employed is admirably fitted to a large surface which would have been weakened by strong cutting or deep relief. Considering what Arab art achieved within prescribed limits, the student of Christian art may well deplore that the Koran, in its abhorrence of idol-worship, forbade its followers in any way to reproduce human or animal forms. Forever debarred all the wider possibilities of movement and poetry these would have given them for interior decoration, Moorish art necessarily stagnated to mere conventionalization of floral and natural subjects. These are well adapted to exterior mural surfacing. When we look at the fancifully handled geometric patterns on the Giralda, we can only rejoice that the frescoes added by the later Renaissance artists in the upper arches and along some of the lower surfaces have been washed away by time. They were ineffective; all that remains of Moorish is magnificent. A small arcade, running the width of each side in its single panel, terminates the Moorish work. It is almost to be regretted that the Renaissance top has been so well done, for its barbarous exotism is sufficient to condemn it. It has excellently fulfilled a dastardly purpose. The original Moorish termination was taken down by the architect, Francisco Ruiz, who was commissioned by the Cathedral Chapter in 1568 to give it a more fitting crown. His design consists of three stages reaching to a height of about a hundred feet. The first, of the same width as the shaft below, is pierced by openings "to let out the sweet sounds of the bells inside." The second stage consists of a double tier of considerably smaller squares pierced by wide arches. Around the four sides of its upper frieze runs the inscription so legible that all Sevillians who know how may read, "Nomen Domini Fortissima Turris" (Proverbs, xviii, 10). The third stage consists of a double lantern surmounted by a soaring Seraphim, bearing in one hand the banner of Constantine and in the other the Roman palm of conquest. The "Girardello" was cast in gilded bronze by Bartolomé Morel in the year 1568. Intended to symbolize Faith, the name, a diminutive of Giralda, or weathercock, is most inappropriate. Despite her enormous size and weight, the faintest zephyr blowing down from the Sierra Moreña sets her turning on the spire she treads so lightly, whereupon the crowds of hawks resting on Girardello disperse in noisy scolding. Dumas gazed at her in wonder and admiration. "C'est merveilleux," he said, "de voir tourner dans un rayon de soleil cette figure d'or aux ailes deployées, qui semble, comme un oiseau céleste fatigué d'une longue course, avoir choisi pour se reposer un instant le point le plus proche du ciel."