From thence one passes into the celebrated _Court of Lions_. It is a hundred feet in length and fifty in breadth. A colonnade of white marble supports the gallery that runs around the whole. These columns, standing sometimes two and sometimes three together, are of slender proportions and fantastic design; but their lightness and grace afford pleasure to the eye of the wondering beholder. The walls, and, above all, the ceiling of the circular gallery, are covered {142} with embellishments of gold, azure, and stucco, wrought into arabesques, with an exquisite delicacy of execution that the most skilful modern workmen would find it difficult to rival. In the midst of these ornaments of ever-changing variety and beauty are inscribed passages from the Koran, such as the following, which all good Mussulmans are required frequently to repeat: _God is great: God alone is supreme: There is no god but God: Celestial enjoyment, gratifications of the heart, delights of the soul to all those who believe_. At either extremity of the Court of Lions are placed, within the interior space enclosed by the gallery, and, like it, supported by marble columns, two elegant cupolas of fifteen or sixteen feet in circumference. These graceful domes form a covering for beautiful _jets d'eau_. In the centre of the lengthened square, a superb alabaster vase, six feet in diameter, is supported in an elevated position in the midst of a vast basin by the forms of twelve lions sculptured from white marble. This vessel, which is believed to have been modelled after the design of the "molten sea" of the Temple of Solomon, is again surmounted by a smaller vase, from which shoot {143} forth innumerable tiny cascades, which together present the form of a great sheaf; and, falling again from one vase into another, and from these into the large basin beneath, create a perpetual flow, whose volume is increased by the floods of limpid water which gush in a continual stream from the mouth of each of the marble lions. This fountain, like each of the others, is adorned with inscriptions; for the Moors ever took pleasure in mingling the eloquence of poetry with the graces of sculpture. To us their conceptions appear singular and their expressions exaggerated; but our manners are so opposite to theirs; the period of their existence as a nation is so far removed, and we know so little of the genius of their language, that we have, perhaps, no right to judge the literature of the Moors by the severe rules of modern criticism. And, indeed, the specimens we possess of the French and Spanish poetry of the thirteenth and fourteenth centuries are, many of them, little superior to the verses engraven on the Fountain of Lions, of which the following, is a translation.[6] {144}