Chapter III: Salamanca 96 (1)

ILLUSTRATIONS

LEON

SUBJECT PLATE

General View of Leon, 1

View from the Cemetery, 2

Cathedral: View from the North, 3

Cathedral: General View, 4

Leon Cathedral, 5

Cathedral: Door of the Cross-Aisle (restored), 6

Leon Cathedral, 7

Lateral Façade of the Cathedral, 8

Longitudinal Section of the Cathedral, 9

Cathedral: Stained Glass Window of the Thirteenth Century, 10

Cathedral: Stained Glass Window of the Fourteenth Century, 11

Plan of the Cathedral, 12

Cathedral: Central Gate of the Principal Porch, 13

Cathedral: Right Gate of the Principal Porch, 14

Cathedral: Detail of the Lower Part of the Principal Portico, 15

Cathedral: Arch of the Central Portico, 16

Cathedral: Arch of the Right Door, 17

Cathedral: Left Gate of Principal Porch, 18

Cathedral: Gate of the Coro, 19

Cathedral: Door of the Chapel of St. Andrew, 20

Cathedral: Painted Walls, 21

Cathedral: Statue of Our Lady La Blanca in the Principal Porch, 22

Cathedral: A Sepulchre, 23

Cathedral: Sepulchre of Don Ordoño II., 24

Cathedral: Sepulchre of Martin, First Bishop of Leon, 25

Cathedral: Detail of the Door of the Chapel of St. Andrew, 26

Cathedral: The Cloisters. Our Lady Del Foro and the Offerings of the Kings, 27

Cathedral: Spandril of Central Gate. The Last Judgment, 28

Cathedral: Spandril of Central Gate. The Last Judgment, 29

Cathedral: Detail of the Right Gate, 30

Cathedral: Detail of the Gate of the Chapel of St. Andrés, 31

Cathedral: Various Statues from the Cross Aisle, 32

Cathedral: Detail of the Right-hand Portico, 33

Cathedral: The Back of the Choir, 34

Cathedral: The Choir Stalls, 35

Cathedral: The Choir Stalls, 36

Cathedral: Detail of the Choir, 37

Cathedral: Choir Stalls. The Guardian Angel of Paradise, and the Archangel St. Michael, 38

Cathedral: Choir Stalls. Noah, Adam and Eve, 39

Cathedral: Choir Stalls. The Archangel Gabriel and Abraham, 40

Cathedral: Choir Stalls. Isaac and Jacob, 41

Cathedral: Choir Stalls. Esau, 42

Cathedral: Choir Stalls. Samson, 43

Cathedral: Choir Stalls. St. Mathias and St. Mark, 44

Cathedral: Choir Stalls. St. Luke and St. Bartholomew, 45

Cathedral: Choir Stalls. St. Andrew and St. Peter, 46

Cathedral: Choir Stalls. Santiago Alfeo and St. Philip, 47

Cathedral: Choir Stalls. St. John the Evangelist and Santiago, 48

Cathedral: Choir Stalls. Saint Mary Magdalene and Santo Domingo, 49

Cathedral: In the Choir. St. Nicodemus and Valour, 50

Cathedral: Choir Stalls. St. Martha and St. Lucy, 51

Cathedral: Choir Stalls. St. Francis and St. Catherine, 52

Cathedral: Choir Stalls. St. Froylan and St. Nicholas, 53

Cathedral: Choir Stalls. San Vitorino and San Martin, 54

Cathedral: Choir Stalls. Santa Cristina and Santa Elena, 55

Cathedral: Choir Stalls. San Gregorio and San Geronimo, 56

Cathedral: Choir Stalls. San Silvestre and San Lupercio, 57

Cathedral: Choir Stalls. San Lorenzo and San Vicente, 58

Cathedral: Choir Stalls. San Celedonio and San Esteban, 59

Cathedral: Choir Stalls. A Saint, 60

Cathedral: Detail of the Choir Stalls, 61

Cathedral: Detail of the Choir Stalls, 62

Cathedral: Statue of the Virgin, 63

Cathedral: Detail of the Cloisters, 64

Cathedral: Bas-reliefs in the Cloisters, 65

Façade of the Collegiate Church of San Isidoro, 66

Gate of Pardon: Collegiate Church of San Isidoro, 67

Collegiate Church of San Isidoro, 68

Principal Gate of the Collegiate Church of San Isidoro, 69

Panteon of the Kings in the Collegiate Church of San Isidoro, 70

Spandril of Gate of Pardon: Collegiate Church of San Isidoro, 71

Fresco of the Panteon of the Kings in the Collegiate Church of San Isidoro. End of Eleventh Century, 72

Sections and Details of the Panteon of San Isidoro, 73

Collegiate Church of San Isidoro: Painting on the Wall of the Panteon of the Kings, 74

Collegiate Church of San Isidoro: Paintings on the Walls of the Panteon of the Kings, 75

Collegiate Church of San Isidoro: Chalice and Paten of Doña Urraca, and Cross, 76

Collegiate Church of San Isidoro: Ivory Cross of King Fernando I. and Sancha his Wife, 77

Collegiate Church of San Isidoro: Relics, containing St. Martin’s Hand, St. John Baptist’s Jaw, one of St. Isidoro’s Fingers, and some of the Virgin’s Hair, 78

Collegiate Church of San Isidoro: Chalice and Crucifix in Filigree Gold, 79

Collegiate Church of San Isidoro: Ivory Coffer, 80

Collegiate Church of San Isidoro: Gothic Crucifix in Gold, 81

San Miguel de Escalada: General View of the Convent, 82

San Miguel de Escalada: Exterior of the Temple and Portico, 83

San Miguel de Escalada: Interior of the Church, 84

San Miguel de Escalada: Interior of the Church, 85

San Miguel de Escalada: Southern Façade, Plan, and Details (Town Hall, Gradefes) 86

San Miguel de Escalada: Longitudinal and Transverse Sections and Details. (Town Hall, Gradefes), 87

Details of San Miguel de Escalada. (Town Hall, Gradefes), 88

San Miguel de Escalada: A Capital in the Church, 89

Our Lady Del Mercado, 90

Our Lady Del Mercado: Barred Window in the Principal Façade, 91

Church of San Pedro de Los Huertos, 92

General View of the Convent of San Marcos, 93

Principal Façade of the Convent of San Marcos, 94

Detail of the Façade of the Convent of San Marcos, 95

Entrance to the Convent of San Marcos, 96

Detail of the Façade of the Convent of San Marcos, 97

Detail of the Façade of the Convent of San Marcos, 98

Detail of the Façade of the Convent of San Marcos, 99

Detail of the Façade of the Convent of San Marcos, 100

Detail of the Façade of the Convent of San Marcos, 101

Sacristy in the Convent of San Marcos, 102

Stalls in the Convent of San Marcos, 103

Church of San Marcos: Detail of the Choir, 104

Church of San Marcos: Detail of the Choir Stalls, 105

Church of San Marcos: Detail of the Stalls, 106

Church of San Marcos: Detail of the Choir Stalls, 107

Church of San Marcos: Detail of the Choir, 108

Provincial Museum of San Marcos: Tray, Crucifix, and Vase, 109

Provincial Museum of San Marcos: Cross of Santiago de Peñalva, 110

Provincial Museum of San Marcos: Christ in the Byzantine Style, and the Virgin in the Gothic Style, 111

Provincial Museum of San Marcos: San Francisco, 112

Don Ordoño II. presenting his Palace to the Virgin, 113

Standard of Alfonso VII., Emperor, now belonging to the Illustrious Families of Leon, 114

Tower of the Ponces, 115

Las Casas Consistoriales, 116

House of the Guzmanes, 117

Bastions of the Ancient Walls, 118

Calle de Santa Ana, 119

Corner of the House of the Guzmanes, 120

View of the Railway Station, 121

General View of Astorga, 122

Mountaineers of the Province, 123

Ivory Casket of the Ninth Century, from San Isidoro at Leon, now in the National Archæological Museum, 124

Two Statues in the Archæological Museum, 125

BURGOS

View of Burgos, 126

General View of Burgos, 127

La Plaza Mayor, 128

General View from the Castle, 129

Mansion of the Cid, 130

El Paseo del Espolon, 131

View from the Provincial Museum, 132

A View of Burgos, 133

The Cathedral, 134

Façade of the Cathedral, 135

Cathedral: Puerta de la Pellegeria, 136

Cathedral: View from the Cloisters, 137

Cathedral: Upper Part of the Tower, 138

Cathedral: The Constable’s Chapel, 139

Cathedral: Principal Front, 140

Cathedral: From the Cloisters Garden, 141

Towers of the Cathedral, 142

Cathedral: One of the Spires, 143

Cathedral: Bosses--Detail, Spire Windows--Angle and Crocket of Spire, 144

Cathedral: Interior of Spire--Doorway to Spire, 145

Court of the Cathedral, 146

General Plan of the Cathedral, 147

Burgos Cathedral, 148

Cathedral: View of the Principal Nave and High Altar, 149

Burgos Cathedral, 150

Cathedral: View of the Nave from the Gate of the Pellegeria, 151

Cathedral: Back Part of the High Altar, 152

Cathedral: Choir Stalls, 153

Interior of the Cathedral, 154

Details in the Cathedral, 155

Details in the Cathedral, 156

Details in the Cathedral, 157

Details in the Cathedral, 158

Details in the Cathedral, 159

Details in the Cathedral, 160

Cathedral: Exterior of the Constable’s Chapel, 161

Cathedral: Interior View of the Constable’s Chapel, 162

Cathedral: The Constable’s Chapel, 163

Cathedral: Details of the Constable’s Chapel, 164

Cathedral: Details of the Constable’s Chapel, 165

Cathedral: The Constable’s Chapel from the Altar, 166

Cathedral: Entrance to the Constable’s Chapel, 167

Cathedral: Details of the Constable’s Chapel, 168

Cathedral: Altar-piece on the Epistle Side of the Constable’s Chapel, 169

Cathedral: Windows of Sacristy, the Constable’s Chapel, 170

Cathedral: Doorway and Window in the Constable’s Chapel, 171

Cathedral: Santa Ana, in the Altar-piece of the Constable’s Chapel, 172

Cathedral: St. Margaret with the Monster at her Feet, in the Altar-piece of the Constable’s Chapel, 173

Cathedral: Details of the Principal Chapel, 174

Cathedral: Details of the Exterior of the Principal Chapel, 175

Cathedral: Exterior of the Principal Chapel, 176

Cathedral: Chapel of St. Anne, 177

Cathedral: Details of the Altar-piece in the Chapel of St. Anne, 178

Cathedral: Chapel of Santa Tecla, 179

Cathedral: Staircase leading to Puerta Alta de la Coroneria, 180

Cathedral: View of the Cloisters, 181

Cathedral: Gate of the Old Sacristy in the Cloisters, 182

Cathedral: The Cloister Gate, 183

Cathedral: Puerta Del Sarmental, 184

Cathedral: Gate of Pardon, 185

Cathedral: A Doorway, 186

Cathedral: A Doorway, 187

Cathedral: Porch of the Pellegeria, 188

Cathedral: Puerta Alta de la Coroneria, 189

Cathedral: Puerta Alta de la Coroneria, 190

Cathedral: The Famous Coffer of the Cid, 191

Cathedral: Central Dome in the Cross-aisle, 192

Cathedral: Processional Door in the Cloisters, 193

Cathedral: Entrance to the Cloisters, 194

Cathedral: Detail of the Door leading to the Gothic Cloisters, 195

Cloisters of the Cathedral, 196

The Lower Cloisters. Eleventh Century, 197

Cathedral: The Cloisters, 198

Cathedral: The Cloisters, 199

Cathedral: The Cloisters, 200

Cathedral: Detail of the Cloisters, 201

Cathedral: Bas-relief in the Lower Cloisters. Eleventh Century, 202

Cathedral: Bas-reliefs in the Lower Cloisters. Eleventh Century, 203

Cathedral: Soffits of Cloister Arches and Ornaments from Doors, 204

San Fernando and Doña Beatriz of Swabia in the Cathedral Cloisters, 205

Cathedral: Longitudinal Section of the Cloisters. Eleventh Century, 206

Cathedral: Details of the Sepulchre of Don Fernando Diez de Fuente-Pelayo, 207

Niches with Tombs in the Cathedral Cloisters, 208

Cathedral: Puerta Del Sarmental, 209

Cathedral: Sepulchre of Don Fernando Diez de Fuente-Pelayo, Abbot of St. Martin, 210

Details of Screens in the Cathedral, 211

Cathedral: El Cristo de Los Huevos, 212

Cathedral: Sepulchre of Archbishop Luis de Acuña, 213

Cathedral: Sepulchre of the Founder of the Cathedral, 214

Cathedral: Our Lady la Mayor, Statue of Silver, 215

Cathedral: Processional Crucifix in Silver Gilt, the Work of Juan de Arfe in 1592, 216

Cathedral: Gold Enamelled Vase with Cover and Antique Medallions, two Silver Gilt Goblets, and Jug, 217

Cathedral: Double-handled Vessel with Cover, the Work of Dom. Urquiza de Madrid, in 1771, 218

Cathedral: Statues of Saints and Ecclesiastics, 219

Cathedral: Details of Balconies, 220

Cathedral: Remains of Altar--Relievo from Portal. Eleventh Century, 221

Cathedral: Compartment of Apsis, 222

Cathedral: Part of the Open Gallery or Triforium, 223

Cathedral: Details of the Choir Stalls, 224

Altar-piece of the Church of San Nicolás, 225

La Cartuja: General View of the Church, 226

La Cartuja: Gate of the Church, 227

La Cartuja: Sepulchre of the Infante Don Alonso, 228

La Cartuja: Interior View of the Church, 229

La Cartuja : Sepulchre of the Infante Don Alonso, 230

La Cartuja: Sepulchre of the Sovereigns John II. and Isabel of Portugal, 231

La Cartuja: Sepulchre of the Sovereigns John II. and Isabel of Portugal, 232

La Cartuja: Statue of San Bruno, 233

La Cartuja: Details of the Sepulchre of the Sovereigns John II. and Isabel of Portugal, 234

La Cartuja: Details of the Sepulchre of the Sovereigns John II. and Isabel of Portugal, 235

La Cartuja: Details of the Sepulchre of the Sovereigns John II. and Isabel of Portugal, 236

La Cartuja de Miraflores: Details of the Choir Stalls, and Stall of the Officiating Priest, 237

La Cartuja de Miraflores: Stalls of the Lay Brothers, 238

La Cartuja de Miraflores: A Side Door, 239

La Cartuja de Miraflores: Detail of the Choir, 240

La Cartuja de Miraflores: Choir Stalls, 241

La Cartuja de Miraflores: Detail of the Choir Stalls, 242

La Cartuja de Miraflores: The Prior’s Stall, 243

La Cartuja: Detail of the Sepulchre of Don Juan II. and his wife, 244

La Cartuja: Sepulchre of the Infante Don Alonso, brother of Isabel I., 245

La Cartuja: Tomb of the Infante, 246

La Cartuja: Compartment of King’s Tomb, 247

La Cartuja: Portions of Cornice, King’s Tomb, 248

La Cartuja: Ornament from the Infante’s Tomb, 249

La Cartuja: King’s Effigy--Infante’s Robe--Infante’s Prie-Dieu Cloth, 250

La Cartuja: Panelled Wall--Alabaster Crown and Tassels, 251

La Cartuja de Miraflores: A Sixteenth-Century Chimneypiece, 252

Cathedral and La Cartuja: Effigies from Tombs, 253

La Cartuja: Ceiling Ornaments--Cathedral: Details from the Constable’s Monument, 254

Convent of Las Huelgas: View of the Temple, 255

Convent of Las Huelgas: Façade of the Monastery, 256

Convent of Las Huelgas: Patio de San Fernando, 257

Convent of Las Huelgas: Entrance to the Church, 258

Convent of Las Huelgas, 259

Church of Las Huelgas, 260

A Sepulchre in the Convent of Las Huelgas, 261

Details of the Exterior of Santa Maria La Real commonly called de Las Huelgas, 262

Cloisters and Sepulchre in the Convent of Las Huelgas, 263

A Sepulchre in the Convent of Las Huelgas, 264

A Sepulchre in the Convent of Las Huelgas, 265

Sepulchres in the Choir of Santa Maria La Real de Las Huelgas, 266

Convent of Las Huelgas: View of the Choir, 267

Convent of Las Huelgas: The Cloisters, 268

Convent of Las Huelgas: Cloisters of San Fernando, 269

Convent of la Huelgas: Entrance to the Nave of St. John, 270

Convent of la Huelgas: Door in the Chapel of San Salvador, 271

Convent of la Huelgas: The Cloisters, 272

Convent of la Huelgas: Flag taken by Alfonso VIII. at the Battle of Las Navas, 273

Gate of the King’s Hospital, 274

Façade of the Church of the Hospital of the King, 275

Interior View of the Courtyard of the Hospital of the King, 276

Cloisters in the Monastery of Santo Domingo de Silos, 277

Monastery of Santo Domingo de Silas (Silos), 278

Caskets and Chalice in the Monastery of Santo Domingo de Silos, 279

Reliquary, Details, and Paten in the Monastery of Santo Domingo de Silos, 280

Detail of an Altar: Monastery of Santo Domingo de Silos, 281

The Arch of Fernan Gonzalez, 282

Gate of the Hospital of St. John, 283

Monastery of San Juan de Ortega: Sepulchre of the Founder, 284

Gate of the House of the ‘Cordon,’ 285

House of the ‘Cordon,’ 286

Church of San Gil: Chapel of the Nativity, 287

Altar-piece of the Buena Mañana in San Gil, 288

Church of San Gil: Altar-piece of the Chapel of the Kings, 289

Gate of the Church of San Lesmes, 290

Altar-piece in San Lesmes, 291

Porch of the Church of San Estéban, 292

Entrance to the Parish Church of San Nicolás, 293

Altar-piece in San Nicolás de Bari, 294

Archway of Santa Maria, Sixteenth Century, 295

Gate of Santa Maria, 296

The Arco de Santa Maria, 297

Provincial Museum: Arabesques of the Arco de Santa Maria, 298

Exterior View and Detail of the Arch of Santa Maria, 299

Provincial Museum: Sepulchre of Don Juan de Padilla in Fresdelval, Fifteenth Century, 300

Provincial Museum: Sepulchre of Don Juan de Padilla, 301

Interior View of the Provincial Museum, 302

Provincial Museum: Front of an Altar in Enamelled Bronze, Eleventh Century, 303

Provincial Museum: Visigothic Sepulchre of Sixth Century, found at Briviesca, 304

Coffin of Briviesca: Preserved in the Provincial Museum, 305

Provincial Museum: Roman Statue found in the Ruins of Salonica, 306

Transverse Section and Details of the Church of San Juan (Baños), 307

Church of Gamonal, 308

Interior of the Church of Gamonal, 309

Portal of the Church of the Villa de Sasamón, 310

Tower of the Church of the Villa de Santa Maria Del Campo, 311

Chapel of Our Lady of the Valley in the Rodilla Monastery, General View of the Exterior, 312

Chapel of Our Lady of the Valley in the Rodilla Monastery, Porch--Interior, 313

Monastery of Fresdelval: Portal, 314

Monastery of Fresdelval: Hospice, 315

Monastery of Fresdelval: Cloisters, 316

Monastery of Fresdelval: Window in the Ruined Temple, 317

Monastery of Fresdelval: Window in the Ruined Temple, 318

Olmillos Castle, 319

A Courtyard, 320

Lerma: The Duke of Lerma’s Palace and the College, 321

Lerma: The College, 322

Lerma: Interior of the Collegiate Church, 323

Lerma: Sepulchre of the Cardinal Duke of Lerma, 324

Lerma: Details of the Sepulchre of the Cardinal Duke of Lerma, 325

Lerma: The Magdalene. (Copy of a Picture by Leonardo Da Vinci), 326

Lerma: Our Lady of the Silla. (Copy of a Picture by Raphael), 327

Bridge of Horadada, 328

SALAMANCA

Cathedral, from the East, 329

General View from the School, 330

General View of Salamanca, 331

General View of Salamanca, 332

A Portion of Salamanca, 333

Roman Bridge over the Tormes, 334

Bridge of Bejar, 335

View of the Ancient Wall, 336

Principal Nave of the Old Cathedral, 337

Nave of Cross-aisle of the Old Cathedral, 338

Sepulchres in the Old Cathedral, 339

Longitudinal Section of the Old Cathedral, 340

Sepulchres in the Old Cathedral, 341

Sepulchres in the Cross-aisle, Old Cathedral, 342

Sepulchre in the Cloisters of the Old Cathedral, 343

Sepulchre in the Cloisters of the Old Cathedral, 344

Sepulchre in the Cloisters of the Old Cathedral, 345

Capitals of the Sepulchres in the Cloisters of the Old Cathedral, 346

Capitals of the Sepulchres in the Cloisters of the Old Cathedral, 347

Capitals of the Sepulchres in the Cloisters of the Old Cathedral, 348

Capitals and Effigies in the Old Cathedral, 349

Capitals in the Old Cathedral, 350

The Old Cathedral, 351

Details of the Outside and Plan of the Cupola of the Old Cathedral, 352

The Cathedral, 353

View of the Cathedral from the ‘Seminario,’ 354

Cathedral: East Façade, 355

Tower of the Cathedral, 356

Cathedral: The Tower del Gallo, 357

Principal Façade of the Cathedral, 358

Principal Nave in the Cathedral, 359

Cathedral: View of the Cross-aisle, 360

Cathedral: Entrance to the Chapel of the Bishop of Seville, Don Diego de Anaya, 361

Cathedral: View of the Sacristy, 362

Cathedral: Chapel in the Cloisters, 363

Chapel of St. Barbara in the Cathedral Cloisters, 364

Cathedral: Dome of the Tower of the ‘Gallo,’ 365

Cathedral: General View of the Puerta del Nacimiento, 366

Cathedral: Gate of the Nativity, 367

Cathedral: Gate of St. Clement, 368

Cathedral: Gate of the ‘Ramos,’ 369

Cathedral: Gate of the Patio Chico, 370

Cathedral: Right-hand Gate; or, Gate of the Bishop, 371

Cathedral: The Beheading of St. John Baptist. (By Jac. Geronimo Espinosa), 372

Cathedral: The Virgin holding the Dead Body of her Divine Son. (Pietá in wood, by Salvador Carmona), 373

Cathedral: Wooden Crucifix with which the troops of the Cid were harangued. The Smaller Crucifix the Cid carried beneath his Armour, 374

Cathedral: Chair and Table in the Chapter Hall, 375

General View of the Church of Santo Domingo, 376

Detail of the Façade of Santo Domingo, 377

Façade of the Church of Santo Domingo, 378

Detail of the Façade of Santo Domingo, 379

Cloisters of Santo Domingo, 380

Interior of the Church of Santo Domingo, 381

Arches in the Choir of the Church of Santo Domingo, 382

Interior View of the Sacristy of Santo Domingo, 383

Door of the Conference Hall of Santo Domingo, 384

General view of the Cloisters of Santo Domingo, 385

Cloisters of Santo Domingo, 386

Fresco in the Church of Santo Domingo, by Palomino, 387

Door of the church of St. Martin, 388

Gate of the Church of St. Martin, 389

Door of the Church of San Justo, 390

Church of the Augustines: The Conception of the Virgin, by Ribera, 391

Gate of the Church of San Benito, 392

Parish Church of the Holy Spirit, 393

Portal of the Parish Church of the Holy Spirit, 394

Church of the Third Order of St. Francis, 395

View of the Seminary from the Irlandeses, 396

View of the Seminary, 397

Chapter Hall in the Seminary, 398

The Seminary: Abraham offering Melchisedech Bread and Wine, 399

The Seminary: The Queen of Sheba visiting Solomon, by Rubens, 400

The Seminary: Christ scourged. Statue in wood by Salvador Carmona, 401

General View of the University, 402

Façade of the University, 403

Upper Part of the Façade of the University, 404

Lower Part of the Façade of the University, 405

University: Medallion representing the Catholic Sovereigns over the Principal Entrance, 406

Façade of the University, 407

Library in the University, 408

University: Altar of the Chapel, 409

Gallery in the University, 410

Portico of the University, 411

Details of the Porch of the University, 412

Details of the Porch of the University, 413

Door of the Library of the University, 414

Court of the College of the Irlandeses, 415

Façade of the College of the Irlandeses, 416

Porch of the College of the Irlandeses, 417

Portico of the Chapel of the College of the Irlandeses, 418

Court of the College of the Irlandeses, 419

Details of the Court of the Archbishop’s College, now of the Irlandeses, 420

Gate of the Santa Maria de las Dueñas, 421

Provincial Museum: Model in wood for an Altar for the Cathedral, by Manuel Rodriguez, 422

Provincial Museum: Arm-chair of Fr. Antonio de Sotomayor, 423

Provincial Museum: St. Michael overcoming Satan. Silver Statue. The work of John de Arfe, 424

Cloisters in the Ruins of the School of the Vega, 425

Capitals in the College of the Vega, 426

Statue of Our Lady of the Vega, 427

The House of Salinas, 428

Courtyard of the House of Salinas (Upper Part), 429

Detail of the Courtyard of the House of Salinas, 430

General View of the College of Calatrava, 431

Staircase in the College of Calatrava, 432

Tower of the ‘Clavero,’ 433

General View of the School, 434

Façade of the School, 435

Interior Gate of the School, 436

Entrance to the School, 437

Porch of the Archivos of the School, 438

Courtyard of the School, 439

Back of the School, 440

Courtyard of the School, 441

Principal Façade of the House of the Shells, 442

Grated Window of the House of the Shells, 443

Triple Grated Window of the House of the Shells, 444

Balcony and Triple Grated Window of the House of the Shells, 445

Doorway in the House of the Shells, 446

Courtyard in the House of the Shells, 447

House of Monterey, 448

Tower of the House of Monterey, 449

House of Monterey, 450

La Plaza Mayor, 451

The Town Hall, 452

Patio de la Gobernación, 453

Ancient College, now the House of the Provincial Deputation, 454

River Gate through which Hannibal entered, 455

House of Doña Maria the Brave, 456

Avenue of the Campo of San Francisco, 457

Statue of Fr. Luis de Leon, 458

The Pacification of the Factions of Salamanca. A Relief by Don Aniceto Marinas, 459

Market, Province of Salamanca: ‘A Bad Bargain,’ by J. Aranjo, 460

Peasants’ Dance, by D. Fierros, 461

Charro, or Peasant of the Province, 462

LEON, BURGOS, AND SALAMANCA Leon, Burgos, and Salamanca

I

LEON

There is something cold and forlorn about the little city of Leon, that one-time capital of Spain; something chill and wintry, not explained even by the snowy peaks of Asturias bounding the horizon on the north. It is the chill of age. Other cities there are, even in Spain, older than Leon, but with them time has dealt more gently. It was but natural that this town should wither and grow old. Very much out of the world it lies, in as remote a situation as could be found in southern Europe. It has long outlived its destiny--and that was an honourable one. The blood of no new race has ever been infused into its veins. Founded by S. Sulpicius Galba in 70 A.D. as the headquarters of the Seventh Legion (Legio Septima), when it grew into a town, doubtless its first inhabitants were the unconquerable Celts of the Cantabrian Mountains. When the wild Suevi took refuge in this north-western corner of the peninsula, _Legio_, as it was then called, was nominally subject to them. Leovigild added it to the dominions of the Visigoths in 540, but despite this change of masters it probably remained Celtic to the core. The Moorish yoke endured here but twenty-five years. So near to the great mountain barriers, where the new Spain was born, which contained the nucleus of the new monarchy and nation, it was naturally among the first prizes of the kings of Pelayo’s line. Issuing from those passes which had proved a death-trap to the Moorish hordes, the Christians of Asturias wrested this city from the invader in the year 742, and with a very brief interval it was henceforward to know none but a Spanish yoke. We do not hear of much effort on the part of the Saracens to recover or to hold it. We can fancy that the spirit and resolution of those children of the South were numbed in these wintry plains, within sight of the everlasting snows, almost within reach of the tempests of the northern seas. But it was a place that suited well the temper of the champions of Christendom in Spain. It was grim, it was stern, it was rude and simple. Behind was the glorious cradle of the nation, the citadel of Spanish freedom; before were the plains whereon to do battle with the Moor, the streams that flowing south pointed the way for the Spanish knight. Leon was the first stage of a journey which was to end only at the Pillars of Hercules. Every town in the peninsula marks a forward step of the Christian, a backward step of the Moslem. Leon was outpost first, capital after. It seems to have been attacked and perhaps destroyed by the enemy during the ninth century, for we read that Ordoño I. rebuilt it. Under Alfonso III. the frontier of the nascent kingdom was carried forward to the Douro. At Leon men slept more peacefully. Alfonso, upon his abdication in 912, pursuing the policy afterwards so harmful to Spain, divided his dominions among his children. Leon was allotted to Garcia; and two years later, on the death of that prince and the accession of his brother Ordoño II., it became the capital of the united realms of Galicia and Leon, to which in 923 with the crowning of a third brother, Froila II., was added the ancestral province of Asturias.

In the Middle Ages, where the Court was the scaffold was not far away. And the new capital was soon to see something of the darker side of regal authority. Ordoño II. attributed his defeat at Val de Junqueras to the defection or mutiny of the Counts of Castile, the wardens of the eastern marches. Summoning four of them into his presence at his palace at Tejares, he placed them under arrest, and sent them in chains to Leon, where after a painful captivity they were put to death. This was not the last tragedy to cast a shadow over the little capital. Meanwhile, under Ramiro II., the name of the town began to be applied to the whole kingdom. It was the scene of the imprisonment of the aspiring Fernan González, Count of Castile; and by him and a Navarrese army it was besieged during the reign of Ordoño III. Under the terrible Al Mansûr, the Moslem tide swept up to the very peaks of Asturias. Leon was submerged, the city taken and burned, and Fernando II. was glad to find an asylum in the mountain fastnesses of his ancestors.

This was but a temporary check to the Christian fortunes. In 1002 the announcement was made from every pulpit in free Spain, ‘Al Mansûr is dead and buried in Hell.’ Emerging once more from their retreat, the Leonese recovered their capital, which was henceforward to remain uninterruptedly in Christian hands.

Alfonso V., the Restorer of Leon, mindful of the precedents set by Visigothic kings, held an ecclesiastical council at his capital in the year 1020. There was a great concourse of prelates and nobles from all parts of Christian Spain. The conference took place in the cathedral church of St. Mary, founded by Ordoño II., and King Alfonso and Queen Elvira presided in person. Of the fifty-eight ordinances and resolutions, thirty-one embodied the municipal constitution of the town of Leon--the first town in Spain to receive a charter. Indeed, it was probably the first town in mediæval Europe to obtain the privilege of self-government.

The history of the city thenceforward becomes merged in the history of the kingdom and in that of Spain generally. But here and there in the annals of the time certain events stand out as specially associated with it. In the year 1029 the young Count Garcia of Castile came hither to espouse Sancha, the sister of King Fernando III. His movements were watched by the three sons of the Count of Vela, whom his father had put to death. Their manner towards the young Count implied rather friendship than enmity. But one morning, as he entered the church of San Isidoro, they fell upon him and slew him. The assassins were burned to death; but their deed served to intensify the bitter rivalry of Castile and Leon.

There were other ecclesiastical councils held here in 1106, 1114, 1134, 1228, and 1288. And in 1137 the church which had been defiled with the young Garcia’s blood was the scene of the impressive coronation of Alfonso VII. as Emperor of all Spain--a title which no Spanish king could justly bear, till Charles came from Flanders in 1517 to rule over a Spain for ever united.

For a hundred years longer the little city by the northern hills posed from time to time as an imperial capital, but with the union of the crowns under San Fernando the headship of the kingdom passed to Burgos and Toledo. For a century more the court of the Spanish kings was in the ever-moving camps, on the ever-shifting battlefield. The claims of Leon to rank as capital were forgotten. The echoes of warfare far away on the banks of the Jucar and Guadalquivir hardly reached her walls. She fell asleep. She had harboured the founders of national independence; she had borne the brunt and stress of battle, had been in the van in the fierce strife between Christian and Moslem. Everything that happened to Leon happened a very long time ago; and it might all have seemed a dream if the genius of the architect had not bequeathed to our own day great memorials of the glory made by kings and prelates.

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Leon, as we know, does not derive its name from ‘the lions introduced by the Carthaginians,’ as some old chroniclers believed, but from the legion quartered here in the first century of the Christian era. The old name of the place was Urbs Legionis. Remembering the peculiar pronunciation of the Spanish G, the modification of the Latin word into its present form is easily explained.

The legion which preserved the _pax Romana_ in this remote corner of the empire may have varied in strength from six to seven thousand men of all arms. The camp was rectangular, and measured 380 by 570 metres. It was confined by the wall, of which the northern, eastern, and part of the western sides remain,--or rather the bases, for the masonry of the upper part reveals the handiwork of various subsequent ages. Walking round the city, you notice the stout round bastions outcropping between the houses which frequently obscure the trace of the wall. Of the four Roman gates, faced with marble slabs and inscribed with the names of the commanders of the legion, two remain--the eastern, or Bishop’s gateway, behind the cathedral, and the low semicircular arch in the Plazuela del Conde de Luna.

Embedded in or against these walls many profoundly interesting relics of the Roman domination have been discovered. These are now to be seen in the Provincial Museum. There is the white marble altar dedicated to Diana by the legate Tullius Maximus, as the inscription on one side records. The three other faces bear respectively these inscriptions:--

(1) ‘Aequora conclusit campi, Divisque dicavit,
Et templum statuit tibi, Delia virgo triformis,
Tullius è Lybia, rector legionis Hiberae,
Ut quiret volucris capreas, ut figere cervos,
Saetigeros ut apros, ut equorum silvico lentum
Progeniem, ut cursu certare, ut disice ferri,
Et pedes arma gerens, et equo jaculator Hibero.’

(2) ‘Cervôm altifrontum cornua
Dicat Dianae Tullius,
Quos vicit in parami aequore
Vectus feroci sonipede.’

(3) ‘Dentes aprorum quos cecidit Maximus
Dicat Dianae, pulchrum virtutis decus.’

This Tullius Maximus seems to have loved the chase, and elsewhere we find him dedicating a bear’s skin to his favourite goddess. The people of the Urbs Legionis were probably mighty hunters. On a sepulchral monument the son-in-law, daughter, and grandson of the founder are represented as a boar, a hind, and a fawn. The Provincial Museum also contains an altar consecrated to the genius of the legion.

Where the cathedral now stands were the Roman baths, which are said to have been converted into a castle or palace by the kings of Asturias. The building was utterly destroyed by Al Mansûr, and on its site arose the basilica of Ordoño II. The royal residence then seems to have been situated near where the monastery of San Salvador del Palaz del Rey was built by Ramiro II. (930-950). Another palace occupied the square in front of the church of San Isidoro. Rebuilt by Berenguela, the mother of San Fernando, it was pulled down in the time of Isabel the Catholic. It was no doubt from this building that Count Garcia passed to his death in the opposite church.

SAN ISIDORO,

after the Roman walls the most ancient building in Leon, occupies the site of a chapel and nunnery consecrated in 966 and rebuilt by Alfonso V. Fernando I., who reigned over Leon and Castile from 1033 to 1065, obtained from the Amir of Seville the body of the doctor, San Isidoro. To receive this venerated relic a new church was built, and solemnly dedicated on December 21, 1063. Two years later the bones of the martyr San Vicente were transported hither from Avila. In the next century the church was greatly enlarged and richly endowed by Alfonso VII., who attributed his victory at Baeza to the miraculous intervention of the Doctor of Seville. To provide for the service of the church, the regular canons were transferred here from Carvajal, and exchanged quarters with the nuns who had continued to occupy the old tenth-century convent.

The church is in the Romanesque style, the oldest portion being the chapel of Santa Catalina, which Street thinks was the original fabric of Fernando I. The chapel was intended as a mausoleum for the royal family of Leon, but twelve tombs only remain out of thirty. The only inscriptions are on the resting-places of Alfonso V. and Sancha, the sister of Alfonso VII. Here were buried Alfonso IV., Ramiro II., Ordoño III. and his queen, Sancho I., Ramiro III. and his queen Urraca, Fernando I. and Queen Sancha, Sancho the Great of Navarre, and the murdered Count Garcia. Here, before the Pantheon was despoiled by the French in 1808, might have been seen the marble and porphyry sepulchre of the brave princess Urraca of Zamora, and the urns of the Moorish and French wives of Alfonso VII. Now, the inscriptions having been wantonly defaced, it is impossible to identify the few remaining sarcophagi.

The arches of this gloomy Pantheon are decorated with curious frescoes, probably of the twelfth century. The crude drawing and tints rather add to the impressive effect of these solemn paintings. Among the subjects are the ‘Massacre of the Innocents,’ the ‘Last Supper’ (painted, as Street points out, without the least regard to the angles formed by the groining, and as if the vault were a flat surface), scenes from the Passion, and the Visions of the Apocalypse--terrible conceptions. One of the designs represents the Supreme Judge with two swords issuing from His mouth; another shows a hand, inscribed _Dextra Dei_. The compositions are surrounded by foliage, rich and conventional. On the altar is an interesting ivory cross, the gift of Fernando I. and Sancha, whose names are engraved upon the reverse. While the figure of Christ is rude in the extreme, the foliage and figures of the four evangelists at the back are exquisitely chiselled.

Leaving this place consecrated to wrath and tears, we re-enter the church. The plan is roughly cruciform, an apsidal chapel projecting to the east of each arm of the transept, on either side of the Capilla Mayor. We are now in that part of the fabric which was built by order of Alfonso VII., evidently on the model of St. Sernin at Toulouse. The name of the architect is given on an inscription in the flooring as Petrus de Deo--Peter of God. The most interesting features in the church are the very ancient mural paintings in the Byzantine style, with the same profusion of foliage and richly moulded capitals to be noticed in the Pantheon. The dentated and horse-shoe arches reveal traces of Moorish influence, showing that even in the far north of Spain architects could not have closed their eyes and ears altogether to the doings of the detested infidels.

Among the treasures of the church might fairly be included the font, with its Byzantine reliefs, while objects of special veneration are the relics of San Isidoro contained in an ancient silver urn, supported by four lions, and the hand of San Martino, holding a pen, and encased in a rich reliquary. Here also you may see a chalice of agate, the donation of the Infanta Urraca, and (in the Sacristy) the standard embroidered by order of Alfonso VII. with the image of San Isidoro as he appeared at Baeza, and last displayed at the taking of Antequera in the fifteenth century. Many other priceless treasures and relics were lost when the church was plundered by the French; while in 1811 the building was struck by lightning, and--as if that were not enough--white-washed throughout!

The exterior is interesting. A doorway admits to the middle of the nave on the south side. The arch is semicircular and triple, the tympanum and spandrils being filled with sculpture, representing the Offering of Isaac, the Lamb of God, figures of Saints, and the signs of the Zodiac. ‘The whole detail of this sculpture,’ says Street, ‘is very unlike that of most of the early work I have seen in Spain; the figures are round and flabby, and very free from any of the usual conventionality. All this made me feel much inclined to think that the execution of this work was at an early date, and soon after the first consecration of the church.’ The appearance of the whole front was not improved by the Renaissance work above this gateway--the elaborate cornice, the imperial shield of Charles V., and the colossal equestrian statue of San Isidoro. The Romanesque portal of the southern transept, now closed, is adorned with a relief representing the Descent from the Cross, the statues of Saints Peter and Paul, and other sculptures. Detached from the church is a square tower or steeple built between two bastions in the adjoining city wall. Generally speaking, the eastern façade is strictly Gothic, much of it having been added to the Romanesque framework in the sixteenth century.

The adjoining cloister is mainly of the same period and style. The decorations are in the plateresque style, and the staircase, leading to the council chamber of the Provincial Deputation, is a daring and admirable example of Renaissance work. The library contains the beautiful Bible written in 960 by the priest Sancho, ‘whose illuminations and vignettes’ (says a native writer) ‘with their sinister figures with black faces, curious dresses, and gloomy fancies, display the artistic tendencies of that age of turmoil.’

In the Plaza del Conde de Luna is the mean little church of San Salvador del Palaz del Rey, built by Ramiro II. as a convent for his daughter Elvira--she who ruled as regent during the minority of her brother, Ramiro III. Nothing of the original structure remains; but the site is that of one of the oldest royal residences in Leon, and of the first burying-place of her kings, before their ashes were transported to San Isidoro.

THE CATHEDRAL

of Leon marks the second period of the city’s history and of the architecture of northern Spain. San Isidoro stands for the infant monarchy, with its Byzantine traditions handed down from the Visigothic kings; the cathedral, for the strong, ever-expanding realm of Leon and Castile, in close touch and sympathy with the great Catholic world of the west. San Isidoro is Romanesque; the cathedral is not only Gothic, but purely French, closely resembling Amiens and Rheims. It is a magnificent exotic. It symbolised the reunion of Spain with Western Christendom, after its long night of isolation, the infusion into its art and its people of the European spirit.

This beautiful cathedral--_pulchra Leonina_--occupies the site of the basilica of Ordoño II. (of which no trace remains). Planned about the first years of the reign of San Fernando, it was not completed in 1258, when an episcopal congress was held at Madrid to discuss the progress of the works and to grant an indulgence of forty days to the faithful who should assist with alms. In 1303 the Bishop Gonzalez proclaimed that the work was done, ‘thanks be to God.’

The beauty of this wonderful church consists largely in its lightness. Its supports are so slender, its walls so freely pierced with windows at every stage, its details everywhere so delicate, that the term ‘frozen music’ applied to architecture seems here indeed no mere hyperbole. ‘A mere lantern,’ Street calls the church, and blames the architect for his extreme daring and for his excessive use of windows. Though the vaults had been filled in with very light stone or concrete, the fabric was ever trembling on its fragile foundations. In 1631 the vault above the crossing collapsed, and was replaced by a dome. A hundred years later many of the arches of the aisles succumbed. Meanwhile Renaissance and Churrigueresque additions were made; but the whole was restored between the years 1850 and 1901, and now the cathedral exists in almost pristine symmetry and airiness.

The eastern end, or chevet, projects beyond the city wall, which forms the eastern boundary of the adjacent cloister. The transept, if that term may be applied to the whole space between the Capilla Mayor and Coro, is of unusual breadth, and may be said to include a nave, two aisles to the east and one to the west. North and south it projects but slightly beyond the nave. The west front is flanked by two steeples, which stand on each side of, and do not terminate, the aisles. They are heavier than the rest of the structure, and of different heights and ages. Ugly, too, is the empty space left between their side walls and those of the clerestory over the main entrance. The northern steeple is the older, lower, and simpler; it is surmounted by a spire with a vane. The other tower is more ornate, and contains the belfry. Its traceries are in a debased Gothic style.

The façade between these steeples is very beautiful. It is surmounted by a pediment with ‘acroteria’ or pedestals to receive statues. Beneath this is a very large wheel-window above a row of windows corresponding to the triforium. The three magnificently sculptured doorways extend from steeple to steeple. The arches are pointed and triple. Byzantine influence is visible in the statuary and foliage. The figures, forty in number, are rather more than life-size, and represent saints and apostles, martyrs and confessors, kings and queens. On the north-west doorway is seen the half-defaced figure of Justice, bearing a sword inscribed with the words ‘Justitia est unicuique dare quod suum est.’ Beneath this portal cases of appeal were tried in the thirteenth century. A small column between this and the central doorway is engraved with the words _locus appellationis_ and the arms of Leon and Castile. The tympanum of the arch is adorned with reliefs, illustrating the earlier episodes in the life of Jesus. The doors themselves show scenes from the Passion and Risen Life.

The central shaft of the middle door is disfigured with a dressed-up image of the Virgin enclosed in glass. The sculpture of the tympanum is spirited and elaborate. In a composition depicting the Last Judgment devils are seen stirring their fires and plunging the reprobate into seething cauldrons. On the side of the blessed a young man extracts cheering music from what is perhaps a harmonium. The attitudes of the just express the liveliest satisfaction, whereas a crowned personage, striding boldly into Paradise, is met and warned off by a celestial Janitor. The naïve and fantastically horrible are curiously blended in this skilful work. The southern doorway is the least interesting of the three; the subjects of the reliefs are the death and coronation of the Virgin.

The entrance to the south transept has been entirely rebuilt, but the original reliefs and statuary of the three doors have been preserved and re-erected. Some old Byzantine capitals may be distinguished among the Gothic work. The south-west door is relieved with a diaper of fleurs-de-lys and castles, and lions and castles. The sculpture of the tympanum is equal to that of the west front, and shows the Saviour and the Evangelists, the twelve Apostles, and the Death of the Blessed Virgin. The colossal statue on the central shaft is that of San Froilan, an early bishop of Leon. Above is a row of four windows of two lights, and an enormous rose-window.

The glory of the cathedral is its stained glass, which fills the innumerable windows. Most of this is comparatively modern, and, though good in tone, is inferior to the fifteenth-century glass still existing in the windows of the Capilla Mayor, the Capilla de Santiago, and the north transept. The three rows of windows reach high up to the vaultings of the roof, those of the chapels being of two lights, those of the clerestory of four. It is strange that with such exquisite examples of colouring before them, the restorers of the church should have had the bad taste to bedaub the arches of the aisles with ochre, and to whitewash the pillars and vaults, marking the stonework with red lines. We could well have spared, moreover, the elaborate plateresque work in the choir, which, though good in itself, is dissonant from the general character of the building; and the Churrigueresque retablo of the Capilla Mayor, representing the Assumption of the Blessed Virgin. The sanctuary and choir, which in so many churches are the most interesting feature, are of quite secondary importance at Leon. The Capilla Mayor, however, contains the remains of San Froilan in two silver reliquaries of the Renaissance style, and the relics of two other bishops (Alvitas and Pelagius) in plain marble urns. The choir stalls date from the fifteenth century, and are well carved. The best work is seen in the panels behind the stalls, the subjects being the generation of Christ, the Visitation, the Revolt of Satan, and the Descent into Hell.

But after the general ensemble and the stained glass, nothing in the cathedral merits as much attention as the tombs and monuments. Of these the noblest is the cenotaph of Ordoño II. at the rear of the High Altar, erected five centuries after his death as a tribute of gratitude by the citizens of Leon. Though in the florid Gothic style of the fifteenth century, many of the figures and inscriptions appear to have been copied from an earlier tomb. The recumbent effigy of the king is large and dignified; his face is sharp and smooth-shaven; he wears his crown and the royal robes, and carries the orb and sceptre. At his feet lies a dog, the emblem of fidelity, beneath which is an inscription in Latin setting forth his deeds and virtues, and erroneously attributing to him the erection of the present temple. The monumental arch above encloses sculpture painted in brilliant colours on a gilt ground, which appears to be of an earlier elate than the rest of the monument. The arches of the wall of the Capilla Mayor have been bricked up, and those on each side of this monument are adorned with two very ancient distemper paintings of the Ecce Homo and Entombment. They exhibit some interesting peculiarities of dress and detail, and though the central figure is badly done, the spectators are lifelike and vigorously represented.

There are many tombs in the cathedral belonging to the transitional period from Byzantine to Gothic, mostly of bishops of the thirteenth century. The best preserved is in the Capilla del Nacimiento, and enshrines the remains of Bishop Rodrigo, who died in 1232. The tympanum of the arch is occupied by a representation of the Crucifixion, below this being shown a funeral procession, with the mourners tearing their hair in a grotesque excess of grief. The benevolence of the good prelate is immortalised by a figure distributing food to the poor, the halt, and the blind. The tomb of Bishop Martin (1254-1289), in the south transept, is adorned with the favourite scene from the life of St. Martin of Tours--the division of the cloak. The monuments to the bishops Manrique de Lara, Erasmus, and Martin (second of the name) are all in much the same style, but differing stages of preservation. In the Capilla del Salvador, behind the High Altar, may be seen the graceful effigy of the Countess Sancha (eleventh century), executed in the fourteenth century by Maestre Juan Lope, as an inscription on the robe informs us. The relief on the front of the tomb, showing a youth dragged along by a fiery horse, probably refers to the punishment in this world or the next of the wicked nephew, by whom the countess was assassinated. Another tomb in the same chapel bears the figure of a venerable man with flowing beard and ample robes.

At the north-eastern shoulder of the church, between it and the tower in the city wall already mentioned, is the fine rectangular chapel of Santiago, built in the time of the Catholic sovereigns--on the site, it would seem, of a twelfth-century chapel. The pillars are borne on the shoulders of various figures, among them being Samson, the Queen of Sheba, Laocoon, and a monk with a book on which is the derisive motto _legere et non intelligere_. The details of the architecture are capricious and graceful. The chapel is lighted by colossal windows, filled with gorgeous stained glass--blue and gold, purple and emerald--the reflected colour producing a magical effect.

The spacious cloister, which conceals the northern façade of the cathedral, was built in the early fourteenth century, but it has been rebuilt, restored, and altered into what Street calls ‘a very poor and weak kind of Renaissance.’ The ornamentation is profuse and not in bad taste. The inner walls have not been much altered, and the pillars supporting them are sculptured in the Gothic style. The bays are painted with an extremely valuable and interesting series of frescoes, so well drawn that they were more likely the work of some fifteenth-century Italian artist than productions of native talent. The subjects are all from the history of Christ and Mary, the Crucifixion curiously enough being omitted. When Street saw these paintings forty years ago, he spoke of the colours as pure and good, but they have now been almost entirely obliterated by the damp. The cloister contains several sepulchral monuments, some mere slabs, but one--that of the Canon Juan de Grajal (1447)--elaborately and artistically sculptured. Some colossal idiot has cut off the heads of the angels shown in this fine piece of work. Near the beautiful Gothic entrance to the cloister is an image of our Lady of Regla, to which at one time the people used to proceed in procession to return thanks for the mythical victory of Clavijo, a choir of damsels representing the equally mythical tribute of one hundred virgins said to have been paid by Mauregato to the Moors.

In the archives of the cloister are preserved a fine collection of codices and documents, throwing light on the history not only of Spain but of the Catholic Church. Specially valuable is a Gothic Bible written _sub umbraculo Santae Marie et Sancti Martini in monasterio vocabulo Alb ... in DCCCCLVIII._ [920 A.D.], by John the Deacon, who transcribed on the intermediate pages the life of San Froilan.

We cross the spacious plaza in front of the cathedral, with its fine marble fountain, presided over by Neptune and his Tritons, and go into the town in search of ancient buildings. Of thirteenth-century architecture there are no more examples; but the southern wall was built by Alfonso XI. about 1324, to take in a quarter which had hitherto been a suburb. The old Roman wall began at the stern, square Torre de los Ponces. The gates in Alfonso’s wall have all been restored and modernised, except that of Santo Domingo, which, with its low arch and pointed vaulting, preserves the true mediæval air. The Moneda gate carries a statue of Carlos III., erected in 1759, the year of his accession. Enrique II. (Trastamara) built a palace at Leon on the model, it is said, of the Alcazar at Seville. What was left of this structure has been converted into a prison.