We will traverse the garden of Lindaraja without stopping, for it is nothing but an uncultivated piece of ground, strewed with rubbish, and bristling with brushwood; we will therefore visit, for an instant, the Bath-room of the Sultana, which is coated with square pieces of mosaic-work of glazed clay, and bordered with filigree-work that would make the most complicated madrepores blush. A fountain is in the middle of the room, and two alcoves are in the wall. It was here that the Moorish Sultanas used to come to repose themselves on square pieces of golden cloth, after having enjoyed the pleasure and luxury of an oriental bath. The galleries or balconies, in which the singers and musicians used to be placed, are still seen, and are at a height of about fifteen feet from the ground. The baths themselves resemble large troughs, and each of them is made out of one piece of white marble; they are placed in little vaulted closets, lighted by open-worked stars or roses. For fear of becoming irksome by repetition, we will not speak of the Hall of Secrets, whose acoustic powers are productive of a very curious effect, and the corners of whose walls are blackened by the noses of those inquisitive persons who go and whisper, in one corner, some impertinence that is faithfully carried to another; nor of the Hall of the Nymphs, over the door of which is an excellent bas-relief of Jupiter changed into a swan and caressing Leda, and which said bas-relief is most extraordinarily free in its composition, and very audacious in its execution; nor of the apartments of Charles the Fifth, which are in a dreadful state of devastation, and which possess nothing curious, with the exception of their roofs, studded with the ambitious device of _Non plus ultra_; but we will go direct to the Court of Lions, the most curious and best preserved part of the Alhambra. [Illustration: PAVILION OF THE COURT OF LIONS, ALHAMBRA.] English engravings and the numerous drawings which have been published of the Court of Lions convey but a very incomplete and false idea of it: nearly all of them fail to give the proper proportions, and, in consequence of the over-loading necessitated by the fact of representing the infinite details of Arabian architecture, suggest the idea of a monument of much greater importance. The Court of Lions is a hundred and twenty feet long, seventy-three broad, while the galleries which surround it are not more than twenty-two feet high. They are formed by a hundred and twenty-eight columns of white marble placed in a symmetrical disorder of four and four, and of three and three, together: these columns, the capitals of which are full of work and still preserve traces of gold and colour, support arches of extreme elegance and of quite a unique shape.