f the two walks. This gallery is closed
on the outside, which is part of the town wall. The front or garden side
is composed of a series of rustic arches, alternately larger and
smaller, formed of rugged stones, such as are used for grottoes, and of
a dark brown colour--partly natural, partly painted.

The arches are supported by marble columns, or rather fragments of
columns,--all the mutilated antique trunks rummaged out of Italica. For
a shaft of insufficient length a piece is found of the dimensions
required to make up the deficiency, and placed on its top without mortar
or cement. Some of the capitals are extremely curious. Among them almost
every style may be traced, from the Hindoo to the Composite: but no one
is entire, nor matched with any part of the column it was originally
destined to adorn. Over this gallery is the open terrace, which
continues that of the palace side on the same level. The view extends in
all directions, including the gardens and the surrounding country; for
we are here at the extremity of the town. At the furthest end the
edifice widens, and forms an open saloon, surrounded with seats,
glittering with the bright hues of the _azulejos_.

From these terraces you look down on the portion of the garden in which
the royal arms are represented, formed with myrtle-hedges. Eagles,
lions, castellated towers,--all are accurately delineated. Myrtle-hedges
are also used in all parts of the gardens as borders to the walks. It is
a charming evening's occupation to wander through the different
enclosures of these gardens, which, although not very extensive, are
characterised by so much that is uncommon in their plan and ornaments,
that the lounger is never weary of them. Nor is the visible portion of
their attractions more curious than the hidden sources of amusement
and--ablution, by means of which an uninitiated wanderer over these
china-paved walks, may be unexpectedly, and more than necessarily
refreshed. By means of a handle, concealed--here in the lungs of some
bathing Diana in the recesses of her grotto--here in the hollow of a
harmless looking stone--an entire line of walk is instantaneously
converted into a stage of hydraulics--displaying to the spectator a long
line of embroidery, composed of thousands of silver threads sparkling in
the sunshine, as issuing from unseen apertures in the pavement they
cross each other at a height of a few feet from the ground, forming an
endless variety of grac