formed in the wall, probably
occupied in former times by a sofa or throne: at present it is empty,
with the exception, in one corner, of a dusty collection of _azulejos_
fallen from the walls, and exposing to temptation the itching palms of
enthusiasts. At the opposite end a large arch, admirably carved, and
containing some superb old cedar doors, leads to the Hall of
Ambassadors. This apartment is a square of about thirty-three feet, by
nearly sixty in height. It is also called the _media naranja_
(half-orange), from the form of its ceiling.

[Illustration: GREAT COURT OF THE ALCAZAR, SEVILLE.]

In the centre of each side is an entrance, that from the court consists
of the arch just mentioned, forming a semicircle with the extremities
prolonged in a parallel direction. Those of the three other sides are
each composed of three arches of the horse-shoe form, or three-quarters
of a circle, and supported by two columns of rare marbles and jasper
surmounted by gilded capitals. The walls are entirely covered with
elegant designs, executed in stucco, the effect of which suffers from
a series of small arches, running round the upper part of the room,
having been deprived of their tracery to make room for the painted heads
(more or less resembling) of the kings of Spain, Goths and their
successors, excepting the Arabs and Moors. This degradation is, however,
forgotten from the moment the eye is directed to the ceiling.

In the Arab architecture, the ornament usually becomes more choice, as
it occupies a higher elevation; and the richest and most exquisite
labours of the artist are lavished on the ceilings. The designs are
complicated geometrical problems, by means of which the decorators of
that nation of mathematicians and artists attained to a perfection of
ornament unapproached by any other style. From the cornice of this room
rise clusters of diminutive gilded semi-cupolas, commencing by a single
one, upon which two are supported, and multiplying so rapidly as they
rise, some advancing, others retreating, and each resting on a shoulder
of one below, that, by the time they reach the edge of the great cupola,
they appear to be countless. The ornament of this dome consists of
innumerable gilt projecting bands, of about two inches in width; these
intersect each other in an infinite profusion of curves, as they stretch
over the hemispherical space. The artist, who would make a pencil
sketch of this ceiling, should be as deep a