The palace in the palm grove to which old Alexis had alluded was, indeed, a magnificent dwelling, suitable in every respect for the residence of an oriental monarch. It was built in the Turkish fashion and its exterior was singularly beautiful and imposing. Huge palm trees surrounded it; they were planted in regular rows upon a vast lawn that was adorned with costly statues and fountains, while at intervals were scattered great flower beds filled with choice exotics and blooming plants of endless variety. A wide graveled walk and carriage-road led to the palace, the main entrance to which was flanked on either side by columns of dark-veined marble. The edifice itself was of green stone, and sparkled in the sunlight like a colossal emerald. It was surmounted by three zinc-covered domes, above each of which towered a gilded crescent. Within all was elegance and luxury. There were immense salons, with marble floors, and walls covered with Smyrna hangings of the most beautiful description that of themselves must have cost a fortune. These salons were furnished with rich divans, tables of malachite, cabinets of ebony, and oriental rugs of the most artistic and complicated workmanship. There were dazzling reception rooms filled with exquisite statues and superb paintings, the works of the greatest sculptors and artists of the east and west, of the past and the present. Figures by Thorwaldsen, Powers and other modern celebrities of the block and chisel stood beside antique masterpieces framed by the genius of Phidias and his brother sculptors of old Greece and Rome, masterpieces that had been torn from the ruins of antiquity by the hand of the untiring and enterprising excavator. Among the paintings were fine specimens of the skill of Albert Duerer, Murillo, Rubens, Van Dyck, Rembrandt, Sir Joshua Reynolds and other votaries of the brush whose names are immortal. These paintings did not hang on the walls, for they were covered with rich tapestry from the looms of Benares and the Gobelins, but rested on delicately fashioned easels, themselves entitled to a high, rank as works of art. In the salons were statues by Michael Angelo, Pierre Puget and Pompeo Marchesi, and paintings by Claude Lorraine, Titian, Sir Thomas Lawrence, Correggio and Salvator Rosa. The vast library was encircled by lofty bookcases of walnut and ebony, filled with rare and costly volumes from the curiously illuminated missals of monkish days to the latest scientific works, together with a liberal sprinkling of poetry and fiction; upon tables, stands and mantels were superb ornaments in brass repousse work and grand old faience, including some wonderful specimens of ancient Chinese crackle ware, the peculiar secret of the manufacture of which had been lost in the flight of ages.