All the nineteen original entrances — beautiful horse-shoe arches — are closed, except the central one. I entered by a low door, in one corner of the corridor. A wilderness of columns connected by double arches (one springing above the other, with an opening between), spread their dusky aisles before me in the morning twilight. The eight hundred and fifty shafts of this marble forest formed labyrinths and mazes, which at that early hour appeared boundless, for their long vistas disappeared in the shadows. Lamps were burning before distant shrines, and a few worshippers were kneeling silently here and there. The sound of my own footsteps, as I wandered through the ranks of pillars, was all that I heard. In the centre of the wood (for such it seemed) rises the choir, a gaudy and tasteless excrescence added by the Christians. Even Charles V., who laid a merciless hand on the Alhambra, reproved the Bishop of Cordova for this barbarous and unnecessary disfigurement.,
The sacristan lighted lamps in order to show me the Moorish chapels. Nothing but the precious materials of which these exquisite structures are composed could have saved them from the holy hands of the Inquisition, which intentionally destroyed all the Roman antiquities of Cordova. Here the fringed arches, the lace-like filigrees, the wreathed inscriptions, and the domes of pendent stalactites which enchant you in the Alcazar of Seville, are repeated, not in stucco, but in purest marble, while the entrance to the “holy of holies" is probably the most glorious piece of mosaic in the world. The pavement of the interior is deeply worn by the knees of the Moslem pilgrims, who compassed it seven times, kneeling, as they now do in the Kaaba, at Mecca. The sides are embroidered with sentences
