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rom the ceilings, corniced with fretted gold, great chandeliers hung, one of which, it is said, was so large that it contained 1804 lamps. Clusters of frail marble columns surprised the beholder with the vast weights they bore. In the boudoirs of the sultanas they were sometimes of verd antique, and incrusted with lapis lazuli. The furniture was of sandal and citron wood, inlaid with mother-of-pearl, ivory, silver, or relieved with gold and precious malachite. In orderly confusion were arranged vases of rock crystal, Chinese porcelains, and tables of exquisite mosaic. The winter apartments were hung with rich tapestry; the floors were covered with embroidered Persian carpets. Pillows and couches, of elegant forms, were scattered about the rooms, perfumed with frankincense. It was the intention of the Saracen architect, by excluding the view of the external landscape, to concentrate attention on his work; and since the representation of the human form was religiously forbidden, and that source of decoration denied, his imagination ran riot with the complicated arabesques he introduced, and sought every opportunity of replacing the prohibited works of art by the trophies and rarities of the garden. For this reason, the Arabs never produced artists; religion turned them from the beautiful, and made them soldiers, philosophers, and men of affairs. Splendid flowers and rare exotics ornamented the courtyards and even the inner chambers. Great care was taken to make due provision for the cleanliness, occupation, and amusement of the inmates. Through pipes of metal, water, both warm and cold, to suit the season of the year, ran into baths of marble; in niches, where the current of air could be artificially directed, hung dripping alcarazzas. [Sidenote: Libraries and works of taste.] There were whispering-galleries for the amusement of the women; labyrinths and marble play-courts for the children; for the master himself, grand libraries. The Khalif Alhakem's was so large that the catalogue alone filled forty volumes. He had also apartments for the transcribing, binding, and ornamenting of books. A taste for caligraphy and the possession of splendidly-illuminated manuscripts seems to have anticipated in the khalifs, both of Asia and Spain, the taste for statuary and paintings among the later popes of Rome. [Sidenote: The court of Abderrahman III.] Such were the palace and gardens of Zehra, in which Abderrahman III. honoured his
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