The Alcazaba, according to the most recent researches, was separated from the site of the palace by a ravine where, after the Conquest, cisterns were constructed by order of the Conde de Tendilla and over which the existing Plaza de los Algibes was formed. These works appear to have necessitated the demolition of a wall which ran across from the Torre de las Gallinas on the north to the beautiful Puerta del Vino on the south. This gateway is now quite isolated from the wall of circumvallation. Over the horseshoe arch is an inscription in stucco, of the usual Moorish character, invoking the Divine protection for the builder, Sultan Mohammed V. It appears to commemorate some striking victory. Over the arch again is a fine double window or ajimez. On the keystone is seen the key, so often figuring as a symbol in all parts of the Alhambra, with a G in Kufic characters--perhaps the initial letter of the city. The interior façade has a large horseshoe arch and the twin-windows above. The Puerta del Vino was probably the entrance to the courts and gardens of the palace. Having crossed the Plaza de los Algibes, we leave behind us the early Moorish works, and approach the buildings which owe their foundation to the Nasrite or Grenadine dynasty. The story which credits Al Ahmar (Mohammed I.) with the creation of the Red Palace in the middle of the thirteenth century appears to be well-founded, for when the Alhambra is referred to as existing in earlier times, it is undoubtedly the Alcazaba that is meant. To the same hands may be safely attributed the great outer wall of the Alhambra which girdles palace and fortress, following the inequalities of the hill’s contour. Al Ahmar has left his device, _Wa ha ghalib ila Allah_ (There is no conqueror but God), in many parts of the building. These words were uttered by him in mournful deprecation of the acclamations of his subjects on his return from assisting the Christians in the Conquest of Seville. During the two and a half centuries of the Nasrite rule, the palace underwent many radical transformations and renovations, so that it is difficult to distinguish between the works of the various sultans. Ford infers, rightly as it seems to us, from the frequent repetition of their names upon the walls, that Yusuf I. and Mohammed V. had the largest share in the embellishment and restoration of the edifice. Since the Reconquest many changes and additions have been made--notably the Palace of Charles V., to which detailed reference will be made later.