It was not till 1568 that the upper stage of the fabric, a graceful Renaissance superstructure, was added by Fernando Ruiz. In the same year Morel's great statue of Faith, cast in bronze, was placed on the apex to symbolize the triumph of Christianity over the creed of Islam. It is a clever piece of workmanship, for though it weighs twenty-five hundredweights and measures fourteen feet in height, it sways and turns with every wind. Hence the name applied to the Tower--Giralda, from _que gira_, "which turns." The first thing you will be asked to do by the guides at Seville is to mount the Giralda, which you do by means of thirty-five inclined planes, up which a horse might be ridden with ease to the very top. Each stage of the ascent is named: "El Cuerpo de Campañas," after its fine peal of bells, one of which weighs eighteen tons; "El Cuerpo del Reloj," after the clock first set up in 1400--the earliest tower-clock in Spain. Then there are the prettily-named floors of the Lilies and the Stars. Some of the rooms are inhabited by the bell-ringers, who may at times be heard practising not only the chimes but the peculiar guitar-playing of Andalusia. The view from the summit of the tower I think, on the whole, disappointing. The principal buildings of the city are too closely grouped below the spectator to give a very fine effect to the panorama, and the country round is not beautiful. Looking across the arid region beyond the river, it is hard to believe that in Moorish times it was renowned for its beauty and fertility and compared by Arabic writers to the Garden of Eden. Looking down we scan the white city, a labyrinth of lanes and alleys, only here and there a plaza opening like a lake among the closely-set roofs. Far away to the north the Sierra Morena limits the prospect. How often, when from this tower the muezzin proclaimed the Islamic profession of faith, his eyes must have lingered apprehensively on those mountains from whose crests the Christian seemed to hurl back defiance and repudiation.