Around the more modern part of the Giralda is an inscription in Latin: _Turris Fortisima Nomen Domini_. Each word of the motto occupies one of the faces of the tower. The Cuerpo de Estrellas, or Stage of the Stars, is so named in allusion to the decorations of its faces. Notice the _ajimez_ windows as you ascend the tower. The fourth and last _cuerpo_ is the Corambolas, or billiard balls, referring to the globes of stone in the decoration. We emerge upon a gallery below the great statue of La Fé, thirteen feet in height, and made out of bronze by Bartolomé Morel, in 1568. This figure of a woman is a vane, which moves with every wind in spite of its size and weight. It is a wonderful piece of workmanship. The head of the Faith is crowned with a Roman helmet, and in the woman's right hand is the great standard of Rome in the time of the Emperor Constantine. In the left hand the figure holds a palm branch, a symbol of conquest. The true name of the statue is La Fé Triumfante; but in the common speech of Seville it is spoken of as Victoria, Giraldillo, Santa Juasma, and El Muñeco. Don Alfonso Alvarez-Benavides, in his little book on _La Giralda_, published in Seville, tells us that the statue of the Faith has suffered several lightning strokes. One of these attacks severely scorched the upper section of the tower. In the afternoon of April 26, 1884, during a terrific thunder-storm, a shower of sparks fell upon the Giralda and caused much damage. Again, on the 18th of June 1885, lightning assailed the building. The work of restoration began in the year 1885, and was completed in 1888, under the direction of Fernandez Casanova. It was in 1568 that Hernan Ruiz erected the highest _cuerpo_ of the minaret by order of the Cathedral authorities. Ruiz was often employed by the Church, and his work may be seen in the restored _mezquita_ of Córdova. The Giralda is about three hundred feet in height. As the surrounding country is level, we can command a very wide expanse from the gallery below the statue of the Faith. Looking over the roofs and dome of the Cathedral, we see the Plaza de Toros, and the suburb of Triana, on the opposite bank of the Guadalquivir. Among the low hills beyond the Cartuja, to the right of Triana, is the ancient Roman amphitheatre of Italica, while in the extreme distance are blue mountains. Beyond the Alcázar we note the Parque, the Delicias, the Prado de San Sebastian, and the red clay hills of Coria on the right bank of the broad river. Further away are the interminable marshes bordering the estuary, and beyond is San Lucar. Below us is the Archbishop's Palace and the gardens of the Alcázar. Seville is spread beneath us like a huge map. We look down on roof gardens, into _patios_, along the white, narrow _calles_, into the _plazas_, and across the housetops to the fertile land beyond the Roman walls.