a holy city, which draws to itself pilgrims not only from the countries of North Africa, but from the very confines of the world of Islam, rests on its connection with the saint Sidi Bou Medine. It has long ceased to be the capital of an African empire; it is no more a university of Mohammedan learning; its very name is almost unknown to the present generation of European men; but in the eyes of the faithful it is ever honoured. It is a little difficult for an unbeliever to comprehend what constitutes peculiar eminence in a Mohammedan saint, and there is nothing in the recorded life of Bou Medine to throw light on the question. It is related that he was born at Seville in A.D. 1126, that he was an ascetic and a mystic, that he travelled through various Mediterranean countries performing miracles, preaching the vanity of earthly things, and emphasizing the beneficence of God and the authority of his prophet. Accused of heresy by the doctors of Tlemçen, he was summoned thither by the reigning monarch from Bougie, then within the boundaries of the Tlemçenian Empire. His failing strength sustained him almost to the city’s gates, when, looking up at the little village of El-Eubbad, with its hanging woods beneath the rugged cliff, and owning at last the charm of the world he had so fiercely disdained, he breathed a wish to be buried in that lovely spot, and expired. And there for seven centuries he has lain, and you may stand beside his tomb, which is decked in the tinsel pomp of Mohammedan finery and surrounded by the offerings of the faithful. It is approached from a little court-yard, in which is an ancient alabaster well-head curiously worn by the chain which draws the bucket. The mosque which adjoins the tomb was raised shortly after the saint’s death. It is of no great size, but both structurally and decoratively it possesses a charm which is unique. The high portal is a blaze of tiles in the finest style; tiles said to be partly of Moroccan, partly of Spanish, origin; and the doors of cedar wood, covered with bronze, ornamented with a design of arabesque interlacement, are incomparably beautiful. It has been said that they are to Moorish art what the doors of Ghiberti are to Italian; but in their decorative flatness—a quality which becomes doors—they have a distinction which is their own. In the whole realm of Moorish decoration I have seen nothing more charming. The mosque itself does not belie the promise of its entrance. It follows the usual plan, but on a very high level. Its plaster decorations, if somewhat less fine than those of the mihrab of Bel Hassan, are in the best style. The whole building is instinct with the charm of unassailable fitness, and fills the mind with an ineffaceable impress of beauty. [Illustration: SIDI BOU MEDINE: THE BRONZE DOORS]