THIS window which is of the class known as "Ajimez," or literally "through which the sun shines," _i.e._ in an external wall, is a specimen of Mudejar work left as a "waif" in a part of Seville which, with this exception, has been entirely modernised. It belongs to exactly the house where one would least expect to find it, viz., one of the best hotels, if not the best hotel, in Seville, the "Fonda de Madrid." All of this pretty window is made of brickwork, once covered apparently in Moorish fashion with thin plaster, excepting the column which is of white marble. The room it lights is an ordinary nineteenth century inn bedroom, with square casements, and not a vestige of the fifteenth century left about it. I could learn nothing about this relic, or perfect reproduction of the past, from any one in the hotel, so that all I could do was to sketch it. While doing so, I could not but wonder how with so sensible, and, at the same time, so pretty a window ready to their hands as a model, the builders of the Fonda could have been contented to execute the regular expressionless square-headed windows I found everywhere else. After a few minutes moralising in this vein, I began to ask myself whether, as an Englishman, I was not assiduously "plucking the mote from my brother's eye," with a beam all the time in my own? [Illustration: PLATE 54 CASA DE PILATUS SEVILLE MDW 1869] PLATE LIV. _SEVILLE._ VIEW IN THE UPPER STORY OF ONE OF THE PATIOS OF THE CASA DE PILATUS. THE principal monument of Moorish magnificence still left in Seville, is, of course, the "Royal Residence," the "Alcazar," commenced in 1181, by Jalubi, the architect of Toledo. Next to it in importance is the "Casa de Pilatus," as it is called, from which this sketch, and the succeeding one have been taken. From the first named of these buildings I did not sketch at all, feeling myself entirely baffled by the extreme elaboration of all that was most interesting and admirable in the old Moorish, Mudejar and Plateresque work. Such a building can be in no wise now satisfactorily illustrated, excepting by one who may be in a position to devote much time and study to the task. "Restoration," and the adaptation of the structure to the necessities of nineteenth century life have so mystified the work and intention of the original designers, that although one may readily admire, it becomes exceedingly difficult to analyse, all that meets the eye. I have, therefore, preferred giving my attention, so far as this publication is concerned, to other, although less noteworthy, specimens of the domestic architecture of Seville.