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+*** START OF THE PROJECT GUTENBERG EBOOK 64970 ***
+
+                          THE SPANISH SERIES
+
+                      VALLADOLID, OVIEDO, SEGOVIA
+                      ZAMORA, AVILA, AND ZARAGOZA
+
+
+
+
+                          THE SPANISH SERIES
+
+                     _EDITED BY ALBERT F. CALVERT_
+
+
+                      GOYA
+                      TOLEDO
+                      SEVILLE
+                      MURILLO
+                      CORDOVA
+                      VELAZQUEZ
+                      CERVANTES
+                      THE PRADO
+                      THE ESCORIAL
+                      SPANISH ARMS AND ARMOUR
+                      GRANADA AND THE ALHAMBRA
+                      LEON, BURGOS, AND SALAMANCA
+                      VALLADOLID, OVIEDO, SEGOVIA,
+                         ZAMORA, AVILA, AND ZARAGOZA
+
+
+                      _In preparation._
+
+                      MADRID
+                      GALICIA
+                      EL GRECO
+                      CITIES OF ANDALUCIA
+                      MURCIA AND VALENCIA
+                      ROYAL PALACES OF SPAIN
+                      TAPESTRIES OF THE ROYAL PALACE
+                      CATALONIA AND BALEARIC ISLANDS
+                      SANTANDER, BISCAYA, AND NAVARRE
+
+
+
+
+                          VALLADOLID, OVIEDO
+                            SEGOVIA, ZAMORA
+                           AVILA, & ZARAGOZA
+
+                      AN HISTORICAL & DESCRIPTIVE
+                    ACCOUNT, BY ALBERT F. CALVERT,
+                        WITH 413 ILLUSTRATIONS
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+
+                  NEW YORK: JOHN LANE COMPANY MCMVIII
+
+
+        Edinburgh: T. and A. CONSTABLE, Printers to His Majesty
+
+
+
+
+PREFACE
+
+
+The six cities of Spain which form the subject of the following pages
+are little known to English travellers. Yet no one who would understand
+the country can afford to pass them by. Not only are they compact of
+artistic and architectural treasures, but within their walls much of the
+history of the Spanish nation has been made. Oviedo--that little city
+between the mountains and the sea, so far off the beaten track--was the
+cradle of the monarchy, the residence and burial-place of its patriot
+kings. For all men of Spanish blood it is holy ground. In Zamora we have
+the typical city of the heroic age of Spain, the era of half-fabulous
+heroes, whose personalities are made known to us only by folklore and
+ballads.
+
+Segovia and Avila are towns of the Reconquest, wardens, one might say,
+against the redoubtable Moor. To the fancy their grass-grown streets
+still re-echo with the tramp of armed men, with the ring of spears and
+the word of command. The shadowy warriors of Oviedo and Zamora here
+give place to the tall knight who stalks across the page of history,
+ready to do battle with pagan Moor or Christian tyrant. But Avila
+enshrines the holier memory of the sainted Theresa, greatest of Spanish
+women, revered not least in the lands for whose conversion to her faith
+she unceasingly prayed. And so we pass on, each town illustrating a
+different stage of a great nation’s development.
+
+In Valladolid, which preceded and subsequently nearly supplanted Madrid
+as the capital of Spain, we are again on holy ground; for Cervantes
+dwelt here, and here died the immortal Columbus. Zaragoza, the chief
+city of a kingdom that influenced the destinies of powerful European
+States when Castile was hardly known to the outside world, has ever been
+a noble and important capital, boasting a glory which has been brightest
+perhaps in its later days. To the citizens of Zaragoza was reserved the
+honour of rejecting the Inquisition, to which other towns reluctantly
+submitted, and just one hundred years ago she proved to an astonished
+Europe that within her crumbling walls dwelt the old brood of
+Numantia--that she was prolific still of heroes and heroines.
+
+The prowess of Augustina would not indeed have come as a surprise to
+those who knew her country well; nor could the most thoughtless of
+travellers, after a survey of the memorials of genius and vitality which
+these six cities contain, ever believe the greatness of the people to be
+exhausted. Already Valladolid and Zaragoza throb with life and commerce.
+But a few more years and the other cities, already stirring, will
+pulsate with the spirit of young Spain, and the Phœnix, born a thousand
+years ago at Oviedo, will renew its youth for the tenth time.
+
+To Señor J. Lacoste my thanks are due for his courtesy in permitting me
+to reproduce many of the photographs which find a place in this book,
+and I have also to acknowledge the assistance rendered me by Mr. E. B.
+d’Auvergne in the preparation of the text.
+
+                                                               A. F. C.
+
+
+
+
+CONTENTS
+
+
+CHAP.                                                               PAGE
+
+  I. VALLADOLID                                                        1
+
+ II. OVIEDO                                                           38
+
+III. SEGOVIA                                                          59
+
+ IV. ZAMORA                                                           86
+
+  V. AVILA                                                           103
+
+ VI. ZARAGOZA                                                        135
+
+
+
+
+ILLUSTRATIONS
+
+
+VALLADOLID
+
+SUBJECT                                                            PLATE
+
+General View of Valladolid,                                            1
+
+General View of Valladolid,                                            2
+
+The Bridge of Piedra,                                                  3
+
+La Acera de San Francisco,                                             4
+
+The Town Hall,                                                         5
+
+The Old Parish Church,                                                 6
+
+House in which Christopher Columbus died,                              7
+
+House where King Philip II. was born,                                  8
+
+The Royal Palace of Philip III.,                                       9
+
+Church of San Juan de Letran,                                         10
+
+College of the Escoceses,                                             11
+
+College of the Ingleses,                                              12
+
+Interior view of the Library,                                         13
+
+Interior of the Museum,                                               14
+
+Façade of the Museum,                                                 15
+
+Museum: Back of a Choir Stall, by Berruguete,                         16
+
+Museum: Detail of the Choir Stalls of San Benito,                     17
+
+Museum: Several Fragments of Choir Stalls, by Berruguete,             18
+
+Museum: Head of St. Paul,                                             19
+
+Museum: Centre part of a Wooden Altar-piece,                          20
+
+Museum: Fragments of Choir Stalls, by Berruguete,                     21
+
+Museum: Fragments of Choir Stalls, by Berruguete,                     22
+
+Museum: Altar-piece carved in wood,                                   23
+
+Museum: The Assumption of the Virgin, by Rubens,                      24
+
+Museum: St. Anthony of Padua and the Child Jesus, by
+Rubens,                                                               25
+
+Museum: The Annunciation, by José Martinez,                           26
+
+Museum: The Holy Family, by Raphael,                                  27
+
+Museum: St. Francis and a Lay Brother, by Rubens,                     28
+
+St. Joachim and the Virgin as a Child, by Murillo,                    29
+
+Provincial Museum: San Bruno,                                         30
+
+Centre of the Façade of San Gregorio,                                 31
+
+Detail of the Façade of San Gregorio,                                 32
+
+Detail of the Façade of San Gregorio,                                 33
+
+Left Angle in the Court of San Gregorio,                              34
+
+Gallery in the Court of San Gregorio,                                 35
+
+Detail in the Court of San Gregorio,                                  36
+
+Interior Gate of San Gregorio,                                        37
+
+Façade of San Pablo,                                                  38
+
+Lower Part of the Façade of San Pablo,                                39
+
+Detail of the Portal of San Pablo,                                    40
+
+Lower Central Part of the Façade of San Pablo,                        41
+
+Portal of San Pablo,                                                  42
+
+Detail of the Porch of San Pablo,                                     43
+
+Detail of the Porch of San Pablo,                                     44
+
+
+OVIEDO
+
+General View,                                                         45
+
+Tower of the Cathedral                                                46
+
+Principal Entrance to the Cathedral,                                  47
+
+Principal Gate of the Cathedral,                                      48
+
+Cathedral: View of the Interior,                                      49
+
+Cathedral: The Retablo,                                               50
+
+La Camara Santa,                                                      51
+
+Coffin in the Cathedral,                                              52
+
+Old Tower of the Cathedral,                                           53
+
+Cathedral: Oaken Ark,                                                 54
+
+Cathedral: Section, Plan, and Details of the Camara Santa,            55
+
+Cathedral: Cross of the Angels,                                       56
+
+Crosses and Caskets of the Asturias,                                  57
+
+Cathedral: Cross of Victory,                                          58
+
+A Capital,                                                            59
+
+Santa Maria de Naranco,                                               60
+
+Santa Maria de Naranco,                                               61
+
+Church of San Miguel de Lineo,                                        62
+
+Church of San Juan de Priorio,                                        63
+
+Church of San Juan de Priorio,                                        64
+
+Details of the Churches of St. Clara, St. John, and Our Lady
+de la Vega,                                                           65
+
+Details of Santa Maria de Valdedios,                                  66
+
+Details of Santa Maria de Valdedios,                                  67
+
+Details of San Juan de Amandi,                                        68
+
+Details of San Juan de Amandi,                                        69
+
+Details of the Church of Villaviciosa,                                70
+
+Details of the Church of Villaviciosa,                                71
+
+Plan and Section of San Salvador de Valdedios,                        72
+
+Details of San Salvador de Valdedios,                                 73
+
+Details of the Churches of Priesca and Fuentes,                       74
+
+Details of Santa Maria de Villamayor,                                 75
+
+Details of Santa Maria de Villamayor,                                 76
+
+Details of San Adrian de Tunon,                                       77
+
+Details of the Hermitage of Santa Cristina,                           78
+
+Details of the Collegiate Church of Covadonga,                        79
+
+Details of the Church of Ujo,                                         80
+
+Details of the Church of Ujo,                                         81
+
+
+SEGOVIA
+
+General View from the Nievas,                                         82
+
+General View,                                                         83
+
+The Roman Aqueduct,                                                   84
+
+The Alcazar and Cathedral from the Fuencisla,                         85
+
+General View from the Nievas,                                         86
+
+Old Houses in the Plaza Mayor,                                        87
+
+View of the Walls,                                                    88
+
+Aqueduct over the River Castilla,                                     89
+
+The Cathedral,                                                        90
+
+View of the Cathedral,                                                91
+
+View of the Cathedral,                                                92
+
+Casa de los Picos,                                                    93
+
+Church of Santa Cruz,                                                 94
+
+Porch of the Church of Santa Cruz,                                    95
+
+Church of Santa Cruz,                                                 96
+
+View of the Mint and the Parral,                                      97
+
+Façade of the Parral,                                                 98
+
+Cloisters of the Parral,                                              99
+
+General View of Turégano,                                            100
+
+Turégano Castle,                                                     101
+
+General View of Coca Castle,                                         102
+
+Another View of Coca Castle,                                         103
+
+St. Andrew’s Gate,                                                   104
+
+The Arch of the Fuencisla,                                           105
+
+Gate of Santiago,                                                    106
+
+The Alcazar before the Fire of 1862,                                 107
+
+The Alcazar from the Hoyos Hill,                                     108
+
+View of the Alcazar,                                                 109
+
+The Alcazar from the Caves,                                          110
+
+Façade of the Alcazar before the Fire of 1862,                       111
+
+Details of the Church of the Parral,                                 112
+
+Church of St. Nicholas,                                              113
+
+View of the Church of Vera Cruz,                                     114
+
+Porch of the Church of Vera Cruz,                                    115
+
+Courtyard of the Marquis of Arcos’ House,                            116
+
+Façade of St. John,                                                  117
+
+Church of St. John,                                                  118
+
+San Juan de los Caballeros,                                          119
+
+Church of St. Martin,                                                120
+
+Porch of St. Martin,                                                 121
+
+Parish Church of St. Martin,                                         122
+
+Details of the Church of St. Martin,                                 123
+
+General View of St. Stephen,                                         124
+
+Portico of St. Stephen,                                              125
+
+Details of St. Stephen,                                              126
+
+Church of San Lorenzo,                                               127
+
+Church of San Lorenzo,                                               128
+
+Lateral Façade of San Lorenzo,                                       129
+
+The Church of San Lorenzo,                                           130
+
+Details of San Lorenzo,                                              131
+
+Interior of San Millán,                                              132
+
+Interior of San Millán,                                              133
+
+Arches and Eaves of San Millán,                                      134
+
+Sectional Elevations of San Millán,                                  135
+
+Details of San Millán,                                               136
+
+Details of San Millán,                                               137
+
+Details of San Millán,                                               138
+
+Details of the Convent of Corpus Christi,                            139
+
+Interior of the Convent of Santo Domingo and Towers,                 140
+
+Painted Socles in the Tower of Santo Domingo,                        141
+
+Façade of the Convent of Our Lady de la Sierra,                      142
+
+Ruins of the Chapel of the Convent of Our Lady de la Sierra,         143
+
+Interior of the Ruined Convent of Our Lady de la Sierra,             144
+
+Porch of the Convent of Our Lady de la Sierra,                       145
+
+General View of the Roman Aqueduct,                                  146
+
+The Roman Aqueduct,                                                  147
+
+The Roman Aqueduct,                                                  148
+
+The Roman Aqueduct,                                                  149
+
+The Roman Aqueduct,                                                  150
+
+The Roman Aqueduct,                                                  151
+
+The Roman Aqueduct,                                                  152
+
+A Dance in the Plaza del Pueblo de Nieva,                            153
+
+Enrique IV. conducting the Infanta Isabel through the Streets
+of Segovia,                                                          154
+
+Group of Peasants of the Province,                                   155
+
+Peasants of the Province,                                            156
+
+Peasants of the Province,                                            157
+
+Peasants of the Province,                                            158
+
+Peasants of the Province,                                            159
+
+Peasants of the Province,                                            160
+
+Peasants of the Province,                                            161
+
+Peasants of the Province,                                            162
+
+Peasants of the Province,                                            163
+
+Peasants of the Province,                                            164
+
+Peasants of the Province,                                            165
+
+ZAMORA
+
+View of Zamora,                                                      166
+
+View of Zamora,                                                      167
+
+Walls and Postern Gate,                                              168
+
+Stone Bridge over the Duero,                                         169
+
+Bridge over the Duero,                                               170
+
+View of the Cathedral,                                               171
+
+Façade of the Cathedral,                                             172
+
+Cathedral: Gate of the Bishop,                                       173
+
+The Cathedral: East Front,                                           174
+
+Cathedral: Gate of the Bishop,                                       175
+
+Cathedral: Gate of the Bishop,                                       176
+
+Ancient Cistercian Monastery of Moreruela,                           177
+
+Ancient Cistercian Monastery of Moreruela,                           178
+
+Ancient Cistercian Monastery of Moreruela: Detail of the
+Interior,                                                            179
+
+Ancient Cistercian Monastery of Moreruela: Detail of the
+Interior,                                                            180
+
+Ancient Cistercian Monastery of Moreruela: Chancel,                  181
+
+Ancient Cistercian Monastery of Moreruela: Example of the
+Vaulting,                                                            182
+
+Ancient Cistercian Monastery of Moreruela: Interior,                 183
+
+Ancient Cistercian Monastery of Moreruela: Transept and
+Nave,                                                                184
+
+Ancient Cistercian Monastery of Moreruela: Detail of a
+Window,                                                              185
+
+Ancient Cistercian Monastery of Moreruela: Transept Porch,           186
+
+Santa Maria la Nueva: Detail of the Exterior,                        187
+
+Santa Maria la Nueva: Doorway,                                       188
+
+Santa Maria la Nueva: Capitals of Recessed Windows,                  189
+
+Church of the Magdalen,                                              190
+
+Principal Door of the Church of the Magdalen,                        191
+
+Plan and Sections of the Church of St. Peter,                        192
+
+Details of the Church of St. Peter (Nave),                           193
+
+House of The Cid,                                                    194
+
+Tapestry of the Beginning of the Fifteenth Century,                  195
+
+Painting in the Town Hall,                                           196
+
+Painting in the Town Hall,                                           197
+
+Painting in the Town Hall,                                           198
+
+Painting in the Town Hall,                                           199
+
+The Royal Escutcheon,                                                200
+
+St. Ferdinand and King John II.,                                     201
+
+The Arms of the Town,                                                202
+
+Queen Urraca and Aris Gonzalo,                                       203
+
+Trophies of Arms and Armour in the Town Hall,                        204
+
+The House of the Momos,                                              205
+
+Bridge of Rocobayo over the Esla,                                    206
+
+Stone Quarries of the Town of Valderojo,                             207
+
+Earthworks of the ancient City of Toro,                              208
+
+North and Centre Gates of the Church of Toro,                        209
+
+Details of the Church of Toro,                                       210
+
+Group of Peasants of the Village of Bermigo de Sayago,               211
+
+Group of Peasants of the Village of Carbajales,                      212
+
+Peasants of the Village of Bermigo de Sayago,                        213
+
+
+AVILA
+
+General View,                                                        214
+
+General View,                                                        215
+
+View of Avila,                                                       216
+
+Gate of the Alcazar,                                                 217
+
+Gate of San Vicente,                                                 218
+
+Gate of San Vicente,                                                 219
+
+Gate of San Vicente,                                                 220
+
+Gate of San Vicente,                                                 221
+
+A Street,                                                            222
+
+View of the Cathedral,                                               223
+
+Exterior of the Cathedral,                                           224
+
+Entrance to the Cathedral,                                           225
+
+Plan of the Cathedral,                                               226
+
+The Cathedral,                                                       227
+
+Side Door of the Cathedral,                                          228
+
+Cathedral: Pulpit of Repoussé Iron Work,                             229
+
+Cathedral: Pulpit of Repoussé Iron Work,                             230
+
+Cathedral: Pulpit of Repoussé Iron Work,                             231
+
+Interior of the Cathedral,                                           232
+
+Cathedral: Detail of the Interior,                                   233
+
+Cathedral: Detail of the Choir,                                      234
+
+Cathedral: The Choir,                                                235
+
+Cathedral: Detail of the Choir,                                      236
+
+Cathedral: Detail of the Choir,                                      237
+
+Cathedral: Detail of the Choir,                                      238
+
+Cathedral: Altar of San Segundo,                                     239
+
+Cathedral: Altar of Santa Lucia,                                     240
+
+Cathedral: Sepulchre of Don Juan d’Avila,                            241
+
+Cathedral: Tomb of El Testado,                                       242
+
+Cathedral: Altar behind the Choir,                                   243
+
+Cathedral: Silver Monstrance of Juan de Arfe,                        244
+
+Convent of Santo Tomas: Sepulchre of the Infante Don Juan,           245
+
+Sepulchre of the Holy Martyrs Vicente, Sabina, and Cristina,         246
+
+Interior of the Chapel of San Bernardo,                              247
+
+Church of St. Peter,                                                 248
+
+Entrance to the Church of St. Peter,                                 249
+
+Church of St. Peter,                                                 250
+
+Details of the Church of St. Peter,                                  251
+
+Exterior of the Church of San Vicente,                               252
+
+Basilica of San Vicente before its restoration,                      253
+
+Basilica of San Vicente before its restoration,                      254
+
+Basilica of San Vicente: North Façade,                               255
+
+Basilica of San Vicente: Principal Façade,                           256
+
+Basilica of San Vicente: Eastern Façade, restored,                   257
+
+Basilica of San Vicente: Façade,                                     258
+
+Basilica of San Vicente: Central Gate, restored,                     259
+
+Basilica of San Vicente: Detail of the middle cornice, restored,     260
+
+Basilica of San Vicente: Portal,                                     261
+
+Basilica of San Vicente: Principal west entrance,                    262
+
+Basilica of San Vicente: Principal west entrance,                    263
+
+Basilica of San Vicente: General view of the Interior,               264
+
+Basilica of San Vicente: Sepulchre of the Holy Martyrs,              265
+
+Basilica of San Vicente: Detail of the Interior,                     266
+
+Porch of the Church of San Vicente,                                  267
+
+Porch of the Church of San Vicente,                                  268
+
+Porch of the Convent of Santo Tomas,                                 269
+
+Section of the Convent of Santo Tomas,                               270
+
+Plan of the Convent of Santo Tomas,                                  271
+
+Gate of the Convent of Santo Tomas,                                  272
+
+Door of the Convent of Santo Tomas,                                  273
+
+Interior of the Convent of Santo Tomas,                              274
+
+The Court of Silence in the Convent of Santo Tomas,                  275
+
+Convent of Santo Tomas: The Court of Silence,                        276
+
+Convent of Santo Tomas: The Court of the Kings,                      277
+
+Convent of Santo Tomas: Courtyard of the Infirmary,                  278
+
+Cloisters of the Convent of Santo Tomas,                             279
+
+Cloisters of the Convent of Santo Tomas,                             280
+
+Cloisters of the Convent of Santo Tomas,                             281
+
+Gate of the Cloisters in the Convent of Santo Tomas,                 282
+
+Choir of the Convent of Santo Tomas,                                 283
+
+Convent of Santo Tomas: Details of the Choir,                        284
+
+Choir Stalls in the Convent of Santo Tomas,                          285
+
+Choir Stalls in the Convent of Santo Tomas,                          286
+
+Church of San Segundo: Statue of San Segundo,                        287
+
+Church of Santo Tomas: Sepulchre of the Infante Don Juan,            288
+
+Church of Santo Tomas: Sepulchre of the Infante Don Juan,            289
+
+Church of Santo Tomas: Sepulchre of the Infante Don Juan,            290
+
+Gothic Gate in ruins,                                                291
+
+Door of a Private House,                                             292
+
+Calle de Pedro d’Avila,                                              293
+
+Celebrated Window in the House of Pedro d’Avila,                     294
+
+Courtyard of the Polentinos’ Palace,                                 295
+
+Portico of the Polentinos’ Palace,                                   296
+
+Church of San Andrés and San Segundo,                                297
+
+Hermitage of San Isidro,                                             298
+
+The Academy,                                                         299
+
+Camposagrado Palace,                                                 300
+
+Casa de la Baraganas,                                                301
+
+Casa de la Torre,                                                    302
+
+Chapel of Mosen Rubi,                                                303
+
+Palace of the Conde de Superunda,                                    304
+
+Miniatures from the Avila Missal,                                    305
+
+Miniatures from the Avila Missal,                                    306
+
+Door of San Francisco,                                               307
+
+A Roman Capital of the Church of San Francisco,                      308
+
+Latin-Byzantine Frieze in the Church of San Francisco,               309
+
+Monastery of San Pedro at Arenas,                                    310
+
+
+ZARAGOZA
+
+General View from Cabezo-Cortado,                                    311
+
+General View from Altabas,                                           312
+
+General View from Altabas,                                           313
+
+The Bridge over the Ebro, from the Ruins of San Lazaro,              314
+
+The Bridge over the Ebro, from El Pilar,                             315
+
+General View of Zaragoza,                                            316
+
+General View of Zaragoza,                                            317
+
+General View of Zaragoza,                                            318
+
+General View from the Portilla,                                      319
+
+View of Zaragoza,                                                    320
+
+Calle del Mercado,                                                   321
+
+Paseo de Santa Engracia,                                             322
+
+Cathedral of La Seo,                                                 323
+
+Cathedral of La Seo,                                                 324
+
+Glazed Tiles on the Walls of the Cathedral of La Seo,                325
+
+Interior of the Cathedral of La Seo,                                 326
+
+Cathedral of La Seo: View of the Transept,                           327
+
+Cathedral of La Seo: Detail of Transept,                             328
+
+Chapel of St. John in the Cathedral of La Seo,                       329
+
+Chapel of Gabriel de Zaporta in the Cathedral of La Seo,             330
+
+Cathedral of La Seo: Reja bronze repoussé,                           331
+
+Sepulchre of Archbishop Don Lope de Luna in the Cathedral
+of La Seo,                                                           332
+
+Central Dome of the Cathedral of La Seo,                             333
+
+Silver Monstrance in the Cathedral of La Seo,                        334
+
+Censer belonging to the Cathedral of La Seo,                         335
+
+Cathedral of El Pilar,                                               336
+
+Cathedral of El Pilar,                                               337
+
+Interior of Our Lady del Pilar,                                      338
+
+Side Altar in Our Lady del Pilar,                                    339
+
+Our Lady del Pilar: View of the Choir,                               340
+
+Our Lady del Pilar: Organ in the Choir,                              341
+
+Chapel in Our Lady del Pilar,                                        342
+
+High Altar in Our Lady del Pilar,                                    343
+
+Paintings on the Cupola of Our Lady del Pilar,                       344
+
+Our Lady del Pilar : Choir Stalls,                                   345
+
+Our Lady del Pilar: Choir Stalls,                                    346
+
+Our Lady del Pilar: Choir Stalls,                                    347
+
+Our Lady del Pilar, by M. de Unceta,                                 348
+
+Our Lady del Pilar,                                                  349
+
+Silver Salver in the Cathedral of El Pilar,                          350
+
+Vase in the Cathedral of El Pilar,                                   351
+
+Church of the Magdalen,                                              352
+
+Place and Church of St. Nicholas,                                    353
+
+Portal of the Church of San Miguel,                                  354
+
+Façade of the Church of Santa Engracia,                              355
+
+Church of St. Paul: Puerta del Cristo,                               356
+
+The New, or Leaning Tower,                                           357
+
+Tower of the Calle de Antonio Perez,                                 358
+
+Tower of San Miguel,                                                 359
+
+Tower of San Pablo,                                                  360
+
+Tower of the Trovador,                                               361
+
+Ancient Wall and Buildings,                                          362
+
+Statue of Pignatelli,                                                363
+
+Courtyard in the House of Pardo,                                     364
+
+Detail of the Courtyard in the House of Pardo,                       365
+
+Entrance to the Audiencia Palace,                                    366
+
+Palace of the Provincial Deputation,                                 367
+
+Courtyard in the Count of Argillo’s House,                           368
+
+Eaves on the House of the Conde de Argillo,                          369
+
+Courtyard in the Count of Argillo’s House,                           370
+
+House in the Plaza de San Carlos,                                    371
+
+The Exchange,                                                        372
+
+Façade of the Exchange,                                              373
+
+Interior of the Exchange,                                            374
+
+Porch of the House of Zaporta,                                       375
+
+Courtyard of the House of Zaporta,                                   376
+
+Courtyard of the House of Zaporta,                                   377
+
+Courtyard of the House of Zaporta,                                   378
+
+Courtyard of the House of Zaporta,                                   379
+
+Courtyard of the House of Zaporta,                                   380
+
+Detail of the Courtyard of the House of Zaporta,                     381
+
+Court of the Provincial Museum,                                      382
+
+Gallery in the Provincial Museum,                                    383
+
+The Aljaferia or Citadel. Window of the Main Staircase,              384
+
+Aljaferia: Interior of the Mosque,                                   385
+
+Aljaferia: Interior of the Mosque,                                   386
+
+Aljaferia: Interior of the Mosque,                                   387
+
+Aljaferia: Details of the Interior,                                  388
+
+Aljaferia: Details of the Interior,                                  389
+
+Details of the Aljaferia,                                            390
+
+Details of the Aljaferia,                                            391
+
+St. Isabel and her Husband. Tapestry in the University,              392
+
+View of the Barracks of the Aljaferia,                               393
+
+The Casa de la Infanta. ‘The Departure for the Fight,’ by
+P. Gonzalvo Perez,                                                   394
+
+Gate of Our Lady del Carmen,                                         395
+
+The Defence of Zaragoza in 1809, by Nicolas Mejia,                   396
+
+The First Siege of Zaragoza, by A. Ferrant y Fischermans,            397
+
+Heroic Defence of the Tower of St. Augustine at Zaragoza in
+the War of Independence, by C. Alvarez Dumont,                       398
+
+Heroic Combat in the Pulpit of the Church of San Augustin at
+Zaragoza in 1809, by C. Alvarez Dumont,                              399
+
+The Maid of Zaragoza, by M. Hiraldez Acosta,                         400
+
+The Maid of Zaragoza, by Navarro y Canizares,                        401
+
+Arch from the Aljaferia Palace, now in the Archæological
+Museum,                                                              402
+
+Arch from the Aljaferia Palace, now in the Archæological
+Museum,                                                              403
+
+Provincial Museum: Detail of ‘The Mosque’ of the Aljaferia,          404
+
+Provincial Museum: Corbels of Eaves, Gothic style, from the
+old Custom House,                                                    405
+
+Provincial Museum: Corbels of Eaves,                                 406
+
+Provincial Museum: Corbels of Eaves, Gothic style,                   407
+
+Provincial Museum: Corbels of Eaves, Pointed style,                  408
+
+Provincial Museum: Arab Capitals of the Aljaferia Castle,            409
+
+Provincial Museum: Arab Capitals from the Aljaferia,                 410
+
+Provincial Museum: Arab Capitals from the Aljaferia,                 411
+
+The Story of Lucretia. A Plate from the work entitled
+‘Mugeres Ilustres,’ translated from Boccaccio,                       412
+
+A Page from the work entitled ‘Example against the Deception
+and Perils of the World,’ by Juan de Capua,                          413
+
+
+
+
+Valladolid, Oviedo, Segovia, Zamora, Avila, and Zaragoza
+
+
+
+
+I
+
+VALLADOLID
+
+ITS STORY
+
+
+Valladolid, a thriving, bustling place, as Spanish cities go, stands on
+the rivers Pisuerga and Esgueva, a few miles above the confluence of
+their united streams with the Duero. All round spreads the vast, dreary
+plain of Castile, interrupted within sight of the town by a ring of low
+hills. Trains thunder past from north, south, and west, keeping
+Valladolid in close touch with Madrid, with France, with Portugal, and
+with the rest of the world. The natural centre, this, of the old kingdom
+of Leon and Castile, of which it was for a long time the political
+capital.
+
+The etymology of the name has perplexed historians not a little. The
+most probable derivation is from the Arabic Belad-Walid, the valley of
+Walid, or (as likely) of the Wali or governor. In Latin documents the
+name is Vallisoletum, from which the poetical etymology, _vallis
+odoris_, was ingeniously manufactured. Though a great many of the towns
+in this part of Spain were founded on fresh sites on the resettlement of
+the country in the ninth and tenth centuries, Valladolid can, with some
+show of probability, claim a more remote origin. The contention of the
+old writers that this was the town called Pintia, described by Ptolemy
+as lying on the road from Caesaraugusta to Asturica, is to some extent
+borne out by numerous remains, attesting the existence at this spot of a
+Roman community of opulence and importance.
+
+The earliest mention of the place since the Christian era occurs in the
+Chronicle of Cardeña, where in the year 1072 it is referred to as one of
+the two towns (Rio Seco being the other) offered to Doña Urraca by her
+brother, Sancho, in exchange for Zamora. We may presume, therefore, that
+it was already a place of some consequence. In 1074 it was handed over
+by Alfonso VI. to Count Pedro Ansúrez, the companion of his exile at
+Toledo. This noble plays the same part in its history as Count Raymond
+does in that of Salamanca. The principal buildings, such as Santa Maria
+la Antigua and the bridge over the Pisuerga, are ascribed to him. He
+founded and generously endowed the collegiate church of Santa Maria la
+Mayor, with the adjacent abbey, of which, in after years, infantes and
+the sons of the most exalted persons were alone deemed worthy to be
+abbots. The famous Bernard, Archbishop of Toledo, came to bless the
+church, with the not less famous Alvar Fañez, who was Count Pedro’s
+son-in-law. When good King Alfonso passed away, Ansúrez took the oath of
+allegiance to his daughter, Queen Urraca, and to her husband, ‘The
+Battler of Aragon.’ When the royal twain came to blows, the count
+surrendered all the strongholds he held to the queen, and presented
+himself to the king, saying that ‘with the hands, the tongue, and the
+body which had paid him homage,’ he could do as he willed. Alfonso the
+Battler let him depart unmolested, and he was laid to rest in 1118,
+clothed in his armour, in the collegiate church he had endowed.
+
+The lordship of Valladolid now passed to Armengol, son of Count Pedro’s
+eldest daughter, by the Count of Urgel. Under his sway the city
+prospered exceedingly. King Alfonso VII. chose it for the place of his
+marriage with a Polish princess, and for several ecclesiastical
+councils. Two more counts of the same name continued the dynasty of
+Ansúrez till the year 1208; but of these the town saw little, for as
+Counts of Urgel they were vassals of Aragon, and spent most of their
+time in that kingdom. The last count left half of his Castilian
+dominions to the Pope, the other half to his daughter Aurembiax, who was
+believed to be the mistress of the King of Aragon. Alfonso VIII. of
+Castile can hardly, therefore, be blamed for setting aside a disposition
+which handed over the principal town in his kingdom to two foreign
+potentates. In the year 1208, accordingly, the city was incorporated
+with the monarchy. Soon after (1215) it became for the first time the
+royal residence--that of the Queen-Regent Berenguela and her youthful
+charge, Don Enrique I.; and in accordance with this precedent, two years
+later, Fernando III. was crowned here, in the Plaza Mayor. Thenceforward
+the town became the usual seat of the court, though an official capital
+in the modern sense Spain did not possess till Philip II.’s time. The
+last years of the thirteenth century saw the reins of government in the
+hands of a native of Valladolid, the Queen-Regent, Maria de Molina,
+widow of Sancho el Bravo. Her predilection for her own birthplace
+practically extinguished the pretensions of Burgos to rank as capital,
+and during her stormy regency Valladolid stood by her loyally. She was
+not the least capable or intrepid of the many able women-rulers by whom
+Spain has been so well served.
+
+Though the seat of government, Valladolid was not wanting in the
+turbulent, independent spirit characteristic of the Castilian cities. In
+1328 a rumour spread abroad that the king’s Jewish treasurer, Joseph,
+was about to carry off the Infanta Leonor, and to marry her to the
+detested favourite, Nuñez Osorio. Sure enough the princess presently
+appeared, mounted and attended by an escort, as if proceeding on a
+journey. The citizens forced her to return to the palace, and clamoured
+for the head of the treasurer. Leonor promised to satisfy them if they
+would permit her to go to the Alcazar, or citadel, whither she contrived
+to convey the trembling Hebrew concealed among her retinue. Safe inside
+the fortress, Infanta and Jew set the mob at defiance, and sustained a
+siege till relieved by the king. Comically enough, Alfonso dismissed his
+favourite on the ground that he was the cause of these disturbances,
+while the Infanta married the Prince of Portugal, whom she had been on
+her way to meet when forced back by the crowd.
+
+Women figure largely in the history of Valladolid. Here in the church of
+Santa Maria la Mayor, Peter the Cruel was married to the hapless Blanche
+de Bourbon, to leave her three days later. It was only by the entreaties
+of his mistress, Maria de Padilla, that he could be persuaded to return
+to his wife; but unable to overcome his repugnance to the poor princess,
+he again abandoned her a few days after, this time for ever.
+
+The convent of La Merced owes its origin to another case of erratic
+passion. Donha Leonor Telles de Meneses had been torn from the arms of
+her first husband, João Lourenço d’Acunha, by the King of Portugal, who
+raised her to the throne. D’Acunha retired to Valladolid, where he was
+buried in the church of Santa Maria la Antigua. In the course of time
+Leonor’s second husband also died, and she also came to Valladolid,
+possibly to see what had become of the first. Doubly a widow, she found
+consolation in the affection of a knight named Zoilo Iñiguez, by whom
+she had a daughter called Maria. Leonor’s experience of love and
+matrimony led her at her death to charge her daughter’s guardian, one
+Laserna, to dedicate the girl to religion, and to found a convent for
+her special accommodation. Before this could be accomplished, Maria, who
+believed herself to be a relation of Laserna, fell in love with his
+nephew, and incontinently married him. On discovering the secret of her
+origin, she so far complied with her mother’s wish as to build a
+convent, in which Queen Leonor as the foundress was entombed.
+
+About the same time, by order of Juan I., the old Alcazar, round which
+the town had been built, was demolished to make room for the existing
+convent of San Benito. The monastery of San Pablo became the residence
+of the court during the minority of Juan II. That king may be said to
+have lived here permanently, and to have confirmed Valladolid in its
+dignity as capital of the realm. As such it was the scene of much
+splendour and chivalrous display under the rule of the high-minded
+favourite, the great Constable Alvaro de Luna. And it was in the little
+Plaza del Ochavo, in the centre of the town, having run his course as a
+true knight and a wise statesman, that he met his fate with the dignity
+and composure which had distinguished him during his whole career.
+
+The place of his execution was chosen by his enemies as precisely the
+scene of his greatest triumphs. He was confined during his last night in
+the house of his enemy, Zuñiga, where he passed the hours ‘in great
+contrition and affliction of spirit.’ ‘The melancholy 2nd of June 1453
+dawned,’ says Don Jose Quadrado, ‘and in the Plaza del Ochavo, which
+then formed the principal square of Valladolid, loomed a scaffold draped
+with black cloth, and above it a cross set with lighted tapers. On a
+post was fixed the spike destined to receive the severed head. The
+Constable was conducted to the spot by the streets of Francos,
+Cantarranas, and Plateria, mounted on a mule with black trappings, and
+preceded by a crier, whose violent denunciations drew from him only the
+humble words, _Más merezco_ (“I deserve more”). Alighting on the side of
+the church of San Francisco, and mounting the scaffold with firmness,
+having knelt before the cross, he hesitated whether he should address
+the people, when he perceived among the crowd his faithful page Moreles,
+and Barrasa, esquire to Don Enrique. He told the latter to adjure his
+master not to follow the example of the king, his father, in the way of
+rewarding his servants; to the former he gave his signet-ring, which
+the youth received weeping, not a few of the bystanders weeping loudly
+also. “With my body they may do as they please,” he said on perceiving
+the spike and divining its object; and baring his throat, and his hands
+being bound with his own girdle, he offered his head to the executioner,
+who a few seconds later held it up, dripping with blood, before the
+horror-stricken people. The body remained exposed three, and the head
+nine days, with a box beside it to receive alms. With these he was
+buried among malefactors in the hermitage of San Andrés outside the
+walls; but at the end of two months he was given a more decent sepulture
+in San Francisco, where he lay till the rehabilitation of his memory and
+his magnificent entombment thirty-one years later in the cathedral of
+Toledo.’
+
+The feeble and ungrateful king (Juan II.) survived his favourite little
+more than a year, and died at the convent of San Pablo, which had been
+his usual abode. Valladolid remained steadily loyal to his miserable
+successor, Enrique IV., when scarcely another town in his dominions
+would harbour him. Yet, strangely enough, it was in this city, in the
+house of Juan Vivero (where the Audiencia now stands), that the king’s
+sister Isabel, in defiance of his wishes, celebrated in secret, but with
+great ceremony, her marriage with Ferdinand of Aragon. This was on
+October 18, 1469--an auspicious night for Spain. But the city was too
+full of Enrique’s partisans to afford a safe asylum to the newly-wedded
+pair, who immediately betook themselves to Dueñas.
+
+Valladolid, always on the side of authority, accepted ‘the Catholic
+Kings’ on the death of Enriqùe, to the exclusion of Juana, whom a modern
+writer inexplicably calls that monarch’s illegitimate daughter. She was
+barred from the succession on the ground that she was not his daughter
+at all. The vigorous but hardly beneficent rule of Ferdinand and Isabel
+was celebrated in 1489 by eighteen persons being burned alive in the
+Plaza Mayor, while a few years after the city was emptied of its Jewish
+inhabitants. A whole quarter left tenantless, deserted homes, and
+smoking human sacrifices marked the inauguration of the New Monarchy in
+Valladolid. Yet the city prospered, and was too busy to notice the
+worn-out adventurer, the Admiral of the Indies, the immortal Christopher
+Columbus, who died within its walls on May 20, 1506. But all their
+prosperity could not reconcile the sturdy citizens to the arbitrary
+government of Charles V.’s regents. Valladolid threw in her lot with
+the Comunidad. Her sons bled in the cause of liberty beside Padilla on
+the fatal field of Villalar; and when the Flemish emperor proclaimed an
+amnesty on visiting the city in 1522, many of her townsmen found
+themselves among the three hundred specially excluded from its
+operation.
+
+Philip II. was born here on May 21, 1527; here he was married to his
+first and Portuguese wife; here also she died in giving birth to his
+luckless son Carlos. Yet it was this native of Valladolid who reduced it
+to the rank of a provincial city, and in the year 1560 definitely
+declared Madrid to be the _unica corte_, the official capital of Spain.
+This measure has been variously criticised, but it is certainly
+difficult to perceive the advantages which the new capital possessed
+over the old, or over Toledo or Zaragoza. This loss of dignity was
+followed by a more dreadful catastrophe. Valladolid was devastated by a
+fire in the night of September 21, 1561, four hundred and forty houses
+being destroyed, though only three persons lost their lives. The
+silversmiths, for whom the city was renowned, saved their wares by
+throwing them into the wells. The conflagration was caused by the
+sparks blown from a fire lit by some beggars in the shadow of a wall.
+Possibly the citizens were reminded of those other flames so frequently
+kindled in their midst by the abominable Inquisition, when men and women
+were roasted to death in the presence and with the approval of His
+Catholic Majesty Philip II. The furious element was less destructive
+than the Holy Office.
+
+The city was practically rebuilt by order of the despot, and as a mark
+of his favour he persuaded the Pope to erect it into a diocese in the
+last years of the sixteenth century. His successor, with a judgment of
+which he rarely gave proof, reinstated Valladolid in its rank of capital
+of the monarchy, and resided here in the palace facing San Pablo (now
+the Audiencia). Here Anne of Austria and Philip IV. were born. Cervantes
+lived here in one of the houses in the Rastro behind the Campo Grande,
+where he finished the first part of _Don Quixote_. His experience of the
+city was unfortunate. He was, together with his family, imprisoned on
+the charge of being implicated in a night brawl, wherein as a matter of
+fact he had simply played the part of Good Samaritan. His brother wits
+and the literati unceasingly assailed Valladolid as unworthy the
+residence of the court, and after five years Philip III. was obliged,
+professedly because the city was unhealthy, to restore Madrid to its
+pre-eminence. The abandoned capital was hit very hard. Industry and
+commerce languished, nothing but the religious vocation flourished. The
+project of rendering the Duero and Pisuerga navigable for large vessels
+was given up, and, to crown all, the Moriscos to the number of one
+thousand were expelled, taking the silk industry with them. Inundations
+and all sorts of calamities followed in quick succession. Whatever money
+men earned in moribund Castile, they used to build churches and
+convents. The city’s attachment to the Bourbon cause in the War of the
+Spanish Succession disposed Philip V. to transfer the court hither a
+second time; but the pre-eminence of Madrid was too firmly established
+to permit this. The French invaders, a hundred years ago, found the
+place ruined and stagnant. Since then Valladolid has awakened from her
+sleep. The opening of the North of Spain Railway, and the establishment
+here of the company’s loco-motive works, gave a great impetus to her
+progress, and she is now an important commercial town, the centre of the
+corn trade of Castile. No Spanish city north of the Guadarrama gives
+such promise as Valladolid.
+
+
+THE CITY
+
+A city which was so long the capital of the monarchy--the city where
+Columbus died and Cervantes lived--whose streets are haunted by the
+immortal creature of Le Sage’s genius--can be no unworthy goal for a
+pilgrimage. It has memories far more stirring than Madrid, which in
+physiognomy it rather resembles. A cold, formal town it seems at first
+sight, with modern-looking squares, straight streets, and severe,
+imposing buildings; but behind these you find the old city of Juan II.
+and Enrique IV., a labyrinth of tortuous lanes, gloomy palaces, and
+ruinous monastic houses.
+
+The handsome Accra de Recoletos, which looks across the spacious Campo
+Grande--the city’s principal park--leads from the triumphal Puerta del
+Carmen, commemorating the reign of Charles III., to the majestic Arch of
+Santiago. We pass through, and presently reach the Plaza Mayor, now
+called the Plaza de la Constitucion, the focus of the city’s life.
+
+A minor Puerta del Sol, Ford calls this regular, symmetrically planned
+open space, designed after the great fire of 1561 by Francisco
+Salamanca. The houses enclosing it are of uniform architecture, with
+three tiers of balconies in the three Grecian orders, capable, it is
+said, of accommodating 24,000 spectators. The portico is supported by
+massive granite columns of a bluish tinge, each a monolith. On the north
+side is the ungraceful Ayuntamiento (Town Hall), with weather-vanes on
+its towers and martial trophies surmounting the town clock. The space is
+as lively and gay as any in Spain. The sun shines brightly, the birds
+fly as freely overhead as across the innocent plains; here there is no
+deeper shadow than elsewhere, no abiding gloom or ghostly chill. Yet if
+ever a spot deserved to be called accursed it is this. Let us project
+ourselves back into the past, to a bright morning in May in the year
+1559. The balconies have not yet been built, but stands and tiers of
+seats have been constructed round the Plaza. There is a grand display of
+bunting, and the richest draperies are hung from the crowded
+windows--silks and cloth of gold and silver, damasks and brocades. On a
+daïs are seen the little prince, Don Carlos, and his aunt the Infanta
+Juana. The civic dignitaries of the town are here, the craftsmen in
+their liveries; but making the bravest show of all are the bishop and
+the clergy, arrayed in full canonicals, as befits the solemn Act of
+Faith at which they are about to assist. The square is packed with a
+vast multitude--men have come from far and near to see this thing--and
+people are pouring down the narrow streets, an unceasing stream. All
+eyes are fixed on the platform in the centre of the Plaza, whereon
+faggots and brushwood are neatly piled round fourteen pillars, and busy
+varlets are bestirring themselves. A subdued murmur betokens the
+approach of the procession. For the alguazils who clear the way, for the
+horribly clad familiars of the Holy Office who stalk before, the
+spectators have no eyes: the gaze of those thousands is levelled on the
+fourteen men and women walking slowly to their awful doom. Were ever
+creatures so shockingly grotesque? They wear a perfectly ridiculous
+headgear, like an elongated nightcap, or a hat such as our grenadiers
+wore in days gone by; a sort of smock covers their bodies, an ugly
+flame-coloured garment, painted with figures of dancing and grimacing
+devils. You can hardly restrain a smile. I’ll wager those gallants
+yonder are cracking some clever jokes at their expense, for the Latin is
+by nature a wag. We all know who they are, these wretches. Not long
+before Valladolid was thrilled by the rumour that a Lutheran conventicle
+had been discovered here in the heart of His Most Catholic Majesty’s
+capital. A holy woman, suspicious of her husband’s orthodoxy, had
+followed him one day, found him in the midst of this heretical assembly,
+and denounced him to the Holy Office. That is the man, Juan Garcia, a
+goldsmith whom all the townsmen have known and dealt with this many a
+year. Where’s his wife? somewhere in the crowd, doubtless, praying for
+his soul. Virtue like hers is worthy of heroines or devils. Most notable
+of the heretical crew is the Doctor Cazalla, one of the king’s most
+notable preachers; but the Holy Inquisitors are no respecters of
+persons. They would drag you from behind the throne. The priest with the
+Doctor is his brother Francisco. The woman is his sister, Doña Beatriz.
+Burn a woman? Ay, surely. There are four more, one of them a
+serving-wench. That black-avised fellow is a mere Jew from Lisbon--there
+is little sympathy for him. Then there are four gentlemen,
+and--hold!--one has a gag in his mouth. It is the Bachelor, Antonio
+Herrerruelo, an obstinate fellow, who will not recede one hair’s-breadth
+from his heretical opinions or concede one iota. The sixteen that
+follow interest us less. They have been reconciled with Mother Church,
+and for them no worse fate is reserved than the confiscation of all
+their goods and solitary confinement for life. Ha! one of them has
+fainted. It is the youthful daughter of the Marqués de Alcañias, Doña
+Ana Enriques. They say that one of this batch is an Englishman. Perhaps
+he has seen Catholics hanged, drawn, and quartered in his own land, and
+can forgive the Spaniard.
+
+The learned Dominican in the pulpit reads the sentences of the Holy
+Tribunal of the Inquisition, and we may be sure his voice shakes with
+paternal tenderness when _he absolves_ those who are passing into the
+shadow of perpetual imprisonment. As for those fourteen others--the
+Church has done with them, and in sorrow, not in anger, she hands them
+over to the secular arm.
+
+Now who will face the flames? for even the secular arm is merciful at
+the eleventh hour. Thousands of eyes are strained towards the scaffold.
+What is passing? Cazalla is making a farewell speech. Is he obdurate?
+No; from mouth to mouth the rumour runs that he professes penitence,
+that he abjures his errors. His brothers, the women--look at their
+blanched faces!--mutter some such words. Their necks are encircled by
+the collars of the garrote--they stand on the well-laid pyre. But it is
+not lighted yet. Swiftly the executioner steps from one post to the
+other. A quiet turn of the screw, and the souls of the heretics have
+fled, and the flames may have their corpses.
+
+But he with the gag, Herrerruelo? We watch him breathlessly. At all
+admonitions he simply shakes his head. The executioner even hesitates to
+fire the pile. He has his hand on the spring of the garrote. A word from
+the heretic, and he will be dead, unscorched, instantaneously. It is
+useless. Herrerruelo will not speak that word. The fire is lighted. The
+logs crackle and blaze. We can hardly see the victim’s form. No groan
+nor sigh escapes him. But on his face, says one close to him, is stamped
+the extremest sadness that ever human being knew. Is it for yourself,
+Castilian of the old Roman mould? Nay, rather, I think, for your country
+which you see perishing beside you slowly but inevitably on the pyre of
+fanaticism and superstition.
+
+It is over. The integrity of the faith of Spain has been vindicated. But
+the heroism of Herrerruelo soon finds imitators. His wife follows him to
+the flames a few years later. Philip II. himself comes to assist at a
+superb act of faith which demands another holocaust. He solemnly swears
+to defend the faith and to enforce the decrees of its tribunal. ‘And you
+leave me to burn?’ is the bitter reproach a Veronese gentleman among the
+doomed men dares to address to the king. ‘Ay,’ says Philip, ‘I would
+bring the wood myself to burn my own son were he a heretic.’ There was
+thus something of the Roman spirit on both sides. The brave Italian’s
+fortitude so inspires a fellow-sufferer that he leaps gaily into the
+flames, calling for wood, more wood.
+
+The shame of the Inquisition rests not on the Spanish people. The
+citizens of Valladolid were kept in check on these dreadful occasions
+only by large bodies of troops. Torquemada, the Grand Inquisitor, dared
+not go forth without an armed escort of two hundred and fifty men. The
+Spaniards of to-day, with few exceptions, refer to the institution with
+expressions of abhorrence, startling even to Protestant ears. But it
+must be admitted that some writers more or less half-heartedly attempt a
+defence. Don J. M. Quadrado observes that the Holy Office saved the
+country from the horrors of religious wars, to which the obvious
+rejoinder is that the wars of religion, judged by their results, proved
+less disastrous to France, Germany, and Switzerland, than the policy of
+repression proved to Spain, and that the religious unity of other
+countries, such as Italy and Austria, has been preserved with
+comparatively little physical suasion.
+
+We will leave the Plaza Mayor, this bright place with such gloomy
+memories, and see what monuments Faith has raised of a more honourable
+and durable kind. We cross the prettily named Place of the Golden
+Fountain, and the Plaza del Ochavo, where Alvaro de Luna died, and a
+little farther on find the Cathedral of Valladolid.
+
+This church was begun in 1585, by order of Philip II., and replaced the
+old Iglesia Mayor founded by Pedro Ansúrez. The work was intrusted to
+Herrera, the architect of the Escorial, but his plans were never fully
+carried out, and the cathedral remains to-day unfinished, and also
+unfortunately marred by Churriguera and his disciples. The style of
+Herrera very eloquently expressed the temper and spirit, if not of the
+Spain of his day, certainly of his sovereign. The model of the church is
+to be seen in the muniment room. It is cruciform, the nave and transept
+to be flanked with aisles and chapels, the crossing to be surmounted by
+a dome, and a tower to be at each of the four corners. Only one of the
+towers was ever finished, and that collapsed in 1841; it is now being
+rebuilt. Street, who is very severe on all non-Gothic buildings in
+Spain, says that ‘nothing could ever cure the hideous unsightliness of
+the exterior. Herrera’s west front was revised by Churriguera in the
+eighteenth century, and cannot therefore be fairly criticised; but the
+side elevation remains as Herrera designed it, and is really valuable as
+a warning. Flying buttresses were, of course, an abomination; so in
+their place he erected enormous solid buttresses above the aisles to
+resist the thrust of the nave vault. They are shapeless blocks of
+masonry, projecting about forty feet from the clerestory wall, and
+finished with a horrid concave line at the top.’
+
+The interior is not wanting in majesty and massiveness. Only the nave,
+with its aisles and chapels, has been completed. The huge piers carry
+bold arches, separated by a broad cornice from a plastered and panelled
+groined ceiling. The walls are destitute of ornament, but over the
+arched entrances to the chapels runs an open gallery with balustrades.
+The aisles have been obstructed by ‘provisional chapels,’ which Herrera
+would have indignantly swept away; and the choir, which he intended to
+place behind the High Altar, is now placed so as to block the best view
+of the nave. The Capilla Mayor, placed in the crossing, is in bad taste,
+with innumerable doors and tribunes piercing its walls. One cannot but
+agree with the Spanish writer who says that nothing is wanting to
+destroy the impression of ‘a grand whole,’ which Herrera was especially
+anxious to create.
+
+The choir stalls, mostly from the convent of San Pablo, were designed by
+the architect, and display some fine inlay work. The remainder are in
+the Gothic style, and come from the old church. The chapels contain
+nothing worthy of note, except a picture by Lucas Jordaens, and the tomb
+of Count Pedro Ansúrez, whose remains were brought here from the church
+he founded. A very poor effigy represents the hero, whose merits are set
+forth in rhymed verse.
+
+In the sacristy is one of the finest specimens of the metal-work for
+which Spain has always been renowned. The solid silver monstrance, by
+Juan de Arfe, is 6½ feet high, and weighs upwards of 150 lbs. It is in
+the shape of a temple in four stories, two of which are octagonal, and
+two circular. Statuettes of Adam and Eve, and a relief of the mystery
+of the Conception, adorn this exquisite work, for which the artificer
+received 44,000 reals.
+
+Adjacent to the cathedral are some remains of the Iglesia Mayor, founded
+by Pedro Ansúrez, and rebuilt in the reign of St. Ferdinand. A doorway,
+still standing, and the various scattered pillars are in the Romanesque
+style, but there are also traces of Gothic work. A cloister existing at
+the end of the sixteenth century is described as one of the finest in
+Spain, containing many sculptures, all coloured, and tombs of notable
+people. Part of this cloister has gone to form a room called the
+Library, but that it still contains books I was unable to ascertain.
+
+The Iglesia Mayor is said to have been built at the same time as the
+church of Santa Maria la Antigua, on the other side of the square, and
+both by Count Ansúrez. Comparing conflicting testimony, and the opinions
+of various architects, the conclusion would appear to be that the church
+was founded before the Count’s time (for it is mentioned in documents as
+far back as 1088, and was in his day called the Ancient), and that the
+existing fabric dates mainly from the reign of Alfonso IX.
+(1230-44)--not from the time of the alleged restorer, Alfonso XI. Santa
+Maria is, beyond doubt, the most interesting church in the city. Its
+lofty steeple, with tiled roof and semicircular windows in all its four
+stages, is one of the few prominent landmarks of the wayfarer to
+Valladolid. The side apses are Romanesque, but the nave terminates in an
+apse, Gothic in style, and pierced with lancet windows. The buttresses
+taper off into graceful finials, with crockets and gargoyles. The main
+apse and transept are both pierced near the roof with an elegant
+openwork balustrade. The steeple is thoroughly Lombard in character.
+
+The interior exhibits an interesting blending of the Romanesque and
+Gothic styles. On the outer door, defaced by a modern portico, formerly
+hung the knockers wrenched off the gates of the Mezquita at Cordova by
+the first Count Armengol. The mouldings of the arch are Romanesque, but
+Gothic is the beautiful groining of the interior. At the west end of the
+church is a gallery for the choir, with stalls and organ. In the days
+when this was built churches were built for the laity, and the clergy
+did not insist on taking up the greater part of the nave, as they did in
+after years. The chapel of the Counts of Cancelada contains some good
+paintings. The most valuable accessory is, however, the reredos by the
+celebrated Juan de Juni, begun in 1551 and finished in 1557. The work
+betrays an extraordinary degree of skill and vigour, but it is
+over-elaborate and in parts fantastic.
+
+On the north this venerable church is flanked by a very beautiful
+Romanesque cloister of fourteen semicircular arches in three bays. The
+shafts, says Street, are moulded and wrought in imitation of the coupled
+columns of early Italian artists. This cloister, together with the
+steeple, makes up the most picturesque group of buildings in Valladolid,
+and is well worth careful preservation, if not restoration.
+
+We will visit the University on the south side of the square another
+time, and will now thread our way northwards to the Plaza de San Pablo,
+a very interesting site. At the corner of the Calles de las Angustias
+and San Martin is the house where the Andalusian painter Alonso Cano is
+said to have killed his wife. He fled (so we are told) in consequence to
+his native city of Granada, where he became a prebendary of the
+cathedral, and executed his finest work. The church of San Martin is a
+very ordinary seventeenth-century structure; but it was founded soon
+after the resettlement of the city, and preserves its steeple, in the
+same style as that of Santa Maria la Antigua, and dating from about
+1200. There was a baseless story that this was originally a Moorish
+watch-tower.
+
+The Dominican monastery of San Pablo was founded in 1276 by Queen
+Violante, the rebellious consort of Alfonso XI. Maria de Molina showered
+favours on the community, whose friendly rivals, the Franciscans, were
+established in the Plaza Mayor. Later on, as we have said, Juan II. made
+the building his home, and died here in 1454--near to, if not in, the
+odour of sanctity. Here, too, the Cortes often used to sit. The present
+building may be considered the creation of Cardinal Juan de Torquemada
+(not the notorious Inquisitor), whose death took place in 1468. The
+façade was constructed in the latter part of the fifteenth century, and
+restored in the seventeenth and nineteenth centuries; it is a debased
+late-Gothic style, the main object of the architects being evidently to
+multiply evidences of their skill. In this they succeeded, for no one
+can question the merit of the execution. The riotous exuberance of the
+decoration renders a description difficult. The doorway is placed within
+an arch of a curious waved line. On either side are shown saints of the
+order, standing on pedestals, with pinnacle-like canopies above them.
+Above the arch is an indifferent relief of the Coronation of the Blessed
+Virgin, attended by Cardinal Torquemada with his patron saints, the
+Baptist and the Evangelist. All this part of the decoration is enclosed
+within an ugly flattened arch. Above is the figure of Christ Enthroned,
+and on each side of Him a trefoil arch containing the figures of the
+Four Evangelists. These arches frame windows with exquisite traceries,
+such as fill the circular window above the Christ. The upper part of the
+façade is in three stages, each filled with figures of saints and
+heraldic devices. ‘Every vacant space,’ says Street, ‘seems to have a
+couple of angels holding coats-of-arms, so that it is impossible not to
+feel that the sculptor and the founder must have had some idea of heaven
+as peopled by none with less than a proper number of quarterings on
+their shields, or without claim to the possession of _Sangre Azul_.’ The
+arms displayed on the lower part of the façade are not, however, those
+of Torquemada, but of the Duke of Lerma, the favourite of Philip III.,
+by whom the church was restored. Here he celebrated his first Mass in
+the year 1618, having sought refuge in the church from the cares of
+state, or the disappointments of a courtier’s life; and here, too, he
+was ultimately buried. The church was plundered and dismantled by the
+French during the Peninsular War, and the interior is now inaccessible
+to visitors.
+
+On the other side of the Plazuela is the palace built by Lerma on the
+site of the house where Don Carlos was born, and sold by him to Philip
+III. for thirty-seven million maravedis. The façade is simple, not
+undignified, and adorned with the royal arms over the doorway. The
+patio, or inner quadrangle, is decorated with busts of the Roman
+emperors and the arms of the old provinces of Spain. Here, says Ford,
+Napoleon took up his quarters on that memorable visit to Spain which at
+once altered the complexion of affairs. The building is now the
+Audiencia, or Law Court.
+
+Philip II. was born in the house at the corner of the square and the
+Calle Cadesa de San Gregorio, and baptized in the church of San Pablo.
+Except for its associations, the house is uninteresting.
+
+Next to San Pablo is the Colegio San Gregorio, built by Alonso de
+Burgos, Isabel the Catholic’s Confessor, in remembrance of his student
+days at the former establishment. The work, elaborate as it is, occupied
+only eight years--1488 to 1496. The architect, Matias Carpintero, for
+some unknown reason committed suicide before its completion in 1490. The
+façade of the main entrance resembles that of the older foundation. The
+design displays more originality, but the execution is by no means as
+good. The lintel and jambs of the square doorway are decorated by a
+relieved pattern of fleur-de-lys, and enclosed within an arched canopy
+of fanciful outline. On either side of the doorway are statues of wild
+men--possibly an allusion to the discovery of America--and over the
+lintel a relief represents the founder kneeling before the patron saint.
+From the canopy, twisted tapering pillars soar upwards and divide the
+upper stage into three parts. The middle one is occupied by the relief
+of a pomegranate tree springing from a basin, and sheltering children
+and birds among its branches; it supports the coat-of-arms of Ferdinand
+and Isabel. The lateral divisions contain figures supporting
+escutcheons, the whole being ‘even more extremely heraldic in its
+decorations’ than San Pablo. The open-work, cusping at the top, looks as
+if made of coarse wicker-work, and is happily fast disappearing under
+the corrosive effects of frost and rain. The interior of San Gregorio
+wearies the eye with its excess of heraldic decoration. The inner
+court, notwithstanding, is noble and spacious, with a double gallery of
+six arches on each side springing from spirally-fluted columns. The
+fleur-de-lys appear on the arms of the founder; the yoke and sheaf of
+arrows are the well-known devices of the Catholic kings. The chapel was
+stripped by the French of all of value that it contained, including the
+sepulchral effigy of Alonso de Burgos. The college is now one of the
+municipal buildings.
+
+The secularised church and convent of San Benito on the west side of the
+town were founded by Juan I. on the site of the old Alcazar, in
+reparation for a Benedictine house destroyed by his father. The actual
+fabric was commenced in 1453, and hardly completed three centuries
+later. The plan of the church reminds one of Santa Maria la Antigua. The
+interior is lofty and impressive. There are two choirs--one in the
+western gallery, and the other, as usual in Spain, in the middle of the
+church, and enclosed by brick walls. The church was very strongly built,
+and is, appropriately enough, occupied by the military.
+
+In the church of La Magdalena is buried Bishop Pedro de la Gasca, who
+recovered Peru for the monarchy from the clutches of Pizarro. His tomb
+in the centre of the transept was chiselled by Esteban Jordán in 1577.
+
+The other churches of Valladolid hardly repay a visit. We may now turn
+our attention to the University, close to the Antigua Church. Founded in
+the eleventh century, this institution rose into importance only on the
+decline of the University of Salamanca. The statues of its
+patrons--Alfonso VIII., Alfonso XI., Juan I., and Enrique III.--surmount
+the grotesque and extravagant façade, which is in the worst baroque or
+Churrigueresque style. Older and more interesting are the English and
+Scots Colleges. The former was founded by Sir Francis Englefield in 1590
+or thereabouts, for the education of young Englishmen for the Catholic
+priesthood. The Scots College is an analogous institution, founded by
+Colonel Sempill at Madrid in 1627, and transferred hither in 1771. The
+Irish College is at Salamanca. Both seminaries are still resorted to, to
+some extent, by youths from the United Kingdom, though a novitiate in
+Valladolid might not seem an adequate training for parochial work in
+English cities or Highland glens.
+
+Sculpture is the art that has been least cultivated in Spain.
+Exceptional interest attaches, therefore, to the Museum of Valladolid,
+which contains a valuable collection of the works of native sculptors,
+or rather carvers. The building itself is the old College of Santa Cruz,
+built in 1486 by the famous Enrique de Egas, and intended by the
+founder, Cardinal Mendoza (_el tercer Rey_) to harbour impoverished
+genius. The exterior is surmounted by a balustrade, and strengthened
+with buttresses tapering into pinnacles. The principal façade is a fine
+example of Plateresque work, with much that is Gothic about the detail.
+The coats-of-arms of the Catholic kings and of the founder appear, of
+course, in the decoration, and the cardinal is shown adoring the cross
+upheld by St. Helen. The inner court is surrounded by a triple tier of
+galleries, with semicircular arches, octagonal pillars, and elegant
+balustrades.
+
+Within these walls have been collected treasures from the demolished,
+dismantled, and disused churches, convents, and palaces of the city,
+many of the objects now here having been removed from their original
+positions by the French and left behind them in the hurry of flight.
+Here we find the retablo executed between 1526 and 1532 for the church
+of San Benito by Alonso Berruguete. Street, who disliked all the works
+of the Renaissance, denounced this altarpiece in unmeasured terms; but
+no impartial critic can deny the beauty of certain of the figures,
+notably those of Abraham and St. Sebastian. In the museum may also be
+seen the choir stalls from the same church, carved by the master in
+1528--ten years before he designed the _silleria_ of Toledo. The work
+displays marvellous imagination and great delicacy in the execution.
+
+The genius of Juan de Juni, who was living at Valladolid in 1570, is
+best represented by his wooden statue of the Dead Christ, from the
+convent of San Francisco. So ghastly is the realism of this figure, that
+looking at the rigid limbs--more like those of a gladiator than of the
+Crucified--we feel that corruption is about to take place, and avert our
+eyes in horror. One is tempted to hold one’s nose, as Murillo is said to
+have done while contemplating a canvas by Valdes Leal. Not less vigorous
+and infinitely more attractive is the noble statue of St. Bruno by the
+same sculptor.
+
+Gregorio Hernandez was the last of the trio of carver-sculptors who
+lived and worked at Valladolid. He was an indefatigable and prolific
+worker, and never doubted that the sole mission of art was to serve the
+purposes of religion. He died in 1636, in Juni’s old house, at No. 37
+Calle de San Luis. He is well represented in this museum. St. Teresa is
+perhaps his best work, but shows his want of vigour as compared with his
+two predecessors. It was Hernandez who unfortunately set the example of
+draping statues with nets and fabrics, since followed with such unhappy
+results.
+
+Few artists on canvas, or in stone or wood, have so well expressed the
+evil passions of the mob as the unknown sculptor of Christ bearing the
+Cross. The multitude is composed, of course, of local types--of those
+ferocious bravos and audacious picaros who abounded in Spain at that
+time, and whose ugliest characteristics are here caught and rendered
+with astonishing realism. A different genius is exemplified by the
+beautiful statues in bronze gilt of the Duke and Duchess of Lerma, which
+once decorated their tombs at San Pablo. They were begun by an Italian,
+Pompeio Leoni, but completed, it is believed, by another hand.
+
+The pictures in the museum are not of great importance. The Assumption
+and two other works by Rubens are in bad condition, and almost surpassed
+in interest by some pleasing productions of the modern Spanish school.
+
+Not far from the museum is the house where Columbus died (No. 7
+Cristobal Colon). He came hither on his return from his last voyage in
+1504, and languished here, absolutely neglected by the cold-hearted
+Ferdinand, for eighteen months. From Philip and Joanna he hoped to
+obtain a fuller recognition of his services, and upon their landing in
+Spain he sent them the assurance of his homage and respect. Philip
+acknowledged this in a generous and kindly spirit--an act which,
+together with his oft-expressed disapprobation of the Inquisition,
+should be remembered to the handsome Burgundian’s credit. But on the
+21st May 1506, Columbus went on a longer voyage than any he had made to
+the Indies--to the undiscovered country whence no traveller returns. He
+left two sons--Hernando, who, like his father, lies in the cathedral of
+Seville, and Diego, the ancestor of the present Duke of Veragua.
+
+The house of Cervantes, of which I have already spoken in the historical
+chapter, is in the Calle de Miguel Iscar, leading from the Acero de
+Recoletos to the Mercado.
+
+Interesting old houses are not uncommon in Valladolid. Besides those
+already mentioned are the Casas del Cordon and de los Duendes, built in
+part in the reign of Juan II.; the palace of Fabio Neli, the great
+patron of art and letters in Valladolid, with its classical doorway; the
+archiepiscopal palace, once the residence of the Marquises of
+Villasante; and the house of the unfortunate Calderon, minister of
+Philip III., in the Calle de Teresa Gil. Berruguete’s workshop may be
+seen near the convent (now barracks) of San Benito.
+
+These memorials of the city’s golden age having been inspected, you may
+ruminate on its past and future (for Valladolid _has_ a future) in the
+beautiful shaded promenades by the Pisuerga or beneath the trees of the
+Magdalena park; and thus refreshed may possibly be ready to investigate
+the archives of the kingdom at Simancas, seven miles away. Considerable
+time and patience will, however, be required, since the collection
+consists of upwards of thirty-three millions of documents, arranged in
+eighty thousand bundles.
+
+
+
+
+II
+
+OVIEDO
+
+
+The province of Asturias is, for all men of Spanish blood, holy ground.
+Its fastnesses sheltered the last little remnant of the nation which
+refused to bow before the foreign yoke, its mountains proved an
+impregnable bulwark against the invader. At Covadonga, Spain, beaten to
+her knees, with broken sword and buckler, struck back wildly,
+despairingly. Her adversary recoiled; in that instant she recovered her
+breath, and, rising to her feet, pressed him steadily, stealthily,
+irresistibly backwards. Asturias was not the cradle, but the asylum of
+the Spanish nation. Here, to use familiar expressions, she found
+salvation in the last ditch; she was saved at the eleventh hour.
+
+How dreadful was the peril of the nation we may understand when we read
+that the coast of Asturias itself was overrun by the Moors, and that a
+Muslim governor ruled at Gijon. Only a few glens in the wild Cantabrian
+mountains can boast a soil never profaned by the tread of the infidel.
+Oviedo can claim no such distinction. The ground on which she stands
+was, beyond all doubt, within the Moorish dominions. And she was not, as
+it is a very common error to suppose, the first capital of the reborn
+monarchy. It was at Cangas de Onis that Pelayo held his primitive court,
+and to Pravia, nearer the ocean, that Silo transferred the seat of
+government. Not till the reign of Alfonso the Chaste (791-842) did
+Oviedo become the capital of the infant monarchy.
+
+The town was younger even than the kingdom. It sprang up round a
+monastery founded by King Froila I. on the spot where in 760 the Abbot
+Fromistano had dedicated a humble church to St. Vincent. Before the
+monastery was built, the first stones were laid of the famous basilicas
+of the Salvador and of Saints Julian and Basilissa. Alfonso was born
+here, and partly out of affection for his native place, partly perhaps
+from an aversion to the capital of his enemy, Mauregato, he established
+his court here, beside the churches he loved. He girded the town with
+walls, and raised the bishop to the rank of primate of his dominions.
+Sovereign of two of the smaller provinces of Spain, he is said to have
+been emulous of the splendour of his contemporary Charlemagne. He
+endeavoured to restore the state of the old Gothic court. He revived the
+laws, the customs, and the ritual of his ancestors, and imported
+precious woods and marbles from afar for the embellishment of his little
+capital. His successors imitated not only the ceremonial and luxury of
+the Byzantine Emperors, but also their intriguing and methods of
+punishment. Putting out the eyes was as popular a means of ridding
+oneself of an opponent at Oviedo as at Constantinople. Alfonso el Magno
+avenged himself in this way on his four brothers, Veremundo, Nuño,
+Odoario, and Froila, whom he detected conspiring against him. Veremundo,
+notwithstanding, escaped to Astorga, where the inhabitants espoused his
+cause and defended him against his brother. Another conspiracy proved
+more successful, and Alfonso was driven from the throne by his own son.
+One day the dethroned sovereign presented himself before his successor
+and craved a boon. It was to lead the Asturian hosts once more against
+the infidels. The request was granted, and victory, as it had always
+done, attended the old king’s banners. And he had no sooner laid aside
+his arms, than, crowned with laurels in place of a diadem, he passed
+away at Zamora, December 20, 910.
+
+The dominions of Alfonso were dismembered at his abdication, and Oviedo
+for the brief space of twenty years remained the capital of the kingdom
+of Asturias alone. Ramiro II. reunited the monarchy, and at the same
+time transferred the capital to Leon. Oviedo became again the temporary
+seat of government, when Al Mansûr’s ever-victorious host swept over
+Spain, submerging all the Christian conquests, and breaking only against
+the impenetrable barrier of the Asturias. Leon was not restored to its
+rank till the reign of Alfonso V. (999-1027). This second period of
+residence of the kings at Oviedo was marked by the miraculous
+intervention of Heaven on behalf of an innocent man--if the chroniclers
+may be credited. Ataulfo, Bishop of Santiago, was accused of enormous
+crimes, and, having been summoned to the court, was condemned on
+insufficient evidence by Veremundo II. to be exposed to the fury of a
+wild bull. The prelate, strong in the knowledge of his innocence,
+celebrated Mass, and presented himself in the arena clad in his
+pontifical vestments. The furious animal entered, and lo! at once
+prostrated himself before the devoted man, offering his head and horns
+to be caressed. Nay, more, he threatened the spectators with his fury.
+Amid the plaudits of all, the holy bishop withdrew, and retired to a
+church in the valley of the Pravia, where he died in the odour of
+sanctity. Oviedo was known as the city of the bishops, as it was the
+residence of a great many prelates whose Sees were _in partibus
+infidelium_--that is to say, had passed under the control of the Moors.
+
+The history of the city, and indeed of the province, from the tenth
+century onwards, is of scant interest. Asturias was erected by Alfonso
+VII. in 1153 for a brief space into an independent kingdom in favour of
+the Infanta Urraca, his natural daughter by a lady of the province; but
+on her death it was reunited to the monarchy of Castile and Leon. Oviedo
+was too remote from the scene of the long campaign against the Muslims
+and from the later seats of government to take any prominent part in the
+nation’s affairs. But it did not escape the assaults of the French in
+the Peninsular War. The town was remorselessly sacked by General Bonnet,
+in spite of a resistance not unworthy of the posterity of Pelayo’s
+unconquerable warriors.
+
+A quiet, clean city, swept unceasingly by wind and rain, Oviedo at
+first sight recalls but faintly its glorious past. Yet when we look
+carefully about us, we find that time has been kind to those early
+sanctuaries which were the cause of the town’s existence, and which have
+merited for it the title of ‘the holy.’ Approaching more as a pilgrim
+than a critic, in no sceptical frame of mind, you will find few places
+in Spain more deeply interesting. And though it is neither the oldest
+nor the most interesting architecturally of the local monuments, your
+steps will turn at once to the Cámara Santa, attached to the
+cathedral--the Palladium of Spain.
+
+In the seventh century (so runs the legend) when the hosts of Khosru
+threatened the Holy Land, an ark or coffer, worked by the disciples of
+the Apostles and full of relics of ineffable sanctity, was conveyed by
+pious hands to Egypt. Thence it was transported to Cartagena, thence to
+Toledo; and when that city in its turn was menaced by the ever-advancing
+Saracen, it was taken by King Pelayo to the cave of Monsagro, ten miles
+from Oviedo. When the chaste king and his architect, Tioda, re-erected
+the basilica of San Salvador, founded by Froila, in the year 802, a
+chapel dedicated to San Miguel, and now called the Cámara Santa, was
+built expressly to receive this venerated reliquary.
+
+This sanctuary is now approached from the south side of the cathedral by
+a flight of twenty-two steps, built in the sixteenth century. We reach
+first the chapel, or ante-cámara, restored if not entirely constructed
+in the reign of Alfonso VI. (1072-1109), and representing the highest
+pitch of development reached at that time by Romanesque art in Spain.
+The roof is groined, and supported on each side by six columns built
+into the wall. Each column consists of two pilasters, rising from high
+pedestal bases, and supporting the statues of two Apostles. These
+figures are expressive, though rude, and the draperies are graceful and
+natural. At their feet are fantastic animals. The capitals of the
+columns are richly and beautifully carved with foliage, and with
+compositions representing scenes from the life of the Saviour and
+combats between men and lions. The capitals of the small pillars at the
+corners of the pedestals are also curious and delicately carved. Over
+the door are three heads in relief, of Christ, the Virgin, and St. John,
+early Romanesque work once painted and then disfigured by whitewash. The
+pavement of hard _argamasa_, or tessellated work, resembles, as Ford
+remarks, Norman-Byzantine works in Sicily. Beneath is a crypt, or lower
+chapel, dedicated to St. Leocadia.
+
+At the far end of the Ante-cámara is the Relicario, the sanctuary
+actually constructed by Alfonso the Chaste. It measures about 19½ by 17
+feet, and consists of a single low vault with traces of paintings, and
+lighted by a little window in the arch spanning the entrance.
+
+Enclosed within a railing is the _Arca_, a chest of oak, 7½ feet long by
+3¾ broad, and thinly plated with silver. A Latin inscription of four
+lines on the lid goes to prove that this was the work, not of Alfonso
+the Chaste, but of Alfonso VI., a conclusion warranted also by the
+Arabic inscription in Kufic characters, in praise of the Most High,
+running round the chest--a form of decoration not introduced into
+Christian work till after the fall of Toledo. On one face of the ark are
+reliefs of the Twelve Apostles within niches, with the Four Evangelists
+at the angles, and the figure of Christ, supported by angels, in the
+middle. On one side are reliefs of the Nativity, Adoration of the
+Shepherds, and the Flight into Egypt; on the other the Revolt of Satan,
+the Ascension, and the Apostles. The subject of the reliefs on the cover
+is the Crucifixion.
+
+What this ark contains is a matter for pious speculation. It is reckoned
+rash and impious to attempt to solve the mystery; and it is related that
+when Bishop Sandoval y Rojas, after much prayer and fasting, placed the
+key in the lock, he experienced such horror that his hair rose erect and
+knocked off his mitre! It is extraordinary that Bonnet’s soldiers did
+not attempt to solve the mystery.
+
+On the cover of the Arca are placed smaller reliquaries, beautiful
+specimens of silversmith’s work, which some may think of more interest
+than their contents. These, according to tradition, are the following:
+two thorns from Christ’s crown, and one of the deniers for which he was
+sold; a piece of St. Bartholomew’s skin; some drops of blood which
+exuded from a crucifix profaned by the Jews; a fragment of the rod of
+Moses; one of St. Peter’s sandals; a fragment of the True Cross; and
+certain ivory tablets dated 1162.
+
+Other precious relics are exhibited in the chamber, among them the
+winding-sheet of the Saviour, in a superb box of gold and blue enamel.
+The Cruz de la Victoria was carved of plain oak and carried as a
+standard by Pelayo at Covadonga; it is now encrusted with gold and
+brilliant enamels--work executed, as the inscription records, at Gauzon,
+near Oviedo, in the year 908. Another cross, styled the Cruz de los
+Angeles, dates from the times of Alfonso the Chaste, for whom it was
+made, it is said, by two angels disguised as goldsmiths. This precious
+relic is in the shape of a Maltese cross, is set with gems _en
+cabochon_, and encrusted with gilt filigree-work. In the centre is set a
+precious ruby. On the arms is inscribed the date of the making (808
+A.D.) and an anathema on whomsoever should steal it. It is certainly
+remarkable that this inscription should contain nothing about the
+supernatural workmanship of the cross!
+
+       *       *       *       *       *
+
+The cathedral built by Tioda by order of Alfonso the Chaste was pulled
+down in the twelfth century. The foundation of the existing edifice may
+be attributed to Bishop Gutierre de Toledo, who flourished about 1390.
+The work was continued zealously by his successors, but was not
+altogether completed till the sixteenth century was half gone. The west
+front is flanked by towers, only one of which, as so often happens in
+Spain, has been raised above the general roof-level. The southern tower
+is of singular dignity and beauty. It rises to the height of 224 feet,
+and is divided into five stages, of which three are above the level of
+the aisles. The massive piers on which the structure rests are continued
+upwards in the form of buttresses along the corners, and are fluted,
+moulded, and enriched with canopies, crockets, and ornaments of the most
+elaborate and at the same time tasteful character. The windows are of
+three lights, with good traceries, above the archivolts appearing a kind
+of trefoil ornament. The third stage is girt by a beautiful parapet. The
+fourth stage is rather Renaissance than Gothic in treatment. It is
+flanked by tapering finials, and constitutes the belfry. Here is hung
+the bell named after King Vamba, which dates from 1219. On the topmost
+stage rises the graceful steeple, thickly encrusted with crockets, and
+flanked by pinnacles which seem to be a reproduction of it in miniature.
+No more beautiful church steeple than this is to be seen in Spain, or
+indeed in Europe. Repeated restorations, notably in 1521 and 1728, have
+fortunately left its fairy-like symmetry unimpaired.
+
+The tower, however, unquestionably dwarfs the rest of the front, which
+is composed of a fine portico of three arches, the middle one being the
+highest. This central porch is flanked by statues of Alfonso the Chaste
+and King Froila. Despite these, and the canopied niches in the
+buttresses, the whole front presents a bare and forbidding aspect, not
+devoid, it must be conceded, of majesty. The portico was evidently only
+intended to be the base of the towers, of which, as we have seen, one
+only has been erected.
+
+The interior is harmonious and pleasing. The nave is about twice the
+height of the aisles, with which it communicates through pointed arches.
+The piers are lightly fluted and encircled by simple fillets of foliage.
+Above the arches runs a gallery with a graceful balustrade, and pointed
+openings divided by mullions and containing good traceries. The
+clerestory windows are tall and of six lights, the mullions being bent
+so as to form tracery. On the south side they are filled with good
+stained glass; the northern windows are filled up. The transepts are
+spacious and lighted by wheel windows. There is no lantern over the
+crossing.
+
+The chancel occupies a pentagonal apse at the east end of the nave, lit
+with five stained-glass windows. The retablo, dating from 1440, but
+since restored, is indifferent. The subjects of the reliefs are taken
+from the life of Christ. Near the High Altar are the tombs of various
+bishops, and a fine kneeling effigy of Bishop del Villar, who is buried
+at Segovia. The pulpits are of gilt iron. In the Renaissance chapels
+behind the chancel is the tomb of Bishop Gutierre.
+
+In the transept is a rudely sculptured figure of Christ, believed to
+date from the twelfth century. The shells sculptured on the capital of
+the pillar, against which it stands, refer to the pilgrims who
+frequented this famous shrine.
+
+The choir stalls are richly carved with caprices and scenes, ‘ill
+according,’ remarks a Spanish writer, ‘with the sanctity of the place.’
+But the backs of the lower seats bear representations of Biblical
+characters, which, like the canopies above, are exquisitely carved. The
+organs are Churrigueresque, and the gorgeous Gothic trascoro is in
+hardly better taste. The chapels date mostly from the seventeenth and
+eighteenth centuries, and contain nothing of interest, except the
+alleged body of St. Eulalia of Merida.
+
+Communicating with the north transept is the Capilla del Rey Casto. This
+chapel, founded by Alfonso the Chaste, was entirely rebuilt in the
+eighteenth century by a bishop named Melaz in the worst baroque style.
+This was the pantheon of the early kings of Asturias, and some tombs,
+probably containing their remains, are certainly here; but the
+inscriptions are merely the result of guess-work. Only one sarcophagus
+can be identified, and that, it appears from the inscription, is the
+resting-place of one Ithacus. Who this personage was, and what he had
+done to merit sepulture in the royal vault, are riddles to which history
+supplies no answer.
+
+The cloister, begun in the fourteenth and finished in the fifteenth
+century, is in good Gothic style. The pointed arches looking on the
+court are divided by four or five slender shafts, which support elegant
+tracery. Among the statues that of Alfonso XI. Is the best preserved.
+The capitals and corbels are curiously and richly carved with such
+subjects as King Favila hunting the bear, the duel of Froila, and what
+Mr. O’Shea very rightly calls ‘a series of comical pictorial reviews of
+the times.’ There are many tombs in the cloister, belonging to various
+epochs, mostly earlier than the fourteenth century. They are of all
+styles, but Don J. M. Quadrado points out that the epitaphs are almost
+uniform in style. The famous Bishop Pelayo’s tomb (died 1153) is here.
+
+The chapter-house is a fine specimen of thirteenth-century architecture.
+The archives adjoining contain some documents and codices of the
+greatest value. Here is preserved the _Libro Gotico_ of the twelfth
+century, a beautifully illuminated manuscript, throwing light on the
+costumes and customs of that day.
+
+The other churches founded by Alfonso the Chaste and his predecessors in
+the town itself have either been demolished or so often restored,
+rebuilt, and renovated, that they cannot be considered worth a visit.
+The earliest foundation of all, San Vicente, was modernised in 1592, and
+is interesting as containing the bones of the Abbot Feijoo, a man
+greatly esteemed by his contemporaries for his learning and sanctity
+(died 1764).
+
+The Gothic church of San Francisco, now attached to a hospital, was
+founded by Fray Pedro, a companion of the great Francis of Assisi
+himself. This is the burying-place of the great family of Quirós, which
+claimed, in a not very reverent distich, to rank in point of dignity and
+antiquity next to the Divinity (‘Después de Dios, la casa de Quirós’).
+In the chancel lies Gonzalo Bernaldo de Quirós the Older, the youthful
+friend of Enrique of Trastamara, who died, wearing the religious habit,
+in 1575. Within a sepulchre upheld by lions which bear escutcheons
+crossed by the bar sinister, are the ashes of another Gonzalo Bernaldo,
+a distinguished illegitimate scion of the house. He is shown clad in
+armour, and at his feet a dog--symbolical, possibly, of the fidelity and
+tenacity with which he watched over the interests of his family during
+the minority of its chiefs. Close by is the vault of the house of
+Valdecarzana; a modern inscription informs us that during the interment
+of one of that family, a live cow must be present in the church--why or
+wherefore not being stated.
+
+The church of Santa Maria de la Vega, outside the town, was the chapel
+of a Benedictine nunnery founded by Gontroda, mistress of Alfonso VII.,
+who took the veil here in 1154. She was joined in her retirement, it is
+believed, by her daughter Urraca, sometime Queen of Navarre, and
+afterwards of Asturias. A century later another interesting penitent
+sought an asylum here: Doña Sancha Alvarez, mistress of the greatest
+noble in Spain, Rodrigo Alvarez de Asturias. The two ladies’ tombs lie
+close together. The sarcophagus of Gontroda is adorned with Romanesque
+reliefs of birds, and of hounds chasing deer, in curiously crude and
+conventional attitudes; Sancha’s tomb shows Gothic influence, and is
+sculptured in low relief. The epitaphs extol the virtues and amiability
+of the departed ladies.
+
+       *       *       *       *       *
+
+The two most interesting monuments in the district are the ancient
+churches of Santa Maria de Naranco and San Miguel de Lino, both outside
+the walls. The former was rebuilt by Ramiro I., and is, therefore, well
+over a thousand years old. Attached to it were a palace and baths, every
+trace of which has long since disappeared. The architecture presents
+curious local peculiarities. The church is situated on a slope, and is
+composed of a single nave resting on a crypt or substructure. The only
+entrance is by a porch on the north side, which is on the level of the
+nave and approached by steps. The whole exterior is severe and simple,
+strong buttresses running up the walls to the sloping roof. In the west
+front three stages may be distinguished: the lowest is formed by the
+substructure entered in the middle by a round arch; above this the nave
+terminates in a portico of three round arches, which spring from four
+palm-like pillars with Corinthian capitals; in the middle of the third
+stage is a window of three lights, also round arched. The interior has
+remained practically unchanged since Ramiro’s day. The chancel and choir
+occupy opposite ends of the nave, and are raised by one and three steps
+respectively above the level of the flooring. Both are shut off by three
+round arches, the middle one being higher than the others; and an arcade
+of closed arches runs along the side-walls of the nave. These arches are
+rudely constructed, and rest upon, rather than spring from, octagonal
+capitals, quaintly carved with figures of priests and lions. The columns
+are composed each of four engaged shafts, of the same pattern as those
+of the western portico. The ribs of the waggon-vaulted ceiling spring
+from corbels, beneath which are reliefs representing the two orders of
+society in Asturias in the ninth century--knights engaged in combat, and
+toilers carrying loads. Under these again are circular medallions,
+filled with conventional foliage, and having in the centre reliefs of
+lions and birds. The church was probably intended to be open at both
+ends, as it is now, that the congregation assembled on the hillside
+might be able to assist in divine worship. It is one of the most
+valuable architectural monuments of Spain.
+
+The little basilica of San Miguel de Lino was built near Santa Maria by
+King Ramiro about the year 850. The name was originally _de ligno_,
+_i.e._ of the wood, and was derived quite possibly from a fragment of
+the True Cross preserved here. Here we have a cruciform church in
+miniature, with transepts, lantern, and apsidal chapels, of a height
+which seems out of proportion to their other reduced dimensions. The
+apsidal chapels formed a semicircle at the foundation, but have been
+squared off since. The roofs are tiled and pitched. The buttresses
+resemble those of the Naranco church. The walls are pierced, here and
+there, with windows of three lights, with round arches, columns spirally
+fluted, and columns cut into leaves; above these is an elaborate
+geometrical tracery, suggestive of Moorish influence. The jambs of the
+round-arched western porch are rudely carved with curious groups. One of
+these is irresistibly grotesque. A man is shown balancing himself with
+his hands on the top of a pole and his legs in the air, exactly like the
+familiar monkey on a stick of our childhood; with head downwards, he
+grins into the jaws of a lion, which stands on its hind legs agape with
+surprise or indignation. Behind the gymnast another man appears to be
+indulging in some sort of dumb-bell exercise. This amazing composition
+is averred by some authorities to represent the martyrdom of a saint!
+The floral designs which border it are skilfully, even delicately,
+executed.
+
+The chancel is on a lower level than the nave, which is reached on each
+side by a flight of steps, in a chapel projecting from the transept. The
+lantern has one of the earliest attempts at a domed roof, now
+unfortunately concealed by a later flat ceiling. The columns and arches
+are Byzantine in style, and the capitals carved with rosettes in
+medallions and strapwork. The nave is waggon vaulted and lower than the
+transept.
+
+       *       *       *       *       *
+
+The modern buildings of Oviedo present few features of interest. The old
+walls have almost entirely disappeared, and few of the palaces or
+noblemen’s houses date further back than the seventeenth century. The
+University, founded in 1608 by the executors of Archbishop de Valdés, is
+a dignified building in the classical style--such as one might see in
+any fair-sized town in southern Europe. The Ayuntamiento, uninteresting
+in itself, contains a charter granted by the sixth and confirmed by the
+seventh Alfonso. Those who have had the opportunity of studying it say
+that it illustrates the transition from Latin to Spanish--just as the
+history of Oviedo illustrates the development of the Goth into the
+Spaniard.
+
+
+
+
+III
+
+SEGOVIA
+
+
+The ancient and beautiful city of Segovia occupies one of those sites
+which men would have chosen for the building of towns as soon as towns
+ever came to be built. We may therefore be sure that the roots of the
+city’s life lie very far back in the past--an assurance confirmed by the
+name, which bespeaks an Iberian origin. Mediæval writers mentioned this
+as among the towns built by the fabulous King Hispan, whose name, with
+those of his relatives, Iberia and Pyrrhus, is always introduced to
+explain a mystery or to adorn a tale. To the Romans the place was known
+as Segobriga; and that it was a flourishing and important colony the
+great aqueduct, the most famous of its monuments, remains to this day to
+attest. We may assume the town under the Roman yoke was happy, for it
+had no history--at least, nothing of it has reached us. There were
+bishops on these barren heights in early times, for they are referred to
+by name as attending councils at Toledo in the sixth and seventh
+centuries. At the time of the Mohammedan conquest, a hermit called Fruto
+rallied the Christians in the fastnesses of the mountains and kept alive
+in them the Christian faith and traditions. This holy person was the
+brother of the martyrs Valentin and Engracia, whom the Moors put to
+death. This the hardened infidels did, the chroniclers assure us, in
+spite of miracles which might have converted Mohammed himself; for the
+Segovian saints cleft mountains asunder with the stroke of a knife, and
+produced fountains from the solid rock with the touch of a wand; while a
+mare, to whom the Eucharist had been offered as food, dropped on her
+knees in adoration. It is clear that in after years the Christians of
+Segovia enjoyed the liberty of worship that the Muslims of Spain
+everywhere conceded to their subjects; for we hear of a bishop, Ildered,
+governing his flock here in the year 940. In the following century it
+was included within the dominions of the Amir of Toledo, and on the
+downfall of that monarchy was annexed to the growing kingdom of Castile.
+
+Like Salamanca and Avila, Segovia was repeopled at the instance of Count
+Raymond of Burgundy, chiefly by Gallegos from the north-west. It
+received its first charter from Alfonso VI. in 1108. Thereafter its
+citizens were always to be found in the fighting line. Tradition avers
+that Madrid was recovered from the Moors by the Segovians; and their
+chiefs on that glorious occasion were Dia Sanz and Fernán Garcia, whose
+descendants for many years after divided the government of the city
+between them. But the chronicles register a very black stain on the
+city’s fame: the assassination by the townsfolk of Alvar Fañez, the
+illustrious brother-in-arms of Alfonso VI., at Easter, 1114. Four years
+later, the Segovians took the side of Alfonso VII. against his mother,
+Queen Urraca, and were rewarded by the reconstitution of their town into
+a bishopric.
+
+The history of Segovia differs little from that of other Castilian
+towns. Its citizens shared the glories and the hardships of the
+ceaseless campaigns against the Moors, and did not hold aloof from the
+equally numerous civil wars that distracted the kingdom. In 1295 they
+refused submission to the young king, Fernando IV., and his mother,
+Maria de Molina. The brave queen forced her way into the town, and found
+the gates shut behind her. Undismayed, she harangued the stubborn
+townsmen. ‘Open your gates,’ she cried, ‘and I will go with my son to
+more grateful and obedient towns; where vassals are less easily deceived
+by intriguers, and where mother and son are not separated!’ The people
+were moved by her reproaches, and, admitting the king, escorted both in
+triumph to the Alcazar.
+
+The minority of Alfonso XI. (1320) was attended by sanguinary disorders
+in the streets of Segovia. Every church and house became a fortress, and
+the rival factions stormed and laid siege to each other’s strongholds
+within the narrow compass of the city walls. In 1368 the nobility held
+the Alcazar for Enrique of Trastamara, whilst the commons held the town
+for Pedro the Cruel; but the Gracious King, after the death of his
+half-brother at Montiel, visited Segovia and won all hearts. A hundred
+years later the town was distinguished by its loyalty to the wretched
+Enrique IV., who here betrayed his own daughter, Juana, by a
+reconciliation with his sister, Isabel. Not content with this, he
+appeared in the streets, leading by the bridle the palfrey of the woman
+who denied his own child’s legitimacy.
+
+The townsfolk, at the beginning of the reign of Charles V., threw in
+their lot with the Comuneros; but the Alcazar throughout the rising was
+held by the royal forces. The King-Emperor and his successor, like
+their predecessors, frequently sojourned in the old palace-fortress.
+Later on, it was often used as a state prison. The famous Ripperdá, the
+Dutch adventurer, passed a portion of his captivity here; and the
+Marquis of Ayamonte was confined here prior to his execution in 1648.
+The establishment of the court permanently at Madrid, and the building
+of La Granja by Philip V. in 1721, diminished the importance of Segovia
+as a royal residence. In few countries have the larger provincial towns
+loomed more conspicuously in the past than in Spain, and in few are they
+nowadays more decayed and bloodless. Segovia remains, as Antonio
+Gallenga described it, ‘an unmatched picture of the Middle Ages. You
+read its history on the old city walls with their eighty-three towers;
+in the domes and belfries of its churches; in the bare and blank ruins
+of its deserted monasteries; in the battlemented towers of its noble
+mansions.’
+
+The town stands high and bravely on the mountains, its flanks washed by
+two clear streams, Eresma and Clamores. The towers and domes rise
+sharply against the clear sky, high above the surrounding hills; an
+island of the air Segovia seems as you catch sight of her from the
+dusty plains of Old Castile. Even as clouds in their fantastic
+formations take the semblance of far-away cities, so at certain hours
+from afar off you might take this to be just such a cloud-town. And when
+you draw nearer you find the valleys are cool and green, and that the
+tall trees flourish here and do not wither as in the plains round Burgos
+and Valladolid.
+
+       *       *       *       *       *
+
+Coming from La Granja, the first you see of Segovia’s wonders is
+fittingly by far the oldest. The aqueduct dates, it is believed, from
+Trajan’s reign, and is the most considerable of the Roman remains of
+Spain. In the Middle Ages, like most other classical works, it was
+attributed to diabolical agency, and is still often called El Puente del
+Diablo. Beginning at the Fuente Fria in the Sierra Guadarrama, ten miles
+away, with many zigzags it passes over hill and dale, and at last spans
+the deep valley before the city, and is carried across the streets to
+the Alcazar. It is built of granite with black veins, hewn in great
+blocks, which are pieced together without mortar or clamps. Every block
+is visible on one side or another. For the distance of nine hundred
+yards the aqueduct is carried on one hundred and nineteen arches,
+varying in height from twenty-three to ninety-four feet. For a third of
+this length the arches are in two tiers. The work is devoid of
+ornamentation, except for the remains of a cornice. All is not Roman
+work. The aqueduct was partially demolished in the eleventh century
+during a siege by the Moors, and when Queen Isabel the Catholic
+determined to restore it, thirty-six arches between the convents of La
+Concepcion and San Francisco had fallen in. The restoration of these was
+intrusted, on the recommendation of the Prior of El Parral, to a young
+monk of that house, named Fray Juan Escovedo, who performed his
+difficult task with remarkable skill. Indeed, it is not easy to
+distinguish the Spaniard’s work from the Roman’s. Escovedo died in 1489.
+The only reward he received for his labours was the timber of the
+scaffoldings.
+
+Some of the arches have been for centuries embedded in the city walls.
+The work, though severe and imposing, is not perhaps equal to the Pont
+de Gard, or even to certain other Roman remains in Spain. Yet nothing
+could be more curious, or, in a sense, more picturesque, than the views
+of the quaint old houses framed by its arches, or grander than these as
+seen from San Juan, or towering above the Plaza Mayor. Their height is,
+of course, magnified by the hovels clustering at their bases, in
+comparison with which the aqueduct appears rather the work of Cyclopes
+than of men. And through these arches, as through a gate of triumph, we
+pass into the mediæval city.
+
+Yet this is not the only monument of classical antiquity in Segovia. The
+rude figure of Hercules about to slay the Erymanthine Boar was
+discovered in the interior of the tower of Santo Domingo el Real, which
+became the property of the Dominican nuns in 1513. The demigod, to whom
+the foundation of so many Spanish cities has been ascribed, was no doubt
+worshipped here.
+
+       *       *       *       *       *
+
+This ancient town of warlike people is surrounded by high walls, reared
+by the settlers of Count Raymond in the eleventh century, though the
+Alcazar, the ‘Casa de Segovia’ (adjoining the fine old Puerta de San
+Juan), and the ‘Tower of Hercules’ just mentioned, all forming part of
+the enceinte, may have been in the first instance of Roman origin. The
+wall is strengthened by bastions and towers of various shapes--square,
+round, and polygonal--some with brick archings and ornamental courses
+of brick and plaster. The wall and towers preserve their battlements.
+The ‘allure,’ or rampart walk, is in parts so narrow as hardly to permit
+of safe walking. Among the most picturesque gates is that of San Andrés.
+It lies between two towers, one square, the other larger and polygonal,
+and crowning the very edge of the declivity; from one to the other runs
+a gallery, supported by a semicircular arch. This gate was restored by
+Ferdinand and Isabel, and at one time afforded ingress to the Jewry of
+Segovia. The masonry of the adjoining wall resembles that of the
+aqueduct close by, and may possibly be a fragment of the Roman
+fortifications.
+
+Segovia, we are often reminded, looks like a ship in full sail towards
+the west; and the Alcazar is at the prow. Whether or not it occupies the
+site of a Saracen or Roman work, there can be no doubt that the present
+structure was founded by the conqueror of Toledo, Alfonso VI., at the
+end of the eleventh century, and was remodelled and enlarged by Juan II.
+in the fifteenth. Much of it is now entirely modern, the interior of the
+fabric having been completely restored after the fire of 1862. For all
+that, this citadel of Segovia remains a fine typical castle of Castile,
+the castle-land. The massive Torre de Juan Segundo forms the east part
+of the building. Its four sides are furnished with the bartizans
+characteristic of Spanish castles, which spring out of the wall at about
+half its height, and rise considerably above the battlements. Between
+them runs a machicolation carried on corbels. The windows in this
+magnificent tower are sheltered by quaint stone canopies; and the whole
+façade is covered with plaster, on which Gothic tracery has been stamped
+with a mould as at the Alhambra. The interior is vaulted, and has three
+floors.
+
+Around the inner court were disposed the royal apartments, which indeed
+still exist, though the fire and consequent restoration have shorn them
+of most of their beauties. Don J. M. Quadrado, who saw them before the
+catastrophe, declares they were of magical splendour. A curious story is
+associated with the Sala del Cordon. In 1258 the learned king, Alfonso
+X., discoursing at the Alcazar as was his wont with a party of sages,
+remarked, like Lafontaine’s Garo, that if the Creator had consulted him
+he would have turned out a better world; others have it that he declared
+his belief that the earth revolved round the sun, and not the sun round
+the earth. Whatever he said, he was rebuked for his profanity by Brother
+Antonio, a Franciscan. But the king hardened his heart. That very night,
+as he lay in bed, a thunderbolt came crashing through the ceiling, and
+sent him quaking and beseeching absolution to the feet of the friar. In
+memory of this event he decorated the walls of this apartment with the
+cord or girdle of St. Francis, which perhaps as a member of the lay
+‘Third Order’ he was entitled to wear.
+
+Passing through the handsome Sala del Trono, we reach the Sala de los
+Reyes, adorned before the conflagration with an ancient and valuable
+series of effigies of the early kings of Leon and Castile. From one of
+the windows Pedro, a son of Enrique II., fell out of the arms of his
+nurse, and was dashed to pieces on the rocks below. The woman, rather
+than face the king’s anger, threw herself after her charge and met the
+same fate.
+
+The part of rock at the western extremity of town and citadel is
+defended by the strong Torre de Homenage, which was held for Isabel the
+Catholic by Andrés de Cabrera in 1476 when the rest of the fortress had
+been seized by the partisans of Juana. In 1507, on the contrary, it
+offered a vigorous resistance to the same Cabrera, to whom, however,
+the garrison surrendered on May 15. The tower is surmounted and
+strengthened by seven turrets. The irregular disposition of these
+_cubos_ and _torreones_ (round towers and bartizans) round the four
+sides of a keep is a peculiarity of Spanish military architecture. Here
+they used to be crowned with peaked roofs of slate, probably like those
+that lend such a bizarre appearance to the palace at Cintra. This
+feature, like the plaster-work on the façade, shows distinct Moorish
+influence, and encourages the belief that the castle was modelled on
+that of the Muslim lords of Toledo.
+
+We have seen how important was the part played in the history of the
+kingdom by this grand old citadel. I must not forget to mention that Le
+Sage places here the scene of the confinement of Gil Blas before his
+marriage; but as is well known, the author of the most famous of
+picaresque romances never set foot south of the Pyrenees.
+
+       *       *       *       *       *
+
+The space to the east of the Alcazar was formerly occupied by the old
+cathedral, built in the twelfth century, and totally destroyed by the
+Comuneros in 1520. It was determined to erect the new cathedral on a
+more convenient site, and on the 8th June 1522 the Bishop, going in
+procession, laid the foundation-stone of the existing building on the
+west side of the Plaza Mayor. The plans were drawn by Juan Gil de
+Hontañon, and are very similar to those of the new cathedral at
+Salamanca, of which Hontañon was architect, though he is said to have
+used another’s designs. Street thinks (and few will disagree with him)
+that this is the finer cathedral of the two, chiefly because its eastern
+end is semicircular and not square. It is one of the very latest Gothic
+cathedrals, and is on the whole a beautiful building in fine warm-hued
+stone. The plan is that of an oblong, rounded at the eastern end; or, to
+be more precise, it includes a nave with aisles, into which on both
+sides open chapels placed between flying buttresses, and a chevet with
+seven polygonal chapels. The choir occupies the customary position in
+the middle of the nave. A cupola, 220 feet high, rises over the
+crossing. The length of the church is given as 330 feet, the breadth as
+158 feet, the nave being 44 feet across, the aisles 30 feet.
+
+The west front is divided by buttresses into five compartments,
+corresponding to the nave, aisles, and rows of chapels, both in width
+and in elevation. The three entrances are enclosed within pointed
+arches. The ornamentation is restrained and pure. At the southern corner
+the front is flanked by a square tower 345 feet high and 35 feet in
+area, with six rows of windows enclosed within arcades and all blinded
+except those of the belfry. The angles of the platform are adorned with
+pinnacles, and the tower is surmounted by an octagonal clock-story.
+Higher than the Giralda of Seville and broader than the Tower at Toledo,
+this structure is a matter of legitimate pride to the Segovians.
+
+The rest of the exterior closely resembles that of Salamanca--‘the same
+concealment of the roofs and roof-lines everywhere,’ laments Street. The
+outside of the chevet exhibits an excess of ornamental work; it is, in
+fact, a forest of pinnacles. On the south side the façade is partly
+hidden by the cloister and sacristies.
+
+The interior is bright and altogether pleasing. The columns are massive
+and gracefully moulded, and the arches lofty. The nave and aisles are
+lighted by windows filled with beautifully-coloured glass. There is no
+triforium, but instead a balustrade in the flamboyant style in front of
+the clerestory of the nave.
+
+The lantern or cupola over the crossing, and the gorgeous reredos behind
+the High Altar, are quite out of keeping with the general aspect of the
+church. The chancel is enclosed by three very fine iron screens, quite
+Plateresque in character, though executed in 1733. The majority of the
+stalls in the choir were designed for the old cathedral, half a century
+at least before its destruction. The organ on the Epistle side, now
+enclosed in an eighteenth-century case, also came from the old church,
+and was the gift of Enrique III. The rich marble retablo at the west end
+of the choir was given by Carlos III., and enshrines in a silver
+reliquary the ashes of the local martyrs, Fruto and his brethren.
+
+The chapels are not specially interesting. Those in the chevet are
+exactly alike, and furnished like those in the aisles, for the most
+part, with seventeenth-century retablos. In one (Nuestra Señora del
+Rosario) is buried Doña Maria Quintana, who ended a dissipated life in
+the odour of sanctity on August 16, 1734. Her epitaph runs: ‘Hic vespere
+et mane et meridie laudes Deo reddidit, et vitandi crimina zelo preces
+et lacrymas Juges effudit; hic quam intra chorum psallere secum
+prohibuit, extra chorum fructuose psallere Spiritus docuit; hic tertio
+ab obitu die nondum rigida membra, à juncturis suis jamdiu separata
+quiescunt ossa. An forsan post mortem etiam prophetabunt?’ The chapel
+of St. Hierotio was dedicated to that saint by Bishop Escalzo under the
+false impression that he was the founder of the see. The Capilla de la
+Piedad (fifth in the left aisle) is remarkable for a fine Descent from
+the Cross, a retablo with colossal and expressionful figures, painted by
+Juan de Juni in 1571. In the same chapel is a painting by Alonso Sánchez
+Coello, the Apparition of Christ to St. Thomas, spoilt by injudicious
+re-touching.
+
+On the south side of the cathedral is the cloister, which belonged to
+the old church, and was reconstructed here in beautiful flamboyant style
+by Juan Campero in 1524. It is entered by a fine Gothic doorway, in the
+Consuelo chapel (wherein is the noble tomb of Bishop de Covarrubias). On
+the cross-vaulting of the cloister may be seen the arms of Bishop Arias
+Dávila. We notice the monuments of three of the architects--Rodrigo Gil
+de Hontañon (died 1577), and his successors, Campo Agüero and Viadero.
+In the chapel of Santa Catalina at the foot of the West Tower are
+contained the remains of little Prince Pedro, with his painted and
+gilded effigy. The superb monstrance preserved in this chapel was
+designed in 1656 by Rafael González. At the northern aisle of the
+cloister may be read this inscription: ‘Aquí está sepultada la devota
+Mari Saltos con quién Dios obré este milagro en la Fonzisla. Fizo su
+vida en la otra iglesia, acabó sus dias como Católica Cristiana, Año de
+1237.’ (Here is buried the devout Maria Saltos, with whom God performed
+a miracle at Foncisla. She passed her life in the other church, and
+finished her days as a Catholic Christian in the year 1237.) ‘The other
+church’ was of the Hebrew persuasion, to which Maria belonged. Accused
+of adultery, and condemned to die by the elders of her community--which
+was a self-governing body in Spain within certain limits--she was cast
+from the Peña Grajera, the Tarpeian Rock of Segovia. At the supreme
+moment she was heard to invoke the Virgin of the Christians, and reached
+the ground unharmed. She was baptized, and died, as the epitaph
+testifies, a devout Catholic. The incident may be ranked with the
+remarkable, if not miraculous, escape of the Catholic secretaries at
+Prague, known as the Fensterstürz.
+
+The chapter-house, adjacent to the Western Tower, is a very splendid
+apartment, paved with marble, upholstered with crimson velvet, and
+containing some good engravings, mostly Flemish. An elegant staircase
+leads to the library above.
+
+       *       *       *       *       *
+
+At the back of the cathedral is the Plaza Mayor, one of the most
+picturesque squares in Spain. The Ayuntamiento with its Doric columns
+looks strangely out of place, surrounded as it is by old houses with
+projecting upper stories and wooden loggias of a Gothic, almost German
+character. The church of San Miguel may be attributed to Hontañon or one
+of his assistants. It replaces an earlier structure, in the porch of
+which the town council used to meet. In the north transept is an
+interesting triptych, where St. Michael is represented weighing souls.
+Hard by, at the corner of the Calle Ancha and Calle de los Huertos, is
+the old mansion of the Arias Dávila family, with a tall square turreted
+tower, adorned in its lower stages with diapered plaster. Near the
+church of San Martin are another fine tower belonging to the Marquis de
+Lozoya, and the house (now a book-shop) of Juan Bravo, one of the three
+leaders of the Comuneros.
+
+The church of San Martin is approached by a flight of steps, and
+encircled on three sides by a cloister or portico, which was used in the
+twelfth century, at all events, as a burial-ground. The west porch is
+bold and original, with statuary in the jambs of the doorway, and
+capitals carved with birds in couples. The church was originally
+apsidal, but has been frequently restored. The Bravos and Rios, two
+prominent families of Segovia, are buried here; and the tomb of Gonzalo
+de Herrera and his wife in alabaster is in a chapel on the left-hand
+side. The church is surmounted by a modern cupola over the crossing, and
+by an ancient tower placed, oddly enough, over the middle of the nave.
+
+Near the Puerta de San Martin is the Casa de los Picos, which was
+acquired and rebuilt in the fourteenth century by the family of Hoz. It
+seems once to have been known as the Jews’ House, till in the sixteenth
+century its façade was rebuilt with the extraordinary facetted stones
+from which it derives its present name. While in this neighbourhood, the
+few poor remains of the palace of Enrique III. should be inquired for.
+
+Where the Calle Real opens into the Plaza Mayor is situated one of the
+most interesting churches in Segovia. Corpus Christi Church was till the
+year 1410 a Jewish synagogue. In that year a rabbi obtained from the
+sacristan of San Facundo a consecrated Host as a security, it is said,
+for a loan. The street where this impious transaction took place is
+still known as Mal Consejo. The Jews attempted to profane the Sacred
+Wafer in their synagogue, but were scared by awful portents, and
+confessed their crime. Their place of worship was forfeited, apparently
+at the suggestion of St. Vincent Ferrer, and consecrated as a Catholic
+church. It bears a strong likeness to Santa Maria la Blanca at Toledo.
+The nave and aisles are separated by horseshoe arches springing from
+fir-cone capitals, above which runs a series of blind windows. The
+ceiling is of wood. The transept and dome have been added since the
+adaptation to the purposes of Christian worship. The sacristan will
+point out the crack in the wall which occurred at the moment of the
+attempted sacrilege.
+
+Santa Trinidad, on the north side of the Plaza Mayor, is a Romanesque
+church of the San Martin type. It is adjoined like the latter by a
+portico, also used once as a place of sepulture. The apse is lit by
+three windows, below which are others now only to be seen from the
+interior. A lane leads from this church to San Nicolás, close to the
+walls. Here the two apses are each lit by a single window, and over the
+smaller of the two is raised a low tower with two round-arched belfry
+windows. The secularised church of San Facundo exhibits similar
+characteristics. It contains a not very valuable museum.
+
+Segovia is a Paradise for the ecclesiologist, but so many of the
+churches differ only in the smallest particulars from the San Martin and
+San Millán type that a description of each would be tedious. An
+exception must be made as regards San Esteban, opposite the Episcopal
+Palace, famous for its Romanesque tower, the finest work of the kind in
+Spain. The base of the tower is as high as the nave; the remaining five
+stages are adorned on each side with graceful arcaded windows. The
+angles are splayed off, and up the middle runs a shaft. The tower is
+surmounted by a pinnacle, evidently a later addition, and in very bad
+style. The external cloister of San Esteban is the most beautiful in the
+town.
+
+In the disused church of San Juan de los Caballeros are buried the
+founders of the two great houses of Segovia, Fernán Garcia and Dia Sanz,
+averred by tradition to have been the conquerors of Madrid.
+
+The finest specimen of these early Romanesque churches is to be seen
+outside the south wall. San Millán is said to have been founded by the
+Counts of Castile in the tenth century, but the present fabric dates
+from the twelfth. The church consists of a nave, aisles, and external
+cloisters on each side, all ending in eastern apses. There is a low,
+square lantern over the crossing, and a modern square tower at the east
+end of the north cloister. The west front is very simple and pierced
+with a round-arched door and four windows. The arches of the cloister
+spring from finely sculptured capitals on double shafts. Street calls
+attention to a local peculiarity in the design of the north and south
+doors. ‘Their jambs consist of shafts set within very bold, square
+recesses; and the number of orders in the arch is double that of those
+in the jamb, they being alternately carried on the capitals of the
+shafts, and upon the square order of the jambs. The effect is good....’
+The interior is well preserved, but daubed all over with whitewash and
+plaster. The church is barrel-vaulted, but may once have had a flat
+timber roof. The capitals of the massive columns are carved with very
+large and striking figures of men and animals. The corbels are adorned
+with masks and caprices, very skilfully chiselled.
+
+       *       *       *       *       *
+
+Two other exceedingly interesting churches are also outside the city
+wall, in the valley of the Eresma. Descending by a very steep path from
+the Alcazar to the junction of the two streams, and passing an arch in
+the baroque style, we reach Fuencisla--the bubbling rock, from which
+water filters. Here a cypress marks the spot where Maria del Salto
+alighted uninjured from the crag above. The neighbouring church, built
+in 1613, contains the shrine of the wonder-working Virgin of the
+Fuencisla. It possesses a fine reredos and iron pulpit. In the convent
+of the Discalced Carmelites are preserved the head and body of the
+famous St. John of the Cross, the spiritual guide of St. Teresa, and one
+of the world’s greatest mystics. You may also see the pictured Christ
+which, it is alleged, spoke to the saint, bidding him ask a favour; John
+asked, as a devout Spaniard of that time might have been expected to do,
+for more suffering and humiliation. The cave in which he retired to pray
+may also be visited.
+
+Proceeding up the valley of the Eresma, we notice the old Casa de
+Moneda, or Mint, built in 1586, which down to 1730 coined all the money
+of Spain. Above it lies the curious little church of Vera Cruz, built in
+1204 by the Knights Templars, more or less on the model of the church
+of the Holy Sepulchre at Jerusalem. It would be difficult to convey a
+clearer idea of the peculiar conformation of this structure than by
+Street’s description: ‘The nave is dodecagonal, and has a small central
+chamber enclosed with solid walls, round which the vaulted nave forms a
+kind of aisle. This central chamber is of two stories in height, the
+lower entered by archways in the cardinal sides, and the upper by a
+double flight of steps leading to a door in its western side. The upper
+room is vaulted with a domical roof which has below it four ribs, two
+parallel north and south, and two parallel east and west, and it retains
+the original stone altar arcaded on its sides with a delicately wrought
+chevron enrichment and chevroned shafts. The upper chapel is lighted by
+seven little windows opening into the aisle around it. A slab indicates
+the position of the supposed sepulchre. The room below the chapel has
+also a dome, with ribs on its under side. On the east side of the
+building are the chancel and two chapels, forming parallel apses, to the
+south of which is a low steeple, the bottom stage of which is also
+converted into a chapel. The chapel in the centre of the nave is carried
+up and finished externally with a pointed roof, whilst the aisle is
+roofed with a lean-to abutting against its walls. There are pilasters at
+the angles outside, small windows high up in the walls, and a fine
+round-arched doorway on the western side.’ The sepulchre is placed on
+the upper story, as at Jerusalem, where the hill of Calvary has been
+included within the church. Note the red crosses recalling the original
+owners, and the fast disappearing paintings on the retablo in the
+chancel. The portion of the True Cross formerly preserved here was
+removed to Zamarramala in 1663, when the old Templars’ Church was
+abandoned so far as religious rites were concerned.
+
+Not far off, in a desolate spot once described as a terrestrial
+paradise, stands the church of El Parral, the chapel of a suppressed
+monastery of the Hermits of St. Jerome. It was founded in 1447 by the
+famous Juan Pacheco, Marquis of Villena, on the ground where he had
+defeated three antagonists in a protracted duel. The architects were
+Juan Gallego and the brothers Guas of Toledo. The plan of the church is
+unusual. The transept is very broad from east to west, and projects but
+little beyond the nave. The chancel is shallow, and its lateral walls
+run slant-wise to the eastern angles of the transept. Most churches of
+the Order of St. Jerome, according to a Spanish writer, were built this
+way. The effect is good. The nave is practically covered by a western
+gallery, and has but few windows; whereas the transept and chancel are
+flooded with light through six tall lancet windows with statues of the
+Twelve Apostles in their jambs. The contrast of light and shadow is very
+striking and beautiful. The choir or western gallery is carried on
+graceful arches and is handsomely panelled. Over the north-western
+chapel of the transept is the organ loft. The reredos behind the High
+Altar, in five stages separated by columns, was painted in 1553 by Diego
+de Urbina. The tombs of the founder and his wife lie on either side of
+the chancel. Their kneeling effigies, though sadly damaged and defaced,
+remain among the most beautiful examples of Spanish sculpture. Equally
+deserving of praise is the tomb of the Marquis’s natural daughter, the
+Countess de Medellin, in the south transept. The exterior of this church
+is not remarkable. The west front is pierced by a good double door, and
+‘adorned’ with two huge square coats-of-arms; it is flanked by a square
+tower pierced by rounded windows in the belfry story.
+
+Near to a cave where St. Dominic was accustomed to mortify the flesh,
+the Catholic Sovereigns built the church and convent of Santa Cruz, on
+the site of the first monastery of the order. The church has been truly
+described as a debased copy of El Parral. The western doorway is
+elaborate. Over the door, enclosed within a trefoil arch, is a
+Deposition from the Cross, with Ferdinand and Isabel kneeling on either
+side. Above, their escutcheons are displayed on either side of the
+crucifix. The retablo by Herrera, with which Philip II. endowed the
+church, was burnt in 1809, the fire irretrievably damaging the whole
+interior. Santa Cruz has now been converted into a charitable asylum.
+
+Following the line of the city wall, we pass the church of San
+Lorenzo--a good example of the local style--once surrounded by thriving
+looms, and re-enter the town by the Plaza del Azoguejo, a picturesque
+space where the citizens love to forgather in the shadow of the mighty
+aqueduct.
+
+
+
+
+IV
+
+ZAMORA
+
+
+Zamora on the Duero is one of the most picturesque towns in Spain, and
+one of the most celebrated in its annals. It is not well known to
+foreigners, probably on account of it being so difficult of approach.
+Few places bring back so vividly the stirring past of Castile.
+
+The town stands above the Duero on a rocky ridge, the castle and
+cathedral occupying the western extremity. The river is spanned by a
+bridge of seventeen arches, defended near either end by a high
+gate-tower. If the approach is quaint and mediæval, the view from this
+point is even more so. Towards sundown, the spirit of the Middle Ages
+seems to inform the town--all is sombre, fierce, strong, and venerable.
+The country round seems little better than a desert. From the walls
+above eyes seem to be scanning the horizon for the first gleam of
+hostile lances. Zamora belongs to the days when towns, like men, always
+wore armour. To-day she is broken and war-worn and old; but if her
+sword is rusted and her shield broken, she may well boast it was in the
+service of Spain.
+
+As we jolt over the old bridge, above the weirs of the Duero, and climb
+the steep street that leads into the town, we need no consultation of
+the records to tell us that we are here in the old Castile of the
+knightly days, that we shall find few memories of artists and poets, few
+of statesmen and great rulers, but many of hard fighters and holy
+priests. Zamora is constantly mentioned in the _Romancero_. We can
+imagine that it was a town towards which Don Quixote would have been
+drawn, but he only spoke of it as famous for bagpipes. Like Burgos and
+Valladolid and Salamanca, it was the creation of the mediæval time, and
+we hear first of it in the ninth century. Alfonso I., or his son Froila,
+took the town from the Moors. Thereafter, for many years, it continued
+to change hands. The Day of Zamora, famous in Spanish song and story
+(July 9, 901), when nearly seventy thousand Moors were slain or
+captured, assured the possession of the town to the Christians. In this
+terrific engagement Bernardo del Carpio is supposed to have won his
+spurs, though (if he ever existed, or the battle really took place) he
+must have been a hundred years old at the time! Soon after this victory
+the citizens clamoured for a spiritual shepherd, and a hermit named
+Atilanus was given them as bishop. Certain episodes of his youth began
+to trouble the prelate’s mind, and at the end of ten years he laid aside
+the pastoral staff, and declared himself unworthy of his office. He went
+on a pilgrimage, having thrown his episcopal ring into the Duero,
+proclaiming that he would not return till it was restored to him as a
+sign that God had pardoned him. All in the least familiar with folklore
+will, of course, know what happened next. Like the ring of Polycrates,
+like the ring in the arms of Glasgow, the bishop’s amulet was found in
+the body of a fish served up to him at supper. The relief of the good
+man at this unmistakable evidence of the Divine forgiveness, his return
+to his See, and the rejoicings of the inhabitants may be inferred and
+imagined. Atilanus was canonised by Urban II. in the eleventh century.
+
+Of another tremendous victory said to have been won before the walls of
+Zamora in 939 over the pertinacious Moors we need not speak further, for
+it is more than probable that the fight never occurred here at all, but
+at Simancas. There can, however, be no doubt that the place fell before
+the irresistible Al Mansûr in 981, in spite of the brave resistance of
+the commandant, Domingo Sarracino. The Moors repeopled the town, which
+was governed by one Abu-l-Was el Tojibita. It was labour wasted so far
+as they were concerned, for Zamora was soon, and finally, recovered by
+the Spaniards. And now we come to the episode which has secured the town
+so prominent a place in the annals and legendary lore of the country.
+
+Fernando I., King of Leon and Castile, in response to the importunities
+of his children, on his deathbed divided his dominions between them. To
+his eldest daughter, Urraca, he gave Zamora, to her sister, Toro. The
+disposition of his estates made, the dying king invoked the vengeance of
+Heaven on whomsoever should disturb it; and all present, except his
+eldest son Sancho, responded, Amen. It was not long before this prince
+(now King of Leon and Castile) showed his dissatisfaction with what
+Ford, with a touching faith in the sanctity of primogeniture, calls this
+unjust division. Toro was soon surrendered by Doña Elvira, and, very
+shortly after, the stout-hearted Urraca beheld from these walls the
+hosts of Castile beleaguering her little principality. With Sancho’s
+army was the Cid. With him, the chroniclers assure us, the Infanta was
+in love. If so, these tender sentiments were not allowed to interfere
+with the vigour of the attack and defence, which were both conducted
+with ferocious determination. The siege had lasted seven months when a
+personage called Bellido Dolfos, the son, delightfully enough, of Dolfos
+Bellido, sought an audience of the king. He had fled from Zamora, he
+said, to escape the vengeance of Urraca’s minister, Arias Gonzalo; and
+he would show the king the secret postern in the walls by which he had
+escaped, and by means of which the town could be taken. This audience
+appears to have taken place very close to the walls, for we are told
+that the citizens cried out to Sancho, adjuring him to have nothing to
+do with Dolfos, who had committed four acts of treason already. These
+well-meant hints, naturally enough, confirmed Sancho’s confidence in the
+stranger. On the morning of the 7th October 1072 the two went forth to
+reconnoitre the walls. Dolfos took advantage of the king in an unguarded
+moment, and stabbed him in the back. He then promptly ran towards the
+postern. The Cid, seeing him run, suspected something amiss, and
+mounting Babieca gave chase; but alas! he had forgotten his spurs, and
+the assassin made good his escape. Sancho was carried back to the camp,
+and before he expired attributed his destruction to his father’s curse.
+The siege was prosecuted with greater vigour than ever by his captains.
+Don Diego Ordoñez denounced the citizens, without exception of persons,
+as felon knaves. Arias Gonzalo and his four sons took it upon themselves
+to vindicate the honour of the town in five successive duels with the
+Castilian. Three of the Zamoran champions were slain by Ordoñez, but he
+was jerked out of his saddle by his dead adversary’s wounded horse, and
+the combat was declared by the judges to be at an end. The venerable
+Arias Gonzalo thus preserved one of his sons, and Castile her champion.
+The accession of Alfonso VI. to his murdered brother’s throne restored
+peace to the distracted kingdom, and left the Infanta in enjoyment of
+her little state.
+
+Zamora is still encircled with massive walls, strengthened with numerous
+round towers. The name of Urraca’s Palace is given to a house, old
+enough to all seeming, close to one of the gates opening near the
+northern end of the Paseo de Valorio; this gateway is flanked by two
+bastions, and above it may be seen the bust of Princess Urraca, with
+the inscription much defaced--
+
+  ‘Afuera, afuera Rodrigo
+   El soberbio castellano!
+   Acordórsete debiera
+   De aquel buen tiempo pasado,’ etc.
+
+These verses from the _Romancero_ are supposed to have been addressed by
+the Princess to the Cid, and allude, presumably, to the love-passages
+between them. The postern through which Dolfos escaped may be seen in
+the wall farther towards the west. The site of the Cid’s house is also
+pointed out. The tiny hermitage of Santiago in the Vega marks the spot
+of the assassination, and a battered cross on a pillar some distance
+outside the town commemorates Sancho’s exclamation that he would never
+be king till he was lord of Zamora.
+
+The castle from which perhaps Urraca and Arias Gonzalo looked across at
+Sancho’s camp is at the western extremity of the town. During the civil
+wars that disturbed the reign of Alfonso el Sabio, it was held for the
+king by Doña Teresa Gomez, wife of Garci Perez Chirino. Her youngest
+child was captured by the rebels, and to save his life she surrendered
+the fortress. At the time of the disputed succession following the
+demise of Enrique IV., the castle was held by the Portuguese in the
+interests of Juana ‘la Beltraneja,’ who held her court here for a brief
+season. The garrison resisted many determined assaults, and capitulated
+on honourable terms only after the battle of Toro, February 1476. In
+after years, and especially during the Peninsular War, the stronghold
+was adapted to the requirements of modern warfare, and has lost, in
+consequence, much of its mediæval character.
+
+Hard by is the cathedral, far away from the centre of the town. When the
+See was restored by Alfonso VI., Gerónimo, the Cid’s confessor, was
+appointed to it; but he was soon translated to Salamanca (or else Zamora
+was carved out of that See), and was succeeded by another Frenchman,
+Bernard, a namesake and countryman of Bernard, Archbishop of Toledo.
+These foreigners introduced the Romanesque style, of which Zamora must,
+in its primitive state, have been a noble example. The building was
+completed in 1174. To that period belongs the grand square tower at the
+west end of the north aisle--the most conspicuous landmark of the
+vicinity--with its three upper stories pierced on each side with one,
+two, and three windows respectively. The tower was designed for defence
+as well as ornament. Over the crossing rises a dome of beautiful
+construction, very Oriental in character, with turrets surmounted by
+smaller cupolas and pierced with rounded windows at its angles. Seen
+from within, this dome is of the ‘half-orange’ type, the ribbing of the
+vault giving it very much the appearance of the sections of the fruit.
+In the sharp fringe of ornament at the angles, Street saw the very
+earliest kind of suggestion of a crocket, and was of opinion that ‘we
+have in England no monument of the middle ages which is one whit more
+precious.’
+
+The cathedral has no west front, and its exterior is, it must be
+confessed, a veritable patchwork of different styles. The Puerta del
+Obispo, facing the Episcopal Palace, in the south transept probably
+dates from the twelfth century. The main entrance is through a
+four-ordered arch with three shafts in each jamb. The capitals are
+roughly moulded and have abaci. Over the lateral doorways (now closed
+up) are rudely-carved reliefs, with dragons and floral devices
+introduced into the decoration. The two odd-looking rosette-like
+ornaments above seem to be models of the interior of the dome. Above the
+three doors runs a gallery of five recessed arches, and over this again
+a blocked-up window.
+
+The northern entrance, surmounted by a modern clock-tower, is,
+incongruously enough, in the classical style, with a rounded arch. The
+interior of this interesting little cathedral is impressive. We are at
+once struck with the width of the piers (seven feet across) as compared
+with that of the nave, which is only twenty-three feet. The arches here
+are in the Pointed style. The aisles are lower than the nave, and
+supported by broad massive buttresses. There being no western portal,
+that end of the church is occupied by chapels, which give a very
+singular effect to the building.
+
+The High Altar and chancel are in the Gothic style, and owe their
+construction to the absentee bishop Diego Meléndez Valdés, who ruled the
+See between 1496 and 1506. His arms, five fleurs-de-lys, may be seen on
+the railings. The retablo, with its jasper columns and gilded capitals,
+is modern. The subject is the Transfiguration. In the precinct of the
+High Altar is buried Count Ponce de Cabrera, one of the Emperor
+Alfonso’s most distinguished lieutenants. The Altar is in the late
+Gothic style, and must have been erected three centuries after the
+Count’s death. There are good wrought-iron pulpits on each side of the
+chancel.
+
+The choir was also the work of Bishop Valdés. It occupies the bays west
+of the crossing as usual in Spanish churches, but the bad effect of that
+position is here greatly relieved by the piercing of the western screen
+or _trascoro_ with two elliptical doorways, between which is a painting
+representing Christ surrounded by the Blessed. The fittings of the choir
+are very interesting, and of the same age as the screens. The backs of
+the lower range of stalls are carved with low reliefs of thirty-eight
+personages of the Old Dispensation, from Abel to Nebuchadnezzar,
+Caiaphas, and the Centurion. In their hands are scrolls containing
+texts, very cleverly chosen, of which a list is given in Neal’s
+_Ecclesiologist_, and reprinted in Street’s _Gothic Architecture in
+Spain_. The execution is rude, but expressive and painstaking. The upper
+stalls are adorned with full-length reliefs of saints, confessors, and
+martyrs of the New Dispensation, which are more delicately designed and
+finished. Above runs a canopy, sculptured with animal forms. The
+enormous metal lectern and the Bishop’s Throne, with its tapering spire,
+are fine examples of Gothic work.
+
+The chapels are not of special interest. That on the middle of the
+western wall is dedicated to San Ildefonso, but is more generally known
+as the Capilla del Cardenal, after its founder, Don Juan de Mella, who
+died in 1467. This prelate’s brother, Alonso de Mella, was the founder
+of a sect which seems to have resembled the Anabaptists of Westphalia;
+he was expelled from Castile, and took refuge at Granada, where he was
+put to death by the Moors. The retablo, by Gallegos, is in six
+divisions, the subjects being: San Ildefonso receiving at Toledo the
+chasuble from the hands of the Blessed Virgin, the Discovery of the
+Relics of St. Leocadia, the Veneration of the Relics, and (above) the
+Crucifixion, the Baptism of Christ, and the death of John the Baptist.
+This chapel contains the tombs of the Romero family. In the adjoining
+sacristy are some interesting battle-scenes from Old Testament history.
+
+The chapel of San Juan Evangelista was built with funds bequeathed by
+Canon Juan de Grado (1507), whose fine alabaster tomb is surmounted by
+his recumbent effigy, accompanied by a priest and an angel. Above the
+canopy is an exquisitely chiselled composition representing the
+Crucifixion, with expressive statues of the Apostles Peter and Paul;
+within is a curious but admirable genealogy of the Blessed Virgin, at
+the base of which is the recumbent figure of an old man, wearing a
+crown, and representing possibly one of the early patriarchs. The
+Capilla de San Miguel is of less interest. It contains the
+sixteenth-century tombs of the canons de Balbas. Of the side-chapels,
+the most notable is that of San Bernardo, rebuilt in the sixteenth
+century.
+
+In the sacristy is preserved a remarkable silver monstrance, six feet
+high, attributed by Ford to Enrique de Arfe. The stand is of later
+construction, and dates from 1598. On the upper part the local saint,
+Atilanus, may be seen, seated with the Saviour and the Virgin.
+
+The original cloisters were burnt in 1591, and rebuilt in the present
+Doric style in 1621 by Juan de Mora.
+
+Under the town walls, close to the cathedral, is the little Romanesque
+church of San Isidoro, noticeable for its extremely narrow windows, some
+mere slits in the masonry.
+
+We pass down the long lane-like street which leads into the town, and
+which in the sixteenth century was the scene of desperate conflicts
+between the Mazariegos and Monsalves, the Montagues and Capulets of
+Zamora. The first church passed is that of San Pedro, rebuilt by Bishop
+Meléndez Valdés, and containing the revered ashes of St. Ildefonso,
+which were discovered here under miraculous circumstances in the year
+1260. The relics of St. Atilanus are also preserved here. Nothing
+remains of the primitive Romanesque structure, except a little apse on
+the Epistle side, and a closed-up doorway in the left wall. The
+originally-distinct nave and aisles were thrown into one at the
+restoration, and form overhead one immense span. The sacristy contains
+some interesting objects--sacred vessels and altarpieces of the
+sixteenth and seventeenth centuries.
+
+Presently we reach the second most interesting church in the town, La
+Magdalena, a small Romanesque work, said on rather doubtful authority to
+have been built by the Templars about 1312. The southern doorway is very
+large in comparison with the edifice. It is deeply recessed between
+massive buttresses, and formed by a rounded arch with shafts curiously
+moulded and twisted. Street speaks of this as a very grand example of
+the latest and most ornate Romanesque work. The carving on the arches is
+very rich. Above is a large rose window, resembling those in our own
+Temple church. The interior of the church is architecturally but not
+æsthetically more interesting than the exterior. The nave has a flat
+wooden ceiling. The apse is groined, and the chancel has a waggon-vault.
+The stone pulpit against the north wall is a notable piece of work, but
+attention at once becomes riveted on the large canopied tombs at the
+entrance to the chancel. Both are square-topped, with round arches and
+capitals very purely and vigorously carved. They are generally asserted
+to date from the thirteenth century, but an inscription over one
+describes it as the sepulchre of one Acuña and his wife, who died in the
+fifteenth century. ‘The effect of this monument,’ says Street, ‘filling
+in as it does the angle at the end of the nave, is extremely good; its
+rather large detail and general proportions giving it the effect of
+being an integral part of the fabric rather than, as monuments usually
+are, a subsequent addition.’
+
+Another canopied tomb against the north wall undoubtedly dates from the
+earlier period. The capitals of the three twisted shafts are carved with
+the forms of wyverns fighting. The tomb is closed by a stone on which is
+a large cross. The occupant--believed by some to have been a Templar--is
+shown on his deathbed, while above him his soul--represented by a winged
+head--is borne away by angels. This interesting work may be attributed
+to a native sculptor acquainted with the art of France and Italy.
+
+Santa Maria la Horta (or de la Huerta), near the river, was modelled,
+like the Magdalena, on the cathedral. Apart from its architectural
+peculiarities--the western tower, narrow windows, waggon-vaulting of the
+chancel, etc.--it is of interest on account of the retablos and
+paintings in its chapels. Here, as at the very similar church of San
+Leonardo, the roofing of the nave is not flat but arched, which goes to
+support Don J. M. Quadrado’s belief (opposed to Street’s) that the flat
+roof of La Magdalena is an innovation.
+
+The church of San Juan in the Plaza Mayor is in the Flamboyant style.
+Its most curious feature is a Christ Crucified near the west door,
+surrounded by human skulls built up in the form of a cross. Hard by is
+the early Gothic church of San Vicente, with a noble square tower in
+three stages, and a fine west front.
+
+In a town like Zamora only two kinds of buildings were
+esteemed--churches and fortresses. Time has spared few important civil
+monuments. The only ancient house of note is that styled the Casa de
+los Momos, of which I give an illustration. The heavy stones forming the
+arch suggest a Castilian architect. The building dates from the
+sixteenth century, as the enormous coat-of-arms over the entrance might
+have prepared us to expect. The Ayuntamiento, or Town Hall, in itself
+devoid of interest, contains some good paintings by Ramon Pedro y
+Pedret, illustrating the history of the city. It will be seen that
+Zamora, like almost every other Spanish town, is entitled ‘most noble
+and loyal’ (_muy noble y leal_). It is a sombre, fascinating place,
+where the past is more easily recoverable by the fancy than in many
+cities more richly endowed with ancient monuments.
+
+
+
+
+V
+
+AVILA
+
+
+Like Stratford-on-Avon, like Assisi, this sombre city in the mountains
+of Castile is the shrine of a single pre-eminent personality. To the
+Spaniard Avila is essentially the city of the great saint--of Santa
+Teresa, the greatest, perhaps, of Spain’s many great women. And the fame
+of the saint and, therefore, of the city, has spread far beyond the
+limits of the country in which she was born, and indeed outside of the
+church to which her every faculty was devoted. To those (and they are in
+the large majority) who approach Avila as pilgrims, it may seem idle to
+tell anything of its story unconnected with her. At Assisi you wish to
+hear only of Francis, and who cares aught for the Stratford of an
+earlier day than Shakespeare’s?
+
+But Teresa was the product of Avila, and to the making of her character
+all the experience and emotion of her ancestors had contributed. Those
+who would rightly understand her must know something of the breed from
+which she sprang.
+
+The city is one of the forty-three said to have been founded by
+Hercules. It is mentioned, indeed, by Ptolemy, but we know nothing of
+its history previous to the reconquest of this part of Castile by
+Alfonso VI. Avila, like Salamanca and Segovia, arose from the ashes of
+the Moorish empire, and was repeopled and probably rebuilt by the Count
+Raymond of Burgundy. To him we owe those venerable walls, stern yet
+beautiful in their ruddy granite, that girdle the city round. But these
+served, at a very early date, to keep out other than the infidels. The
+annalists tell us that the knights of Avila, returning one day from a
+foray, found that the Moors had ravaged the neighbouring country and
+carried off a multitude of prisoners and much booty. Without hesitation
+the enraged gentlemen gave chase, and though the enemy were in vastly
+superior numbers, they overtook and routed them at Barbacedo, recovering
+most of the spoil and a good deal of additional treasure. But, on their
+return to Avila, the ungrateful commons closed the gates against them,
+and refused admittance to the deliverers of their own wives and children
+unless they were given a large share of the booty. The indignant
+knights refused to surrender the guerdon of their swords, and entrenched
+themselves in the suburbs. Peace was restored only on the intervention
+of Count Raymond, who expelled the churlish townsmen and intrusted the
+government of the city to the knights. During the whole of the twelfth
+century the bitterest animosity continued to prevail between the
+descendants of these antagonists.
+
+Heroines are common in Spanish history. When the town was unexpectedly
+besieged by the Almoravides in the absence of nearly the whole male
+population, the women garrisoned the walls wearing the men’s helmets,
+and compelled the enemy to withdraw. The leader of these Amazons was
+Jimena Blásquez, wife of the governor, Fernán Lopez. Her female
+descendants were privileged, in remembrance of this event, to speak and
+to vote at the council board in the same way as men.
+
+Jimena’s kinsman, Nalvillos, was as unfortunate in love as he was
+fortunate in war. One day he saw Ayesha Galiana, the beautiful daughter
+of the late Moorish king of Toledo. Desperately enamoured, he forgot his
+own betrothal to Galinda Arias, and that the fair infidel had been
+promised to her countryman, Jenina Yahya. With the favour of the king he
+overcame all these obstacles, and made Ayesha his wife. But she could
+forget neither her old faith nor her old love. Nalvillos’ deeds of
+prowess failed to win her heart; and one day he returned to Avila from a
+victorious expedition to find that the bird had flown. She had returned
+to her first love, Yahya, who had raised the standard of revolt at
+Talavera. The furious Castilian stormed the town, slew the Moor, and
+penetrated to his faithless wife’s bower, only to find her expiring from
+a self-inflicted wound. Nalvillos lived many years after, and fought and
+won many battles. He rose to great distinction in the service of his
+sovereign, but we never hear of his marrying again.
+
+It was in this town, that styles itself _del rey_, _de los leales_, _de
+los caballeros_, that the boy king Alfonso VIII. was placed by the
+Regent, Don Manrique de Lara, to protect him from his uncle, Fernando of
+Leon. But the class rancour of Avila was not unknown to Fernando, who
+stirred up the people of the suburbs against the _serranos_, or
+aristocratic townsfolk, promising them a share in his new town of Ciudad
+Rodrigo. The knights were victorious, and do not seem to have conducted
+themselves with great generosity towards the vanquished.
+
+The inveterate hostility of the commons did not tend, as it might be
+expected to have done, to unite the threatened ranks of the patricians.
+These prosecuted bitter feuds among themselves, different families
+striving desperately for the mastery. One faction, on being expelled
+from the town, took refuge in a neighbouring castle, where they were
+surprised and cut to pieces by the Moors.
+
+The place was regarded, notwithstanding, as the safest asylum for the
+boy-kings who so often appear in the pages of Castilian history. During
+his minority, Alfonso XI. remained in the custody of the bishop till the
+pretenders to the regency had adjusted their claims to his lordship’s
+satisfaction. In the Civil War of 1367 Avila was on the right side--that
+of Enrique II.--and suffered severely in consequence at the hands of the
+Black Prince’s marauding hordes. Here at the Puerta del Alcazar took
+place, at the instance of Carrillo, Archbishop of Toledo, the mock
+deposition and degradation of Enrique IV., represented by an effigy, and
+the proclamation of his eleven-year-old son as king. Yet in 1474 the
+fickle city displayed every sign of grief and remorse on the
+unfortunate monarch’s death.
+
+In the disputed succession that ensued Avila sided with Queen Isabel.
+Possibly as an expression of royal gratitude, the convent of Santo Tomás
+was chosen for the first seat of the Tribunal of the Inquisition; and in
+1491 three Jews, professing the faith of their fathers to the last, were
+roasted to death in the Mercado Grande.
+
+Avila was the seat of the Supreme Junta of the Comunidad from July to
+September 1520. The rebellious temper of her citizens found expression
+in Philip II.’s reign in some anonymous placards, posted in the streets,
+reflecting on the king’s policy. The royal vengeance was indiscriminate
+and drastic. The Vicar of Santo Tomás was stripped of his sacerdotal
+functions, Don Enrique Davila was imprisoned for life in the castle of
+Turegano, and Don Diego Bracamonte perished on the scaffold. This king’s
+successor inflicted the _coup de grâce_ on the luckless town by
+expelling its large and industrious Morisco population. Avila never
+recovered her prosperity. She remains an example of the wholly
+destructive policy of the Spanish Hapsburgs. Not only was the country
+ruined by the expulsion of the Jews and Moriscos, but these exiles were
+not able to transplant their industry to some other clime. With their
+expulsion so much productive and industrial power was absolutely lost to
+the world. The wealth acquired by the Inquisition at the expense of its
+victims, or rather what was left of it, ultimately found its way into
+the State coffers on the establishment of the new order of things a
+century ago.
+
+Avila ‘of the Knights’ was, before all else, a fortress. When the walls
+were built, churches and suburbs were left outside the enclosure, that
+the military advantages of the height on which the old town stands might
+not be lost. These walls of dark-red granite girdle Avila to-day,
+unbroken, formidable, intact. They rise so high that they shut out from
+view all that they enclose, except the towers of the cathedral. Near San
+Vicente the masonry is fourteen feet thick, and forty-two feet in
+height. Flanking defence is provided by eighty-six elliptical
+towers--thirty on the north, twelve on the west, twenty-five on the
+south, twenty-one on the east. These rise above the crenellated parapet
+at places by eighteen feet. The ten gateways are formed by two towers
+being brought together and connected with arches. The most impressive
+gates are the Puertas del Mercado and de San Vicente, the former
+admitting to the scanty remains of the old Alcazar, the latter facing
+the church of San Vicente. In both cases the flanking towers are
+connected at the level of their platforms by a high, arched and
+crenellated gallery. The actual gateway is defended by a portcullis, and
+the usual apertures for thrusting out lances, beams, etc. One of the
+gates, now walled up, was known as the Puerta de la Mala Ventura, in
+memory of a baseless tradition that it was the scene of the massacre by
+Alfonso el Batallador of certain Avilese nobles who had been given him
+as hostages for the little King Alfonso VII. of Castile. Nearly all the
+gates open on to squares or places of arms. A leisurely walk round these
+grand old walls is one of the most agreeable experiences of a journey in
+Spain, and carries the mind back to the days when knighthood was in
+flower. From their strength it is easy to see how the town could have
+been held by a limited number of Caballeros against the commoners of the
+suburb outside. There seems no reason to doubt that the walls were, as
+tradition avers, built by Raymond of Burgundy in the last decade of the
+eleventh century. Eight hundred men were employed upon them daily
+during nine years, under the direction of a Roman, Cassandro, and a
+Frenchman, Florin de Ponthieu.
+
+       *       *       *       *       *
+
+Built into the city wall at its eastern end is the noble cathedral of
+San Salvador, founded according to some by Fernán Gonzalez, Count of
+Castile, and begun a second time in 1091 by Alvár Garcia of Estella in
+Navarra. It is, perhaps, the finest example extant of the
+fortress-church of the Middle Ages. The oldest part is the apse, which
+makes a pronounced bastion or projection in the city wall. The external
+walls probably date from Alvár Garcia’s time, but the rest of the church
+must be from one to two centuries later.
+
+The church consists of a nave, aisles, projecting transepts and a
+chevet, which has semicircular chapels built into the town wall and
+double aisle. The chevet is, architecturally, perhaps the most
+interesting part of the structure. Nothing at all is to be seen without
+of the chapels, over which is carried the ordinary rampart walk or
+allure; behind this rises a second battlemented wall, from which we look
+down on to the aisle roof of the chevet and clerestory of the central
+apse. This end of the cathedral appears from the exterior simply as an
+unusually massive round tower projecting from the wall. The west front
+is flanked by two towers, only one of which--the northern--is completed.
+This is a notable and fortresslike structure, recalling similar work in
+England. The strongly-defined buttresses finish in pinnacles, and are
+outlined at the angles with a ball enrichment, which is also to be seen
+on the pointed arches over the belfry windows. The windows themselves
+are round-arched, as are also those now filled up in a lower stage of
+the tower. The entrance is comparatively modern. On either side is the
+figure of a wild man with shield and mace--strange guardians of a
+church! On the spandrils of the arch are the figures of Saints Peter and
+Paul. The middle stage of this front is occupied by a curious
+retablo-like composition. In the various compartments are the figures of
+Christ and different saints, sheltered by ugly canopies; and surmounting
+this work is an extravagant and tasteless acroterium, displaying the
+arms of the Chapter. Behind and above this is the older and infinitely
+more graceful west window within an elliptical arch, and with delicate
+though elaborate traceries.
+
+Very much finer is the north porch, admitting not to the transept but to
+the nave. The elliptical arch has on each side six jambs, each of which
+is adorned with the figure of an apostle resting on the capital of a
+pilaster and sheltered beneath a canopy. The five orders of the arch are
+sculptured with reliefs of angels and prophets, alternating with
+wreaths. In the centre of the tympanum is the seated figure of Christ;
+and around Him, arranged in four horizontal divisions, are compositions
+representing the Betrayal and Last Supper, the Coronation of the Virgin,
+and the Angelic Choir. Street recognises in this doorway the work of the
+architect of the portals of the cathedrals of Leon and Burgos. Before it
+are two lions couchant on pedestals, chained to the walls. The porch
+dates from the fourteenth century. Above it is a canopy begun in 1566,
+and intended to form a kind of triumphal arch. Crowning all is seen the
+figure of the Redeemer.
+
+The north transept is pierced by a fine wheel-window of sixteen
+divisions. The windows of the clerestory are very large, and placed
+between great double flying buttresses. Since 1772 the upper and lower
+traceries have been blocked up, for a reason not apparent to the modern
+observer. The windows of the transept escaped this treatment, and are
+filled with good stained glass.
+
+The nave is 130 feet long and 28 feet broad. The arches are supported
+by piers of four pilasters, the capitals of which show Romanesque
+influence. The aisles are only about half the height of the nave, and
+are 24 feet wide. Their pitched roof formerly admitted light into the
+nave through the triforium, now blocked up.
+
+The outer walls of the chevet, as we have seen, are the most ancient
+part of the fabric, but the seven chapels formed within the thickness of
+the wall are of later date. The extraordinary beauty of this part of the
+church is due to the division of the ambulatory into two by a series of
+tall, slender columns carrying some excellent groining. The outer or
+recessed aisle is narrower than the inner, an inequality corrected very
+skilfully at the opening into the south transept by an imperceptible
+deviation in the line of columns. Very little light penetrates through
+the narrow slits in the chapel walls into this sombre, beautiful arcade.
+
+Behind the reredos of the High Altar sleeps the learned bishop, Don
+Alonso Fernández de Madrigal, surnamed el Tostado and el Abulense, who
+died in 1455. The prelate, who was one of the most prolific writers that
+ever lived, is shown in alabaster writing at a desk. The framework of
+the tomb is adorned with reliefs of the Adoration of the Magi and
+Shepherds, of the Divine and Cardinal Virtues, and of the Eternal
+Father. This noble work has been variously ascribed to Berruguete and to
+Domenico Fancelli, whose more famous performance we shall see in the
+church of Santo Tomás.
+
+In the chapel of Santa Ana is buried Don Sancho Davila, Bishop of
+Plasencia, who died in 1625. Most of the tombs in the chapels of the
+chevet belong, however, to the thirteenth century, though the dates on
+most of them are merely conjectural, and were inscribed in the sixteenth
+century by a prebendary of the cathedral.
+
+The High Altar is backed by an elaborate retablo of the age of the
+Catholic Kings. It is divided into three stages, and was painted by
+Pedro Berruguete (father of the more famous Alonso), Santos Cruz, and
+Juan de Borgoña (father of Felipe). To the two first-named may be
+attributed the ten panels of the lowest stage, representing Saints Peter
+and Paul, the Four Evangelists, and Four Doctors of the Church, and the
+Transfiguration, Annunciation, Nativity, Adoration of the Magi, and
+Presentation in the Temple, in the second stage. To Borgoña we may
+ascribe the Agony in the Garden, the Scourging, Crucifixion, Descent
+into Hell, and Resurrection, in the third stage. To the right and left
+of the church are two beautiful Renaissance retablos in alabaster,
+illustrating the lives of Saints Secundus and Catharine, and two
+tasteful gilt iron pulpits. The light reaches the High Altar through two
+rows of thirteen windows, the lower ‘round-arched, of two
+horseshoe-headed lights divided by a shafted monial,’ and the upper
+‘round-headed, broadish windows, with jamb-shafts and richly-chevroned
+arches.’ The fine stained glass is the work of Albert of Holland
+(1520-1525).
+
+The choir was placed in the easternmost bay of the nave in 1531. The
+_trascoro_ or back of the choir is adorned with reliefs of the Adoration
+of the Magi, the Massacre of the Innocents, and the Presentation;
+smaller panels represent other scenes from the history of Christ and the
+Blessed Virgin. The frieze with its fourteen figures of prophets is the
+finest part of the work. The choir stalls were begun in 1527 by Juan
+Rodrigo, and completed by Cornelius of Holland in 1536. The carving is
+of varying merit. The upper panels appear to portray the martyrdoms of
+different saints, episodes in whose lives are shown on the panels below.
+The ornamentation of the columns and friezes is profuse and delicately
+done.
+
+In the south transept is the fine tomb of Don Sancho Davila, Bishop of
+Sigüenza, who died in 1534, and near him that of a namesake, whose
+effigy is clad in armour. This knight died before the walls of Alhama in
+a combat so furious that his scattered limbs had afterwards to be
+collected and pieced together by his friends. A curious tomb is to be
+seen near by: the figures of a knight in armour and an ecclesiastic
+repose on black coffins, the sides of which are sculptured with
+escutcheons upheld by woolly-haired savages; a monkey is seen pulling
+the negroes’ hair. In the chapel of San Miguel, at the north-west end of
+the nave, is an interesting tomb of the thirteenth century, representing
+a funeral, whereat the anguish of the mourners contrasts strikingly with
+the stoical indifference of the clergy.
+
+The gorgeous chapel of San Segundo at the south-east of the apse,
+outside the town wall, was founded in 1595 by Bishop Manrique, on the
+model, it is said, of the Escorial. Magnificence, rather than good
+taste, characterises this chapel and its furniture. Frescoes by
+Francisco Llamas illustrate the life of the saint, whose ashes are
+contained in a Churrigueresque tabernacle. On the opposite side of the
+apse, but within the wall, is another excrescence, the Velada chapel,
+completed in the eighteenth century.
+
+The sacristy is an ornate Renaissance structure, richly gilded and
+painted. The alabaster retablo over the altar of St. Barnabas is the
+work of a genius whose name unfortunately has not been handed down. The
+chamber also contains some curious fifteenth-century paintings relating
+to the life of St. Peter. Here may be seen the superb monstrance of Juan
+de Arfe, dated 1574, and therefore among his earliest works.
+
+The cloister on the south side of the cathedral was built in the early
+sixteenth century on the site of an earlier one. There was an attempt
+made at the same time to restore, more or less at haphazard, all the
+tombs and epitaphs left from earlier times. At the angles are chapels,
+one of which, the Piedad, contains some good stained glass and
+iron-work. East of the cloister is the spacious apartment called the
+Cardinal’s Chapel, after Cardinal Davila y Mujica, whose tomb it
+contains. Here met the Junta of the Comuneros. The fine stained glass in
+the windows shows the skill of Juan de Santillana and Juan de
+Valdevieso, two famous glass-workers of Burgos.
+
+In some respects more interesting than the cathedral, and probably more
+ancient, taken as a whole, is the Romanesque church of San Vicente,
+outside the walls, near the Segovia gate. It marks the site of the
+martyrdom of Vicente and his sisters, Sabina and Cristeta, who had taken
+refuge here to escape the persecution of Dacian, at the beginning of the
+fourth century. Their religion having been discovered, they were again
+apprehended, and put to death by their skulls being battered against the
+rocks. Their bodies were left unburied, but a great serpent came out of
+a hole near by and protected them from insult. A Jew approached the
+spot, led by spiteful curiosity, and was seized by the monster, which
+wound its coils about him. The terrified Hebrew invoked the name of
+Christ and was released. He was baptized, and secretly gave the martyrs
+honourable burial, subsequently raising a church over the scene of their
+martyrdom. So runs the tradition. These dissenters from the state
+religion of the Roman Empire are remembered and revered to this day, and
+magnificent fanes are rightly raised over their graves. Their ashes are
+preserved in reliquaries more costly than royal thrones, and kings kneel
+before their shrines. But no monuments are erected, no reverence paid
+to the equally high-minded and courageous dissenters from the state
+religion of the Spanish monarchy, who perished in the flames kindled by
+the Inquisition. The very city which delighted to honour Vicente and his
+sisters, and recorded its detestation of the lawful authority that put
+them to death, was the seat of the dreadful tribunal of Torquemada and
+the scene of cruelties worse than any perpetrated by the Romans.
+
+The basilica raised by the converted Jew was swept away by the Moors,
+and the relics of the martyrs seem to have been transported elsewhere.
+They were recovered, at least in part, at the time of the resettlement
+of the city, and the present church was built by St. Ferdinand in 1252
+to contain them; though parts of the fabric certainly seem, despite the
+absence of documentary evidence, to date from a century earlier. The
+church is built on sloping ground, the difficulties of the site being
+admirably overcome. The plan is cruciform, the nave and aisles
+terminating in apses. The crossing is surmounted by a square lantern,
+and the western front flanked by steeples. An open cloister runs along
+the outside of the south aisle.
+
+The western front is very beautiful. The southern tower or steeple wants
+a third or upper story, which was added to the north tower only in the
+fifteenth century. The second stories are arcaded, and splayed at their
+angles. On the third gable-like story of the north steeple are hung the
+bells, one of which bears the date 1158. These towers open only into the
+westernmost bay of the nave, which forms the porch of the church,
+opening on the outside with a high-pointed arch, and into the interior
+through a superb double doorway. Street speaks of this porch as follows:
+‘The whole effect is fine, and the light and shade admirable and well
+contrasted; but the charm of the whole work seemed to me to lie very
+much in the contrast between the noble simplicity and solid massiveness
+of the architecture generally, and the marvellous beauty and delicacy of
+the enrichments of the western doorway, which is certainly one of the
+very finest transitional works I have ever seen.’ The shaft dividing the
+doors is sculptured with a figure of Christ seated on a pedestal.
+Statues of the twelve Apostles occupy the jambs. Over each door a round
+arch springs from luxuriantly carved capitals, flanked by the heads of
+bulls and lions. The tympana are occupied with representations of Dives
+and Lazarus, and the Release of a Blessed Spirit. The round arch which
+encloses the whole portal exhibits a marvellous profusion of delicate
+and rich ornamentation. A Spanish writer truly observes that the foliage
+looks as if the faintest breeze would stir it; the beasts seem ready to
+spring, and the birds as if, with the least effort, they might
+disentangle themselves and fly from the branches. Over the arch is a
+parapet and string-course, and a round-arched window opening into the
+nave.
+
+The church is usually entered by the south door opening into the aisle
+beside the transept. The seven orders of the archivolt are almost devoid
+of ornament, but the capitals are carved with curious figures of wild
+beasts fighting. The monogram of Christ on the keystone of the innermost
+arch is rare in Castilian churches, and the rude sculptured figures on
+the capitals are very primitive and unsymmetrical. On one of the jambs
+the Virgin and the Angel Gabriel are sculptured; on another a curious
+mitred personage representing, it is believed, one of the ancestors of
+the Messiah.
+
+This porch is older by two centuries than the cloister running along the
+south side of the church. It is in twelve semicircular arches, with a
+buttress between every three. Made of purple granite, it contrasts
+strikingly with the sandstone of the main edifice.
+
+The north front is very plain and severe. The massive buttresses excited
+the enthusiasm of Street. The north door is of corresponding simplicity.
+Beside it, as at the side of the south door, are a couple of tombs,
+which seem to prove that the space round the church was at one time used
+as a burial-ground.
+
+The eastern end is the most interesting part of the building. The
+central apse is larger and loftier than the adjoining apses. All three
+are divided perpendicularly by slender engaged shafts, terminating in
+capitals under the eaves; and horizontally by carved or moulded
+string-courses. The central apse has three round-headed windows; the
+lateral apses, two each. The capitals and corbels are everywhere very
+finely carved. There are few better examples of Romanesque work in the
+Peninsula. The square lantern is pierced on each side with a three-light
+window of Gothic design. At its angles it is surmounted by stone
+crosses.
+
+The interior is impressive and thoroughly Romanesque. The piers are
+square, and rest on round bases. The capitals are carved with oak
+leaves. The arches are semicircular, and the vaulting pointed. Between
+two string-courses runs a triforium of round-arched openings, the
+windows of the clerestory being likewise rounded and of one light. The
+windows of the aisles have been closed up. The church is undergoing
+extensive repairs. The piers of the lantern seem to be of later date
+than the foundation of the church, and seem to indicate that the
+original lantern had at one time fallen in. The interior is octagonal,
+and pierced with four lancet stained-glass windows. On the chancel side
+is a fine fourteenth-century painting of the Crucifixion, with the
+Virgin and Disciples.
+
+The interior of the central apse is occupied by the High Altar, with an
+ugly baroque retablo which unfortunately conceals the graceful windows.
+
+The shrine of San Vicente and his brethren is placed on the south side
+of the crossing. In the ages of faith this was an object of
+extraordinary sanctity. Men were sworn on the tomb, and it was
+universally believed that the arms of those who bore false witness
+thereon withered away. The practice was forbidden by law under Ferdinand
+and Isabel. Notwithstanding, grave doubts existed as to the actual
+whereabouts of the martyrs’ bodies. To set the matter at rest, the
+Bishop Martin de Vilches, in the reign of Enrique III., decided on a
+thorough examination of the tomb. Having celebrated Mass, he caused the
+sarcophagus to be opened. Dense vapour immediately issued forth, and the
+bishop thrust in his hand, to withdraw it a second later, convulsed with
+a violent pain, and covered with blood. He proceeded no further with the
+investigation, and ordered the tomb to be closed, satisfied that it
+contained the holy relics. The imprint of his blood-stained hand was
+left on a tablet placed inside the arches on which the sarcophagus
+rests. This appears to date from the thirteenth century, and is carved
+with interesting reliefs. The baldachino covering it is carried on four
+bold columns, and was added by Bishop de Vilches, whose arms it bears.
+The figure at the apex appears to represent San Vicente.
+
+In the south transept is a tablet with an inscription declaring that
+there lie the remains of the Jew who gave the martyrs decent burial.
+Close by is the shrine, executed by Francisco de Mora, of San Pedro del
+Barco, a saint of absolutely unknown antecedents, and mentioned as far
+back as 1302.
+
+The crypt has been modernised. On it may be seen the rock on which the
+tutelary saints suffered martyrdom, and a miraculous image, called
+Nuestra Señora de la Sotteraña, which is obviously far from possessing
+the antiquity its devotees claim for it.
+
+       *       *       *       *       *
+
+Characteristics very similar to San Vicente are exhibited by the church
+of San Pedro in the picturesque Mercado Grande. Dating from the latter
+part of the twelfth century, we find here also the apsidal east end, the
+square lantern, and the entrances at the west end and beside the
+transepts. The western porch is very fine, and above it is a very
+beautiful wheel-window. The north doorway is more richly sculptured, and
+is later than the rest of the fabric. There are a few points of
+difference between this church and that previously described. There is
+no triforium, and the clerestory windows are of a single light, and much
+larger than those of the nave. As at San Vicente, the apsidal chapels
+have been spoilt by injudicious painting. In the transept are the tombs
+of the rival families of Blasco Jimeno and Esteban Domingo,
+distinguished by shields of six and thirteen bezants respectively. The
+church is in every respect a noble edifice, but loses interest after you
+have visited the almost identical basilica of San Vicente. Nor will
+your attention be long engaged by the modern monument to the illustrious
+natives of Avila in the centre of the market-place, crowned by the
+statue of Santa Teresa. Here took place in 1491 the _auto da fé_ of the
+Jew, Benito Garcia, found guilty of murdering a Christian child, and
+stealing a consecrated Host for the purpose of sacrilegious rites. It
+should be added that no particular child could be put forward by the
+prosecution as having been murdered, and the suppositious victim went
+down to posterity simply as the Niño de la Guardia--la Guardia being the
+village where the crime was supposed to have taken place. The body was
+conveniently assumed to have been taken up to heaven. Its disappearance
+did not benefit the luckless Hebrews, two of whom, before the execution
+of Garcia, were torn to pieces by red-hot pincers.
+
+       *       *       *       *       *
+
+The town proper having always been regarded as an acropolis, the greater
+number of churches are situated outside the walls. Several of these,
+like those already described, are of considerable interest. The doughty
+Nalvillos is said to lie beneath the flags of the church of Santiago.
+San Andrés is an interesting Romanesque structure, spoilt, however, by
+the addition of an incongruous sacristy. To the north-west of the town,
+near the river (Adaja), is the curious little sanctuary of San Segundo,
+with a wooden roof, and rather suggestive of Norman architecture. It
+marks the spot whereon fell an unfortunate Saracen, who was pushed over
+the turret above by the sainted Secundus. Some of the ashes of that
+muscular Christian are preserved here, beneath the fine alabaster statue
+which represents him kneeling with an open book before him. The
+sanctuary is believed to occupy the site of the earliest Christian
+church of Avila. The actual edifice is not nearly so old as the ruined
+and abandoned church of San Isidore, now fast crumbling away.
+
+       *       *       *       *       *
+
+One of the most important monuments of the city is the church of the
+Dominican monastery of Santo Tomás (now used as a missionary college).
+It was founded in 1478 by Doña Maria Davila, wife of a Viceroy of
+Sicily, and completed in 1493. Torquemada, the Grand Inquisitor,
+interested the Catholic sovereigns in the work, and the cost was met by
+the confiscated property of Jews and heretics. The cloisters and
+conventual buildings are devoid of interest. The west front is in a poor
+late Gothic style, and distinguished by richness rather than beauty.
+The two massive flanking buttresses are outlined with a ball ornament,
+and end in eaves, corbel tables, and paltry pinnacles. Beneath the gable
+is a huge escutcheon, and beneath this again a round window. The doorway
+is within a deep porch; the archivolt is pointed and elaborately fluted
+and carved; on either side of the doorway are statues of saints of the
+Dominican order beneath canopies. The interior is more interesting. The
+chancel is almost square, the transept short; and, curious to relate,
+not only is the choir placed in a gallery in the western nave, but the
+altar is correspondingly elevated at the eastern end. Street thought the
+effect of this arrangement very fine, an opinion which all are not
+likely to share. The reredos is tastefully carved and painted. The choir
+stalls are good, as usual in Spain, particularly the royal chairs, which
+have splendid canopies, and bear the device of the yoke and sheaf of
+arrows.
+
+Interest here, however, centres mainly in the superb Renaissance
+monument to the Infante Juan, eldest son of Ferdinand and Isabel, who
+died at Salamanca in 1497, aged nineteen. Ferdinand, to soften the blow,
+caused his wife to be informed that he and not the prince had perished;
+and such, in Isabel’s temperament, was the excess of conjugal over
+maternal affection, that her relief when the real state of things was
+revealed to her enabled her to bear the loss of her son with comparative
+composure. The tomb was the work of Domenico Alessandro the Florentine,
+specimens of whose skill we have seen in the cathedral. At the corners
+of the sarcophagus are eagles; the sides are covered with reliefs of the
+Virgin and the Baptist, and of the Cardinal and Theological Virtues. On
+the edge of the upper slab are carved escutcheons, angels, trophies, and
+garlands. The recumbent effigy of the prince, crowned, and with sword
+and mantle, is marvellously well done. The sculptor has expressed
+adolescence in stone. This rightly ranks among the finest works of art
+in Spain. Hardly inferior is the tomb of Juan Davila and his wife, Joana
+Velazquez de la Torre, the prince’s attendants, also by the Florentine.
+Don Juan is shown clad in somewhat fantastic armour; a page kneeling at
+his feet holds his helmet. Sphynxes are placed at the corners of the
+sarcophagus, the sides of which bear medallions representing St. James
+destroying infidels, and St. John the Divine in a cauldron of boiling
+oil.
+
+In the sacristy is a tomb more impressive than either of these, but in
+a very different sense. A plain slab covers the body of Tomás de
+Torquemada, Grand Inquisitor of Spain. He lies here in the temple reared
+on the fortunes of the men and women he had plundered and burned. There
+is no inscription to tell us who rests here; but Torquemada is as little
+likely to be forgotten as Attila or Nero. Few things in Avila create a
+deeper, sadder impression than the tomb of this strange, sinister
+priest.
+
+       *       *       *       *       *
+
+His was one phase of the religious temperament, not perhaps more
+difficult of comprehension to us modern northerners than Teresa’s. We
+execrate the one and revere the other, and understand neither. Still, we
+know enough to see that the Inquisitor and the Nun stand respectively
+for what is worst and best in the Spanish character. And, happily, the
+woman’s fame has far outshone the man’s.
+
+We may assume that no one who visits Avila is ignorant of the leading
+events in her career, or needs to be told what manner of woman she was.
+What we have to do is to follow her footsteps through her native city.
+The house in which she was born on March 28, 1515, has been converted
+into an ugly church (Nuestra Seráfica Madre Santa Teresa de Jesus). The
+exterior is in the baroque style. The room in which she first saw the
+light is now a chapel in the worst taste, and contains her rosary,
+sandals, and even one of her fingers. It was from this house that she
+stole away with her brother Lorenzo, determined to seek martyrdom at the
+hands of the Moors. Here she indulged in those ‘worldly conversations’
+and that light reading which to her carefully polished conscience in
+after years appeared fraught with such dire peril. Here her vocation was
+born; and to this house she returned from the cloister in after years to
+watch by the deathbed of her father, Alonso de Cepeda.
+
+It was in the Carmelite convent of the Incarnation, north of the city,
+that Teresa took the veil on All Souls’ Day 1533. Nothing remains of the
+structure as it was in her day. More interesting is the convent of ‘Las
+Madres,’ which occupies the site of the first foundation of the reformed
+order. The poor chapel of St. Joseph gave way in 1608 to the present
+handsome church designed by Francisco de Mora, who spared the tomb and
+chapel of Teresa’s brother, Lorenzo. Other fine monuments are those of
+Bishop Alvaro de Mendoza, and of Francisco Velazquez and his wife. In
+the garden of the convent is shown an apple-tree planted by the saint.
+Her body does not rest here, but at Alba de Tormes, where she expired on
+October 15, 1582.
+
+You may also visit, for her sake, the church of San Juan in the Mercado
+Chico, where she was baptized on April 7, 1515.
+
+Attached to the Dominican convent is the sumptuous chapel of Mosén Rubio
+de Bracamonte, which was founded by Doña Maria de Herrera in 1516. The
+architecture represents the transition from late Gothic to Renaissance.
+The interior is richly adorned with marbles, the semicircular windows
+with stained glass. The tomb of the patron (Mosén Rubio, lord of Fuente
+del Sol) and his wife is in keeping with the splendour of the edifice,
+which is further enriched by two ancient paintings of Saints Jerome and
+Anthony of Padua. The reredos dates from the early seventeenth century.
+
+The dark granite of which the houses of Avila are built gives them a
+spurious air of antiquity. Very few date from before the age of Charles
+V. Near the cathedral is the mansion of the Marquis de Velada, whose
+ancestor, Gomez Velada, entertained the Emperor here in 1534. Opposite
+is an interesting doorway, with the figure of an armed knight,
+surrounded by escutcheons and enclosed within a trefoil arch. A
+magnificent doorway, likewise sculptured with armed figures and overhung
+by a kind of bartizan, leads into the fine courtyard of the palace of
+the Condes de Polentinos. An interesting house is that of the Davilas of
+Villafranca. The escutcheon with thirteen bezants between two chained
+slaves, supported by mounted heralds, was won by the family in an
+expedition to Ronda. At the side is a picturesque window with a grating,
+above which is the inscription _Petrus Davila et Maria Cordubensis uxor
+MDXLI._, and beneath, in Spanish, ‘Where one door shuts another opens.’
+The houses of the Bracamontes and of the Counts of Superunda deserve
+notice.
+
+
+
+
+VI
+
+ZARAGOZA
+
+
+While certain cities may lay claim to having been at one time or another
+the capital of the united kingdom of Leon and Castile, and while, in
+fact, two often held the rank at the same time, Zaragoza, from its
+reconquest by the Christians to the unification of the Spanish monarchy,
+was the undisputed capital of the kingdom of Aragon. We must not expect
+on that account to find that it was any more amenable to the royal
+authority, or any less turbulent than the cities of the sister state. On
+the contrary, nowhere in the Peninsula was liberty more highly prized or
+more strenuously vindicated, than in the chief city of Aragon. And it
+holds what out of Spain, at any rate, will be considered the honourable
+distinction of having offered the most determined resistance to the
+establishment of the Inquisition. Many cities in the dominions of His
+Catholic Majesty are entitled to style themselves ‘most heroic.’ None
+assuredly deserve the description better than this, the Numantia of
+modern Spain.
+
+An Iberian town seems to have existed here from the remotest times, and
+to have been known as Salduba. On its annexation by the Romans, it was
+rechristened Caesaraugusta, and under that name is referred to by
+Pompeius Mela as the most famous of the inland cities of Tarraconensis.
+Christianity took root here at an early date. Bishops of Caesaraugusta
+are mentioned by St. Cyprian, and the local martyrology includes the
+names of Saints Valerus, Vincent, and Engracia. When, in the year 542,
+Zaragoza was besieged by the Franks under Childebert, the exposition of
+the relics of these martyrs is said to have sufficed to propitiate the
+enemy and to preserve the town from destruction.
+
+In the year 713 the city opened its gates to Muza, the Moorish invader,
+without, as Don Francisco Codera believes, striking a blow. The Crescent
+reigned over Zaragoza for four centuries. During that time there were
+many changes of rulers. The blood of martyrs again watered the soil
+under the cruel Wali, Othman Aben Nasr, though generally throughout the
+period of Muslim domination the Christians enjoyed the same freedom as
+their co-religionists, under the same yoke, in other parts of Spain.
+Their principal church having been converted into a mosque, San Pablo
+was, during this period, their place of worship.
+
+In the year 778 occurred the famous expedition of Charlemagne, around
+which an almost impenetrable veil of poetry and legend was woven through
+the Middle Ages. Hoseya al Arabi having been superseded in the
+government of the city by order of the Khalifa, Abd-ur-Rahman, appealed
+for assistance to the great Emperor of the West, who, for motives which
+remain obscure, entered Spain with a considerable force. On reaching
+Zaragoza, he found that Al Arabi had already regained possession of the
+city; and either on that account, or because his late ally refused to
+open the gates, he retraced his steps towards the north. In the pass of
+Roncesvalles his rearguard was attacked and cut up by the
+mountaineers--a reverse which has been immortalised as the occasion of
+the death of the Paladin Roland, and commemorated in the legendary lore
+of nearly every European tongue.
+
+At the latter end of the ninth century Zaragoza (or Sarakusta, as it was
+called by the Moors), shook off the yoke of the Khalifas, and under the
+sway of the renowned Hafsûn became for a short time an independent
+state. More lasting was the monarchy set up at the close of the eleventh
+century, on the break-up of the Spanish Khalifate, by the vigorous
+Almundhir Ben Hud, whose power extended from Lerida to Guadalajara, from
+the mountains of Biscay to the Mediterranean. His son and successor,
+Suleyman, made the mistake of dividing his dominions among his four
+sons, Sarakusta being assigned to the eldest, Ahmed Almuktader. But,
+united or disunited, the Moors of north-eastern Spain were incapable of
+offering an effective resistance to the ever-growing power of the
+Christian kingdom of Aragon. In the spring of 1118, Alfonso el
+Batallador appeared before the walls of Zaragoza with a formidable host.
+The city held out till the garrison witnessed the total defeat of an
+army sent to their relief by the Almoravides. All hope being then gone,
+the gates were opened on December 18, 1118, and Zaragoza became the
+capital of the kingdom of Aragon.
+
+As such, it was endowed with a very liberal charter--the _fuero_, of
+which we read so often in Aragonese history. The defence of these
+liberties was intrusted to twenty magistrates, who were invested with
+authority to deal in the most summary and drastic fashion with
+evildoers, whatever might be their station. Nor did they hesitate, in
+after years, to raze the castles of any barons who threatened the peace
+of the city. Domestic affairs were regulated by twelve jurates,
+representing the twelve parishes. Pedro II. amplified these privileges,
+and decreed that the municipality should not be responsible for its acts
+even to the sovereign.
+
+The history of Zaragoza during the twelfth, thirteenth, and fourteenth
+centuries is full of instances of civil strife, of faction fights, and
+of struggles with the royal authority. The citizens refused to recognise
+Alfonso III. as king till he had been crowned within their walls. They
+paid dearly for their arrogance under Pedro IV., who hanged thirty of
+their number at the Toledo gate, and burnt the articles of the Union--a
+pact extorted from one of his predecessors--in a public assembly.
+
+Under Fernando I. the city’s privileges were further curtailed. But as
+licence and disorder showed no signs of abating, a kind of vigilance
+committee was formed in 1454, headed by Jimeno Gordo. This worthy put
+down all disturbances with iron hand, and waged war on the neighbouring
+barons. His career was cut short in 1474 by Ferdinand the Catholic, who
+caused him to be publicly executed. All the disorderly elements of the
+city rejoiced at his death.
+
+The introduction of the Inquisition met with much opposition in several
+Spanish towns, but nowhere more than at Zaragoza. Deputations were sent
+from the states of Aragon to wait on the king at Valladolid, to urge
+upon him the withdrawal of the obnoxious tribunal, without avail. Such
+contemptuous indifference to the laws and wishes of the people of Aragon
+roused the Zaragozans to a dangerous pitch of exasperation. About
+midnight, September 14, 1485, a party of six men entered the cathedral,
+and found the Inquisitor, Pedro de Arbues of Epila, in prayer before the
+altar. They at once transfixed him with their swords and knives, but
+only a few of the blows struck home, thanks to the shirt of mail which
+the victim, like most of the Inquisitors, wore beneath his cassock. The
+deed, of course, only riveted the chains of the Holy Office more firmly
+upon the Aragonese.
+
+Most of the assassins were captured, and perished in the flames. De
+Arbues was canonised in 1664. There can be no question that the
+Inquisition was established contrary to the laws of the country, and
+that the man met his death through presuming to discharge unlawful
+functions. He died for having broken the law, his executioners for
+having vindicated it.
+
+The persistent encroachments of the Crown upon their constitutional
+rights during the next century met with strenuous resistance from the
+people of Aragon. The long-impending storm burst in 1590. Antonio Pérez,
+having incurred the anger of Philip II., fled to Zaragoza, and invoked
+the protection of the states. According to the _fueros_, he was then
+confined in the prison of the Manifestacion pending his trial. But the
+Holy Office impudently removed him from the custody of the law, and
+threw him into their prison of the Aljaferia. A popular tumult followed.
+Pérez was released and taken back to his first prison. The Viceroy, the
+Marqués de Almenara, died of chagrin, it is said, at the insults he had
+received from the crowd. Four months later a fresh riot broke out, and
+enabled Pérez to make good his escape to France.
+
+Philip now sent an army of 14,000 men into Aragon to re-establish his
+authority on the ruins of the constitution. The Justiciary, Juan de
+Lanuza, summoned the people to defend their country. But the Castilians
+dispersed this hastily collected force at the first encounter, and
+entered Zaragoza unopposed on December 12. Juan de Lanuza and many
+other persons of note were judicially murdered; the leaders of the
+aristocracy were imprisoned, and the city sacked from end to end.
+
+Never again did Zaragoza raise its head in defiance of the King of
+Spain. The _fueros_ continued nominally in force till 1707, when they
+were formally abrogated by Philip V. in revenge perhaps for the defeat
+sustained before the walls at the hands of Stanhope and Stahremberg. But
+the spirit of the people was far from being crushed. They might bow
+before their own king, but they would not bend the knee to a foreigner.
+Zaragoza’s defence in 1808 is one of the most glorious episodes in the
+history of the nation. When the revolution broke out at Madrid on May 2,
+the citizens expelled the Governor, Guillelmi, and elected as leader Don
+Jose Palafox, a young noble of great personal courage and charm. He was
+assisted by a priest named Santiago Sas, his secretary Boggiero, who is
+said to have penned all his proclamations, and by three peasant leaders,
+‘Tio’ Jorge, ‘Tio’ Marin, and Mariano Cerezo. All their equipment for
+war consisted at the outset of 220 men, a few muskets, and sixteen guns;
+yet when Lefebvre Desnouettes arrived before the place on June 15, he
+met with so stubborn a resistance that he was compelled to proceed
+cautiously. He reduced the city indeed to a heap of ruins, but he had
+not taken it when Dupont’s surrender at Bailen obliged him, on August
+15, to raise the siege.
+
+The French reappeared in December 1808, to the number of 18,000 men,
+under the command of Marshals Lannes, Moncey, Mortier, and Junot. The
+city was attacked on two sides at once, but more especially from the
+Jesuit convent on the left bank of the Ebro, which the Spaniards had
+neglected to secure. What followed may be read in the pages of Napier.
+The besiegers breached the wall near the convent of Santa Engracia, and
+the combat was continued day after day in the streets of the town. Every
+house was held as a fortress, every few yards of street was defended by
+a barricade. In answer to the summons to surrender rang Palafox’s
+defiant ‘War to the knife and to the last ditch!’ The women in many
+cases fought beside the men. When Maria Agustin saw her sweetheart fall
+at his post, she took the linstock from his hand and fired the gun
+herself. The fame of this ‘Maid of Saragossa’ has penetrated every
+land. For twenty-one days the fighting continued in the streets.
+Finally, on February 21, 1809, the defenders capitulated on honourable
+terms. The town was a smoking heap of ruins and of dead. Zaragoza had
+shown an astonished world that the spirit of Saguntum and Numantia yet
+lived in Spaniards. And, we doubt not, it still lives.
+
+The city soon arose from the ashes. It rapidly recovered its prosperity,
+which took a fresh impetus on the opening of the four railways, east,
+west, north, and south. Here you see both the Old and the New Spain--the
+one with its heroic, glorious memories, the other with its promise of
+things as great and happier.
+
+
+THE CITY
+
+Zaragoza stands on the right bank of the Ebro in an oasis in the desert
+of Aragon. Nothing could be more attractive than the immediate environs,
+or more desolate than the country a few miles farther out. Such a
+situation was familiar to the Berber conquerors, who made themselves at
+home here and left their mark on the architecture of the city long after
+the last ‘Tagarin’ Moor had been expelled. Not, of course, that Zaragoza
+is to be compared as regards Musulman architecture with Seville,
+Cordova, Granada, and Toledo; but the Moor has left behind him
+unmistakable evidences of his presence, and an interesting monument
+called the Aljaferia, which endures, though oft and oft restored, to
+this day.
+
+The name seems to be derived from Jaffir, a not uncommon name among the
+Moors, and borne perhaps by one of the Beni Hud dynasty, for whom the
+building served as a palace. At the conquest in 1118 it was allotted by
+Alfonso the Battler to the Benedictine order. In the fourteenth century
+it again became the residence of royalty, and doubtless was entirely
+transformed and repaired. It was the scene of great splendour at the
+coronation of King Martin, and of several of his successors. To-day it
+presents a sad and dilapidated appearance. The imposing staircase,
+decorated with fine stucco work, is the creation of the Catholic
+sovereigns, who seem to have had some idea of reconstituting the past
+glories of the palace in true Moorish style. The ceilings of some of the
+chambers are in the artesonado style--the work of fifteenth-century
+artificers. The most beautiful is to be seen in the Salon de la Alcoba,
+where was born in 1271 the sainted Princess Isabel, afterwards Queen of
+Portugal, and persistently confounded by English writers with St.
+Elizabeth of Hungary. Everywhere among the decorations appear the
+devices and mottoes of Ferdinand and Isabel.
+
+Genuine Moorish work is to be seen in a little octagonal chamber opening
+off the patio. Of the eight arches, two are in horseshoe shape, and the
+others formed by irregular and capricious curves. The columns are almost
+hidden in the walls. The ceiling is modern, and unfortunately cuts off
+the view of the elegant _ajimeces_ and arabesques of the upper stage.
+The ornamentation recalls that of the Alhambra. This chamber--said by
+some, on no particular authority, to have been a mosque--was the seat of
+the Inquisition down to 1706. The guide points out a cell called La
+Torreta, in which--according to Verdi’s opera _Il Trovatore_--Manrico
+was confined. The opera is founded on a legend of Zaragoza, and the
+libretto was written by Garcia Gutierrez, a native of the city.
+
+Some may enjoy the beautiful view of the Pyrenees obtained from the
+Aljaferia more than the building itself.
+
+       *       *       *       *       *
+
+Probably only a few fragments of this old palace are older than the
+Cathedral of La Seo. This is the name commonly given in Aragon to the
+cathedral church, and comes, of course, from the Latin _sedes_, like our
+own word ‘See.’ Zaragoza became the metropolitan city of Aragon in 1318,
+and the archiepiscopal dignity was reserved as far as possible to the
+illegitimate sons of the kings. The city has now two cathedrals, which
+are used for alternating periods of six months. The Seo is the older of
+these, and occupies the site of the Moorish mosque--some say, even of an
+earlier Christian temple dating from Roman times. The church was, at all
+events, entirely rebuilt between 1188 and 1432, several Moorish names
+being mentioned among the architects. It can hardly be said to have been
+completed till the year 1550. Here were crowned the Kings of Aragon, and
+here, as we have related, was slain the Inquisitor, Pedro de Arbues.
+
+The west front was completed as late as 1685 by Julian Garza and Juan
+Bautista Contini. It is in the classical style of that period, and is in
+two stages separated by a broad entablature. The lower stage is adorned
+with massive Corinthian columns, and pierced with three doorways; the
+upper story is decorated with three statues of Christ and the Apostles
+Peter and Paul, by Giral, placed in niches; above is a pediment
+finished with an ugly finial. This front is flanked by an octagonal
+tower of four stages, each smaller than the lower one, and is therefore
+not inaptly compared by Ford to a telescope. This structure is in the
+same style and reveals the same want of taste as the adjoining façade.
+The third stage contains the belfry. The whole is surmounted by a
+weather-vane and steeple, perched on a Moorish-looking dome. The statues
+of the Apostles on the belfry are by Acali. There is no other façade
+worthy of notice; but the Puerta de la Pavostria is in the better and
+earlier classic style of the sixteenth century. It derives its name from
+a functionary known as the Pavorde, who here distributed alms.
+
+Street, who did not consider this cathedral in general interesting, has
+much to say about a portion of brickwork at the north-east angle, inlaid
+with small tiles in diapers, red, blue, green, white, and buff on white.
+The eminent architect sees in this an interesting specimen of Moorish
+work, and praises the grave quiet of the whole decoration (_Gothic
+Architecture in Spain_, xvii. 372).
+
+The church is of unusual breadth, there being two aisles and a row of
+chapels on each side of the nave. ‘The nave and aisles,’ says the
+authority we have just quoted, ‘are all roofed at the same level, the
+vaulting springing from the capitals of the main columns, and the whole
+of the light is admitted by windows in the end walls, and high up in the
+outer walls of the aisles. In this respect Spanish churches of late date
+almost always exhibit an attention to the requirements of the climate,
+which is scarcely ever seen in the thirteenth and fourteenth centuries;
+and this church owes almost all its good effect to this circumstance,
+for it is in light and shade only, and neither in general detail nor in
+design that it is a success.’
+
+The vaultings are adorned with gilded pendants and bosses, very much in
+the Moorish style. The light red marble pavement, with rays diverging
+from the yellow marble bases of the columns, appears to have been
+intended to suggest a reflection of the roof with its ogive vaultings
+above. The decoration is tasteful and not elaborate. The capitals are
+sculptured with _putti_ upholding escutcheons with animals and foliage.
+
+Over the chancel is the lantern, octagonal in plan, which replaced an
+earlier one in the first quarter of the sixteenth century. The work was
+undertaken by Enrique de Egas, only at the express command of the king.
+The lower part is adorned with statues in niches, and with the canting
+arms (the half-moon) of the family of Archbishop de Luna.
+
+The reredos of the High Altar is of alabaster and in the Gothic style.
+It was executed at the order of (and not by, as we have seen erroneously
+stated) Archbishop Dalmacio de Mur (1430-1456). The seven compartments
+are filled with compositions representing the martyrdom of St. Lawrence,
+the burial of St. Vincent, and episodes in the history of St. Valerus;
+with statues of the two latter saints, angels, and New Testament scenes.
+In all, the expressions and the draperies are exquisitely rendered. Don
+J. M. Quadrado is of opinion that this superb work was executed by Pedro
+Johán of Cataluña, Ans, Gombao, Caspar, and Gil Morlán successively.
+
+Before the High Altar the coronation took place, and the king, robed
+like a deacon, prostrated himself before the primate. On the gospel side
+is the wooden coffin which contains the ashes of Maria, daughter of
+_Jaime lo Conqueridor_, who died in 1267. At her side is the noble
+marble tomb of Archbishop Don Juan de Aragon, brother of Ferdinand the
+Catholic, with statues of the Mater Dolorosa, attended by Saints
+Jerome, Martin, and Francis. Here are also the tombs of Archbishop Don
+Alonso, natural son of Ferdinand the Catholic, and of his natural son,
+also Archbishop, Don Fernando. The first-named did not take orders till
+after the birth of his son and successor, and only celebrated one mass,
+deeming himself unworthy of the sacerdotal functions. Beneath a tablet
+is deposited the heart of the Infante Baltasar Carlos, eldest son of
+Philip IV., carried off by smallpox at the age of seventeen. His
+portrait is familiar to students of Velazquez.
+
+The choir occupies two of the five bays west of the crossing. It is in
+the Gothic style, and closed by a modern railing. In the centre is the
+tomb of Archbishop de Mede, from whose time the choir dates. The stalls
+are of Flemish oak. The fine lectern dates from 1413. The _trascoro_, or
+back of the choir, is a gorgeous plateresque affair in marble and
+stucco, the work of Tudelilla of Tarazona, who flourished about 1538.
+His are the statues of the martyrs Vincent and Laurence, the four
+reliefs illustrating their martyrdom, and that of San Valero, and the
+groups of cherubim. The tabernacle is in a not untasteful baroque style,
+and has side columns of black marble and a good crucifix. This figure
+of Christ is said to have addressed Canon Funes, afterwards Bishop of
+Albarracin, who is shown on his knees regarding it. The sides of the
+choir are adorned with statues of saints, including that of Pedro de
+Arbues, on the very spot where he was slain.
+
+Few of the chapels are of interest, and all but one have been disfigured
+with baroque portals. In the chapel of San Bernardo is the fine tomb and
+effigy by Morlánes of Archbishop Don Fernando de Aragon, above being a
+retablo representing the Betrayal and the Crucifixion. Close by lies
+Doña Ana de Gurrea, mother of the prelate (died 1527). The chapel of San
+Gabriel, founded by Gabriel de Zaporta, is notable for its fine bronze
+_reja_ and plateresque adornments. In the chapel of San Dominguito del
+Val are preserved ‘the remains of the third child crucified by the Jews
+in hatred of Christ towards the year 1250’; and the chapel of San Pedro
+de Arbues contains that worthy’s body, his kneeling effigy by José
+Ramirez, and paintings by Jimenez of Tarazona. In the chapel of Nuestra
+Señora de la Blanca are collected the tombs of sundry archbishops. The
+chapel of San Miguel owes its origin to a ghastly legend. Passing
+through the pine grove of Villaroya, the Archbishop Don Lope de Luna
+heard a voice calling him. He turned and saw that it proceeded from a
+severed head which came leaping towards him. The decapitated man had
+called on the Archangel at the moment the axe descended, and life was
+miraculously preserved in his head till he had made his confession, and
+was absolved by the primate. De Luna’s tomb is a triumph of Gothic art.
+He is shown with mitre and crozier, reclining on a sarcophagus which is
+sculptured with twenty-eight figures of friars in various attitudes. In
+niches in the wall surrounding the tomb are beautifully carved figures
+of ecclesiastics and grandees, full of vigour and expression. The name
+of the sculptor of this fine work is unhappily unknown.
+
+In the sacristy is to be seen the Gothic cross of gold and jewel-work,
+on which the kings of Aragon swore to observe the _fueros_. Some of the
+vestments are very fine. A casulla is said to have come from old St.
+Paul’s, London, at the time of the Reformation. There is a magnificent
+_custodia_, dating from 1537, and a fine silver reliquary, sent from
+Avignon in 1405 by Benedict XIII. (the anti-pope, De Luna). In the Sala
+Capitular are pictures attributed to Ribera and Zurbarán. The fine tiled
+pavement of this room is modern.
+
+The church of Santiago is mentioned as far back as 1121, and retains a
+few Romanesque features. Here the saint is said to have lived on his
+visit to Spain; and in the porch the magistrates of the city used to
+assemble and to administer justice.
+
+The most important church in Zaragoza after the Seo is, in Street’s
+estimation, that of San Pablo, built in 1259. The octagonal steeple is
+faced with tiles in much the same way as the part of the cathedral wall
+above described, and is certainly a later addition to the structure. The
+nave is of four bays and terminates in a five-sided apse. The aisle is
+continued all round the church, and communicates with the nave by
+pointed arches in an extraordinarily thick wall. In the left aisle are
+five early and highly interesting Gothic retablos. The elaborate reredos
+of the High Altar, with its reliefs of the Passion and of the Acts of
+St. Paul, is hardly worthy of the master--Damian Forment--to whom it has
+been hastily attributed. Ford suggests that it is the work of one of his
+pupils.
+
+The church of Santa Engracia, which figured prominently in the great
+siege, commemorates the massacre of a number of Christians of both sexes
+by the soldiery of Dacian. The bodies of the saints, Engracia and
+Lupercius, having been discovered here in 1389, the church already built
+on the spot was enlarged, and finally rebuilt with great splendour by
+Ferdinand the Catholic. A terrific explosion on August 13, 1808,
+completely wrecked the fabric, leaving little more than the plateresque
+portal, believed to have been designed by Morlánes. The entrance is
+through a round arch recessed within another, and surrounded by a
+retablo-like arrangement of niches containing groups. The outer arch is
+flanked by four statues of doctors of the Church in niches, and
+surmounted by statues of Ferdinand and Isabel.
+
+The existing church, clumsily restored by the Hermits of St. Jerome,
+contains some interesting tombs of the martyrs. They appear to date from
+the fifth century. One is decorated with reliefs in the rudest Byzantine
+style, the subjects being Adam and Eve and the Serpent, and the sixteen
+martyrs, whose relics are enclosed. The pillar is shown at which Santa
+Engracia was flogged by order of Dacian, and a well which is believed to
+contain the bones of innumerable martyrs.
+
+It is curious and painful how constantly the memorials of religious
+fanaticism confront one in this beautiful country. Here we are shown the
+spot where a Christian suffered for his faith; there where a Jew
+perished; there where a Moor died for conscience’ sake. Persecution
+naturally engenders a vindictive and intolerant temper in its victims,
+and these, become the masters, are hardened, not softened, by
+affliction. Religion, too, in Spain was almost always identified with
+race. The Moor, the Jew, and the Lutheran were not only infidels or
+heretics, but aliens--the political and racial enemies of the Spaniard.
+In fact, religious intolerance in the Peninsula cannot be said to have
+assumed such unnatural forms as in France and Germany, where men of the
+same blood and language cut each other’s throats, and vied with each
+other in doing the most harm to their native lands.
+
+To the dawn of the sixteenth century also belonged the famous leaning
+tower at Zaragoza, the Torre Nueva, now demolished; while the Lonja or
+Exchange commemorates the reign of Juana la Loca, or as the inscription
+states, of her and her son, Don Carlos, ‘conregnantes’ (1551). This is
+one of the many buildings scattered over Spain and Europe generally
+which were intended to accommodate brokers and business men, who
+resolutely refuse to swarm in the appointed spots--witness our own Royal
+Exchange, the Lonjas of Seville and Granada, etc. The exterior belongs
+to no recognised style. The round-headed door is flanked by two windows
+of similar shape; above runs a sort of imitation gallery, then two more
+rows of round-headed windows, finished off with a fine eaves-cornice.
+The soffits of the arches are elaborately carved. At each corner of the
+edifice is a little tower, roofed with white and green tiles. The
+interior is divided into a nave and aisles by twenty-four columns, of
+which seventeen are embedded in the walls. From their Ionic capitals
+spring seventeen arches, which at the points of intersection are studded
+with gilt bosses. The Lion of Zaragoza may be distinguished among the
+decorations, and over the door and on the walls the arms of Spain.
+O’Shea says that the ‘gigantones’--gigantic figures representing the
+four quarters of the globe, carried about in processions--are kept here.
+
+       *       *       *       *       *
+
+A great many of the fine old mansions (_solares_) of the aristocracy and
+merchants of Zaragoza disappeared in the siege, or to permit of modern
+improvements. Those which remain date mostly from the sixteenth century.
+The finest, on the whole, is the Casa de la Infanta, so-called as having
+been the residence of La Vallabriga, a lady banished from Madrid for
+marrying the Infante Don Luis. The house was built by a rich merchant
+named Gabriel Zaporta in the middle of the sixteenth century. A square
+entrance admits to a court, round which runs a gallery, upheld by
+columns on fluted pedestals, and formed of caryatide figures
+interlocked. On these rest the capitals, elaborately carved with masks,
+and on these again is borne the gallery, the arches and parapet of which
+are enriched with medallions, masks, grotesques, and foliage. The
+decoration is a fine specimen of the plateresque style. The staircase,
+in the same style, is worthy of note.
+
+The fine old Casa de Comercio, described in several guide-books of
+recent date, no longer exists. The noble mansion of the Counts of
+Sastago housed Philip III. in 1599; and the Audiencia occupies the site
+of the ancestral home of the De Luna family, to which belonged the
+anti-pope Benedict XIII. and the wicked Count in Verdi’s opera.
+
+We have left almost to the last that ambitious but meretricious memorial
+of the decadence, the new cathedral, or Iglesia del Pilar. The Apostle
+James (Santiago), according to tradition, visited the city forty years
+after the birth of Christ. He was favoured by a vision of the Blessed
+Virgin, poised on a pillar of jasper, and attended by angels. He built
+a modest chapel on the spot, which soon became a great resort of
+pilgrims. This was replaced in the thirteenth century by a large church,
+which was demolished to make room for the present building, erected in
+1686 by Don Francisco Herrera. The design, bad enough in itself, was
+made worse by Ventura Rodriguez seventy years later. The exterior hardly
+merits description, though the domes or cupolas with their brilliant
+green, yellow, and white tiling are not without a certain bizarre
+beauty.
+
+Spanish writers are as severe as others in their condemnation of this
+spacious edifice: ‘The baroque style’ (says Don J. M. Quadrado), ‘as
+timid and clumsy in the general proportion of the work as it was
+audacious and presumptuous in detail, gave space not repose to the
+Pilar--size without grandeur. The eye measures vainly this square of
+1500 feet, and observes the nave and aisles equal in dimensions; it
+rests on the twelve square piers--enormous masses which might serve for
+the bases of towers, recoils from the bare vault, from the thick
+cornice, from the ridiculous foliage of the capitals, the arches, etc.
+This disagreeable impression is intensified by the strange and confused
+disposition of the temple, which, divided into two by the Shrine and
+the High Altar, presents two centres of attraction, and obstructs the
+nave with objects masking each other.’
+
+The only objects of particular interest in this vast edifice are those
+just named, which stand back to back. The Shrine or Capilla Santa
+constitutes a chapel within a chapel, the exterior being rectangular,
+the interior elliptical. Overhead is an oval dome borne on four
+Corinthian columns, with capitals richly gilded, and over this again
+another cupola or lantern painted by a namesake (not a relative) of
+Velazquez. There are four smaller domes painted by Goya and Bayeu. The
+profusion of rich marbles, the elaboration of the architecture, the
+brilliancy of the frescoes, and the multitude of statues give this
+chapel a sumptuous and not inartistic appearance. Around are hung
+banners taken from the infidels. The Sacred Pillar is almost entirely
+concealed, but there is a hole in the casing through which the devout
+may kiss it. On each side of the chapel imposing staircases lead to the
+crypt, in which lie several archbishops and canons, and the heart of Don
+Juan José of Austria, brother of Carlos II.
+
+The High Altar of the cathedral is of alabaster and in the Gothic
+style, the work of one Damian Forment, an early sixteenth-century
+artist. The lower reliefs, separated by slender pilasters, represent the
+Espousals of the Virgin, the Annunciation, the Visitation, the Nativity,
+the Adoration of the Magi, the Crucifixion, and the Resurrection. Above,
+in canopied niches, are the Assumption, the Nativity, and the
+Presentation. The canopies are richly adorned with the figures of
+saints. At the sides are two large statues of St. James and St.
+Braulio--objects of special devotion--and at the apex of the
+altar-screen are two angels supporting Our Lady of the Pillar. The whole
+is undoubtedly the finest work of art in the cathedral.
+
+The choir stalls merit attention. They were designed by the Navarrese
+Estebán de Obray, and carved by the Florentine Giovanni Moreto and
+Nicolás de Jobato between 1542 and 1548. The infinite number and variety
+of the designs, the delicacy and intricacy of the work, suggest that it
+was accomplished in two or more generations rather than in six years.
+Equally admirable is the bronze _reja_ by Juan Tomás Celina (1574) on a
+marble base, sculptured by the Majorcan artist, Guillermo Salvá.
+
+The sacristy contains an immense variety of offerings to the shrine by
+pilgrims from all parts of the world. These had been accumulating for
+centuries, and the Chapter were able some years ago to raise a sum of
+£20,000 by disposing of only a portion of them. Without profanity we
+might perhaps say that the Virgen del Pilar is to Zaragoza what Diana
+was to the Ephesians. Hundreds make a living by selling pictures and
+models of the shrine, and a surprising number of silversmiths do a
+roaring trade in images and medals. Yet it is not quite wise or safe for
+the traveller to scoff at a devotion which largely inspired the heroic
+defence of 1808, and supplied the place of arms, strategy, and able
+leadership.
+
+Close by, the yellow Ebro is spanned by the seven arches of the Puente
+de Piedra. Its origin is of unknown antiquity. It was here in 1435, when
+one of the arches collapsed--presaging the destruction by the Genoese of
+the Aragonese fleet which sailed that day; and the inscription
+mentioning Alfonso V., and the date 1437, can only refer to its
+reconstruction. And across this bridge we pass into the stern, desert
+country of Aragon, and so on to the distant, gleaming Pyrenees.
+
+[Illustration: PLATE 1
+
+GENERAL VIEW OF VALLADOLID]
+
+[Illustration: PLATE 2
+
+GENERAL VIEW OF VALLADOLID]
+
+[Illustration: PLATE 3
+
+THE BRIDGE OF PIEDRA
+
+VALLADOLID]
+
+[Illustration: PLATE 4
+
+LA ACERA DE SAN FRANCISCO]
+
+[Illustration: PLATE 5
+
+THE TOWN HALL
+
+VALLADOLID]
+
+[Illustration: PLATE 6
+
+THE OLD PARISH CHURCH
+
+VALLADOLID]
+
+[Illustration: PLATE 7
+
+HOUSE IN WHICH CHRISTOPHER COLUMBUS DIED, 1506
+
+VALLADOLID]
+
+[Illustration: PLATE 8
+
+HOUSE WHERE KING PHILIP II. WAS BORN, 1527
+
+VALLADOLID]
+
+[Illustration: PLATE 9
+
+THE ROYAL PALACE OF PHILIP III.
+
+VALLADOLID]
+
+[Illustration: PLATE 10
+
+CHURCH OF SAN JUAN DE LETRAN
+
+VALLADOLID]
+
+[Illustration: PLATE 11
+
+COLLEGE OF THE ESCOCESES
+
+VALLADOLID]
+
+[Illustration: PLATE 12
+
+COLLEGE OF THE INGLESES
+
+VALLADOLID]
+
+[Illustration: PLATE 13
+
+INTERIOR VIEW OF THE LIBRARY
+
+VALLADOLID]
+
+[Illustration: PLATE 14
+
+INTERIOR OF THE MUSEUM
+
+VALLADOLID]
+
+[Illustration: PLATE 15
+
+FAÇADE OF THE MUSEUM
+
+VALLADOLID]
+
+[Illustration: PLATE 16
+
+MUSEUM. BACK OF A CHOIR STALL. BY BERRUGUETE
+
+VALLADOLID]
+
+[Illustration: PLATE 17
+
+MUSEUM. DETAIL OF THE CHOIR STALLS OF SAN BENITO
+
+VALLADOLID]
+
+[Illustration: PLATE 18
+
+MUSEUM. SEVERAL FRAGMENTS OF CHOIR STALLS BY BERRUGUETE
+
+VALLADOLID]
+
+[Illustration: PLATE 19
+
+MUSEUM. HEAD OF ST. PAUL. WOOD CARVING. COMMENCEMENT OF EIGHTEENTH
+CENTURY
+
+VALLADOLID]
+
+[Illustration: PLATE 20
+
+MUSEUM. CENTRE-PART OF A WOODEN ALTAR-PIECE END OF THE FIFTEENTH CENTURY
+
+VALLADOLID]
+
+[Illustration: PLATE 21
+
+MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE
+
+VALLADOLID]
+
+[Illustration: PLATE 22
+
+MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE
+
+VALLADOLID]
+
+[Illustration: PLATE 23
+
+MUSEUM. ALTAR-PIECE CARVED IN WOOD. END OF FIFTEENTH CENTURY
+
+VALLADOLID]
+
+[Illustration: PLATE 24
+
+MUSEUM. THE ASSUMPTION OF THE VIRGIN. BY RUBENS
+
+VALLADOLID]
+
+[Illustration: PLATE 25
+
+MUSEUM. ST. ANTHONY OF PADUA AND THE CHILD JESUS. BY RUBENS
+
+VALLADOLID]
+
+[Illustration: PLATE 26
+
+MUSEUM. THE ANNUNCIATION. BY JOSÉ MARTINEZ
+
+VALLADOLID]
+
+[Illustration: PLATE 27
+
+MUSEUM. THE HOLY FAMILY. BY RAPHAEL
+
+VALLADOLID]
+
+[Illustration: PLATE 28
+
+MUSEUM. ST. FRANCIS AND A LAY BROTHER BY RUBENS
+
+VALLADOLID]
+
+[Illustration: PLATE 29
+
+ST. JOACHIM AND THE VIRGIN AS A CHILD BY MURILLO
+
+VALLADOLID]
+
+[Illustration: PLATE 30
+
+PROVINCIAL MUSEUM. ST. BRUNO
+
+VALLADOLID]
+
+[Illustration: PLATE 31
+
+CENTRE OF THE FAÇADE OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 32
+
+DETAIL OF THE FAÇADE OF ST. GREGORIO (LEFT SIDE)
+
+VALLADOLID]
+
+[Illustration: PLATE 33
+
+DETAIL OF THE FAÇADE OF ST. GREGORIO (RIGHT SIDE)
+
+VALLADOLID]
+
+[Illustration: PLATE 34
+
+LEFT ANGLE IN THE COURT OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 35
+
+GALLERY IN THE COURT OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 36
+
+DETAIL OF THE COURT OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 37
+
+INTERIOR GATE OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 36
+
+FAÇADE OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 39
+
+LOWER PART OF THE FAÇADE OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 40
+
+DETAIL OF THE PORTAL OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 41
+
+LOWER CENTRAL PART OF THE FAÇADE OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 42
+
+PORTAL OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 43
+
+DETAIL OF THE RIGHT-HAND SIDE OF THE PORCH OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 44
+
+DETAIL OF THE LEFT-HAND SIDE OF THE PORCH OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 45
+
+GENERAL VIEW
+
+OVIEDO]
+
+[Illustration: PLATE 46
+
+TOWER OF THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 47
+
+PRINCIPAL ENTRANCE TO THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 48
+
+PRINCIPAL GATE OF THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 49
+
+CATHEDRAL. VIEW OF THE INTERIOR
+
+OVIEDO]
+
+[Illustration: PLATE 50
+
+CATHEDRAL. THE RETABLO
+
+OVIEDO]
+
+[Illustration: PLATE 51
+
+LA CAMARA SANTA; OR PRIMITIVE CHAPEL OF SAN MIGUEL WHERE ARE PRESERVED
+THE RELICS SAVED BY PELAYO FROM THE HANDS OF THE MOORS
+
+OVIEDO]
+
+[Illustration: PLATE 52
+
+COFFIN IN OVIEDO CATHEDRAL, AND DETAILS OF THE SEPULCHRE FROM COVADONGA
+
+OVIEDO]
+
+[Illustration: PLATE 53
+
+OLD TOWER OF THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 54
+
+CATHEDRAL. OAKEN ARK, OR CHEST CONTAINING HOLY RELICS, IN THE CAMARA
+SANTA
+
+OVIEDO]
+
+[Illustration: PLATE 55
+
+SECTION, PLAN, AND DETAILS OF THE CAMARA SANTA IN THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 56
+
+CATHEDRAL. CROSS OF THE ANGELS, IN THE CAMARA SANTA
+
+OVIEDO]
+
+[Illustration: PLATE 57
+
+CROSSES AND CASKETS OF THE ASTURIAS
+
+OVIEDO]
+
+[Illustration: PLATE 58
+
+CATHEDRAL. CROSS OF VICTORY, OR OF PELAYO, IN THE CAMARA SANTA
+
+OVIEDO]
+
+[Illustration: PLATE 59
+
+CAPITAL, REPRESENTING THE DEATH OF FAVILA THE FATHER OF PELAYA
+
+OVIEDO]
+
+[Illustration: PLATE 60
+
+SANTA MARIA DE NARANCO
+
+OVIEDO]
+
+[Illustration: PLATE 61
+
+THE PARISH CHURCH OF SANTA MARIA DE NARANCO
+
+OVIEDO]
+
+[Illustration: PLATE 62
+
+CHURCH OF SAN MIGUEL DE LINEO
+
+OVIEDO]
+
+[Illustration: PLATE 63
+
+PARISH CHURCH OF SAN JUAN DE PRIORIO
+
+OVIEDO]
+
+[Illustration: PLATE 64
+
+CHURCH OF SAN JUAN DE PRIORIO
+
+OVIEDO]
+
+[Illustration: PLATE 65
+
+PORTALS, TOWER, AND DETAILS OF THE CHURCHES OF ST. CLARA, ST. JOHN, AND
+OUR LADY DE LA VEGA, THE LAST-NAMED FOUNDED IN THE TWELFTH CENTURY
+
+OVIEDO]
+
+[Illustration: PLATE 66
+
+DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 67
+
+PLAN AND DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 68
+
+PLAN, PRINCIPAL ENTRANCE, AND DETAILS OF THE CHURCH OF SAN JUAN DE
+AMANDI (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 69
+
+PLAN, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF SAN JUAN
+DE AMANDI (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 70
+
+PLAN, PORCH, AND DETAILS OF THE PARISH CHURCH OF VILLAVICIOSA (CONCEJO
+DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 71
+
+FRONT, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF
+VILLAVICIOSA (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 72
+
+PLAN AND SECTION OF CHURCH OF SAN SALVADOR DE VALDEDIOS (CONCEJO DE
+VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 73
+
+TRANSVERSE SECTION AND WINDOWS OF THE CHURCH OF SAN SALVADOR DE
+VALDEDIOS (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 74
+
+PLANS, SECTIONS, AND DETAILS OF THE PAROCHIAL CHURCHES OF PRIESCA AND
+FUENTES (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 75
+
+DETAILS OF CHURCH OF SANTA MARIA DE VILLAMAYOR (CONCEJO DEL INFIESTO)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 76
+
+DETAILS OF SANTA MARIA DE VILLAMAYOR (CONCEJO DE INFIESTO)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 77
+
+PLAN, SECTIONS, AND DETAILS OF SAN ADRIAN DE TUÑON (CONCEJO DE
+VILLANUEVA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 78
+
+DETAILS OF HERMITAGE OF SANTA CRISTINA (CONCEJO DE LA POLA DE LENA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 79
+
+DETAILS OF SEPULCHRES IN THE CLOISTERS OF THE COLLEGIATE CHURCH OF
+COVADONGA (CONCEJO DE CANGAS DE ONIS)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 80
+
+DETAILS OF PARISH-CHURCH OF UJO (CONCEJO DE MIERES)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 81
+
+DETAILS OF PAROCHIAL CHURCH OF UJO (CONCEJO DE MIERES)
+
+OVIEDO]
+
+[Illustration: PLATE 82
+
+GENERAL VIEW OF SEGOVIA FROM THE NIEVAS
+
+SEGOVIA]
+
+[Illustration: PLATE 83
+
+GENERAL VIEW OF SEGOVIA]
+
+[Illustration: PLATE 84
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 85
+
+THE ALCAZAR AND CATHEDRAL FROM THE FUENCISLA
+
+SEGOVIA]
+
+[Illustration: PLATE 86
+
+GENERAL VIEW FROM THE NIEVAS
+
+SEGOVIA]
+
+[Illustration: PLATE 87
+
+OLD HOUSES IN THE PLAZA MAYOR
+
+SEGOVIA]
+
+[Illustration: PLATE 88
+
+VIEW OF THE WALLS
+
+SEGOVIA]
+
+[Illustration: PLATE 89
+
+AQUEDUCT OVER THE RIVER CASTILLA
+
+SEGOVIA]
+
+[Illustration: PLATE 90
+
+THE CATHEDRAL FROM THE HOYOS HILL
+
+SEGOVIA]
+
+[Illustration: PLATE 91
+
+VIEW OF THE CATHEDRAL FROM THE SQUARE
+
+SEGOVIA]
+
+[Illustration: PLATE 92
+
+VIEW OF THE CATHEDRAL FROM THE SQUARE
+
+SEGOVIA]
+
+[Illustration: PLATE 93
+
+CASA DE LOS PICOS
+
+SEGOVIA]
+
+[Illustration: PLATE 94
+
+CHURCH OF SANTA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 95
+
+PORCH OF THE CHURCH OF SANTA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 96
+
+CHURCH OF SANTA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 97
+
+VIEW OF THE MINT AND THE PARRAL
+
+SEGOVIA]
+
+[Illustration: PLATE 98
+
+FAÇADE OF THE PARRAL
+
+SEGOVIA]
+
+[Illustration: PLATE 99
+
+CLOISTERS OF THE PARRAL
+
+SEGOVIA]
+
+[Illustration: PLATE 100
+
+GENERAL VIEW OF TURÉGANO]
+
+[Illustration: PLATE 101
+
+TURÉGANO CASTLE
+
+PROVINCE OF SEGOVIA]
+
+[Illustration: PLATE 102
+
+GENERAL VIEW OF COCA CASTLE
+
+PROVINCE OF SEGOVIA]
+
+[Illustration: PLATE 103
+
+ANOTHER VIEW OF COCA CASTLE
+
+PROVINCE OF SEGOVIA]
+
+[Illustration: PLATE 104
+
+ST. ANDREW’S GATE
+
+SEGOVIA]
+
+[Illustration: PLATE 105
+
+THE ARCH OF THE FUENCISLA
+
+SEGOVIA]
+
+[Illustration: PLATE 106
+
+GATE OF SANTIAGO
+
+SEGOVIA]
+
+[Illustration: PLATE 107
+
+THE ALCAZAR BEFORE THE FIRE IN 1862
+
+SEGOVIA]
+
+[Illustration: PLATE 108
+
+THE ALCAZAR FROM THE HOYOS HILL
+
+SEGOVIA]
+
+[Illustration: PLATE 109
+
+VIEW OF THE ALCAZAR
+
+SEGOVIA]
+
+[Illustration: PLATE 110
+
+THE ALCAZAR FROM THE CAVES
+
+SEGOVIA]
+
+[Illustration: PLATE 111
+
+FAÇADE OF THE ALCAZAR BEFORE THE FIRE IN 1862
+
+SEGOVIA]
+
+[Illustration: PLATE 112
+
+SEPULCHRES OF THE FAMILY OF THE MARQUESES DE VILLENA IN THE CHURCH OF
+THE PARRAL
+
+SEGOVIA]
+
+[Illustration: PLATE 113
+
+CHURCH OF ST. NICHOLAS
+
+SEGOVIA]
+
+[Illustration: PLATE 114
+
+GENERAL VIEW OF THE CHURCH OF VERA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 115
+
+PORCH OF THE CHURCH OF VERA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 116
+
+COURTYARD OF THE MARQUIS OF ARCOS’ HOUSE
+
+SEGOVIA]
+
+[Illustration: PLATE 117
+
+FAÇADE OF ST. JOHN
+
+SEGOVIA]
+
+[Illustration: PLATE 118
+
+CHURCH OF ST. JOHN. SEGOVIA FROM THE EAST
+
+SEGOVIA]
+
+[Illustration: PLATE 119
+
+SAN JUAN DE LOS CABALLEROS
+
+SEGOVIA]
+
+[Illustration: PLATE 120
+
+CHURCH OF ST. MARTIN
+
+SEGOVIA]
+
+[Illustration: PLATE 121
+
+PORCH OF ST. MARTIN
+
+SEGOVIA]
+
+[Illustration: PLATE 122
+
+PARISH CHURCH OF ST. MARTIN
+
+SEGOVIA]
+
+[Illustration: PLATE 123
+
+ARCH OF THE PORTICO, CORNICE AND CAPITALS OF THE PORTICO OF THE PARISH
+CHURCH OF ST. MARTIN
+
+SEGOVIA]
+
+[Illustration: PLATE 124
+
+GENERAL VIEW OF ST. STEPHEN
+
+SEGOVIA]
+
+[Illustration: PLATE 125
+
+PORTICO OF ST. STEPHEN
+
+SEGOVIA]
+
+[Illustration: PLATE 126
+
+TOWER OF ST. STEPHEN AND EXTERIOR DETAILS
+
+SEGOVIA]
+
+[Illustration: PLATE 127
+
+CHURCH OF SAN LORENZO
+
+SEGOVIA]
+
+[Illustration: PLATE 128
+
+CHURCH OF SAN LORENZO
+
+SEGOVIA]
+
+[Illustration: PLATE 129
+
+LATERAL FAÇADE OF THE CHURCH OF SAN LORENZO
+
+SEGOVIA]
+
+[Illustration: PLATE 130
+
+THE CHURCH OF SAN LORENZO, WITH DETAILS OF CAPITALS
+
+SEGOVIA]
+
+[Illustration: PLATE 131
+
+DETAILS OF THE CHURCH OF SAN LORENZO
+
+SEGOVIA]
+
+[Illustration: PLATE 132
+
+INTERIOR OF SAN MILLÁN. THE EPISTLE SIDE
+
+SEGOVIA]
+
+[Illustration: PLATE 133
+
+INTERIOR OF SAN MILLÁN. THE GOSPEL SIDE
+
+SEGOVIA]
+
+[Illustration: PLATE 134
+
+ARCHES AND EAVES OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 135
+
+SECTIONAL ELEVATIONS OF THE PARISH CHURCH OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 136
+
+PLAN, AND DETAILS OF THE PARISH CHURCH OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 137
+
+DETAILS OF THE PARISH CHURCH OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 138
+
+DETAILS OF THE PARISH CHURCH OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 139
+
+PLAN, AND DETAILS OF THE CHURCH OF THE CONVENT OF CORPUS CHRISTI
+
+SEGOVIA]
+
+[Illustration: PLATE 140
+
+INTERIOR OF THE CONVENT OF SANTO DOMINGO AND TOWERS
+
+SEGOVIA]
+
+[Illustration: PLATE 141
+
+PAINTED SOCLES IN THE INTERIOR OF THE TOWER OF SANTO DOMINGO, COMMONLY
+CALLED THE TOWER OF HERCULES
+
+SEGOVIA]
+
+[Illustration: PLATE 142
+
+FAÇADE OF THE CONVENT OF OUR LADY DE LA SIERRA
+
+SEGOVIA]
+
+[Illustration: PLATE 143
+
+RUINS OF THE CHAPEL OF THE CONVENT OF OUR LADY DE LA SIERRA
+
+SEGOVIA]
+
+[Illustration: PLATE 144
+
+INTERIOR OF THE RUINED CONVENT OF OUR LADY DE LA SIERRA
+
+SEGOVIA]
+
+[Illustration: PLATE 145
+
+PORCH OF THE CONVENT OF OUR LADY DE LA SIERRA
+
+SEGOVIA]
+
+[Illustration: PLATE 146
+
+GENERAL VIEW OF THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 147
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 148
+
+THE ROMAN AQUEDUCT]
+
+[Illustration: PLATE 149
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 150
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 151
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 152
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 153
+
+A DANCE IN THE PLAZA DEL PUEBLO DE NIEVA, SEGOVIA. BY A. GARCIA MENCIA.
+(No. 181, EXHIBITION OF 1871)]
+
+[Illustration: PLATE 154
+
+ENRIQUE IV. CONDUCTING THE INFANTA ISABEL THROUGH THE STREETS OF
+SEGOVIA]
+
+[Illustration: PLATE 155
+
+GROUP OF PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 156
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 157
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 158
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 159
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 160
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 161
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 162
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 163
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 164
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 165
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 166
+
+VIEW OF ZAMORA]
+
+[Illustration: PLATE 167
+
+VIEW OF ZAMORA]
+
+[Illustration: PLATE 168
+
+WALLS AND POSTERN GATE WITH THE HOUSE OF DOÑA URRACA
+
+ZAMORA]
+
+[Illustration: PLATE 169
+
+STONE BRIDGE OVER THE DUERO
+
+ZAMORA]
+
+[Illustration: PLATE 170
+
+BRIDGE OVER THE DUERO
+
+ZAMORA]
+
+[Illustration: PLATE 171
+
+VIEW OF THE CATHEDRAL
+
+ZAMORA]
+
+[Illustration: PLATE 172
+
+FAÇADE OF THE CATHEDRAL
+
+ZAMORA]
+
+[Illustration: PLATE 173
+
+CATHEDRAL. GATE OF THE BISHOP
+
+ZAMORA]
+
+[Illustration: PLATE 174
+
+THE CATHEDRAL. EAST FRONT
+
+ZAMORA]
+
+[Illustration: PLATE 175
+
+CATHEDRAL. GATE OF THE BISHOP
+
+ZAMORA]
+
+[Illustration: PLATE 176
+
+CATHEDRAL. GATE OF THE BISHOP
+
+ZAMORA]
+
+[Illustration: PLATE 177
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 178
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 179
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+DETAIL OF THE INTERIOR
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 180
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA.
+
+DETAIL OF THE INTERIOR
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 181
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA. CHANCEL
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 182
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA: EXAMPLE OF THE VAULTING
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 183
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA. INTERIOR
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 184
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA. TRANSEPT AND NAVE
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 185
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+DETAIL OF A WINDOW DEEPLY RECESSED
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 186
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+TRANSEPT PORCH
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 187
+
+SANTA MARIA LA NUEVA. DETAIL OF THE EXTERIOR
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 188
+
+SANTA MARIA LA NUEVA. DOORWAY IN THE WALL ON THE EPISTLE SIDE
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 189
+
+SANTA MARIA LA NUEVA. CAPITALS OF RECESSED WINDOWS
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 190
+
+CHURCH OF MAGDALEN]
+
+[Illustration: PLATE 191
+
+PRINCIPAL DOOR OF THE CHURCH OF THE MAGDALEN
+
+ZAMORA]
+
+[Illustration: PLATE 192
+
+PLAN AND SECTIONS OF THE PARISH CHURCH OF ST. PETER
+
+ZAMORA]
+
+[Illustration: PLATE 193
+
+DETAILS OF THE PARISH CHURCH OF ST. PETER (NAVE)
+
+ZAMORA]
+
+[Illustration: PLATE 194
+
+HOUSE OF THE CID]
+
+[Illustration: PLATE 195
+
+TAPESTRY OF THE BEGINNING OF THE FIFTEENTH CENTURY
+
+ZAMORA]
+
+[Illustration: PLATE 196
+
+DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 197
+
+PAINTING IN THE TOWN HALL BY RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 198
+
+PAINTING ON THE UPPER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 199
+
+PAINTING ON THE LOWER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 200
+
+THE ROYAL ESCUTCHEON. DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 201
+
+ST. FERDINAND AND KING JOHN II. DECORATIVE PAINTING IN THE TOWN HALL. BY
+RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 202
+
+THE ARMS OF THE TOWN. BY RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 203
+
+QUEEN URRACA AND ARIAS GONZALO. DECORATIVE PAINTING IN THE TOWN HALL. BY
+RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 204
+
+TROPHIES OF ARMS AND ARMOUR IN THE TOWN HALL BY RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 205
+
+THE HOUSE OF THE MOMOS
+
+ZAMORA]
+
+[Illustration: PLATE 206
+
+BRIDGE OF ROCOBAYO OVER THE ESLA
+
+ZAMORA]
+
+[Illustration: PLATE 207
+
+STONE QUARRIES OF THE TOWN OF VALDEROJO
+
+ZAMORA]
+
+[Illustration: PLATE 207
+
+STONE QUARRIES OF THE TOWN OF VALDEROJO
+
+ZAMORA]
+
+[Illustration: PLATE 208
+
+EARTHWORKS OF THE ANCIENT CITY OF TORO]
+
+[Illustration: PLATE 209
+
+NORTH AND CENTRE GATES OF THE COLLEGIATE CHURCH OF TORO]
+
+[Illustration: PLATE 210
+
+PLAN, EXTERIOR VIEW, AND DETAILS OF THE COLLEGIATE CHURCH OF TORO]
+
+[Illustration: PLATE 211
+
+GROUP OF PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 212
+
+GROUP OF PEASANTS OF THE VILLAGE OF CARBAJALES
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 213
+
+PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 214
+
+GENERAL VIEW OF AVILA]
+
+[Illustration: PLATE 215
+
+GENERAL VIEW OF AVILA]
+
+[Illustration: PLATE 216
+
+VIEW OF AVILA]
+
+[Illustration: PLATE 217
+
+GATE OF THE ALCAZAR
+
+AVILA]
+
+[Illustration: PLATE 218
+
+GATE OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 219
+
+GATE OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 220
+
+GATE OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 221
+
+GATE OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 222
+
+A STREET IN AVILA]
+
+[Illustration: PLATE 223
+
+VIEW OF THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 224
+
+EXTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 225
+
+ENTRANCE TO THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 226
+
+PLAN OF CATHEDRAL]
+
+[Illustration: PLATE 227
+
+AVILA CATHEDRAL]
+
+[Illustration: PLATE 228
+
+SIDE DOOR OF THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 229
+
+CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK
+
+AVILA]
+
+[Illustration: PLATE 230
+
+CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK
+
+AVILA]
+
+[Illustration: PLATE 231
+
+CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK
+
+AVILA]
+
+[Illustration: PLATE 232
+
+INTERIOR OF THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 233
+
+CATHEDRAL. DETAIL OF THE INTERIOR
+
+AVILA]
+
+[Illustration: PLATE 234
+
+CATHEDRAL. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 235
+
+CATHEDRAL. THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 236
+
+CATHEDRAL. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 237
+
+CATHEDRAL. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 238
+
+CATHEDRAL. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 239
+
+CATHEDRAL. ALTAR OF SAN SEGUNDO
+
+AVILA]
+
+[Illustration: PLATE 240
+
+CATHEDRAL. ALTAR OF SANTA LUCIA
+
+AVILA]
+
+[Illustration: PLATE 241
+
+CATHEDRAL. SEPULCHRE OF DON JUAN D’AVILA
+
+AVILA]
+
+[Illustration: PLATE 242
+
+CATHEDRAL. TOMB OF EL TESTADO BISHOP OF AVILA IN 1449
+
+AVILA]
+
+[Illustration: PLATE 243
+
+CATHEDRAL. ALTAR BEHIND THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 244
+
+CATHEDRAL. SILVER MONSTRANCE OF JUAN DE ARFE. SIXTEENTH CENTURY
+
+AVILA]
+
+[Illustration: PLATE 245
+
+CONVENT OF SANTO TOMÁS SEPULCHRE OF THE INFANTE DON JUAN, SON OF
+FERDINAND AND ISABELLA THE MASTERPIECE OF MICER DOMENICO OF FLORENCE
+
+AVILA]
+
+[Illustration: PLATE 246
+
+SEPULCHRE OF THE HOLY MARTYRS VICENTE, SABINA AND CRISTINA
+
+AVILA]
+
+[Illustration: PLATE 247
+
+INTERIOR OF THE CHAPEL OF SAN BERNARDO BY P. GONZALVO
+
+AVILA]
+
+[Illustration: PLATE 248
+
+CHURCH OF ST. PETER
+
+AVILA]
+
+[Illustration: PLATE 249
+
+ENTRANCE TO THE CHURCH OF ST. PETER
+
+AVILA]
+
+[Illustration: PLATE 250
+
+PAROCHIAL CHURCH OF ST. PETER
+
+AVILA]
+
+[Illustration: PLATE 251
+
+LONGITUDINAL SECTION AND DETAILS OF THE PARISH CHURCH OF ST. PETER.
+AVILA]
+
+[Illustration: PLATE 252
+
+EXTERIOR OF THE CHURCH OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 253
+
+BASILICA OF SAN VICENTE BEFORE ITS RESTORATION
+
+AVILA]
+
+[Illustration: PLATE 254
+
+BASILICA OF SAN VICENTE BEFORE ITS RESTORATION
+
+AVILA]
+
+[Illustration: PLATE 255
+
+BASILICA OF SAN VICENTE. NORTH FAÇADE
+
+AVILA]
+
+[Illustration: PLATE 256
+
+BASILICA OF SAN VICENTE. PRINCIPAL FAÇADE
+
+AVILA]
+
+[Illustration: PLATE 257
+
+BASILICA OF SAN VICENTE. EASTERN FAÇADE, RESTORED
+
+AVILA]
+
+[Illustration: PLATE 258
+
+BASILICA OF SAN VICENTE. FAÇADE.
+
+AVILA]
+
+[Illustration: PLATE 259
+
+BASILICA OF SAN VICENTE. CENTRAL GATE, RESTORED
+
+AVILA]
+
+[Illustration: PLATE 260
+
+BASILICA OF SAN VICENTE. DETAIL OF THE MIDDLE CORNICE, RESTORED
+
+AVILA]
+
+[Illustration: PLATE 261
+
+PORTAL OF THE BASILICA OF SAN VICENTE, SANTAS SABINA AND CRISTINA
+
+AVILA]
+
+[Illustration: PLATE 262
+
+BASILICA OF SAN VICENTE. PRINCIPAL WEST ENTRANCE
+
+AVILA]
+
+[Illustration: PLATE 263
+
+BASILICA OF SAN VICENTE. PRINCIPAL WEST ENTRANCE
+
+AVILA]
+
+[Illustration: PLATE 264
+
+BASILICA OF SAN VICENTE. GENERAL VIEW OF THE INTERIOR
+
+AVILA]
+
+[Illustration: PLATE 265
+
+BASILICA OF SAN VICENTE. SEPULCHRE OF THE HOLY MARTYRS
+
+AVILA]
+
+[Illustration: PLATE 266
+
+DETAILS OF THE INTERIOR OF THE BASILICA OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 267
+
+PORCH OF THE CHURCH OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 268
+
+PORCH OF THE CHURCH OF SAN VICENTE. CENTRAL PART
+
+AVILA]
+
+[Illustration: PLATE 269
+
+PORCH OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 270
+
+SECTION OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 271
+
+PLAN OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 272
+
+GATE OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 273
+
+DOOR OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 274
+
+INTERIOR OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 275
+
+THE COURT OF SILENCE, IN THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 276
+
+CONVENT OF SANTO TOMÁS. THE COURT OF SILENCE
+
+AVILA]
+
+[Illustration: PLATE 277
+
+CONVENT OF SANTO TOMÁS. COURT OF THE KINGS
+
+AVILA]
+
+[Illustration: PLATE 278
+
+CONVENT OF SANTO TOMÁS. COURTYARD OF THE INFIRMARY
+
+AVILA]
+
+[Illustration: PLATE 279
+
+CLOISTERS OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 280
+
+CLOISTERS OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 281
+
+CLOISTERS OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 282
+
+GATE OF THE CLOISTERS IN THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 283
+
+CHOIR OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 284
+
+CONVENT OF SANTO TOMÁS. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 285
+
+CHOIR STALLS IN THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 286
+
+CHOIR STALLS IN THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 287
+
+CHURCH OF SAN SEGUNDO. STATUE OF SAN SEGUNDO BY BERRUGUETE
+
+AVILA]
+
+[Illustration: PLATE 288
+
+CHURCH OF SANTO TOMÁS. SEPULCHRE OF THE INFANTE JUAN, ONLY SON OF
+FERDINAND AND ISABELLA. AVILA]
+
+[Illustration: PLATE 289
+
+SANTO TOMÁS. SEPULCHRE OF PRINCE JUAN, ONLY SON OF FERDINAND AND
+ISABELLA. AVILA]
+
+[Illustration: PLATE 290
+
+SANTO TOMÁS. SEPULCHRE OF PRINCE JUAN, ONLY SON OF FERDINAND AND
+ISABELLA. AVILA]
+
+[Illustration: PLATE 291
+
+GOTHIC GATE IN RUINS
+
+AVILA]
+
+[Illustration: PLATE 292
+
+DOOR OF A PRIVATE HOUSE OPPOSITE THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 293
+
+CALLE DE PEDRO D’AVILA
+
+AVILA]
+
+[Illustration: PLATE 294
+
+CELEBRATED WINDOW IN THE HOUSE OF PEDRO D’AVILA
+
+AVILA]
+
+[Illustration: PLATE 295
+
+COURTYARD OF THE POLENTINOS’ PALACE
+
+AVILA]
+
+[Illustration: PLATE 296
+
+PORTICO OF THE POLENTINOS’ PALACE
+
+AVILA]
+
+[Illustration: PLATE 297
+
+CHURCH OF SAN ANDRES AND SAN SEGUNDO
+
+AVILA]
+
+[Illustration: PLATE 298
+
+HERMITAGE OF SAN ISIDRO
+
+AVILA]
+
+[Illustration: PLATE 299
+
+THE ACADEMY
+
+AVILA]
+
+[Illustration: PLATE 300
+
+CAMPOSAGRADO PALACE
+
+AVILA]
+
+[Illustration: PLATE 301
+
+CASA DE LA BARAGAÑAS
+
+AVILA]
+
+[Illustration: PLATE 302
+
+CASA DE LA TORRE]
+
+[Illustration: PLATE 303
+
+CHAPEL OF MOSEN RUBI
+
+AVILA]
+
+[Illustration: PLATE 304
+
+PALACE OF THE CONDE DE SUPERUNDA
+
+AVILA]
+
+[Illustration: PLATE 305
+
+MINIATURES FROM THE AVILA MISSAL, TWELFTH CENTURY (NATIONAL LIBRARY)]
+
+[Illustration: PLATE 306
+
+MINIATURES FROM THE AVILA MISSAL, TWELFTH CENTURY (NATIONAL LIBRARY)]
+
+[Illustration: PLATE 307
+
+DOOR OF SAN FRANCISCO
+
+AVILA]
+
+[Illustration: PLATE 308
+
+A ROMAN CAPITAL OF THE CHURCH OF SAN FRANCISCO
+
+AVILA]
+
+[Illustration: PLATE 309
+
+LATIN-BYZANTINE FRIEZE IN THE CHURCH OF SAN FRANCISCO
+
+AVILA]
+
+[Illustration: PLATE 310
+
+MONASTERY OF SAN PEDRO AT ARENAS
+
+AVILA]
+
+[Illustration: PLATE 311
+
+GENERAL VIEW FROM CABEZO-CORTADO
+
+ZARAGOZA]
+
+[Illustration: PLATE 312
+
+GENERAL VIEW FROM ALTABAS
+
+ZARAGOZA]
+
+[Illustration: PLATE 313
+
+GENERAL VIEW FROM ALTABAS
+
+ZARAGOZA]
+
+[Illustration: PLATE 314
+
+THE BRIDGE OVER THE EBRO, FROM THE RUINS OF SAN LAZARO
+
+ZARAGOZA]
+
+[Illustration: PLATE 315
+
+THE BRIDGE OVER THE EBRO, FROM EL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 316
+
+GENERAL VIEW OF ZARAGOZA]
+
+[Illustration: PLATE 317
+
+GENERAL VIEW OF ZARAGOZA]
+
+[Illustration: PLATE 318
+
+GENERAL VIEW OF ZARAGOZA]
+
+[Illustration: PLATE 319
+
+GENERAL VIEW FROM THE PORTILLA
+
+ZARAGOZA]
+
+[Illustration: PLATE 320
+
+VIEW OF ZARAGOZA]
+
+[Illustration: PLATE 321
+
+CALLE DEL MERCADO
+
+ZARAGOZA]
+
+[Illustration: PLATE 322
+
+PASEO DE SANTA ENGRACIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 323
+
+CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 324
+
+CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 325
+
+GLAZED TILES ON THE WALLS OF THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 326
+
+INTERIOR OF THE CATHEDRAL OF LA SEO, FROM A PAINTING BY R. GONZALVO
+
+ZARAGOZA]
+
+[Illustration: PLATE 327
+
+CATHEDRAL OF LA SEO. VIEW OF THE TRANSEPT
+
+ZARAGOZA]
+
+[Illustration: PLATE 328
+
+CATHEDRAL OF LA SEO. DETAIL OF TRANSEPT
+
+ZARAGOZA]
+
+[Illustration: PLATE 329
+
+CHAPEL OF ST. JOHN IN THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 330
+
+CHAPEL OF GABRIEL DE ZAPORTA IN THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 331
+
+CATHEDRAL OF LA SEO. REJA BRONZE REPOUSSÉ BEFORE THE CHAPEL OF ZAPORTA.
+ZARAGOZA]
+
+[Illustration: PLATE 332
+
+SEPULCHRE OF ARCHBISHOP DON LOPE DE LUNA IN THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 333
+
+CENTRAL DOME OF THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 334
+
+SILVER MONSTRANCE IN THE CATHEDRAL OF LA SEO, WEIGHT 200 KILOGRAMMES
+
+ZARAGOZA]
+
+[Illustration: PLATE 335
+
+CENSER GIVEN TO THE CATHEDRAL OF LA SEO BY MOSÉN JUAN DE TORRELLAS AT
+THE END OF THE FIFTEENTH CENTURY
+
+ZARAGOZA]
+
+[Illustration: PLATE 336
+
+CATHEDRAL OF EL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 337
+
+CATHEDRAL OF EL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 338
+
+INTERIOR OF OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 339
+
+VIEW OF THE SIDE-ALTAR IN OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 340
+
+OUR LADY DEL PILAR. VIEW OF THE CHOIR
+
+ZARAGOZA]
+
+[Illustration: PLATE 341
+
+OUR LADY DEL PILAR. ORGAN IN THE CHOIR
+
+ZARAGOZA]
+
+[Illustration: PLATE 342
+
+CHAPEL IN OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 343
+
+HIGH ALTAR OF THE CATHEDRAL OF OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 344
+
+PAINTINGS ON THE CUPOLA OF OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 345
+
+CATHEDRAL OF OUR LADY DEL PILAR. CHOIR STALLS
+
+ZARAGOZA]
+
+[Illustration: PLATE 346
+
+OUR LADY DEL PILAR. CHOIR STALLS
+
+ZARAGOZA]
+
+[Illustration: PLATE 347
+
+CATHEDRAL OF OUR LADY DEL PILAR. CHOIR STALLS
+
+ZARAGOZA]
+
+[Illustration: PLATE 348
+
+OUR LADY DEL PILAR, BY M. DE UNCETA
+
+ZARAGOZA]
+
+[Illustration: PLATE 349
+
+OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 350
+
+SILVER SALVER IN THE CATHEDRAL OF EL PILAR
+
+SIXTEENTH CENTURY
+
+ZARAGOZA]
+
+[Illustration: PLATE 351
+
+VASE IN THE CATHEDRAL OF EL PILAR
+
+FIFTEENTH CENTURY
+
+ZARAGOZA]
+
+[Illustration: PLATE 352
+
+CHURCH OF THE MAGDALEN
+
+ZARAGOZA]
+
+[Illustration: PLATE 353
+
+PLACE AND CHURCH OF ST. NICHOLAS
+
+ZARAGOZA]
+
+[Illustration: PLATE 354
+
+PORTAL OF THE CHURCH OF SAN MIGUEL
+
+ZARAGOZA]
+
+[Illustration: PLATE 355
+
+FAÇADE OF THE CHURCH OF SANTA ENGRACIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 356
+
+CHURCH OF ST. PAUL. PUERTA DEL CRISTO
+
+ZARAGOZA]
+
+[Illustration: PLATE 357
+
+THE NEW OR LEANING TOWER
+
+ZARAGOZA]
+
+[Illustration: PLATE 358
+
+TOWER OF THE CALLE DE ANTONIO PEREZ
+
+ZARAGOZA]
+
+[Illustration: PLATE 359
+
+TOWER OF SAN MIGUEL
+
+ZARAGOZA]
+
+[Illustration: PLATE 360
+
+TOWER OF SAN PABLO
+
+ZARAGOZA]
+
+[Illustration: PLATE 361
+
+TOWER OF THE TROVADOR
+
+ZARAGOZA]
+
+[Illustration: PLATE 362
+
+ANCIENT WALL AND BUILDINGS
+
+ZARAGOZA]
+
+[Illustration: PLATE 363
+
+STATUE OF PIGNATELLI
+
+ZARAGOZA]
+
+[Illustration: PLATE 364
+
+COURT-YARD IN THE HOUSE OF PARDO
+
+ZARAGOZA]
+
+[Illustration: PLATE 365
+
+DETAIL OF THE COURT-YARD IN THE HOUSE OF PARDO
+
+ZARAGOZA]
+
+[Illustration: PLATE 366
+
+ENTRANCE TO THE AUDIENCIA PALACE
+
+ZARAGOZA]
+
+[Illustration: PLATE 367
+
+PALACE OF THE PROVINCIAL DEPUTATION
+
+ZARAGOZA]
+
+[Illustration: PLATE 368
+
+COURTYARD IN THE COUNT OF ARGILLO’S HOUSE
+
+ZARAGOZA]
+
+[Illustration: PLATE 369
+
+EAVES ON THE HOUSE OF THE CONDE DE ARGILLO
+
+ZARAGOZA]
+
+[Illustration: PLATE 370
+
+COURTYARD IN THE COUNT OF ARGILLO’S HOUSE
+
+ZARAGOZA]
+
+[Illustration: PLATE 371
+
+HOUSE IN THE PLAZA DE SAN CARLOS
+
+ZARAGOZA]
+
+[Illustration: PLATE 372
+
+THE EXCHANGE
+
+ZARAGOZA]
+
+[Illustration: PLATE 373
+
+FAÇADE OF THE EXCHANGE
+
+ZARAGOZA]
+
+[Illustration: PLATE 374
+
+INTERIOR VIEW OF THE EXCHANGE
+
+ZARAGOZA]
+
+[Illustration: PLATE 375
+
+PORCH OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 376
+
+COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 377
+
+COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 378
+
+COURT-YARD OF THE HOUSE OF ZAPORTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 379
+
+COURT-YARD IN THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 380
+
+COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 381
+
+DETAIL OF THE COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 382
+
+COURT OF THE PROVINCIAL MUSEUM
+
+ZARAGOZA]
+
+[Illustration: PLATE 383
+
+GALLERY IN THE PROVINCIAL MUSEUM
+
+ZARAGOZA]
+
+[Illustration: PLATE 384
+
+THE ALJAFERIA OR CITADEL. WINDOW OF THE MAIN STAIRCASE
+
+ZARAGOZA]
+
+[Illustration: PLATE 385
+
+ALJAFERIA. INTERIOR OF THE (SO CALLED) MOSQUE
+
+ZARAGOZA]
+
+[Illustration: PLATE 386
+
+ALJAFERIA. ENTRANCE TO THE (SO CALLED) MOSQUE
+
+ZARAGOZA]
+
+[Illustration: PLATE 387
+
+ALJAFERIA. INTERIOR OF THE (SO CALLED) MOSQUE
+
+ZARAGOZA]
+
+[Illustration: PLATE 388
+
+ALJAFERIA. DETAILS OF THE INTERIOR
+
+ZARAGOZA]
+
+[Illustration: PLATE 389
+
+ALJAFERIA. DETAILS OF THE INTERIOR
+
+ZARAGOZA]
+
+[Illustration: PLATE 390
+
+DETAILS OF THE ALJAFERIA
+
+PROVINCIAL MUSEUM, ZARAGOZA]
+
+[Illustration: PLATE 391
+
+DETAIL OF THE ALJAFERIA
+
+PROVINCIAL MUSEUM, ZARAGOZA]
+
+[Illustration: PLATE 392
+
+ST. ISABEL AND HER HUSBAND. TAPESTRY IN THE UNIVERSITY
+
+ZARAGOZA]
+
+[Illustration: PLATE 393
+
+VIEW OF THE BARRACKS OF THE ALJAFERIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 394
+
+THE CASA DE LA INFANTA. “THE DEPARTURE FOR THE FIGHT” BY P. GONZALVO
+PEREZ.
+
+(No. 204 EXHIBITION OF 1871)
+
+ZARAGOZA]
+
+[Illustration: PLATE 395
+
+GATE OF OUR LADY DEL CARMEN, FAMOUS FOR THE DEFENCE MADE BY THE HEROINE
+OF ZARAGOZA DURING THE SIEGE OF 1808. ZARAGOZA]
+
+[Illustration: PLATE 396
+
+THE DEFENCE OF ZARAGOZA IN 1809, BY NICOLAS MEJIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 397
+
+THE FIRST SIEGE OF ZARAGOZA. BY A. FERRANT Y FISCHERMANS
+
+(No. 131, EXHIBITION OF 1871)
+
+ZARAGOZA]
+
+[Illustration: PLATE 398
+
+HEROIC DEFENCE OF THE TOWER OF ST. AUGUSTINE AT ZARAGOZA IN THE WAR OF
+INDEPENDENCE BY C. ALVAREZ DUMONT
+
+(NATIONAL EXHIBITION OF FINE ARTS, 1884)]
+
+[Illustration: PLATE 399
+
+HEROIC COMBAT IN THE PULPIT OF THE CHURCH OF SAN AUGUSTIN AT ZARAGOZA IN
+1809. BY C. ALVAREZ DUMONT]
+
+[Illustration: PLATE 400
+
+THE MAID OF ZARAGOZA. BY M. HIRALDEZ ACOSTA
+
+No. 213 EXHIBITION OF 1871]
+
+[Illustration: PLATE 401
+
+THE MAID OF ZARAGOZA. BY NAVARRO Y CANIZARES]
+
+[Illustration: PLATE 402
+
+ARCH FROM THE ALJAFERIA PALACE AT ZARAGOZA, NOW IN THE ARCHÆOLOGICAL
+MUSEUM]
+
+[Illustration: PLATE 403
+
+ARCH FROM THE ALJAFERIA PALACE AT ZARAGOZA. NOW IN THE ARCHÆOLOGICAL
+MUSEUM]
+
+[Illustration: PLATE 404
+
+DETAIL OF “THE MOSQUE” OF THE ALJAFERIA
+
+ZARAGOZA PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 405
+
+PROVINCIAL MUSEUM. CORBELS OF EAVES. GOTHIC STYLE, FROM THE OLD CUSTOM
+HOUSE. ZARAGOZA]
+
+[Illustration: PLATE 406
+
+PROVINCIAL MUSEUM. CORBELS OF EAVES
+
+ZARAGOZA]
+
+[Illustration: PLATE 407
+
+PROVINCIAL MUSEUM. CORBELS OF EAVES. GOTHIC STYLE
+
+ZARAGOZA]
+
+[Illustration: PLATE 408
+
+PROVINCIAL MUSEUM. CORBELS OF EAVES. POINTED STYLE
+
+ZARAGOZA]
+
+[Illustration: PLATE 409
+
+PROVINCIAL MUSEUM. ARAB CAPITALS OF THE ALJAFERIA CASTLE
+
+ZARAGOZA]
+
+[Illustration: PLATE 410
+
+PROVINCIAL MUSEUM. ARAB CAPITALS FROM THE ALJAFERIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 411
+
+PROVINCIAL MUSEUM. ARAB CAPITALS FROM THE ALJAFERIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 412
+
+THE STORY OF LUCRETIA. A PLATE FROM THE WORK ENTITLED “MUJERES ILUSTRES”
+(FAMOUS WOMEN) BY BOCCACCIO. PRINTED AT ZARAGOZA BY PABLO HURUS IN 1495
+(NATIONAL LIBRARY)]
+
+[Illustration: PLATE 413
+
+A PAGE FROM THE WORK ENTITLED “EXAMPLE AGAINST THE DECEPTION AND PERILS
+OF THE WORLD” BY JUAN DE CAPUA. PRINTED IN ZARAGOZA BY PABLO HURUS IN
+1493 (NATIONAL LIBRARY)]
+
+*** END OF THE PROJECT GUTENBERG EBOOK 64970 ***
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+  The Project Gutenberg eBook of Valladolid, by Albert F. Calvert.
+</title>
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+  </head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 64970 ***</div>
+<hr class="full" />
+
+<p class="figcenter">
+<a href="images/cover.jpg">
+<img src="images/cover.jpg"
+height="550" alt="[Image of
+the book's cover unavailable.]" /></a>
+</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><a href="#CONTENTS">Contents.</a></p>
+<p class="c"><a href="#ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span>&nbsp;</p>
+
+<p class="c">THE SPANISH SERIES<br /><br /><br />
+VALLADOLID, OVIEDO, SEGOVIA<br />
+ZAMORA, AVILA, AND ZARAGOZA</p>
+
+<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
+
+<p class="c">THE SPANISH SERIES</p>
+
+<div class="bxx">
+<p class="c">THE SPANISH SERIES<br /><br />
+<small><i>EDITED BY ALBERT F. CALVERT</i></small></p>
+
+<table summary="">
+<tr><td>
+<span class="smcap">Goya</span><br />
+<span class="smcap">Toledo</span><br />
+<span class="smcap">Seville</span><br />
+<span class="smcap">Murillo</span><br />
+<span class="smcap">Cordova</span><br />
+<span class="smcap">Velazquez</span><br />
+<span class="smcap">Cervantes</span><br />
+<span class="smcap">The Prado</span><br />
+<span class="smcap">The Escorial</span><br />
+<span class="smcap">Spanish Arms and Armour</span><br />
+<span class="smcap">Granada and the Alhambra</span><br />
+<span class="smcap">Leon, Burgos, and Salamanca</span><br />
+<span class="smcap">Valladolid, Oviedo, Segovia,<br />&nbsp; &nbsp;
+Zamora, Avila, and Zaragoza</span>
+</td></tr>
+<tr><td class="c"><i>In Preparation</i></td></tr>
+
+<tr><td>
+<span class="smcap">Madrid</span><br />
+<span class="smcap">Galicia</span><br />
+<span class="smcap">El Greco</span><br />
+<span class="smcap">Cities of Andalucia</span><br />
+<span class="smcap">Murcia and Valencia</span><br />
+<span class="smcap">Royal Palaces of Spain</span><br />
+<span class="smcap">Tapestries of the Royal Palace</span><br />
+<span class="smcap">Catalonia and Balearic Islands</span><br />
+<span class="smcap">Santander, Biscaya, and Navarre</span>
+</td></tr>
+</table>
+</div>
+
+<h1><span class="redd">VALLADOLID, OVIEDO<br />
+SEGOVIA,&nbsp; &nbsp;  &nbsp; ZAMORA<br />
+AVILA, &nbsp;&amp;&nbsp;  ZARAGOZA</span></h1>
+
+<div class="pt"><div class="ptt">
+AN HISTORICAL &amp; DESCRIPTIVE<br />
+ACCOUNT, &nbsp; BY &nbsp; ALBERT F. CAL-<br />VERT,
+WITH 413 ILLUSTRATIONS<br />
+</div></div>
+
+<p class="c"><span class="redd">
+LONDON: JOHN LANE, THE BODLEY HEAD</span><br />
+NEW YORK: JOHN LANE COMPANY MCMVIII<br />
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span><br />
+<br /><small>
+Edinburgh: T. and A. <span class="smcap">Constable</span>,
+Printers to His Majesty<br /></small>
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span></p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p class="nind"><span class="smcap">The</span> six cities of Spain which form the subject of the following pages
+are little known to English travellers. Yet no one who would understand
+the country can afford to pass them by. Not only are they compact of
+artistic and architectural treasures, but within their walls much of the
+history of the Spanish nation has been made. Oviedo&mdash;that little city
+between the mountains and the sea, so far off the beaten track&mdash;was the
+cradle of the monarchy, the residence and burial-place of its patriot
+kings. For all men of Spanish blood it is holy ground. In Zamora we have
+the typical city of the heroic age of Spain, the era of half-fabulous
+heroes, whose personalities are made known to us only by folklore and
+ballads.</p>
+
+<p>Segovia and Avila are towns of the Reconquest, wardens, one might say,
+against the redoubtable Moor. To the fancy their grass-grown streets
+still re-echo with the tramp of armed men, with the ring of spears and
+<span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span>the word of command. The shadowy warriors of Oviedo and Zamora here
+give place to the tall knight who stalks across the page of history,
+ready to do battle with pagan Moor or Christian tyrant. But Avila
+enshrines the holier memory of the sainted Theresa, greatest of Spanish
+women, revered not least in the lands for whose conversion to her faith
+she unceasingly prayed. And so we pass on, each town illustrating a
+different stage of a great nation’s development.</p>
+
+<p>In Valladolid, which preceded and subsequently nearly supplanted Madrid
+as the capital of Spain, we are again on holy ground; for Cervantes
+dwelt here, and here died the immortal Columbus. Zaragoza, the chief
+city of a kingdom that influenced the destinies of powerful European
+States when Castile was hardly known to the outside world, has ever been
+a noble and important capital, boasting a glory which has been brightest
+perhaps in its later days. To the citizens of Zaragoza was reserved the
+honour of rejecting the Inquisition, to which other towns reluctantly
+submitted, and just one hundred years ago she proved to an astonished
+Europe that within her crumbling walls dwelt the old brood of
+Numantia&mdash;that she was prolific still of heroes and heroines.</p>
+
+<p>The prowess of Augustina would not indeed have come as a surprise to
+those who knew her<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span> country well; nor could the most thoughtless of
+travellers, after a survey of the memorials of genius and vitality which
+these six cities contain, ever believe the greatness of the people to be
+exhausted. Already Valladolid and Zaragoza throb with life and commerce.
+But a few more years and the other cities, already stirring, will
+pulsate with the spirit of young Spain, and the Phœnix, born a thousand
+years ago at Oviedo, will renew its youth for the tenth time.</p>
+
+<p>To Señor J. Lacoste my thanks are due for his courtesy in permitting me
+to reproduce many of the photographs which find a place in this book,
+and I have also to acknowledge the assistance rendered me by Mr. E. B.
+d’Auvergne in the preparation of the text.</p>
+
+<p class="r">
+A. F. C.<br />
+</p>
+
+<p><span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span>&nbsp; </p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td><small>CHAP.</small></td><td>&nbsp;</td>
+<td><small>PAGE</small></td></tr>
+
+<tr valign="top"><td class="rt"><a href="#I">I.</a></td><td><a href="#I">VALLADOLID</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#II">II.</a></td><td><a href="#II">OVIEDO</a></td><td class="rt" valign="bottom"><a href="#page_38">38</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#III">III.</a></td><td><a href="#III">SEGOVIA</a></td><td class="rt" valign="bottom"><a href="#page_59">59</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#IV">IV.</a></td><td><a href="#IV">ZAMORA</a></td><td class="rt" valign="bottom"><a href="#page_86">86</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#V">V.</a></td><td><a href="#V">AVILA</a></td><td class="rt" valign="bottom"><a href="#page_103">103</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#VI">VI.</a></td><td><a href="#VI">ZARAGOZA</a></td><td class="rt" valign="bottom"><a href="#page_135">135</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_x" id="page_x">{x}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span>&nbsp; </p>
+
+<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+style="margin:auto auto;max-width:85%;">
+<tr><th class="spc" colspan="2">VALLADOLID</th></tr>
+
+<tr><td><small>SUBJECT</small></td>
+<td><small>PLATE</small></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_001">General View of Valladolid,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_001">1</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_002">General View of Valladolid,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_002">2</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_003">The Bridge of Piedra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_003">3</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_004">La Acera de San Francisco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_004">4</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_005">The Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_005">5</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_006">The Old Parish Church,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_006">6</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_007">House in which Christopher Columbus died,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_007">7</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_008">House where King Philip <small>II.</small> was born,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_008">8</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_009">The Royal Palace of Philip <small>III.</small>,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_009">9</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_010">Church of San Juan de Letran,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_010">10</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_011">College of the Escoceses,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_011">11</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_012">College of the Ingleses,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_012">12</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_013">Interior view of the Library,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_013">13</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_014">Interior of the Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_014">14</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_015">Façade of the Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_015">15</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_016">Museum: Back of a Choir Stall, by Berruguete,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_016">16</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_017">Museum: Detail of the Choir Stalls of San Benito,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_017">17</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_018">Museum: Several Fragments of Choir Stalls, by Berruguete,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_018">18</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_019">Museum: Head of St. Paul,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_019">19</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_020">Museum: Centre part of a Wooden Altar-piece,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_020">20</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_021">Museum: Fragments of Choir Stalls, by Berruguete,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_021">21</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_022">Museum: Fragments of Choir Stalls, by Berruguete,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_022">22</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_023">Museum: Altar-piece carved in wood,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_023">23</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_024">Museum: The Assumption of the Virgin, by Rubens,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_024">24</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_025">Museum: St. Anthony of Padua and the Child Jesus, by Rubens,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_025">25</a><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_026">Museum: The Annunciation, by José Martinez,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_026">26</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_027">Museum: The Holy Family, by Raphael,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_027">27</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_028">Museum: St. Francis and a Lay Brother, by Rubens,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_028">28</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_029">St. Joachim and the Virgin as a Child, by Murillo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_029">29</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_030">Provincial Museum: San Bruno,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_030">30</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_031">Centre of the Façade of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_031">31</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_032">Detail of the Façade of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_032">32</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_033">Detail of the Façade of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_033">33</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_034">Left Angle in the Court of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_034">34</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_035">Gallery in the Court of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_035">35</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_036">Detail in the Court of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_036">36</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_037">Interior Gate of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_037">37</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_038">Façade of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_038">38</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_039">Lower Part of the Façade of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_039">39</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_040">Detail of the Portal of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_040">40</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_041">Lower Central Part of the Façade of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_041">41</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_042">Portal of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_042">42</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_043">Detail of the Porch of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_043">43</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_044">Detail of the Porch of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_044">44</a></td></tr>
+
+<tr><th class="spc" colspan="2">OVIEDO</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_045">General View,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_045">45</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_046">Tower of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_046">46</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_047">Principal Entrance to the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_047">47</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_048">Principal Gate of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_048">48</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_049">Cathedral: View of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_049">49</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_050">Cathedral: The Retablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_050">50</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_051">La Camara Santa,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_051">51</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_052">Coffin in the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_052">52</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_053">Old Tower of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_053">53</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_054">Cathedral: Oaken Ark,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_054">54</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_055">Cathedral: Section, Plan, and Details of the Camara Santa,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_055">55</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_056">Cathedral: Cross of the Angels,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_056">56</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_057">Crosses and Caskets of the Asturias,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_057">57</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_058">Cathedral: Cross of Victory,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_058">58</a>
+<span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_059">A Capital,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_059">59</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_060">Santa Maria de Naranco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_060">60</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_061">Santa Maria de Naranco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_061">61</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_062">Church of San Miguel de Lineo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_062">62</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_063">Church of San Juan de Priorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_063">63</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_064">Church of San Juan de Priorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_064">64</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_065">Details of the Churches of St. Clara, St. John, and Our Lady de la Vega,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_065">65</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_066">Details of Santa Maria de Valdedios,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_066">66</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_067">Details of Santa Maria de Valdedios,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_067">67</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_068">Details of San Juan de Amandi,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_068">68</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_069">Details of San Juan de Amandi,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_069">69</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_070">Details of the Church of Villaviciosa,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_070">70</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_071">Details of the Church of Villaviciosa,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_071">71</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_072">Plan and Section of San Salvador de Valdedios,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_072">72</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_073">Details of San Salvador de Valdedios,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_073">73</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_074">Details of the Churches of Priesca and Fuentes,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_074">74</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_075">Details of Santa Maria de Villamayor,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_075">75</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_076">Details of Santa Maria de Villamayor,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_076">76</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_077">Details of San Adrian de Tunon,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_077">77</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_078">Details of the Hermitage of Santa Cristina,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_078">78</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_079">Details of the Collegiate Church of Covadonga,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_079">79</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_080">Details of the Church of Ujo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_080">80</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_081">Details of the Church of Ujo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_081">81</a></td></tr>
+
+<tr><th class="spc" colspan="2">SEGOVIA</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_082">General View from the Nievas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_082">82</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_083">General View,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_083">83</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_084">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_084">84</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_085">The Alcazar and Cathedral from the Fuencisla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_085">85</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_086">General View from the Nievas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_086">86</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_087">Old Houses in the Plaza Mayor,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_087">87</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_088">View of the Walls,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_088">88</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_089">Aqueduct over the River Castilla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_089">89</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_090">The Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_090">90</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_091">View of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_091">91</a><span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_092">View of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_092">92</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_093">Casa de los Picos,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_093">93</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_094">Church of Santa Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_094">94</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_095">Porch of the Church of Santa Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_095">95</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_096">Church of Santa Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_096">96</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_097">View of the Mint and the Parral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_097">97</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_098">Façade of the Parral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_098">98</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_099">Cloisters of the Parral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_099">99</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_100">General View of Turégano,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_101">Turégano Castle,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_102">General View of Coca Castle,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_102">102</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_103">Another View of Coca Castle,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_103">103</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_104">St. Andrew’s Gate,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_104">104</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_105">The Arch of the Fuencisla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_106">Gate of Santiago,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_106">106</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_107">The Alcazar before the Fire of 1862,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_107">107</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_108">The Alcazar from the Hoyos Hill,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_108">108</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_109">View of the Alcazar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_109">109</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_110">The Alcazar from the Caves,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_110">110</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_111">Façade of the Alcazar before the Fire of 1862,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_111">111</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_112">Details of the Church of the Parral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_112">112</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_113">Church of St. Nicholas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_113">113</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_114">View of the Church of Vera Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_114">114</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_115">Porch of the Church of Vera Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_115">115</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_116">Courtyard of the Marquis of Arcos’ House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_116">116</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_117">Façade of St. John,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_117">117</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_118">Church of St. John,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_118">118</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_119">San Juan de los Caballeros,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_119">119</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_120">Church of St. Martin,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_120">120</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_121">Porch of St. Martin,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_121">121</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_122">Parish Church of St. Martin,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_122">122</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_123">Details of the Church of St. Martin,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_123">123</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_124">General View of St. Stephen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_124">124</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_125">Portico of St. Stephen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_125">125</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_126">Details of St. Stephen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_126">126</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_127">Church of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_127">127</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_128">Church of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_128">128</a><span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_129">Lateral Façade of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_129">129</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_130">The Church of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_130">130</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_131">Details of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_131">131</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_132">Interior of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_132">132</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_133">Interior of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_133">133</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_134">Arches and Eaves of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_134">134</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_135">Sectional Elevations of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_135">135</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_136">Details of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_136">136</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_137">Details of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_137">137</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_138">Details of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_138">138</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_139">Details of the Convent of Corpus Christi,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_139">139</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_140">Interior of the Convent of Santo Domingo and Towers,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_140">140</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_141">Painted Socles in the Tower of Santo Domingo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_141">141</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_142">Façade of the Convent of Our Lady de la Sierra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_142">142</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_143">Ruins of the Chapel of the Convent of Our Lady de la Sierra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_143">143</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_144">Interior of the Ruined Convent of Our Lady de la Sierra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_144">144</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_145">Porch of the Convent of Our Lady de la Sierra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_145">145</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_146">General View of the Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_146">146</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_147">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_147">147</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_148">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_148">148</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_149">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_149">149</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_150">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_150">150</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_151">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_151">151</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_152">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_152">152</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_153">A Dance in the Plaza del Pueblo de Nieva,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_153">153</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_154">Enrique <small>IV.</small> conducting the Infanta Isabel through the Streets of Segovia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_154">154</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_155">Group of Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_155">155</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_156">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_156">156</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_157">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_157">157</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_158">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_158">158</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_159">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_159">159</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_160">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_160">160</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_161">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_161">161</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_162">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_162">162</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_163">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_163">163</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_164">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_164">164</a><span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_165">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_165">165</a></td></tr>
+
+<tr><th class="spc" colspan="2">ZAMORA</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_166">View of Zamora,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_166">166</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_167">View of Zamora,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_167">167</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_168">Walls and Postern Gate,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_168">168</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_169">Stone Bridge over the Duero,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_169">169</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_170">Bridge over the Duero,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_170">170</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_171">View of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_171">171</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_172">Façade of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_173">Cathedral: Gate of the Bishop,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_173">173</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_174">The Cathedral: East Front,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_174">174</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_175">Cathedral: Gate of the Bishop,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_175">175</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_176">Cathedral: Gate of the Bishop,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_176">176</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_177">Ancient Cistercian Monastery of Moreruela,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_177">177</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_178">Ancient Cistercian Monastery of Moreruela,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_178">178</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_179">Ancient Cistercian Monastery of Moreruela: Detail of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_179">179</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_180">Ancient Cistercian Monastery of Moreruela: Detail of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_180">180</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_181">Ancient Cistercian Monastery of Moreruela: Chancel,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_181">181</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_182">Ancient Cistercian Monastery of Moreruela: Example of the Vaulting,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_182">182</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_183">Ancient Cistercian Monastery of Moreruela: Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_184">Ancient Cistercian Monastery of Moreruela: Transept and Nave,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_184">184</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_185">Ancient Cistercian Monastery of Moreruela: Detail of a Window,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_185">185</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_186">Ancient Cistercian Monastery of Moreruela: Transept Porch,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_186">186</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_187">Santa Maria la Nueva: Detail of the Exterior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_187">187</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_188">Santa Maria la Nueva: Doorway,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_188">188</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_189">Santa Maria la Nueva: Capitals of Recessed Windows,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_189">189</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_190">Church of the Magdalen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_190">190</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_191">Principal Door of the Church of the Magdalen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_191">191</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_192">Plan and Sections of the Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_192">192</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_193">Details of the Church of St. Peter (Nave),</a></td>
+<td class="rt" valign="bottom"><a href="#plt_193">193</a><span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_194">House of The Cid,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_194">194</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_195">Tapestry of the Beginning of the Fifteenth Century,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_195">195</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_196">Painting in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_196">196</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_197">Painting in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_197">197</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_198">Painting in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_198">198</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_199">Painting in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_199">199</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_200">The Royal Escutcheon,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_201">St. Ferdinand and King John <small>II.</small>,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_201">201</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_202">The Arms of the Town,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_202">202</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_203">Queen Urraca and Aris Gonzalo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_203">203</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_204">Trophies of Arms and Armour in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_204">204</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_205">The House of the Momos,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_205">205</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_206">Bridge of Rocobayo over the Esla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_206">206</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_207">Stone Quarries of the Town of Valderojo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_207">207</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_208">Earthworks of the ancient City of Toro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_208">208</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_209">North and Centre Gates of the Church of Toro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_209">209</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_210">Details of the Church of Toro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_210">210</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_211">Group of Peasants of the Village of Bermigo de Sayago,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_211">211</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_212">Group of Peasants of the Village of Carbajales,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_212">212</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_213">Peasants of the Village of Bermigo de Sayago,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_213">213</a></td></tr>
+
+<tr><th class="spc" colspan="2">AVILA</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_214">General View,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_214">214</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_215">General View,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_215">215</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_216">View of Avila,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_216">216</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_217">Gate of the Alcazar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_217">217</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_218">Gate of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_218">218</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_219">Gate of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_219">219</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_220">Gate of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_220">220</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_221">Gate of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_221">221</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_222">A Street,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_222">222</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_223">View of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_223">223</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_224">Exterior of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_224">224</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_225">Entrance to the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_225">225</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_226">Plan of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_226">226</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_227">The Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_227">227</a><span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_228">Side Door of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_228">228</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_229">Cathedral: Pulpit of Repoussé Iron Work,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_229">229</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_230">Cathedral: Pulpit of Repoussé Iron Work,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_230">230</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_231">Cathedral: Pulpit of Repoussé Iron Work,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_231">231</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_232">Interior of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_232">232</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_233">Cathedral: Detail of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_233">233</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_234">Cathedral: Detail of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_234">234</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_235">Cathedral: The Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_235">235</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_236">Cathedral: Detail of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_236">236</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_237">Cathedral: Detail of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_238">Cathedral: Detail of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_238">238</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_239">Cathedral: Altar of San Segundo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_239">239</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_240">Cathedral: Altar of Santa Lucia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_240">240</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_241">Cathedral: Sepulchre of Don Juan d’Avila,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_241">241</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_242">Cathedral: Tomb of El Testado,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_242">242</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_243">Cathedral: Altar behind the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_244">Cathedral: Silver Monstrance of Juan de Arfe,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_244">244</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_245">Convent of Santo Tomas: Sepulchre of the Infante Don Juan,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_245">245</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_246">Sepulchre of the Holy Martyrs Vicente, Sabina, and Cristina,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_246">246</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_247">Interior of the Chapel of San Bernardo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_247">247</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_248">Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_248">248</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_249">Entrance to the Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_249">249</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_250">Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_250">250</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_251">Details of the Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_251">251</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_252">Exterior of the Church of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_252">252</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_253">Basilica of San Vicente before its restoration,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_253">253</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_254">Basilica of San Vicente before its restoration,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_254">254</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_255">Basilica of San Vicente: North Façade,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_255">255</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_256">Basilica of San Vicente: Principal Façade,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_256">256</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_257">Basilica of San Vicente: Eastern Façade, restored,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_257">257</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_258">Basilica of San Vicente: Façade,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_258">258</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_259">Basilica of San Vicente: Central Gate, restored,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_259">259</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_260">Basilica of San Vicente: Detail of the middle cornice, restored,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_260">260</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_261">Basilica of San Vicente: Portal,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_261">261</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_262">Basilica of San Vicente: Principal west entrance,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_262">262</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_263">Basilica of San Vicente: Principal west entrance,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_263">263</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_264">Basilica of San Vicente: General view of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_264">264</a><span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_265">Basilica of San Vicente: Sepulchre of the Holy Martyrs,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_265">265</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_266">Basilica of San Vicente: Detail of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_266">266</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_267">Porch of the Church of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_267">267</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_268">Porch of the Church of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_268">268</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_269">Porch of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_269">269</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_270">Section of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_270">270</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_271">Plan of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_271">271</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_272">Gate of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_272">272</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_273">Door of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_273">273</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_274">Interior of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_274">274</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_275">The Court of Silence in the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_275">275</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_276">Convent of Santo Tomas: The Court of Silence,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_276">276</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_277">Convent of Santo Tomas: The Court of the Kings,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_277">277</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_278">Convent of Santo Tomas: Courtyard of the Infirmary,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_278">278</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_279">Cloisters of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_279">279</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_280">Cloisters of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_280">280</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_281">Cloisters of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_281">281</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_282">Gate of the Cloisters in the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_282">282</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_283">Choir of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_283">283</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_284">Convent of Santo Tomas: Details of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_284">284</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_285">Choir Stalls in the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_285">285</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_286">Choir Stalls in the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_286">286</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_287">Church of San Segundo: Statue of San Segundo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_287">287</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_288">Church of Santo Tomas: Sepulchre of the Infante Don Juan,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_288">288</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_289">Church of Santo Tomas: Sepulchre of the Infante Don Juan,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_289">289</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_290">Church of Santo Tomas: Sepulchre of the Infante Don Juan,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_290">290</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_291">Gothic Gate in ruins,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_291">291</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_292">Door of a Private House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_292">292</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_293">Calle de Pedro d’Avila,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_293">293</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_294">Celebrated Window in the House of Pedro d’Avila,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_294">294</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_295">Courtyard of the Polentinos’ Palace,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_295">295</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_296">Portico of the Polentinos’ Palace,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_296">296</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_297">Church of San Andrés and San Segundo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_297">297</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_298">Hermitage of San Isidro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_298">298</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_299">The Academy,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_299">299</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_300">Camposagrado Palace,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_300">300</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_301">Casa de la Baraganas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_301">301</a><span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_302">Casa de la Torre,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_302">302</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_303">Chapel of Mosen Rubi,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_303">303</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_304">Palace of the Conde de Superunda,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_304">304</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_305">Miniatures from the Avila Missal,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_305">305</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_306">Miniatures from the Avila Missal,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_306">306</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_307">Door of San Francisco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_307">307</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_308">A Roman Capital of the Church of San Francisco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_308">308</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_309">Latin-Byzantine Frieze in the Church of San Francisco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_309">309</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_310">Monastery of San Pedro at Arenas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_310">310</a></td></tr>
+
+<tr><th class="spc" colspan="2">ZARAGOZA</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_311">General View from Cabezo-Cortado,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_311">311</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_312">General View from Altabas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_312">312</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_313">General View from Altabas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_313">313</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_314">The Bridge over the Ebro, from the Ruins of San Lazaro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_314">314</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_315">The Bridge over the Ebro, from El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_315">315</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_316">General View of Zaragoza,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_316">316</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_317">General View of Zaragoza,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_317">317</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_318">General View of Zaragoza,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_318">318</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_319">General View from the Portilla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_319">319</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_320">View of Zaragoza,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_320">320</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_321">Calle del Mercado,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_321">321</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_322">Paseo de Santa Engracia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_322">322</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_323">Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_323">323</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_324">Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_324">324</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_325">Glazed Tiles on the Walls of the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_325">325</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_326">Interior of the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_326">326</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_327">Cathedral of La Seo: View of the Transept,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_327">327</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_328">Cathedral of La Seo: Detail of Transept,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_328">328</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_329">Chapel of St. John in the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_329">329</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_330">Chapel of Gabriel de Zaporta in the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_330">330</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_331">Cathedral of La Seo: Reja bronze repoussé,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_331">331</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_332">Sepulchre of Archbishop Don Lope de Luna in the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_332">332</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_333">Central Dome of the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_333">333</a><span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_334">Silver Monstrance in the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_334">334</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_335">Censer belonging to the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_335">335</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_336">Cathedral of El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_336">336</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_337">Cathedral of El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_337">337</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_338">Interior of Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_338">338</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_339">Side Altar in Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_339">339</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_340">Our Lady del Pilar: View of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_340">340</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_341">Our Lady del Pilar: Organ in the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_341">341</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_342">Chapel in Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_342">342</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_343">High Altar in Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_343">343</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_344">Paintings on the Cupola of Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_344">344</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_345">Our Lady del Pilar : Choir Stalls,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_345">345</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_346">Our Lady del Pilar: Choir Stalls,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_346">346</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_347">Our Lady del Pilar: Choir Stalls,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_347">347</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_348">Our Lady del Pilar, by M. de Unceta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_348">348</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_349">Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_349">349</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_350">Silver Salver in the Cathedral of El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_350">350</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_351">Vase in the Cathedral of El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_351">351</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_352">Church of the Magdalen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_352">352</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_353">Place and Church of St. Nicholas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_353">353</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_354">Portal of the Church of San Miguel,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_354">354</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_355">Façade of the Church of Santa Engracia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_355">355</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_356">Church of St. Paul: Puerta del Cristo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_356">356</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_357">The New, or Leaning Tower,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_357">357</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_358">Tower of the Calle de Antonio Perez,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_358">358</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_359">Tower of San Miguel,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_359">359</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_360">Tower of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_360">360</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_361">Tower of the Trovador,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_361">361</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_362">Ancient Wall and Buildings,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_362">362</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_363">Statue of Pignatelli,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_363">363</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_364">Courtyard in the House of Pardo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_364">364</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_365">Detail of the Courtyard in the House of Pardo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_365">365</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_366">Entrance to the Audiencia Palace,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_366">366</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_367">Palace of the Provincial Deputation,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_367">367</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_368">Courtyard in the Count of Argillo’s House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_368">368</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_369">Eaves on the House of the Conde de Argillo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_369">369</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_370">Courtyard in the Count of Argillo’s House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_370">370</a><span class="pagenum"><a name="page_xxii" id="page_xxii">{xxii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_371">House in the Plaza de San Carlos,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_371">371</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_372">The Exchange,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_372">372</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_373">Façade of the Exchange,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_373">373</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_374">Interior of the Exchange,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_374">374</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_375">Porch of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_375">375</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_376">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_376">376</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_377">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_377">377</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_378">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_378">378</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_379">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_379">379</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_380">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_380">380</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_381">Detail of the Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_381">381</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_382">Court of the Provincial Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_382">382</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_383">Gallery in the Provincial Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_383">383</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_384">The Aljaferia or Citadel. Window of the Main Staircase,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_384">384</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_385">Aljaferia: Interior of the Mosque,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_385">385</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_386">Aljaferia: Interior of the Mosque,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_386">386</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_387">Aljaferia: Interior of the Mosque,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_387">387</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_388">Aljaferia: Details of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_388">388</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_389">Aljaferia: Details of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_389">389</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_390">Details of the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_390">390</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_391">Details of the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_391">391</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_392">St. Isabel and her Husband. Tapestry in the University,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_392">392</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_393">View of the Barracks of the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_393">393</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_394">The Casa de la Infanta. ‘The Departure for the Fight,’ by P. Gonzalvo Perez,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_394">394</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_395">Gate of Our Lady del Carmen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_395">395</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_396">The Defence of Zaragoza in 1809, by Nicolas Mejia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_396">396</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_397">The First Siege of Zaragoza, by A. Ferrant y Fischermans,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_397">397</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_398">Heroic Defence of the Tower of St. Augustine at Zaragoza in the War of Independence, by C. Alvarez Dumont,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_398">398</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_399">Heroic Combat in the Pulpit of the Church of San Augustin at Zaragoza in 1809, by C. Alvarez Dumont,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_399">399</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_400">The Maid of Zaragoza, by M. Hiraldez Acosta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_400">400</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_401">The Maid of Zaragoza, by Navarro y Canizares,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_401">401</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_402">Arch from the Aljaferia Palace, now in the Archæological Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_402">402</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_403">Arch from the Aljaferia Palace, now in the Archæological Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_403">403</a><span class="pagenum"><a name="page_xxiii" id="page_xxiii">{xxiii}</a></span></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_404">Provincial Museum: Detail of ‘The Mosque’ of the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_404">404</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_405">Provincial Museum: Corbels of Eaves, Gothic style, from the old Custom House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_405">405</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_406">Provincial Museum: Corbels of Eaves,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_406">406</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_407">Provincial Museum: Corbels of Eaves, Gothic style,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_407">407</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_408">Provincial Museum: Corbels of Eaves, Pointed style,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_408">408</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_409">Provincial Museum: Arab Capitals of the Aljaferia Castle,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_409">409</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_410">Provincial Museum: Arab Capitals from the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_410">410</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_411">Provincial Museum: Arab Capitals from the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_411">411</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_412">The Story of Lucretia. A Plate from the work entitled ‘Mugeres Ilustres,’ translated from Boccaccio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_412">412</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_413">A Page from the work entitled ‘Example against the Deception and Perils of the World,’ by Juan de Capua,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_413">413</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xxiv" id="page_xxiv">{xxiv}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<h1>Valladolid, Oviedo, Segovia, Zamora,<br /> Avila, and Zaragoza</h1>
+
+<h2><a name="I" id="I"></a>I<br /><br />
+<span class="spc">VALLADOLID</span><br /><br />
+<small>ITS STORY</small></h2>
+
+<p class="nind"><span class="smcap">Valladolid</span>, a thriving, bustling place, as Spanish cities go, stands on
+the rivers Pisuerga and Esgueva, a few miles above the confluence of
+their united streams with the Duero. All round spreads the vast, dreary
+plain of Castile, interrupted within sight of the town by a ring of low
+hills. Trains thunder past from north, south, and west, keeping
+Valladolid in close touch with Madrid, with France, with Portugal, and
+with the rest of the world. The natural centre, this, of the old kingdom
+of Leon and Castile, of which it was for a long time the political
+capital.</p>
+
+<p>The etymology of the name has perplexed historians not a little. The
+most probable deri<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span>vation is from the Arabic Belad-Walid, the valley of
+Walid, or (as likely) of the Wali or governor. In Latin documents the
+name is Vallisoletum, from which the poetical etymology, <i>vallis
+odoris</i>, was ingeniously manufactured. Though a great many of the towns
+in this part of Spain were founded on fresh sites on the resettlement of
+the country in the ninth and tenth centuries, Valladolid can, with some
+show of probability, claim a more remote origin. The contention of the
+old writers that this was the town called Pintia, described by Ptolemy
+as lying on the road from Caesaraugusta to Asturica, is to some extent
+borne out by numerous remains, attesting the existence at this spot of a
+Roman community of opulence and importance.</p>
+
+<p>The earliest mention of the place since the Christian era occurs in the
+Chronicle of Cardeña, where in the year 1072 it is referred to as one of
+the two towns (Rio Seco being the other) offered to Doña Urraca by her
+brother, Sancho, in exchange for Zamora. We may presume, therefore, that
+it was already a place of some consequence. In 1074 it was handed over
+by Alfonso <small>VI.</small> to Count Pedro Ansúrez, the companion of his exile at
+Toledo. This noble plays the same part in its history as Count Raymond<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span>
+does in that of Salamanca. The principal buildings, such as Santa Maria
+la Antigua and the bridge over the Pisuerga, are ascribed to him. He
+founded and generously endowed the collegiate church of Santa Maria la
+Mayor, with the adjacent abbey, of which, in after years, infantes and
+the sons of the most exalted persons were alone deemed worthy to be
+abbots. The famous Bernard, Archbishop of Toledo, came to bless the
+church, with the not less famous Alvar Fañez, who was Count Pedro’s
+son-in-law. When good King Alfonso passed away, Ansúrez took the oath of
+allegiance to his daughter, Queen Urraca, and to her husband, ‘The
+Battler of Aragon.’ When the royal twain came to blows, the count
+surrendered all the strongholds he held to the queen, and presented
+himself to the king, saying that ‘with the hands, the tongue, and the
+body which had paid him homage,’ he could do as he willed. Alfonso the
+Battler let him depart unmolested, and he was laid to rest in 1118,
+clothed in his armour, in the collegiate church he had endowed.</p>
+
+<p>The lordship of Valladolid now passed to Armengol, son of Count Pedro’s
+eldest daughter, by the Count of Urgel. Under his sway the city
+prospered exceedingly. King Alfonso <span class="pagenum"><a name="page_4" id="page_4">{4}</a></span><small>VII.</small> chose it for the place of his
+marriage with a Polish princess, and for several ecclesiastical
+councils. Two more counts of the same name continued the dynasty of
+Ansúrez till the year 1208; but of these the town saw little, for as
+Counts of Urgel they were vassals of Aragon, and spent most of their
+time in that kingdom. The last count left half of his Castilian
+dominions to the Pope, the other half to his daughter Aurembiax, who was
+believed to be the mistress of the King of Aragon. Alfonso <small>VIII.</small> of
+Castile can hardly, therefore, be blamed for setting aside a disposition
+which handed over the principal town in his kingdom to two foreign
+potentates. In the year 1208, accordingly, the city was incorporated
+with the monarchy. Soon after (1215) it became for the first time the
+royal residence&mdash;that of the Queen-Regent Berenguela and her youthful
+charge, Don Enrique <small>I.</small>; and in accordance with this precedent, two years
+later, Fernando <small>III.</small> was crowned here, in the Plaza Mayor. Thenceforward
+the town became the usual seat of the court, though an official capital
+in the modern sense Spain did not possess till Philip <small>II.</small>’s time. The
+last years of the thirteenth century saw the reins of government in the
+hands of a native of Valladolid, the Queen-Regent, Maria de<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> Molina,
+widow of Sancho el Bravo. Her predilection for her own birthplace
+practically extinguished the pretensions of Burgos to rank as capital,
+and during her stormy regency Valladolid stood by her loyally. She was
+not the least capable or intrepid of the many able women-rulers by whom
+Spain has been so well served.</p>
+
+<p>Though the seat of government, Valladolid was not wanting in the
+turbulent, independent spirit characteristic of the Castilian cities. In
+1328 a rumour spread abroad that the king’s Jewish treasurer, Joseph,
+was about to carry off the Infanta Leonor, and to marry her to the
+detested favourite, Nuñez Osorio. Sure enough the princess presently
+appeared, mounted and attended by an escort, as if proceeding on a
+journey. The citizens forced her to return to the palace, and clamoured
+for the head of the treasurer. Leonor promised to satisfy them if they
+would permit her to go to the Alcazar, or citadel, whither she contrived
+to convey the trembling Hebrew concealed among her retinue. Safe inside
+the fortress, Infanta and Jew set the mob at defiance, and sustained a
+siege till relieved by the king. Comically enough, Alfonso dismissed his
+favourite on the ground that he was the cause of these disturbances,
+while the<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> Infanta married the Prince of Portugal, whom she had been on
+her way to meet when forced back by the crowd.</p>
+
+<p>Women figure largely in the history of Valladolid. Here in the church of
+Santa Maria la Mayor, Peter the Cruel was married to the hapless Blanche
+de Bourbon, to leave her three days later. It was only by the entreaties
+of his mistress, Maria de Padilla, that he could be persuaded to return
+to his wife; but unable to overcome his repugnance to the poor princess,
+he again abandoned her a few days after, this time for ever.</p>
+
+<p>The convent of La Merced owes its origin to another case of erratic
+passion. Donha Leonor Telles de Meneses had been torn from the arms of
+her first husband, João Lourenço d’Acunha, by the King of Portugal, who
+raised her to the throne. D’Acunha retired to Valladolid, where he was
+buried in the church of Santa Maria la Antigua. In the course of time
+Leonor’s second husband also died, and she also came to Valladolid,
+possibly to see what had become of the first. Doubly a widow, she found
+consolation in the affection of a knight named Zoilo Iñiguez, by whom
+she had a daughter called Maria. Leonor’s experience of love and
+matrimony<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> led her at her death to charge her daughter’s guardian, one
+Laserna, to dedicate the girl to religion, and to found a convent for
+her special accommodation. Before this could be accomplished, Maria, who
+believed herself to be a relation of Laserna, fell in love with his
+nephew, and incontinently married him. On discovering the secret of her
+origin, she so far complied with her mother’s wish as to build a
+convent, in which Queen Leonor as the foundress was entombed.</p>
+
+<p>About the same time, by order of Juan <small>I.</small>, the old Alcazar, round which
+the town had been built, was demolished to make room for the existing
+convent of San Benito. The monastery of San Pablo became the residence
+of the court during the minority of Juan <small>II.</small> That king may be said to
+have lived here permanently, and to have confirmed Valladolid in its
+dignity as capital of the realm. As such it was the scene of much
+splendour and chivalrous display under the rule of the high-minded
+favourite, the great Constable Alvaro de Luna. And it was in the little
+Plaza del Ochavo, in the centre of the town, having run his course as a
+true knight and a wise statesman, that he met his fate with the dignity
+and composure which had distinguished him during his whole career.<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span></p>
+
+<p>The place of his execution was chosen by his enemies as precisely the
+scene of his greatest triumphs. He was confined during his last night in
+the house of his enemy, Zuñiga, where he passed the hours ‘in great
+contrition and affliction of spirit.’ ‘The melancholy 2nd of June 1453
+dawned,’ says Don Jose Quadrado, ‘and in the Plaza del Ochavo, which
+then formed the principal square of Valladolid, loomed a scaffold draped
+with black cloth, and above it a cross set with lighted tapers. On a
+post was fixed the spike destined to receive the severed head. The
+Constable was conducted to the spot by the streets of Francos,
+Cantarranas, and Plateria, mounted on a mule with black trappings, and
+preceded by a crier, whose violent denunciations drew from him only the
+humble words, <i>Más merezco</i> (“I deserve more”). Alighting on the side of
+the church of San Francisco, and mounting the scaffold with firmness,
+having knelt before the cross, he hesitated whether he should address
+the people, when he perceived among the crowd his faithful page Moreles,
+and Barrasa, esquire to Don Enrique. He told the latter to adjure his
+master not to follow the example of the king, his father, in the way of
+rewarding his servants; to the former<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> he gave his signet-ring, which
+the youth received weeping, not a few of the bystanders weeping loudly
+also. “With my body they may do as they please,” he said on perceiving
+the spike and divining its object; and baring his throat, and his hands
+being bound with his own girdle, he offered his head to the executioner,
+who a few seconds later held it up, dripping with blood, before the
+horror-stricken people. The body remained exposed three, and the head
+nine days, with a box beside it to receive alms. With these he was
+buried among malefactors in the hermitage of San Andrés outside the
+walls; but at the end of two months he was given a more decent sepulture
+in San Francisco, where he lay till the rehabilitation of his memory and
+his magnificent entombment thirty-one years later in the cathedral of
+Toledo.’</p>
+
+<p>The feeble and ungrateful king (Juan <small>II.</small>) survived his favourite little
+more than a year, and died at the convent of San Pablo, which had been
+his usual abode. Valladolid remained steadily loyal to his miserable
+successor, Enrique <small>IV.</small>, when scarcely another town in his dominions
+would harbour him. Yet, strangely enough, it was in this city, in the
+house of Juan Vivero (where the Audiencia now stands), that the kin<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span>g’s
+sister Isabel, in defiance of his wishes, celebrated in secret, but with
+great ceremony, her marriage with Ferdinand of Aragon. This was on
+October 18, 1469&mdash;an auspicious night for Spain. But the city was too
+full of Enrique’s partisans to afford a safe asylum to the newly-wedded
+pair, who immediately betook themselves to Dueñas.</p>
+
+<p>Valladolid, always on the side of authority, accepted ‘the Catholic
+Kings’ on the death of Enriqùe, to the exclusion of Juana, whom a modern
+writer inexplicably calls that monarch’s illegitimate daughter. She was
+barred from the succession on the ground that she was not his daughter
+at all. The vigorous but hardly beneficent rule of Ferdinand and Isabel
+was celebrated in 1489 by eighteen persons being burned alive in the
+Plaza Mayor, while a few years after the city was emptied of its Jewish
+inhabitants. A whole quarter left tenantless, deserted homes, and
+smoking human sacrifices marked the inauguration of the New Monarchy in
+Valladolid. Yet the city prospered, and was too busy to notice the
+worn-out adventurer, the Admiral of the Indies, the immortal Christopher
+Columbus, who died within its walls on May 20, 1506. But all their
+prosperity could not reconcile the sturdy citizens to the arbitrary
+government of<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> Charles <small>V.</small>’s regents. Valladolid threw in her lot with
+the Comunidad. Her sons bled in the cause of liberty beside Padilla on
+the fatal field of Villalar; and when the Flemish emperor proclaimed an
+amnesty on visiting the city in 1522, many of her townsmen found
+themselves among the three hundred specially excluded from its
+operation.</p>
+
+<p>Philip <small>II.</small> was born here on May 21, 1527; here he was married to his
+first and Portuguese wife; here also she died in giving birth to his
+luckless son Carlos. Yet it was this native of Valladolid who reduced it
+to the rank of a provincial city, and in the year 1560 definitely
+declared Madrid to be the <i>unica corte</i>, the official capital of Spain.
+This measure has been variously criticised, but it is certainly
+difficult to perceive the advantages which the new capital possessed
+over the old, or over Toledo or Zaragoza. This loss of dignity was
+followed by a more dreadful catastrophe. Valladolid was devastated by a
+fire in the night of September 21, 1561, four hundred and forty houses
+being destroyed, though only three persons lost their lives. The
+silversmiths, for whom the city was renowned, saved their wares by
+throwing them into the wells. The conflagration was caused<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> by the
+sparks blown from a fire lit by some beggars in the shadow of a wall.
+Possibly the citizens were reminded of those other flames so frequently
+kindled in their midst by the abominable Inquisition, when men and women
+were roasted to death in the presence and with the approval of His
+Catholic Majesty Philip <small>II.</small> The furious element was less destructive
+than the Holy Office.</p>
+
+<p>The city was practically rebuilt by order of the despot, and as a mark
+of his favour he persuaded the Pope to erect it into a diocese in the
+last years of the sixteenth century. His successor, with a judgment of
+which he rarely gave proof, reinstated Valladolid in its rank of capital
+of the monarchy, and resided here in the palace facing San Pablo (now
+the Audiencia). Here Anne of Austria and Philip <small>IV.</small> were born. Cervantes
+lived here in one of the houses in the Rastro behind the Campo Grande,
+where he finished the first part of <i>Don Quixote</i>. His experience of the
+city was unfortunate. He was, together with his family, imprisoned on
+the charge of being implicated in a night brawl, wherein as a matter of
+fact he had simply played the part of Good Samaritan. His brother wits
+and the literati unceasingly assailed<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> Valladolid as unworthy the
+residence of the court, and after five years Philip <small>III.</small> was obliged,
+professedly because the city was unhealthy, to restore Madrid to its
+pre-eminence. The abandoned capital was hit very hard. Industry and
+commerce languished, nothing but the religious vocation flourished. The
+project of rendering the Duero and Pisuerga navigable for large vessels
+was given up, and, to crown all, the Moriscos to the number of one
+thousand were expelled, taking the silk industry with them. Inundations
+and all sorts of calamities followed in quick succession. Whatever money
+men earned in moribund Castile, they used to build churches and
+convents. The city’s attachment to the Bourbon cause in the War of the
+Spanish Succession disposed Philip <small>V.</small> to transfer the court hither a
+second time; but the pre-eminence of Madrid was too firmly established
+to permit this. The French invaders, a hundred years ago, found the
+place ruined and stagnant. Since then Valladolid has awakened from her
+sleep. The opening of the North of Spain Railway, and the establishment
+here of the company’s loco-motive works, gave a great impetus to her
+progress, and she is now an important commercial town, the centre of the
+corn trade of<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> Castile. No Spanish city north of the Guadarrama gives
+such promise as Valladolid.</p>
+
+<h3>THE CITY</h3>
+
+<p>A city which was so long the capital of the monarchy&mdash;the city where
+Columbus died and Cervantes lived&mdash;whose streets are haunted by the
+immortal creature of Le Sage’s genius&mdash;can be no unworthy goal for a
+pilgrimage. It has memories far more stirring than Madrid, which in
+physiognomy it rather resembles. A cold, formal town it seems at first
+sight, with modern-looking squares, straight streets, and severe,
+imposing buildings; but behind these you find the old city of Juan <small>II.</small>
+and Enrique <small>IV.</small>, a labyrinth of tortuous lanes, gloomy palaces, and
+ruinous monastic houses.</p>
+
+<p>The handsome Accra de Recoletos, which looks across the spacious Campo
+Grande&mdash;the city’s principal park&mdash;leads from the triumphal Puerta del
+Carmen, commemorating the reign of Charles <small>III.</small>, to the majestic Arch of
+Santiago. We pass through, and presently reach the Plaza Mayor, now
+called the Plaza de la Constitucion, the focus of the city’s life.</p>
+
+<p>A minor Puerta del Sol, Ford calls this regular, symmetrically planned
+open space, designed after<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> the great fire of 1561 by Francisco
+Salamanca. The houses enclosing it are of uniform architecture, with
+three tiers of balconies in the three Grecian orders, capable, it is
+said, of accommodating 24,000 spectators. The portico is supported by
+massive granite columns of a bluish tinge, each a monolith. On the north
+side is the ungraceful Ayuntamiento (Town Hall), with weather-vanes on
+its towers and martial trophies surmounting the town clock. The space is
+as lively and gay as any in Spain. The sun shines brightly, the birds
+fly as freely overhead as across the innocent plains; here there is no
+deeper shadow than elsewhere, no abiding gloom or ghostly chill. Yet if
+ever a spot deserved to be called accursed it is this. Let us project
+ourselves back into the past, to a bright morning in May in the year
+1559. The balconies have not yet been built, but stands and tiers of
+seats have been constructed round the Plaza. There is a grand display of
+bunting, and the richest draperies are hung from the crowded
+windows&mdash;silks and cloth of gold and silver, damasks and brocades. On a
+daïs are seen the little prince, Don Carlos, and his aunt the Infanta
+Juana. The civic dignitaries of the town are here, the craftsmen in
+their liveries; but making<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> the bravest show of all are the bishop and
+the clergy, arrayed in full canonicals, as befits the solemn Act of
+Faith at which they are about to assist. The square is packed with a
+vast multitude&mdash;men have come from far and near to see this thing&mdash;and
+people are pouring down the narrow streets, an unceasing stream. All
+eyes are fixed on the platform in the centre of the Plaza, whereon
+faggots and brushwood are neatly piled round fourteen pillars, and busy
+varlets are bestirring themselves. A subdued murmur betokens the
+approach of the procession. For the alguazils who clear the way, for the
+horribly clad familiars of the Holy Office who stalk before, the
+spectators have no eyes: the gaze of those thousands is levelled on the
+fourteen men and women walking slowly to their awful doom. Were ever
+creatures so shockingly grotesque? They wear a perfectly ridiculous
+headgear, like an elongated nightcap, or a hat such as our grenadiers
+wore in days gone by; a sort of smock covers their bodies, an ugly
+flame-coloured garment, painted with figures of dancing and grimacing
+devils. You can hardly restrain a smile. I’ll wager those gallants
+yonder are cracking some clever jokes at their expense, for the Latin is
+by nature a wag. We all know who they are, these wretches.<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> Not long
+before Valladolid was thrilled by the rumour that a Lutheran conventicle
+had been discovered here in the heart of His Most Catholic Majesty’s
+capital. A holy woman, suspicious of her husband’s orthodoxy, had
+followed him one day, found him in the midst of this heretical assembly,
+and denounced him to the Holy Office. That is the man, Juan Garcia, a
+goldsmith whom all the townsmen have known and dealt with this many a
+year. Where’s his wife? somewhere in the crowd, doubtless, praying for
+his soul. Virtue like hers is worthy of heroines or devils. Most notable
+of the heretical crew is the Doctor Cazalla, one of the king’s most
+notable preachers; but the Holy Inquisitors are no respecters of
+persons. They would drag you from behind the throne. The priest with the
+Doctor is his brother Francisco. The woman is his sister, Doña Beatriz.
+Burn a woman? Ay, surely. There are four more, one of them a
+serving-wench. That black-avised fellow is a mere Jew from Lisbon&mdash;there
+is little sympathy for him. Then there are four gentlemen,
+and&mdash;hold!&mdash;one has a gag in his mouth. It is the Bachelor, Antonio
+Herrerruelo, an obstinate fellow, who will not recede one hair’s-breadth
+from his heretical opinions or concede one iota. The sixteen that
+follow<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> interest us less. They have been reconciled with Mother Church,
+and for them no worse fate is reserved than the confiscation of all
+their goods and solitary confinement for life. Ha! one of them has
+fainted. It is the youthful daughter of the Marqués de Alcañias, Doña
+Ana Enriques. They say that one of this batch is an Englishman. Perhaps
+he has seen Catholics hanged, drawn, and quartered in his own land, and
+can forgive the Spaniard.</p>
+
+<p>The learned Dominican in the pulpit reads the sentences of the Holy
+Tribunal of the Inquisition, and we may be sure his voice shakes with
+paternal tenderness when <i>he absolves</i> those who are passing into the
+shadow of perpetual imprisonment. As for those fourteen others&mdash;the
+Church has done with them, and in sorrow, not in anger, she hands them
+over to the secular arm.</p>
+
+<p>Now who will face the flames? for even the secular arm is merciful at
+the eleventh hour. Thousands of eyes are strained towards the scaffold.
+What is passing? Cazalla is making a farewell speech. Is he obdurate?
+No; from mouth to mouth the rumour runs that he professes penitence,
+that he abjures his errors. His brothers, the women&mdash;look at their
+blanched<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> faces!&mdash;mutter some such words. Their necks are encircled by
+the collars of the garrote&mdash;they stand on the well-laid pyre. But it is
+not lighted yet. Swiftly the executioner steps from one post to the
+other. A quiet turn of the screw, and the souls of the heretics have
+fled, and the flames may have their corpses.</p>
+
+<p>But he with the gag, Herrerruelo? We watch him breathlessly. At all
+admonitions he simply shakes his head. The executioner even hesitates to
+fire the pile. He has his hand on the spring of the garrote. A word from
+the heretic, and he will be dead, unscorched, instantaneously. It is
+useless. Herrerruelo will not speak that word. The fire is lighted. The
+logs crackle and blaze. We can hardly see the victim’s form. No groan
+nor sigh escapes him. But on his face, says one close to him, is stamped
+the extremest sadness that ever human being knew. Is it for yourself,
+Castilian of the old Roman mould? Nay, rather, I think, for your country
+which you see perishing beside you slowly but inevitably on the pyre of
+fanaticism and superstition.</p>
+
+<p>It is over. The integrity of the faith of Spain has been vindicated. But
+the heroism of Herrerruelo soon finds imitators. His wife follows him to
+the flames a few years later.<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> Philip <small>II.</small> himself comes to assist at a
+superb act of faith which demands another holocaust. He solemnly swears
+to defend the faith and to enforce the decrees of its tribunal. ‘And you
+leave me to burn?’ is the bitter reproach a Veronese gentleman among the
+doomed men dares to address to the king. ‘Ay,’ says Philip, ‘I would
+bring the wood myself to burn my own son were he a heretic.’ There was
+thus something of the Roman spirit on both sides. The brave Italian’s
+fortitude so inspires a fellow-sufferer that he leaps gaily into the
+flames, calling for wood, more wood.</p>
+
+<p>The shame of the Inquisition rests not on the Spanish people. The
+citizens of Valladolid were kept in check on these dreadful occasions
+only by large bodies of troops. Torquemada, the Grand Inquisitor, dared
+not go forth without an armed escort of two hundred and fifty men. The
+Spaniards of to-day, with few exceptions, refer to the institution with
+expressions of abhorrence, startling even to Protestant ears. But it
+must be admitted that some writers more or less half-heartedly attempt a
+defence. Don J. M. Quadrado observes that the Holy Office saved the
+country from the horrors of religious wars, to which the obvious
+rejoinder is that the wars<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> of religion, judged by their results, proved
+less disastrous to France, Germany, and Switzerland, than the policy of
+repression proved to Spain, and that the religious unity of other
+countries, such as Italy and Austria, has been preserved with
+comparatively little physical suasion.</p>
+
+<p>We will leave the Plaza Mayor, this bright place with such gloomy
+memories, and see what monuments Faith has raised of a more honourable
+and durable kind. We cross the prettily named Place of the Golden
+Fountain, and the Plaza del Ochavo, where Alvaro de Luna died, and a
+little farther on find the Cathedral of Valladolid.</p>
+
+<p>This church was begun in 1585, by order of Philip <small>II.</small>, and replaced the
+old Iglesia Mayor founded by Pedro Ansúrez. The work was intrusted to
+Herrera, the architect of the Escorial, but his plans were never fully
+carried out, and the cathedral remains to-day unfinished, and also
+unfortunately marred by Churriguera and his disciples. The style of
+Herrera very eloquently expressed the temper and spirit, if not of the
+Spain of his day, certainly of his sovereign. The model of the church is
+to be seen in the muniment room. It is cruciform, the nave and transept
+to be flanked with aisles and chapels, the crossing to be surmounted<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> by
+a dome, and a tower to be at each of the four corners. Only one of the
+towers was ever finished, and that collapsed in 1841; it is now being
+rebuilt. Street, who is very severe on all non-Gothic buildings in
+Spain, says that ‘nothing could ever cure the hideous unsightliness of
+the exterior. Herrera’s west front was revised by Churriguera in the
+eighteenth century, and cannot therefore be fairly criticised; but the
+side elevation remains as Herrera designed it, and is really valuable as
+a warning. Flying buttresses were, of course, an abomination; so in
+their place he erected enormous solid buttresses above the aisles to
+resist the thrust of the nave vault. They are shapeless blocks of
+masonry, projecting about forty feet from the clerestory wall, and
+finished with a horrid concave line at the top.’</p>
+
+<p>The interior is not wanting in majesty and massiveness. Only the nave,
+with its aisles and chapels, has been completed. The huge piers carry
+bold arches, separated by a broad cornice from a plastered and panelled
+groined ceiling. The walls are destitute of ornament, but over the
+arched entrances to the chapels runs an open gallery with balustrades.
+The aisles have been obstructed by ‘provisional chapels,’ which<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> Herrera
+would have indignantly swept away; and the choir, which he intended to
+place behind the High Altar, is now placed so as to block the best view
+of the nave. The Capilla Mayor, placed in the crossing, is in bad taste,
+with innumerable doors and tribunes piercing its walls. One cannot but
+agree with the Spanish writer who says that nothing is wanting to
+destroy the impression of ‘a grand whole,’ which Herrera was especially
+anxious to create.</p>
+
+<p>The choir stalls, mostly from the convent of San Pablo, were designed by
+the architect, and display some fine inlay work. The remainder are in
+the Gothic style, and come from the old church. The chapels contain
+nothing worthy of note, except a picture by Lucas Jordaens, and the tomb
+of Count Pedro Ansúrez, whose remains were brought here from the church
+he founded. A very poor effigy represents the hero, whose merits are set
+forth in rhymed verse.</p>
+
+<p>In the sacristy is one of the finest specimens of the metal-work for
+which Spain has always been renowned. The solid silver monstrance, by
+Juan de Arfe, is 6½ feet high, and weighs upwards of 150 lbs. It is in
+the shape of a temple in four stories, two of which are octagonal, and
+two circular. Statuettes of Adam and Eve, and a<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> relief of the mystery
+of the Conception, adorn this exquisite work, for which the artificer
+received 44,000 reals.</p>
+
+<p>Adjacent to the cathedral are some remains of the Iglesia Mayor, founded
+by Pedro Ansúrez, and rebuilt in the reign of St. Ferdinand. A doorway,
+still standing, and the various scattered pillars are in the Romanesque
+style, but there are also traces of Gothic work. A cloister existing at
+the end of the sixteenth century is described as one of the finest in
+Spain, containing many sculptures, all coloured, and tombs of notable
+people. Part of this cloister has gone to form a room called the
+Library, but that it still contains books I was unable to ascertain.</p>
+
+<p>The Iglesia Mayor is said to have been built at the same time as the
+church of Santa Maria la Antigua, on the other side of the square, and
+both by Count Ansúrez. Comparing conflicting testimony, and the opinions
+of various architects, the conclusion would appear to be that the church
+was founded before the Count’s time (for it is mentioned in documents as
+far back as 1088, and was in his day called the Ancient), and that the
+existing fabric dates mainly from the reign of Alfonso <small>IX.</small>
+(1230-44)&mdash;not from the<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> time of the alleged restorer, Alfonso <small>XI.</small> Santa
+Maria is, beyond doubt, the most interesting church in the city. Its
+lofty steeple, with tiled roof and semicircular windows in all its four
+stages, is one of the few prominent landmarks of the wayfarer to
+Valladolid. The side apses are Romanesque, but the nave terminates in an
+apse, Gothic in style, and pierced with lancet windows. The buttresses
+taper off into graceful finials, with crockets and gargoyles. The main
+apse and transept are both pierced near the roof with an elegant
+openwork balustrade. The steeple is thoroughly Lombard in character.</p>
+
+<p>The interior exhibits an interesting blending of the Romanesque and
+Gothic styles. On the outer door, defaced by a modern portico, formerly
+hung the knockers wrenched off the gates of the Mezquita at Cordova by
+the first Count Armengol. The mouldings of the arch are Romanesque, but
+Gothic is the beautiful groining of the interior. At the west end of the
+church is a gallery for the choir, with stalls and organ. In the days
+when this was built churches were built for the laity, and the clergy
+did not insist on taking up the greater part of the nave, as they did in
+after years. The chapel of the Counts of Cancelada contains some good
+paintings. The most valu<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span>able accessory is, however, the reredos by the
+celebrated Juan de Juni, begun in 1551 and finished in 1557. The work
+betrays an extraordinary degree of skill and vigour, but it is
+over-elaborate and in parts fantastic.</p>
+
+<p>On the north this venerable church is flanked by a very beautiful
+Romanesque cloister of fourteen semicircular arches in three bays. The
+shafts, says Street, are moulded and wrought in imitation of the coupled
+columns of early Italian artists. This cloister, together with the
+steeple, makes up the most picturesque group of buildings in Valladolid,
+and is well worth careful preservation, if not restoration.</p>
+
+<p>We will visit the University on the south side of the square another
+time, and will now thread our way northwards to the Plaza de San Pablo,
+a very interesting site. At the corner of the Calles de las Angustias
+and San Martin is the house where the Andalusian painter Alonso Cano is
+said to have killed his wife. He fled (so we are told) in consequence to
+his native city of Granada, where he became a prebendary of the
+cathedral, and executed his finest work. The church of San Martin is a
+very ordinary seventeenth-century structure; but it was founded soon
+after the resettlement of the city, and pre<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span>serves its steeple, in the
+same style as that of Santa Maria la Antigua, and dating from about
+1200. There was a baseless story that this was originally a Moorish
+watch-tower.</p>
+
+<p>The Dominican monastery of San Pablo was founded in 1276 by Queen
+Violante, the rebellious consort of Alfonso <small>XI.</small> Maria de Molina showered
+favours on the community, whose friendly rivals, the Franciscans, were
+established in the Plaza Mayor. Later on, as we have said, Juan <small>II.</small> made
+the building his home, and died here in 1454&mdash;near to, if not in, the
+odour of sanctity. Here, too, the Cortes often used to sit. The present
+building may be considered the creation of Cardinal Juan de Torquemada
+(not the notorious Inquisitor), whose death took place in 1468. The
+façade was constructed in the latter part of the fifteenth century, and
+restored in the seventeenth and nineteenth centuries; it is a debased
+late-Gothic style, the main object of the architects being evidently to
+multiply evidences of their skill. In this they succeeded, for no one
+can question the merit of the execution. The riotous exuberance of the
+decoration renders a description difficult. The doorway is placed within
+an arch of a curious waved line. On either side are shown saints of the
+order, standing on pedestals,<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> with pinnacle-like canopies above them.
+Above the arch is an indifferent relief of the Coronation of the Blessed
+Virgin, attended by Cardinal Torquemada with his patron saints, the
+Baptist and the Evangelist. All this part of the decoration is enclosed
+within an ugly flattened arch. Above is the figure of Christ Enthroned,
+and on each side of Him a trefoil arch containing the figures of the
+Four Evangelists. These arches frame windows with exquisite traceries,
+such as fill the circular window above the Christ. The upper part of the
+façade is in three stages, each filled with figures of saints and
+heraldic devices. ‘Every vacant space,’ says Street, ‘seems to have a
+couple of angels holding coats-of-arms, so that it is impossible not to
+feel that the sculptor and the founder must have had some idea of heaven
+as peopled by none with less than a proper number of quarterings on
+their shields, or without claim to the possession of <i>Sangre Azul</i>.’ The
+arms displayed on the lower part of the façade are not, however, those
+of Torquemada, but of the Duke of Lerma, the favourite of Philip <small>III.</small>,
+by whom the church was restored. Here he celebrated his first Mass in
+the year 1618, having sought refuge in the church from the cares of
+state, or the disappointments of a courtier’s life;<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> and here, too, he
+was ultimately buried. The church was plundered and dismantled by the
+French during the Peninsular War, and the interior is now inaccessible
+to visitors.</p>
+
+<p>On the other side of the Plazuela is the palace built by Lerma on the
+site of the house where Don Carlos was born, and sold by him to Philip
+<small>III.</small> for thirty-seven million maravedis. The façade is simple, not
+undignified, and adorned with the royal arms over the doorway. The
+patio, or inner quadrangle, is decorated with busts of the Roman
+emperors and the arms of the old provinces of Spain. Here, says Ford,
+Napoleon took up his quarters on that memorable visit to Spain which at
+once altered the complexion of affairs. The building is now the
+Audiencia, or Law Court.</p>
+
+<p>Philip <small>II.</small> was born in the house at the corner of the square and the
+Calle Cadesa de San Gregorio, and baptized in the church of San Pablo.
+Except for its associations, the house is uninteresting.</p>
+
+<p>Next to San Pablo is the Colegio San Gregorio, built by Alonso de
+Burgos, Isabel the Catholic’s Confessor, in remembrance of his student
+days at the former establishment. The work, elaborate as it is, occupied
+only eight years&mdash;1488 to 1496.<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> The architect, Matias Carpintero, for
+some unknown reason committed suicide before its completion in 1490. The
+façade of the main entrance resembles that of the older foundation. The
+design displays more originality, but the execution is by no means as
+good. The lintel and jambs of the square doorway are decorated by a
+relieved pattern of fleur-de-lys, and enclosed within an arched canopy
+of fanciful outline. On either side of the doorway are statues of wild
+men&mdash;possibly an allusion to the discovery of America&mdash;and over the
+lintel a relief represents the founder kneeling before the patron saint.
+From the canopy, twisted tapering pillars soar upwards and divide the
+upper stage into three parts. The middle one is occupied by the relief
+of a pomegranate tree springing from a basin, and sheltering children
+and birds among its branches; it supports the coat-of-arms of Ferdinand
+and Isabel. The lateral divisions contain figures supporting
+escutcheons, the whole being ‘even more extremely heraldic in its
+decorations’ than San Pablo. The open-work, cusping at the top, looks as
+if made of coarse wicker-work, and is happily fast disappearing under
+the corrosive effects of frost and rain. The interior of San Gregorio
+wearies the eye with its excess of<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> heraldic decoration. The inner
+court, notwithstanding, is noble and spacious, with a double gallery of
+six arches on each side springing from spirally-fluted columns. The
+fleur-de-lys appear on the arms of the founder; the yoke and sheaf of
+arrows are the well-known devices of the Catholic kings. The chapel was
+stripped by the French of all of value that it contained, including the
+sepulchral effigy of Alonso de Burgos. The college is now one of the
+municipal buildings.</p>
+
+<p>The secularised church and convent of San Benito on the west side of the
+town were founded by Juan <small>I.</small> on the site of the old Alcazar, in
+reparation for a Benedictine house destroyed by his father. The actual
+fabric was commenced in 1453, and hardly completed three centuries
+later. The plan of the church reminds one of Santa Maria la Antigua. The
+interior is lofty and impressive. There are two choirs&mdash;one in the
+western gallery, and the other, as usual in Spain, in the middle of the
+church, and enclosed by brick walls. The church was very strongly built,
+and is, appropriately enough, occupied by the military.</p>
+
+<p>In the church of La Magdalena is buried Bishop Pedro de la Gasca, who
+recovered Peru for the monarchy from the clutches of Pizarro.<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> His tomb
+in the centre of the transept was chiselled by Esteban Jordán in 1577.</p>
+
+<p>The other churches of Valladolid hardly repay a visit. We may now turn
+our attention to the University, close to the Antigua Church. Founded in
+the eleventh century, this institution rose into importance only on the
+decline of the University of Salamanca. The statues of its
+patrons&mdash;Alfonso <small>VIII.</small>, Alfonso <small>XI.</small>, Juan <small>I.</small>, and Enrique <small>III.</small>&mdash;surmount
+the grotesque and extravagant façade, which is in the worst baroque or
+Churrigueresque style. Older and more interesting are the English and
+Scots Colleges. The former was founded by Sir Francis Englefield in 1590
+or thereabouts, for the education of young Englishmen for the Catholic
+priesthood. The Scots College is an analogous institution, founded by
+Colonel Sempill at Madrid in 1627, and transferred hither in 1771. The
+Irish College is at Salamanca. Both seminaries are still resorted to, to
+some extent, by youths from the United Kingdom, though a novitiate in
+Valladolid might not seem an adequate training for parochial work in
+English cities or Highland glens.</p>
+
+<p>Sculpture is the art that has been least cultivated in Spain.
+Exceptional interest attaches,<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> therefore, to the Museum of Valladolid,
+which contains a valuable collection of the works of native sculptors,
+or rather carvers. The building itself is the old College of Santa Cruz,
+built in 1486 by the famous Enrique de Egas, and intended by the
+founder, Cardinal Mendoza (<i>el tercer Rey</i>) to harbour impoverished
+genius. The exterior is surmounted by a balustrade, and strengthened
+with buttresses tapering into pinnacles. The principal façade is a fine
+example of Plateresque work, with much that is Gothic about the detail.
+The coats-of-arms of the Catholic kings and of the founder appear, of
+course, in the decoration, and the cardinal is shown adoring the cross
+upheld by St. Helen. The inner court is surrounded by a triple tier of
+galleries, with semicircular arches, octagonal pillars, and elegant
+balustrades.</p>
+
+<p>Within these walls have been collected treasures from the demolished,
+dismantled, and disused churches, convents, and palaces of the city,
+many of the objects now here having been removed from their original
+positions by the French and left behind them in the hurry of flight.
+Here we find the retablo executed between 1526 and 1532 for the church
+of San Benito by Alonso Berruguete. Street, who disliked all the<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> works
+of the Renaissance, denounced this altarpiece in unmeasured terms; but
+no impartial critic can deny the beauty of certain of the figures,
+notably those of Abraham and St. Sebastian. In the museum may also be
+seen the choir stalls from the same church, carved by the master in
+1528&mdash;ten years before he designed the <i>silleria</i> of Toledo. The work
+displays marvellous imagination and great delicacy in the execution.</p>
+
+<p>The genius of Juan de Juni, who was living at Valladolid in 1570, is
+best represented by his wooden statue of the Dead Christ, from the
+convent of San Francisco. So ghastly is the realism of this figure, that
+looking at the rigid limbs&mdash;more like those of a gladiator than of the
+Crucified&mdash;we feel that corruption is about to take place, and avert our
+eyes in horror. One is tempted to hold one’s nose, as Murillo is said to
+have done while contemplating a canvas by Valdes Leal. Not less vigorous
+and infinitely more attractive is the noble statue of St. Bruno by the
+same sculptor.</p>
+
+<p>Gregorio Hernandez was the last of the trio of carver-sculptors who
+lived and worked at Valladolid. He was an indefatigable and prolific
+worker, and never doubted that the sole mission of art was to serve the
+purposes of religion. He<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> died in 1636, in Juni’s old house, at No. 37
+Calle de San Luis. He is well represented in this museum. St. Teresa is
+perhaps his best work, but shows his want of vigour as compared with his
+two predecessors. It was Hernandez who unfortunately set the example of
+draping statues with nets and fabrics, since followed with such unhappy
+results.</p>
+
+<p>Few artists on canvas, or in stone or wood, have so well expressed the
+evil passions of the mob as the unknown sculptor of Christ bearing the
+Cross. The multitude is composed, of course, of local types&mdash;of those
+ferocious bravos and audacious picaros who abounded in Spain at that
+time, and whose ugliest characteristics are here caught and rendered
+with astonishing realism. A different genius is exemplified by the
+beautiful statues in bronze gilt of the Duke and Duchess of Lerma, which
+once decorated their tombs at San Pablo. They were begun by an Italian,
+Pompeio Leoni, but completed, it is believed, by another hand.</p>
+
+<p>The pictures in the museum are not of great importance. The Assumption
+and two other works by Rubens are in bad condition, and almost surpassed
+in interest by some pleasing productions of the modern Spanish school.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
+
+<p>Not far from the museum is the house where Columbus died (No. 7
+Cristobal Colon). He came hither on his return from his last voyage in
+1504, and languished here, absolutely neglected by the cold-hearted
+Ferdinand, for eighteen months. From Philip and Joanna he hoped to
+obtain a fuller recognition of his services, and upon their landing in
+Spain he sent them the assurance of his homage and respect. Philip
+acknowledged this in a generous and kindly spirit&mdash;an act which,
+together with his oft-expressed disapprobation of the Inquisition,
+should be remembered to the handsome Burgundian’s credit. But on the
+21st May 1506, Columbus went on a longer voyage than any he had made to
+the Indies&mdash;to the undiscovered country whence no traveller returns. He
+left two sons&mdash;Hernando, who, like his father, lies in the cathedral of
+Seville, and Diego, the ancestor of the present Duke of Veragua.</p>
+
+<p>The house of Cervantes, of which I have already spoken in the historical
+chapter, is in the Calle de Miguel Iscar, leading from the Acero de
+Recoletos to the Mercado.</p>
+
+<p>Interesting old houses are not uncommon in Valladolid. Besides those
+already mentioned are the Casas del Cordon and de los Duendes, built<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> in
+part in the reign of Juan <small>II.</small>; the palace of Fabio Neli, the great
+patron of art and letters in Valladolid, with its classical doorway; the
+archiepiscopal palace, once the residence of the Marquises of
+Villasante; and the house of the unfortunate Calderon, minister of
+Philip <small>III.</small>, in the Calle de Teresa Gil. Berruguete’s workshop may be
+seen near the convent (now barracks) of San Benito.</p>
+
+<p>These memorials of the city’s golden age having been inspected, you may
+ruminate on its past and future (for Valladolid <i>has</i> a future) in the
+beautiful shaded promenades by the Pisuerga or beneath the trees of the
+Magdalena park; and thus refreshed may possibly be ready to investigate
+the archives of the kingdom at Simancas, seven miles away. Considerable
+time and patience will, however, be required, since the collection
+consists of upwards of thirty-three millions of documents, arranged in
+eighty thousand bundles.<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p>
+
+<h2><a name="II" id="II"></a>II<br /><br />
+<span class="spc">OVIEDO</span></h2>
+
+<p class="nind"><span class="smcap">The</span> province of Asturias is, for all men of Spanish blood, holy ground.
+Its fastnesses sheltered the last little remnant of the nation which
+refused to bow before the foreign yoke, its mountains proved an
+impregnable bulwark against the invader. At Covadonga, Spain, beaten to
+her knees, with broken sword and buckler, struck back wildly,
+despairingly. Her adversary recoiled; in that instant she recovered her
+breath, and, rising to her feet, pressed him steadily, stealthily,
+irresistibly backwards. Asturias was not the cradle, but the asylum of
+the Spanish nation. Here, to use familiar expressions, she found
+salvation in the last ditch; she was saved at the eleventh hour.</p>
+
+<p>How dreadful was the peril of the nation we may understand when we read
+that the coast of Asturias itself was overrun by the Moors, and that a
+Muslim governor ruled at Gijon. Only a few glens in the wild Cantabrian
+moun<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span>tains can boast a soil never profaned by the tread of the infidel.
+Oviedo can claim no such distinction. The ground on which she stands
+was, beyond all doubt, within the Moorish dominions. And she was not, as
+it is a very common error to suppose, the first capital of the reborn
+monarchy. It was at Cangas de Onis that Pelayo held his primitive court,
+and to Pravia, nearer the ocean, that Silo transferred the seat of
+government. Not till the reign of Alfonso the Chaste (791-842) did
+Oviedo become the capital of the infant monarchy.</p>
+
+<p>The town was younger even than the kingdom. It sprang up round a
+monastery founded by King Froila <small>I.</small> on the spot where in 760 the Abbot
+Fromistano had dedicated a humble church to St. Vincent. Before the
+monastery was built, the first stones were laid of the famous basilicas
+of the Salvador and of Saints Julian and Basilissa. Alfonso was born
+here, and partly out of affection for his native place, partly perhaps
+from an aversion to the capital of his enemy, Mauregato, he established
+his court here, beside the churches he loved. He girded the town with
+walls, and raised the bishop to the rank of primate of his dominions.
+Sovereign of two of the smaller provinces of Spain, he is said to<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> have
+been emulous of the splendour of his contemporary Charlemagne. He
+endeavoured to restore the state of the old Gothic court. He revived the
+laws, the customs, and the ritual of his ancestors, and imported
+precious woods and marbles from afar for the embellishment of his little
+capital. His successors imitated not only the ceremonial and luxury of
+the Byzantine Emperors, but also their intriguing and methods of
+punishment. Putting out the eyes was as popular a means of ridding
+oneself of an opponent at Oviedo as at Constantinople. Alfonso el Magno
+avenged himself in this way on his four brothers, Veremundo, Nuño,
+Odoario, and Froila, whom he detected conspiring against him. Veremundo,
+notwithstanding, escaped to Astorga, where the inhabitants espoused his
+cause and defended him against his brother. Another conspiracy proved
+more successful, and Alfonso was driven from the throne by his own son.
+One day the dethroned sovereign presented himself before his successor
+and craved a boon. It was to lead the Asturian hosts once more against
+the infidels. The request was granted, and victory, as it had always
+done, attended the old king’s banners. And he had no sooner laid aside
+his arms, than, crowned with laurels in place of a<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> diadem, he passed
+away at Zamora, December 20, 910.</p>
+
+<p>The dominions of Alfonso were dismembered at his abdication, and Oviedo
+for the brief space of twenty years remained the capital of the kingdom
+of Asturias alone. Ramiro <small>II.</small> reunited the monarchy, and at the same
+time transferred the capital to Leon. Oviedo became again the temporary
+seat of government, when Al Mansûr’s ever-victorious host swept over
+Spain, submerging all the Christian conquests, and breaking only against
+the impenetrable barrier of the Asturias. Leon was not restored to its
+rank till the reign of Alfonso <small>V.</small> (999-1027). This second period of
+residence of the kings at Oviedo was marked by the miraculous
+intervention of Heaven on behalf of an innocent man&mdash;if the chroniclers
+may be credited. Ataulfo, Bishop of Santiago, was accused of enormous
+crimes, and, having been summoned to the court, was condemned on
+insufficient evidence by Veremundo <small>II.</small> to be exposed to the fury of a
+wild bull. The prelate, strong in the knowledge of his innocence,
+celebrated Mass, and presented himself in the arena clad in his
+pontifical vestments. The furious animal entered, and lo! at once
+prostrated himself before the devoted man, offering his head<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> and horns
+to be caressed. Nay, more, he threatened the spectators with his fury.
+Amid the plaudits of all, the holy bishop withdrew, and retired to a
+church in the valley of the Pravia, where he died in the odour of
+sanctity. Oviedo was known as the city of the bishops, as it was the
+residence of a great many prelates whose Sees were <i>in partibus
+infidelium</i>&mdash;that is to say, had passed under the control of the Moors.</p>
+
+<p>The history of the city, and indeed of the province, from the tenth
+century onwards, is of scant interest. Asturias was erected by Alfonso
+<small>VII.</small> in 1153 for a brief space into an independent kingdom in favour of
+the Infanta Urraca, his natural daughter by a lady of the province; but
+on her death it was reunited to the monarchy of Castile and Leon. Oviedo
+was too remote from the scene of the long campaign against the Muslims
+and from the later seats of government to take any prominent part in the
+nation’s affairs. But it did not escape the assaults of the French in
+the Peninsular War. The town was remorselessly sacked by General Bonnet,
+in spite of a resistance not unworthy of the posterity of Pelayo’s
+unconquerable warriors.</p>
+
+<p>A quiet, clean city, swept unceasingly by wind<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> and rain, Oviedo at
+first sight recalls but faintly its glorious past. Yet when we look
+carefully about us, we find that time has been kind to those early
+sanctuaries which were the cause of the town’s existence, and which have
+merited for it the title of ‘the holy.’ Approaching more as a pilgrim
+than a critic, in no sceptical frame of mind, you will find few places
+in Spain more deeply interesting. And though it is neither the oldest
+nor the most interesting architecturally of the local monuments, your
+steps will turn at once to the Cámara Santa, attached to the
+cathedral&mdash;the Palladium of Spain.</p>
+
+<p>In the seventh century (so runs the legend) when the hosts of Khosru
+threatened the Holy Land, an ark or coffer, worked by the disciples of
+the Apostles and full of relics of ineffable sanctity, was conveyed by
+pious hands to Egypt. Thence it was transported to Cartagena, thence to
+Toledo; and when that city in its turn was menaced by the ever-advancing
+Saracen, it was taken by King Pelayo to the cave of Monsagro, ten miles
+from Oviedo. When the chaste king and his architect, Tioda, re-erected
+the basilica of San Salvador, founded by Froila, in the year 802, a
+chapel dedicated to San Miguel, and now called the Cámara Santa,<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> was
+built expressly to receive this venerated reliquary.</p>
+
+<p>This sanctuary is now approached from the south side of the cathedral by
+a flight of twenty-two steps, built in the sixteenth century. We reach
+first the chapel, or ante-cámara, restored if not entirely constructed
+in the reign of Alfonso <small>VI.</small> (1072-1109), and representing the highest
+pitch of development reached at that time by Romanesque art in Spain.
+The roof is groined, and supported on each side by six columns built
+into the wall. Each column consists of two pilasters, rising from high
+pedestal bases, and supporting the statues of two Apostles. These
+figures are expressive, though rude, and the draperies are graceful and
+natural. At their feet are fantastic animals. The capitals of the
+columns are richly and beautifully carved with foliage, and with
+compositions representing scenes from the life of the Saviour and
+combats between men and lions. The capitals of the small pillars at the
+corners of the pedestals are also curious and delicately carved. Over
+the door are three heads in relief, of Christ, the Virgin, and St. John,
+early Romanesque work once painted and then disfigured by whitewash. The
+pavement of hard <i>argamasa</i>, or tessellated work, resembles, as Ford<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>
+remarks, Norman-Byzantine works in Sicily. Beneath is a crypt, or lower
+chapel, dedicated to St. Leocadia.</p>
+
+<p>At the far end of the Ante-cámara is the Relicario, the sanctuary
+actually constructed by Alfonso the Chaste. It measures about 19½ by 17
+feet, and consists of a single low vault with traces of paintings, and
+lighted by a little window in the arch spanning the entrance.</p>
+
+<p>Enclosed within a railing is the <i>Arca</i>, a chest of oak, 7½ feet long by
+3¾ broad, and thinly plated with silver. A Latin inscription of four
+lines on the lid goes to prove that this was the work, not of Alfonso
+the Chaste, but of Alfonso <small>VI.</small>, a conclusion warranted also by the
+Arabic inscription in Kufic characters, in praise of the Most High,
+running round the chest&mdash;a form of decoration not introduced into
+Christian work till after the fall of Toledo. On one face of the ark are
+reliefs of the Twelve Apostles within niches, with the Four Evangelists
+at the angles, and the figure of Christ, supported by angels, in the
+middle. On one side are reliefs of the Nativity, Adoration of the
+Shepherds, and the Flight into Egypt; on the other the Revolt of Satan,
+the Ascension, and the Apostles. The subject of the reliefs on the cover
+is the Crucifixion.<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p>
+
+<p>What this ark contains is a matter for pious speculation. It is reckoned
+rash and impious to attempt to solve the mystery; and it is related that
+when Bishop Sandoval y Rojas, after much prayer and fasting, placed the
+key in the lock, he experienced such horror that his hair rose erect and
+knocked off his mitre! It is extraordinary that Bonnet’s soldiers did
+not attempt to solve the mystery.</p>
+
+<p>On the cover of the Arca are placed smaller reliquaries, beautiful
+specimens of silversmith’s work, which some may think of more interest
+than their contents. These, according to tradition, are the following:
+two thorns from Christ’s crown, and one of the deniers for which he was
+sold; a piece of St. Bartholomew’s skin; some drops of blood which
+exuded from a crucifix profaned by the Jews; a fragment of the rod of
+Moses; one of St. Peter’s sandals; a fragment of the True Cross; and
+certain ivory tablets dated 1162.</p>
+
+<p>Other precious relics are exhibited in the chamber, among them the
+winding-sheet of the Saviour, in a superb box of gold and blue enamel.
+The Cruz de la Victoria was carved of plain oak and carried as a
+standard by Pelayo at Covadonga; it is now encrusted with gold and<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span>
+brilliant enamels&mdash;work executed, as the inscription records, at Gauzon,
+near Oviedo, in the year 908. Another cross, styled the Cruz de los
+Angeles, dates from the times of Alfonso the Chaste, for whom it was
+made, it is said, by two angels disguised as goldsmiths. This precious
+relic is in the shape of a Maltese cross, is set with gems <i>en
+cabochon</i>, and encrusted with gilt filigree-work. In the centre is set a
+precious ruby. On the arms is inscribed the date of the making (808
+<small>A.D.</small>) and an anathema on whomsoever should steal it. It is certainly
+remarkable that this inscription should contain nothing about the
+supernatural workmanship of the cross!</p>
+
+<p>&nbsp; </p>
+
+<p>The cathedral built by Tioda by order of Alfonso the Chaste was pulled
+down in the twelfth century. The foundation of the existing edifice may
+be attributed to Bishop Gutierre de Toledo, who flourished about 1390.
+The work was continued zealously by his successors, but was not
+altogether completed till the sixteenth century was half gone. The west
+front is flanked by towers, only one of which, as so often happens in
+Spain, has been raised above the general roof-level. The southern tower
+is of singular dignity and beauty. It rises to the height of 224 feet,<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span>
+and is divided into five stages, of which three are above the level of
+the aisles. The massive piers on which the structure rests are continued
+upwards in the form of buttresses along the corners, and are fluted,
+moulded, and enriched with canopies, crockets, and ornaments of the most
+elaborate and at the same time tasteful character. The windows are of
+three lights, with good traceries, above the archivolts appearing a kind
+of trefoil ornament. The third stage is girt by a beautiful parapet. The
+fourth stage is rather Renaissance than Gothic in treatment. It is
+flanked by tapering finials, and constitutes the belfry. Here is hung
+the bell named after King Vamba, which dates from 1219. On the topmost
+stage rises the graceful steeple, thickly encrusted with crockets, and
+flanked by pinnacles which seem to be a reproduction of it in miniature.
+No more beautiful church steeple than this is to be seen in Spain, or
+indeed in Europe. Repeated restorations, notably in 1521 and 1728, have
+fortunately left its fairy-like symmetry unimpaired.</p>
+
+<p>The tower, however, unquestionably dwarfs the rest of the front, which
+is composed of a fine portico of three arches, the middle one being the
+highest. This central porch is flanked<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> by statues of Alfonso the Chaste
+and King Froila. Despite these, and the canopied niches in the
+buttresses, the whole front presents a bare and forbidding aspect, not
+devoid, it must be conceded, of majesty. The portico was evidently only
+intended to be the base of the towers, of which, as we have seen, one
+only has been erected.</p>
+
+<p>The interior is harmonious and pleasing. The nave is about twice the
+height of the aisles, with which it communicates through pointed arches.
+The piers are lightly fluted and encircled by simple fillets of foliage.
+Above the arches runs a gallery with a graceful balustrade, and pointed
+openings divided by mullions and containing good traceries. The
+clerestory windows are tall and of six lights, the mullions being bent
+so as to form tracery. On the south side they are filled with good
+stained glass; the northern windows are filled up. The transepts are
+spacious and lighted by wheel windows. There is no lantern over the
+crossing.</p>
+
+<p>The chancel occupies a pentagonal apse at the east end of the nave, lit
+with five stained-glass windows. The retablo, dating from 1440, but
+since restored, is indifferent. The subjects of the reliefs are taken
+from the life of Christ.<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> Near the High Altar are the tombs of various
+bishops, and a fine kneeling effigy of Bishop del Villar, who is buried
+at Segovia. The pulpits are of gilt iron. In the Renaissance chapels
+behind the chancel is the tomb of Bishop Gutierre.</p>
+
+<p>In the transept is a rudely sculptured figure of Christ, believed to
+date from the twelfth century. The shells sculptured on the capital of
+the pillar, against which it stands, refer to the pilgrims who
+frequented this famous shrine.</p>
+
+<p>The choir stalls are richly carved with caprices and scenes, ‘ill
+according,’ remarks a Spanish writer, ‘with the sanctity of the place.’
+But the backs of the lower seats bear representations of Biblical
+characters, which, like the canopies above, are exquisitely carved. The
+organs are Churrigueresque, and the gorgeous Gothic trascoro is in
+hardly better taste. The chapels date mostly from the seventeenth and
+eighteenth centuries, and contain nothing of interest, except the
+alleged body of St. Eulalia of Merida.</p>
+
+<p>Communicating with the north transept is the Capilla del Rey Casto. This
+chapel, founded by Alfonso the Chaste, was entirely rebuilt in the
+eighteenth century by a bishop named Melaz in the worst baroque style.
+This was the pantheon of the early kings of Asturias, and some tombs,<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span>
+probably containing their remains, are certainly here; but the
+inscriptions are merely the result of guess-work. Only one sarcophagus
+can be identified, and that, it appears from the inscription, is the
+resting-place of one Ithacus. Who this personage was, and what he had
+done to merit sepulture in the royal vault, are riddles to which history
+supplies no answer.</p>
+
+<p>The cloister, begun in the fourteenth and finished in the fifteenth
+century, is in good Gothic style. The pointed arches looking on the
+court are divided by four or five slender shafts, which support elegant
+tracery. Among the statues that of Alfonso <small>XI.</small> Is the best preserved.
+The capitals and corbels are curiously and richly carved with such
+subjects as King Favila hunting the bear, the duel of Froila, and what
+Mr. O’Shea very rightly calls ‘a series of comical pictorial reviews of
+the times.’ There are many tombs in the cloister, belonging to various
+epochs, mostly earlier than the fourteenth century. They are of all
+styles, but Don J. M. Quadrado points out that the epitaphs are almost
+uniform in style. The famous Bishop Pelayo’s tomb (died 1153) is here.</p>
+
+<p>The chapter-house is a fine specimen of thirteenth-century architecture.
+The archives<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> adjoining contain some documents and codices of the
+greatest value. Here is preserved the <i>Libro Gotico</i> of the twelfth
+century, a beautifully illuminated manuscript, throwing light on the
+costumes and customs of that day.</p>
+
+<p>The other churches founded by Alfonso the Chaste and his predecessors in
+the town itself have either been demolished or so often restored,
+rebuilt, and renovated, that they cannot be considered worth a visit.
+The earliest foundation of all, San Vicente, was modernised in 1592, and
+is interesting as containing the bones of the Abbot Feijoo, a man
+greatly esteemed by his contemporaries for his learning and sanctity
+(died 1764).</p>
+
+<p>The Gothic church of San Francisco, now attached to a hospital, was
+founded by Fray Pedro, a companion of the great Francis of Assisi
+himself. This is the burying-place of the great family of Quirós, which
+claimed, in a not very reverent distich, to rank in point of dignity and
+antiquity next to the Divinity (‘Después de Dios, la casa de Quirós’).
+In the chancel lies Gonzalo Bernaldo de Quirós the Older, the youthful
+friend of Enrique of Trastamara, who died, wearing the religious habit,
+in 1575. Within a sepulchre upheld by lions which<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> bear escutcheons
+crossed by the bar sinister, are the ashes of another Gonzalo Bernaldo,
+a distinguished illegitimate scion of the house. He is shown clad in
+armour, and at his feet a dog&mdash;symbolical, possibly, of the fidelity and
+tenacity with which he watched over the interests of his family during
+the minority of its chiefs. Close by is the vault of the house of
+Valdecarzana; a modern inscription informs us that during the interment
+of one of that family, a live cow must be present in the church&mdash;why or
+wherefore not being stated.</p>
+
+<p>The church of Santa Maria de la Vega, outside the town, was the chapel
+of a Benedictine nunnery founded by Gontroda, mistress of Alfonso VII.,
+who took the veil here in 1154. She was joined in her retirement, it is
+believed, by her daughter Urraca, sometime Queen of Navarre, and
+afterwards of Asturias. A century later another interesting penitent
+sought an asylum here: Doña Sancha Alvarez, mistress of the greatest
+noble in Spain, Rodrigo Alvarez de Asturias. The two ladies’ tombs lie
+close together. The sarcophagus of Gontroda is adorned with Romanesque
+reliefs of birds, and of hounds chasing deer, in curiously crude and
+conventional attitudes; Sancha’s tomb shows Gothic influence,<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> and is
+sculptured in low relief. The epitaphs extol the virtues and amiability
+of the departed ladies.</p>
+
+<p>&nbsp; </p>
+
+<p>The two most interesting monuments in the district are the ancient
+churches of Santa Maria de Naranco and San Miguel de Lino, both outside
+the walls. The former was rebuilt by Ramiro <small>I.</small>, and is, therefore, well
+over a thousand years old. Attached to it were a palace and baths, every
+trace of which has long since disappeared. The architecture presents
+curious local peculiarities. The church is situated on a slope, and is
+composed of a single nave resting on a crypt or substructure. The only
+entrance is by a porch on the north side, which is on the level of the
+nave and approached by steps. The whole exterior is severe and simple,
+strong buttresses running up the walls to the sloping roof. In the west
+front three stages may be distinguished: the lowest is formed by the
+substructure entered in the middle by a round arch; above this the nave
+terminates in a portico of three round arches, which spring from four
+palm-like pillars with Corinthian capitals; in the middle of the third
+stage is a window of three lights, also round arched. The interior has<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span>
+remained practically unchanged since Ramiro’s day. The chancel and choir
+occupy opposite ends of the nave, and are raised by one and three steps
+respectively above the level of the flooring. Both are shut off by three
+round arches, the middle one being higher than the others; and an arcade
+of closed arches runs along the side-walls of the nave. These arches are
+rudely constructed, and rest upon, rather than spring from, octagonal
+capitals, quaintly carved with figures of priests and lions. The columns
+are composed each of four engaged shafts, of the same pattern as those
+of the western portico. The ribs of the waggon-vaulted ceiling spring
+from corbels, beneath which are reliefs representing the two orders of
+society in Asturias in the ninth century&mdash;knights engaged in combat, and
+toilers carrying loads. Under these again are circular medallions,
+filled with conventional foliage, and having in the centre reliefs of
+lions and birds. The church was probably intended to be open at both
+ends, as it is now, that the congregation assembled on the hillside
+might be able to assist in divine worship. It is one of the most
+valuable architectural monuments of Spain.</p>
+
+<p>The little basilica of San Miguel de Lino was<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> built near Santa Maria by
+King Ramiro about the year 850. The name was originally <i>de ligno</i>,
+<i>i.e.</i> of the wood, and was derived quite possibly from a fragment of
+the True Cross preserved here. Here we have a cruciform church in
+miniature, with transepts, lantern, and apsidal chapels, of a height
+which seems out of proportion to their other reduced dimensions. The
+apsidal chapels formed a semicircle at the foundation, but have been
+squared off since. The roofs are tiled and pitched. The buttresses
+resemble those of the Naranco church. The walls are pierced, here and
+there, with windows of three lights, with round arches, columns spirally
+fluted, and columns cut into leaves; above these is an elaborate
+geometrical tracery, suggestive of Moorish influence. The jambs of the
+round-arched western porch are rudely carved with curious groups. One of
+these is irresistibly grotesque. A man is shown balancing himself with
+his hands on the top of a pole and his legs in the air, exactly like the
+familiar monkey on a stick of our childhood; with head downwards, he
+grins into the jaws of a lion, which stands on its hind legs agape with
+surprise or indignation. Behind the gymnast another man appears to be
+indulging in some sort of<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> dumb-bell exercise. This amazing composition
+is averred by some authorities to represent the martyrdom of a saint!
+The floral designs which border it are skilfully, even delicately,
+executed.</p>
+
+<p>The chancel is on a lower level than the nave, which is reached on each
+side by a flight of steps, in a chapel projecting from the transept. The
+lantern has one of the earliest attempts at a domed roof, now
+unfortunately concealed by a later flat ceiling. The columns and arches
+are Byzantine in style, and the capitals carved with rosettes in
+medallions and strapwork. The nave is waggon vaulted and lower than the
+transept.</p>
+
+<p>&nbsp; </p>
+
+<p>The modern buildings of Oviedo present few features of interest. The old
+walls have almost entirely disappeared, and few of the palaces or
+noblemen’s houses date further back than the seventeenth century. The
+University, founded in 1608 by the executors of Archbishop de Valdés, is
+a dignified building in the classical style&mdash;such as one might see in
+any fair-sized town in southern Europe. The Ayuntamiento, uninteresting
+in itself, contains a charter granted by the sixth and confirmed by the
+seventh<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> Alfonso. Those who have had the opportunity of studying it say
+that it illustrates the transition from Latin to Spanish&mdash;just as the
+history of Oviedo illustrates the development of the Goth into the
+Spaniard.<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
+
+<h2><a name="III" id="III"></a>III<br /><br />
+<span class="spc">SEGOVIA</span></h2>
+
+<p class="nind"><span class="smcap">The</span> ancient and beautiful city of Segovia occupies one of those sites
+which men would have chosen for the building of towns as soon as towns
+ever came to be built. We may therefore be sure that the roots of the
+city’s life lie very far back in the past&mdash;an assurance confirmed by the
+name, which bespeaks an Iberian origin. Mediæval writers mentioned this
+as among the towns built by the fabulous King Hispan, whose name, with
+those of his relatives, Iberia and Pyrrhus, is always introduced to
+explain a mystery or to adorn a tale. To the Romans the place was known
+as Segobriga; and that it was a flourishing and important colony the
+great aqueduct, the most famous of its monuments, remains to this day to
+attest. We may assume the town under the Roman yoke was happy, for it
+had no history&mdash;at least, nothing of it has reached us. There were
+bishops on these barren heights in early times, for they are referred to
+by name as<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> attending councils at Toledo in the sixth and seventh
+centuries. At the time of the Mohammedan conquest, a hermit called Fruto
+rallied the Christians in the fastnesses of the mountains and kept alive
+in them the Christian faith and traditions. This holy person was the
+brother of the martyrs Valentin and Engracia, whom the Moors put to
+death. This the hardened infidels did, the chroniclers assure us, in
+spite of miracles which might have converted Mohammed himself; for the
+Segovian saints cleft mountains asunder with the stroke of a knife, and
+produced fountains from the solid rock with the touch of a wand; while a
+mare, to whom the Eucharist had been offered as food, dropped on her
+knees in adoration. It is clear that in after years the Christians of
+Segovia enjoyed the liberty of worship that the Muslims of Spain
+everywhere conceded to their subjects; for we hear of a bishop, Ildered,
+governing his flock here in the year 940. In the following century it
+was included within the dominions of the Amir of Toledo, and on the
+downfall of that monarchy was annexed to the growing kingdom of Castile.</p>
+
+<p>Like Salamanca and Avila, Segovia was repeopled at the instance of Count
+Raymond of Burgundy, chiefly by Gallegos from the north-<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span>west. It
+received its first charter from Alfonso <small>VI.</small> in 1108. Thereafter its
+citizens were always to be found in the fighting line. Tradition avers
+that Madrid was recovered from the Moors by the Segovians; and their
+chiefs on that glorious occasion were Dia Sanz and Fernán Garcia, whose
+descendants for many years after divided the government of the city
+between them. But the chronicles register a very black stain on the
+city’s fame: the assassination by the townsfolk of Alvar Fañez, the
+illustrious brother-in-arms of Alfonso <small>VI.</small>, at Easter, 1114. Four years
+later, the Segovians took the side of Alfonso <small>VII.</small> against his mother,
+Queen Urraca, and were rewarded by the reconstitution of their town into
+a bishopric.</p>
+
+<p>The history of Segovia differs little from that of other Castilian
+towns. Its citizens shared the glories and the hardships of the
+ceaseless campaigns against the Moors, and did not hold aloof from the
+equally numerous civil wars that distracted the kingdom. In 1295 they
+refused submission to the young king, Fernando <small>IV.</small>, and his mother,
+Maria de Molina. The brave queen forced her way into the town, and found
+the gates shut behind her. Undismayed, she harangued the stubborn
+townsmen. ‘Open your gates,’ she cried, ‘and I will go with my son to<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span>
+more grateful and obedient towns; where vassals are less easily deceived
+by intriguers, and where mother and son are not separated!’ The people
+were moved by her reproaches, and, admitting the king, escorted both in
+triumph to the Alcazar.</p>
+
+<p>The minority of Alfonso <small>XI.</small> (1320) was attended by sanguinary disorders
+in the streets of Segovia. Every church and house became a fortress, and
+the rival factions stormed and laid siege to each other’s strongholds
+within the narrow compass of the city walls. In 1368 the nobility held
+the Alcazar for Enrique of Trastamara, whilst the commons held the town
+for Pedro the Cruel; but the Gracious King, after the death of his
+half-brother at Montiel, visited Segovia and won all hearts. A hundred
+years later the town was distinguished by its loyalty to the wretched
+Enrique IV., who here betrayed his own daughter, Juana, by a
+reconciliation with his sister, Isabel. Not content with this, he
+appeared in the streets, leading by the bridle the palfrey of the woman
+who denied his own child’s legitimacy.</p>
+
+<p>The townsfolk, at the beginning of the reign of Charles <small>V.</small>, threw in
+their lot with the Comuneros; but the Alcazar throughout the rising was
+held by the royal forces. The<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> King-Emperor and his successor, like
+their predecessors, frequently sojourned in the old palace-fortress.
+Later on, it was often used as a state prison. The famous Ripperdá, the
+Dutch adventurer, passed a portion of his captivity here; and the
+Marquis of Ayamonte was confined here prior to his execution in 1648.
+The establishment of the court permanently at Madrid, and the building
+of La Granja by Philip <small>V.</small> in 1721, diminished the importance of Segovia
+as a royal residence. In few countries have the larger provincial towns
+loomed more conspicuously in the past than in Spain, and in few are they
+nowadays more decayed and bloodless. Segovia remains, as Antonio
+Gallenga described it, ‘an unmatched picture of the Middle Ages. You
+read its history on the old city walls with their eighty-three towers;
+in the domes and belfries of its churches; in the bare and blank ruins
+of its deserted monasteries; in the battlemented towers of its noble
+mansions.’</p>
+
+<p>The town stands high and bravely on the mountains, its flanks washed by
+two clear streams, Eresma and Clamores. The towers and domes rise
+sharply against the clear sky, high above the surrounding hills; an
+island of<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> the air Segovia seems as you catch sight of her from the
+dusty plains of Old Castile. Even as clouds in their fantastic
+formations take the semblance of far-away cities, so at certain hours
+from afar off you might take this to be just such a cloud-town. And when
+you draw nearer you find the valleys are cool and green, and that the
+tall trees flourish here and do not wither as in the plains round Burgos
+and Valladolid.</p>
+
+<p>&nbsp; </p>
+
+<p>Coming from La Granja, the first you see of Segovia’s wonders is
+fittingly by far the oldest. The aqueduct dates, it is believed, from
+Trajan’s reign, and is the most considerable of the Roman remains of
+Spain. In the Middle Ages, like most other classical works, it was
+attributed to diabolical agency, and is still often called El Puente del
+Diablo. Beginning at the Fuente Fria in the Sierra Guadarrama, ten miles
+away, with many zigzags it passes over hill and dale, and at last spans
+the deep valley before the city, and is carried across the streets to
+the Alcazar. It is built of granite with black veins, hewn in great
+blocks, which are pieced together without mortar or clamps. Every block
+is visible on one side or another. For the distance of nine hundred
+yards the aqueduct is carried on one hundred and<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> nineteen arches,
+varying in height from twenty-three to ninety-four feet. For a third of
+this length the arches are in two tiers. The work is devoid of
+ornamentation, except for the remains of a cornice. All is not Roman
+work. The aqueduct was partially demolished in the eleventh century
+during a siege by the Moors, and when Queen Isabel the Catholic
+determined to restore it, thirty-six arches between the convents of La
+Concepcion and San Francisco had fallen in. The restoration of these was
+intrusted, on the recommendation of the Prior of El Parral, to a young
+monk of that house, named Fray Juan Escovedo, who performed his
+difficult task with remarkable skill. Indeed, it is not easy to
+distinguish the Spaniard’s work from the Roman’s. Escovedo died in 1489.
+The only reward he received for his labours was the timber of the
+scaffoldings.</p>
+
+<p>Some of the arches have been for centuries embedded in the city walls.
+The work, though severe and imposing, is not perhaps equal to the Pont
+de Gard, or even to certain other Roman remains in Spain. Yet nothing
+could be more curious, or, in a sense, more picturesque, than the views
+of the quaint old houses framed by its arches, or grander than these as
+seen from San Juan,<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> or towering above the Plaza Mayor. Their height is,
+of course, magnified by the hovels clustering at their bases, in
+comparison with which the aqueduct appears rather the work of Cyclopes
+than of men. And through these arches, as through a gate of triumph, we
+pass into the mediæval city.</p>
+
+<p>Yet this is not the only monument of classical antiquity in Segovia. The
+rude figure of Hercules about to slay the Erymanthine Boar was
+discovered in the interior of the tower of Santo Domingo el Real, which
+became the property of the Dominican nuns in 1513. The demigod, to whom
+the foundation of so many Spanish cities has been ascribed, was no doubt
+worshipped here.</p>
+
+<p>&nbsp; </p>
+
+<p>This ancient town of warlike people is surrounded by high walls, reared
+by the settlers of Count Raymond in the eleventh century, though the
+Alcazar, the ‘Casa de Segovia’ (adjoining the fine old Puerta de San
+Juan), and the ‘Tower of Hercules’ just mentioned, all forming part of
+the enceinte, may have been in the first instance of Roman origin. The
+wall is strengthened by bastions and towers of various shapes&mdash;square,
+round, and polygonal&mdash;some with brick<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> archings and ornamental courses
+of brick and plaster. The wall and towers preserve their battlements.
+The ‘allure,’ or rampart walk, is in parts so narrow as hardly to permit
+of safe walking. Among the most picturesque gates is that of San Andrés.
+It lies between two towers, one square, the other larger and polygonal,
+and crowning the very edge of the declivity; from one to the other runs
+a gallery, supported by a semicircular arch. This gate was restored by
+Ferdinand and Isabel, and at one time afforded ingress to the Jewry of
+Segovia. The masonry of the adjoining wall resembles that of the
+aqueduct close by, and may possibly be a fragment of the Roman
+fortifications.</p>
+
+<p>Segovia, we are often reminded, looks like a ship in full sail towards
+the west; and the Alcazar is at the prow. Whether or not it occupies the
+site of a Saracen or Roman work, there can be no doubt that the present
+structure was founded by the conqueror of Toledo, Alfonso <small>VI.</small>, at the
+end of the eleventh century, and was remodelled and enlarged by Juan <small>II.</small>
+in the fifteenth. Much of it is now entirely modern, the interior of the
+fabric having been completely restored after the fire of 1862. For all
+that, this citadel of Segovia remains a fine typical castle<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span> of Castile,
+the castle-land. The massive Torre de Juan Segundo forms the east part
+of the building. Its four sides are furnished with the bartizans
+characteristic of Spanish castles, which spring out of the wall at about
+half its height, and rise considerably above the battlements. Between
+them runs a machicolation carried on corbels. The windows in this
+magnificent tower are sheltered by quaint stone canopies; and the whole
+façade is covered with plaster, on which Gothic tracery has been stamped
+with a mould as at the Alhambra. The interior is vaulted, and has three
+floors.</p>
+
+<p>Around the inner court were disposed the royal apartments, which indeed
+still exist, though the fire and consequent restoration have shorn them
+of most of their beauties. Don J. M. Quadrado, who saw them before the
+catastrophe, declares they were of magical splendour. A curious story is
+associated with the Sala del Cordon. In 1258 the learned king, Alfonso
+<small>X.</small>, discoursing at the Alcazar as was his wont with a party of sages,
+remarked, like Lafontaine’s Garo, that if the Creator had consulted him
+he would have turned out a better world; others have it that he declared
+his belief that the earth revolved round the sun, and not the sun round<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span>
+the earth. Whatever he said, he was rebuked for his profanity by Brother
+Antonio, a Franciscan. But the king hardened his heart. That very night,
+as he lay in bed, a thunderbolt came crashing through the ceiling, and
+sent him quaking and beseeching absolution to the feet of the friar. In
+memory of this event he decorated the walls of this apartment with the
+cord or girdle of St. Francis, which perhaps as a member of the lay
+‘Third Order’ he was entitled to wear.</p>
+
+<p>Passing through the handsome Sala del Trono, we reach the Sala de los
+Reyes, adorned before the conflagration with an ancient and valuable
+series of effigies of the early kings of Leon and Castile. From one of
+the windows Pedro, a son of Enrique <small>II.</small>, fell out of the arms of his
+nurse, and was dashed to pieces on the rocks below. The woman, rather
+than face the king’s anger, threw herself after her charge and met the
+same fate.</p>
+
+<p>The part of rock at the western extremity of town and citadel is
+defended by the strong Torre de Homenage, which was held for Isabel the
+Catholic by Andrés de Cabrera in 1476 when the rest of the fortress had
+been seized by the partisans of Juana. In 1507, on the contrary, it
+offered a vigorous resistance to the same Cabrera,<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> to whom, however,
+the garrison surrendered on May 15. The tower is surmounted and
+strengthened by seven turrets. The irregular disposition of these
+<i>cubos</i> and <i>torreones</i> (round towers and bartizans) round the four
+sides of a keep is a peculiarity of Spanish military architecture. Here
+they used to be crowned with peaked roofs of slate, probably like those
+that lend such a bizarre appearance to the palace at Cintra. This
+feature, like the plaster-work on the façade, shows distinct Moorish
+influence, and encourages the belief that the castle was modelled on
+that of the Muslim lords of Toledo.</p>
+
+<p>We have seen how important was the part played in the history of the
+kingdom by this grand old citadel. I must not forget to mention that Le
+Sage places here the scene of the confinement of Gil Blas before his
+marriage; but as is well known, the author of the most famous of
+picaresque romances never set foot south of the Pyrenees.</p>
+
+<p>&nbsp; </p>
+
+<p>The space to the east of the Alcazar was formerly occupied by the old
+cathedral, built in the twelfth century, and totally destroyed by the
+Comuneros in 1520. It was determined to erect the new cathedral on a
+more convenient site, and<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> on the 8th June 1522 the Bishop, going in
+procession, laid the foundation-stone of the existing building on the
+west side of the Plaza Mayor. The plans were drawn by Juan Gil de
+Hontañon, and are very similar to those of the new cathedral at
+Salamanca, of which Hontañon was architect, though he is said to have
+used another’s designs. Street thinks (and few will disagree with him)
+that this is the finer cathedral of the two, chiefly because its eastern
+end is semicircular and not square. It is one of the very latest Gothic
+cathedrals, and is on the whole a beautiful building in fine warm-hued
+stone. The plan is that of an oblong, rounded at the eastern end; or, to
+be more precise, it includes a nave with aisles, into which on both
+sides open chapels placed between flying buttresses, and a chevet with
+seven polygonal chapels. The choir occupies the customary position in
+the middle of the nave. A cupola, 220 feet high, rises over the
+crossing. The length of the church is given as 330 feet, the breadth as
+158 feet, the nave being 44 feet across, the aisles 30 feet.</p>
+
+<p>The west front is divided by buttresses into five compartments,
+corresponding to the nave, aisles, and rows of chapels, both in width
+and in elevation. The three entrances are enclosed<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> within pointed
+arches. The ornamentation is restrained and pure. At the southern corner
+the front is flanked by a square tower 345 feet high and 35 feet in
+area, with six rows of windows enclosed within arcades and all blinded
+except those of the belfry. The angles of the platform are adorned with
+pinnacles, and the tower is surmounted by an octagonal clock-story.
+Higher than the Giralda of Seville and broader than the Tower at Toledo,
+this structure is a matter of legitimate pride to the Segovians.</p>
+
+<p>The rest of the exterior closely resembles that of Salamanca&mdash;‘the same
+concealment of the roofs and roof-lines everywhere,’ laments Street. The
+outside of the chevet exhibits an excess of ornamental work; it is, in
+fact, a forest of pinnacles. On the south side the façade is partly
+hidden by the cloister and sacristies.</p>
+
+<p>The interior is bright and altogether pleasing. The columns are massive
+and gracefully moulded, and the arches lofty. The nave and aisles are
+lighted by windows filled with beautifully-coloured glass. There is no
+triforium, but instead a balustrade in the flamboyant style in front of
+the clerestory of the nave.</p>
+
+<p>The lantern or cupola over the crossing, and the gorgeous reredos behind
+the High Altar, are<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> quite out of keeping with the general aspect of the
+church. The chancel is enclosed by three very fine iron screens, quite
+Plateresque in character, though executed in 1733. The majority of the
+stalls in the choir were designed for the old cathedral, half a century
+at least before its destruction. The organ on the Epistle side, now
+enclosed in an eighteenth-century case, also came from the old church,
+and was the gift of Enrique <small>III.</small> The rich marble retablo at the west end
+of the choir was given by Carlos <small>III.</small>, and enshrines in a silver
+reliquary the ashes of the local martyrs, Fruto and his brethren.</p>
+
+<p>The chapels are not specially interesting. Those in the chevet are
+exactly alike, and furnished like those in the aisles, for the most
+part, with seventeenth-century retablos. In one (Nuestra Señora del
+Rosario) is buried Doña Maria Quintana, who ended a dissipated life in
+the odour of sanctity on August 16, 1734. Her epitaph runs: ‘Hic vespere
+et mane et meridie laudes Deo reddidit, et vitandi crimina zelo preces
+et lacrymas Juges effudit; hic quam intra chorum psallere secum
+prohibuit, extra chorum fructuose psallere Spiritus docuit; hic tertio
+ab obitu die nondum rigida membra, à juncturis suis jamdiu separata
+quiescunt ossa.<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> An forsan post mortem etiam prophetabunt?’ The chapel
+of St. Hierotio was dedicated to that saint by Bishop Escalzo under the
+false impression that he was the founder of the see. The Capilla de la
+Piedad (fifth in the left aisle) is remarkable for a fine Descent from
+the Cross, a retablo with colossal and expressionful figures, painted by
+Juan de Juni in 1571. In the same chapel is a painting by Alonso Sánchez
+Coello, the Apparition of Christ to St. Thomas, spoilt by injudicious
+re-touching.</p>
+
+<p>On the south side of the cathedral is the cloister, which belonged to
+the old church, and was reconstructed here in beautiful flamboyant style
+by Juan Campero in 1524. It is entered by a fine Gothic doorway, in the
+Consuelo chapel (wherein is the noble tomb of Bishop de Covarrubias). On
+the cross-vaulting of the cloister may be seen the arms of Bishop Arias
+Dávila. We notice the monuments of three of the architects&mdash;Rodrigo Gil
+de Hontañon (died 1577), and his successors, Campo Agüero and Viadero.
+In the chapel of Santa Catalina at the foot of the West Tower are
+contained the remains of little Prince Pedro, with his painted and
+gilded effigy. The superb monstrance preserved in this chapel was
+designed in 1656 by Rafael González. At<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> the northern aisle of the
+cloister may be read this inscription: ‘Aquí está sepultada la devota
+Mari Saltos con quién Dios obré este milagro en la Fonzisla. Fizo su
+vida en la otra iglesia, acabó sus dias como Católica Cristiana, Año de
+1237.’ (Here is buried the devout Maria Saltos, with whom God performed
+a miracle at Foncisla. She passed her life in the other church, and
+finished her days as a Catholic Christian in the year 1237.) ‘The other
+church’ was of the Hebrew persuasion, to which Maria belonged. Accused
+of adultery, and condemned to die by the elders of her community&mdash;which
+was a self-governing body in Spain within certain limits&mdash;she was cast
+from the Peña Grajera, the Tarpeian Rock of Segovia. At the supreme
+moment she was heard to invoke the Virgin of the Christians, and reached
+the ground unharmed. She was baptized, and died, as the epitaph
+testifies, a devout Catholic. The incident may be ranked with the
+remarkable, if not miraculous, escape of the Catholic secretaries at
+Prague, known as the Fensterstürz.</p>
+
+<p>The chapter-house, adjacent to the Western Tower, is a very splendid
+apartment, paved with marble, upholstered with crimson velvet, and
+containing some good engravings, mostly<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> Flemish. An elegant staircase
+leads to the library above.</p>
+
+<p>&nbsp; </p>
+
+<p>At the back of the cathedral is the Plaza Mayor, one of the most
+picturesque squares in Spain. The Ayuntamiento with its Doric columns
+looks strangely out of place, surrounded as it is by old houses with
+projecting upper stories and wooden loggias of a Gothic, almost German
+character. The church of San Miguel may be attributed to Hontañon or one
+of his assistants. It replaces an earlier structure, in the porch of
+which the town council used to meet. In the north transept is an
+interesting triptych, where St. Michael is represented weighing souls.
+Hard by, at the corner of the Calle Ancha and Calle de los Huertos, is
+the old mansion of the Arias Dávila family, with a tall square turreted
+tower, adorned in its lower stages with diapered plaster. Near the
+church of San Martin are another fine tower belonging to the Marquis de
+Lozoya, and the house (now a book-shop) of Juan Bravo, one of the three
+leaders of the Comuneros.</p>
+
+<p>The church of San Martin is approached by a flight of steps, and
+encircled on three sides by a cloister or portico, which was used in the
+twelfth<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> century, at all events, as a burial-ground. The west porch is
+bold and original, with statuary in the jambs of the doorway, and
+capitals carved with birds in couples. The church was originally
+apsidal, but has been frequently restored. The Bravos and Rios, two
+prominent families of Segovia, are buried here; and the tomb of Gonzalo
+de Herrera and his wife in alabaster is in a chapel on the left-hand
+side. The church is surmounted by a modern cupola over the crossing, and
+by an ancient tower placed, oddly enough, over the middle of the nave.</p>
+
+<p>Near the Puerta de San Martin is the Casa de los Picos, which was
+acquired and rebuilt in the fourteenth century by the family of Hoz. It
+seems once to have been known as the Jews’ House, till in the sixteenth
+century its façade was rebuilt with the extraordinary facetted stones
+from which it derives its present name. While in this neighbourhood, the
+few poor remains of the palace of Enrique <small>III.</small> should be inquired for.</p>
+
+<p>Where the Calle Real opens into the Plaza Mayor is situated one of the
+most interesting churches in Segovia. Corpus Christi Church was till the
+year 1410 a Jewish synagogue. In that year a rabbi obtained from the
+sacristan of San Facundo a consecrated Host as a security, it is<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> said,
+for a loan. The street where this impious transaction took place is
+still known as Mal Consejo. The Jews attempted to profane the Sacred
+Wafer in their synagogue, but were scared by awful portents, and
+confessed their crime. Their place of worship was forfeited, apparently
+at the suggestion of St. Vincent Ferrer, and consecrated as a Catholic
+church. It bears a strong likeness to Santa Maria la Blanca at Toledo.
+The nave and aisles are separated by horseshoe arches springing from
+fir-cone capitals, above which runs a series of blind windows. The
+ceiling is of wood. The transept and dome have been added since the
+adaptation to the purposes of Christian worship. The sacristan will
+point out the crack in the wall which occurred at the moment of the
+attempted sacrilege.</p>
+
+<p>Santa Trinidad, on the north side of the Plaza Mayor, is a Romanesque
+church of the San Martin type. It is adjoined like the latter by a
+portico, also used once as a place of sepulture. The apse is lit by
+three windows, below which are others now only to be seen from the
+interior. A lane leads from this church to San Nicolás, close to the
+walls. Here the two apses are each lit by a single window, and over the
+smaller of the two is raised a low tower with two round-<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span>arched belfry
+windows. The secularised church of San Facundo exhibits similar
+characteristics. It contains a not very valuable museum.</p>
+
+<p>Segovia is a Paradise for the ecclesiologist, but so many of the
+churches differ only in the smallest particulars from the San Martin and
+San Millán type that a description of each would be tedious. An
+exception must be made as regards San Esteban, opposite the Episcopal
+Palace, famous for its Romanesque tower, the finest work of the kind in
+Spain. The base of the tower is as high as the nave; the remaining five
+stages are adorned on each side with graceful arcaded windows. The
+angles are splayed off, and up the middle runs a shaft. The tower is
+surmounted by a pinnacle, evidently a later addition, and in very bad
+style. The external cloister of San Esteban is the most beautiful in the
+town.</p>
+
+<p>In the disused church of San Juan de los Caballeros are buried the
+founders of the two great houses of Segovia, Fernán Garcia and Dia Sanz,
+averred by tradition to have been the conquerors of Madrid.</p>
+
+<p>The finest specimen of these early Romanesque churches is to be seen
+outside the south wall. San Millán is said to have been founded by the<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span>
+Counts of Castile in the tenth century, but the present fabric dates
+from the twelfth. The church consists of a nave, aisles, and external
+cloisters on each side, all ending in eastern apses. There is a low,
+square lantern over the crossing, and a modern square tower at the east
+end of the north cloister. The west front is very simple and pierced
+with a round-arched door and four windows. The arches of the cloister
+spring from finely sculptured capitals on double shafts. Street calls
+attention to a local peculiarity in the design of the north and south
+doors. ‘Their jambs consist of shafts set within very bold, square
+recesses; and the number of orders in the arch is double that of those
+in the jamb, they being alternately carried on the capitals of the
+shafts, and upon the square order of the jambs. The effect is good....’
+The interior is well preserved, but daubed all over with whitewash and
+plaster. The church is barrel-vaulted, but may once have had a flat
+timber roof. The capitals of the massive columns are carved with very
+large and striking figures of men and animals. The corbels are adorned
+with masks and caprices, very skilfully chiselled.</p>
+
+<p>&nbsp; </p>
+
+<p>Two other exceedingly interesting churches<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> are also outside the city
+wall, in the valley of the Eresma. Descending by a very steep path from
+the Alcazar to the junction of the two streams, and passing an arch in
+the baroque style, we reach Fuencisla&mdash;the bubbling rock, from which
+water filters. Here a cypress marks the spot where Maria del Salto
+alighted uninjured from the crag above. The neighbouring church, built
+in 1613, contains the shrine of the wonder-working Virgin of the
+Fuencisla. It possesses a fine reredos and iron pulpit. In the convent
+of the Discalced Carmelites are preserved the head and body of the
+famous St. John of the Cross, the spiritual guide of St. Teresa, and one
+of the world’s greatest mystics. You may also see the pictured Christ
+which, it is alleged, spoke to the saint, bidding him ask a favour; John
+asked, as a devout Spaniard of that time might have been expected to do,
+for more suffering and humiliation. The cave in which he retired to pray
+may also be visited.</p>
+
+<p>Proceeding up the valley of the Eresma, we notice the old Casa de
+Moneda, or Mint, built in 1586, which down to 1730 coined all the money
+of Spain. Above it lies the curious little church of Vera Cruz, built in
+1204 by the Knights Templars, more or less on the model of the<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> church
+of the Holy Sepulchre at Jerusalem. It would be difficult to convey a
+clearer idea of the peculiar conformation of this structure than by
+Street’s description: ‘The nave is dodecagonal, and has a small central
+chamber enclosed with solid walls, round which the vaulted nave forms a
+kind of aisle. This central chamber is of two stories in height, the
+lower entered by archways in the cardinal sides, and the upper by a
+double flight of steps leading to a door in its western side. The upper
+room is vaulted with a domical roof which has below it four ribs, two
+parallel north and south, and two parallel east and west, and it retains
+the original stone altar arcaded on its sides with a delicately wrought
+chevron enrichment and chevroned shafts. The upper chapel is lighted by
+seven little windows opening into the aisle around it. A slab indicates
+the position of the supposed sepulchre. The room below the chapel has
+also a dome, with ribs on its under side. On the east side of the
+building are the chancel and two chapels, forming parallel apses, to the
+south of which is a low steeple, the bottom stage of which is also
+converted into a chapel. The chapel in the centre of the nave is carried
+up and finished externally with a pointed roof, whilst the aisle is<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>
+roofed with a lean-to abutting against its walls. There are pilasters at
+the angles outside, small windows high up in the walls, and a fine
+round-arched doorway on the western side.’ The sepulchre is placed on
+the upper story, as at Jerusalem, where the hill of Calvary has been
+included within the church. Note the red crosses recalling the original
+owners, and the fast disappearing paintings on the retablo in the
+chancel. The portion of the True Cross formerly preserved here was
+removed to Zamarramala in 1663, when the old Templars’ Church was
+abandoned so far as religious rites were concerned.</p>
+
+<p>Not far off, in a desolate spot once described as a terrestrial
+paradise, stands the church of El Parral, the chapel of a suppressed
+monastery of the Hermits of St. Jerome. It was founded in 1447 by the
+famous Juan Pacheco, Marquis of Villena, on the ground where he had
+defeated three antagonists in a protracted duel. The architects were
+Juan Gallego and the brothers Guas of Toledo. The plan of the church is
+unusual. The transept is very broad from east to west, and projects but
+little beyond the nave. The chancel is shallow, and its lateral walls
+run slant-wise to the eastern angles of the transept. Most churches of
+the Order of St. Jerome, accord<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span>ing to a Spanish writer, were built this
+way. The effect is good. The nave is practically covered by a western
+gallery, and has but few windows; whereas the transept and chancel are
+flooded with light through six tall lancet windows with statues of the
+Twelve Apostles in their jambs. The contrast of light and shadow is very
+striking and beautiful. The choir or western gallery is carried on
+graceful arches and is handsomely panelled. Over the north-western
+chapel of the transept is the organ loft. The reredos behind the High
+Altar, in five stages separated by columns, was painted in 1553 by Diego
+de Urbina. The tombs of the founder and his wife lie on either side of
+the chancel. Their kneeling effigies, though sadly damaged and defaced,
+remain among the most beautiful examples of Spanish sculpture. Equally
+deserving of praise is the tomb of the Marquis’s natural daughter, the
+Countess de Medellin, in the south transept. The exterior of this church
+is not remarkable. The west front is pierced by a good double door, and
+‘adorned’ with two huge square coats-of-arms; it is flanked by a square
+tower pierced by rounded windows in the belfry story.</p>
+
+<p>Near to a cave where St. Dominic was accustomed to mortify the flesh,
+the Catholic Sovereigns<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> built the church and convent of Santa Cruz, on
+the site of the first monastery of the order. The church has been truly
+described as a debased copy of El Parral. The western doorway is
+elaborate. Over the door, enclosed within a trefoil arch, is a
+Deposition from the Cross, with Ferdinand and Isabel kneeling on either
+side. Above, their escutcheons are displayed on either side of the
+crucifix. The retablo by Herrera, with which Philip <small>II.</small> endowed the
+church, was burnt in 1809, the fire irretrievably damaging the whole
+interior. Santa Cruz has now been converted into a charitable asylum.</p>
+
+<p>Following the line of the city wall, we pass the church of San
+Lorenzo&mdash;a good example of the local style&mdash;once surrounded by thriving
+looms, and re-enter the town by the Plaza del Azoguejo, a picturesque
+space where the citizens love to forgather in the shadow of the mighty
+aqueduct.<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p>
+
+<h2><a name="IV" id="IV"></a>IV<br /><br />
+<span class="spc">ZAMORA</span></h2>
+
+<p class="nind"><span class="smcap">Zamora</span> on the Duero is one of the most picturesque towns in Spain, and
+one of the most celebrated in its annals. It is not well known to
+foreigners, probably on account of it being so difficult of approach.
+Few places bring back so vividly the stirring past of Castile.</p>
+
+<p>The town stands above the Duero on a rocky ridge, the castle and
+cathedral occupying the western extremity. The river is spanned by a
+bridge of seventeen arches, defended near either end by a high
+gate-tower. If the approach is quaint and mediæval, the view from this
+point is even more so. Towards sundown, the spirit of the Middle Ages
+seems to inform the town&mdash;all is sombre, fierce, strong, and venerable.
+The country round seems little better than a desert. From the walls
+above eyes seem to be scanning the horizon for the first gleam of
+hostile lances. Zamora belongs to the days when towns, like men, always
+wore armour. To-day<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> she is broken and war-worn and old; but if her
+sword is rusted and her shield broken, she may well boast it was in the
+service of Spain.</p>
+
+<p>As we jolt over the old bridge, above the weirs of the Duero, and climb
+the steep street that leads into the town, we need no consultation of
+the records to tell us that we are here in the old Castile of the
+knightly days, that we shall find few memories of artists and poets, few
+of statesmen and great rulers, but many of hard fighters and holy
+priests. Zamora is constantly mentioned in the <i>Romancero</i>. We can
+imagine that it was a town towards which Don Quixote would have been
+drawn, but he only spoke of it as famous for bagpipes. Like Burgos and
+Valladolid and Salamanca, it was the creation of the mediæval time, and
+we hear first of it in the ninth century. Alfonso <small>I.</small>, or his son Froila,
+took the town from the Moors. Thereafter, for many years, it continued
+to change hands. The Day of Zamora, famous in Spanish song and story
+(July 9, 901), when nearly seventy thousand Moors were slain or
+captured, assured the possession of the town to the Christians. In this
+terrific engagement Bernardo del Carpio is supposed to have won his
+spurs, though (if he ever existed, or<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> the battle really took place) he
+must have been a hundred years old at the time! Soon after this victory
+the citizens clamoured for a spiritual shepherd, and a hermit named
+Atilanus was given them as bishop. Certain episodes of his youth began
+to trouble the prelate’s mind, and at the end of ten years he laid aside
+the pastoral staff, and declared himself unworthy of his office. He went
+on a pilgrimage, having thrown his episcopal ring into the Duero,
+proclaiming that he would not return till it was restored to him as a
+sign that God had pardoned him. All in the least familiar with folklore
+will, of course, know what happened next. Like the ring of Polycrates,
+like the ring in the arms of Glasgow, the bishop’s amulet was found in
+the body of a fish served up to him at supper. The relief of the good
+man at this unmistakable evidence of the Divine forgiveness, his return
+to his See, and the rejoicings of the inhabitants may be inferred and
+imagined. Atilanus was canonised by Urban <small>II.</small> in the eleventh century.</p>
+
+<p>Of another tremendous victory said to have been won before the walls of
+Zamora in 939 over the pertinacious Moors we need not speak further, for
+it is more than probable that the fight never occurred here at all, but
+at Simancas. There<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> can, however, be no doubt that the place fell before
+the irresistible Al Mansûr in 981, in spite of the brave resistance of
+the commandant, Domingo Sarracino. The Moors repeopled the town, which
+was governed by one Abu-l-Was el Tojibita. It was labour wasted so far
+as they were concerned, for Zamora was soon, and finally, recovered by
+the Spaniards. And now we come to the episode which has secured the town
+so prominent a place in the annals and legendary lore of the country.</p>
+
+<p>Fernando <small>I.</small>, King of Leon and Castile, in response to the importunities
+of his children, on his deathbed divided his dominions between them. To
+his eldest daughter, Urraca, he gave Zamora, to her sister, Toro. The
+disposition of his estates made, the dying king invoked the vengeance of
+Heaven on whomsoever should disturb it; and all present, except his
+eldest son Sancho, responded, Amen. It was not long before this prince
+(now King of Leon and Castile) showed his dissatisfaction with what
+Ford, with a touching faith in the sanctity of primogeniture, calls this
+unjust division. Toro was soon surrendered by Doña Elvira, and, very
+shortly after, the stout-hearted Urraca beheld from these walls the
+hosts of Castile beleaguering<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> her little principality. With Sancho’s
+army was the Cid. With him, the chroniclers assure us, the Infanta was
+in love. If so, these tender sentiments were not allowed to interfere
+with the vigour of the attack and defence, which were both conducted
+with ferocious determination. The siege had lasted seven months when a
+personage called Bellido Dolfos, the son, delightfully enough, of Dolfos
+Bellido, sought an audience of the king. He had fled from Zamora, he
+said, to escape the vengeance of Urraca’s minister, Arias Gonzalo; and
+he would show the king the secret postern in the walls by which he had
+escaped, and by means of which the town could be taken. This audience
+appears to have taken place very close to the walls, for we are told
+that the citizens cried out to Sancho, adjuring him to have nothing to
+do with Dolfos, who had committed four acts of treason already. These
+well-meant hints, naturally enough, confirmed Sancho’s confidence in the
+stranger. On the morning of the 7th October 1072 the two went forth to
+reconnoitre the walls. Dolfos took advantage of the king in an unguarded
+moment, and stabbed him in the back. He then promptly ran towards the
+postern. The Cid, seeing him run, suspected something amiss, and
+mounting Babieca gave chase; but<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span> alas! he had forgotten his spurs, and
+the assassin made good his escape. Sancho was carried back to the camp,
+and before he expired attributed his destruction to his father’s curse.
+The siege was prosecuted with greater vigour than ever by his captains.
+Don Diego Ordoñez denounced the citizens, without exception of persons,
+as felon knaves. Arias Gonzalo and his four sons took it upon themselves
+to vindicate the honour of the town in five successive duels with the
+Castilian. Three of the Zamoran champions were slain by Ordoñez, but he
+was jerked out of his saddle by his dead adversary’s wounded horse, and
+the combat was declared by the judges to be at an end. The venerable
+Arias Gonzalo thus preserved one of his sons, and Castile her champion.
+The accession of Alfonso <small>VI.</small> to his murdered brother’s throne restored
+peace to the distracted kingdom, and left the Infanta in enjoyment of
+her little state.</p>
+
+<p>Zamora is still encircled with massive walls, strengthened with numerous
+round towers. The name of Urraca’s Palace is given to a house, old
+enough to all seeming, close to one of the gates opening near the
+northern end of the Paseo de Valorio; this gateway is flanked by two
+bastions, and above it may be seen the<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> bust of Princess Urraca, with
+the inscription much defaced&mdash;</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">‘Afuera, afuera Rodrigo<br /></span>
+<span class="i0">El soberbio castellano!<br /></span>
+<span class="i0">Acordórsete debiera<br /></span>
+<span class="i0">De aquel buen tiempo pasado,’ etc.<br /></span>
+</div></div>
+</div>
+
+<p>These verses from the <i>Romancero</i> are supposed to have been addressed by
+the Princess to the Cid, and allude, presumably, to the love-passages
+between them. The postern through which Dolfos escaped may be seen in
+the wall farther towards the west. The site of the Cid’s house is also
+pointed out. The tiny hermitage of Santiago in the Vega marks the spot
+of the assassination, and a battered cross on a pillar some distance
+outside the town commemorates Sancho’s exclamation that he would never
+be king till he was lord of Zamora.</p>
+
+<p>The castle from which perhaps Urraca and Arias Gonzalo looked across at
+Sancho’s camp is at the western extremity of the town. During the civil
+wars that disturbed the reign of Alfonso el Sabio, it was held for the
+king by Doña Teresa Gomez, wife of Garci Perez Chirino. Her youngest
+child was captured by the rebels, and to save his life she surrendered
+the fortress. At the time of the disputed succession following the<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span>
+demise of Enrique <small>IV.</small>, the castle was held by the Portuguese in the
+interests of Juana ‘la Beltraneja,’ who held her court here for a brief
+season. The garrison resisted many determined assaults, and capitulated
+on honourable terms only after the battle of Toro, February 1476. In
+after years, and especially during the Peninsular War, the stronghold
+was adapted to the requirements of modern warfare, and has lost, in
+consequence, much of its mediæval character.</p>
+
+<p>Hard by is the cathedral, far away from the centre of the town. When the
+See was restored by Alfonso <small>VI.</small>, Gerónimo, the Cid’s confessor, was
+appointed to it; but he was soon translated to Salamanca (or else Zamora
+was carved out of that See), and was succeeded by another Frenchman,
+Bernard, a namesake and countryman of Bernard, Archbishop of Toledo.
+These foreigners introduced the Romanesque style, of which Zamora must,
+in its primitive state, have been a noble example. The building was
+completed in 1174. To that period belongs the grand square tower at the
+west end of the north aisle&mdash;the most conspicuous landmark of the
+vicinity&mdash;with its three upper stories pierced on each side with one,
+two, and three windows respectively. The tower was designed for defence
+as well as<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> ornament. Over the crossing rises a dome of beautiful
+construction, very Oriental in character, with turrets surmounted by
+smaller cupolas and pierced with rounded windows at its angles. Seen
+from within, this dome is of the ‘half-orange’ type, the ribbing of the
+vault giving it very much the appearance of the sections of the fruit.
+In the sharp fringe of ornament at the angles, Street saw the very
+earliest kind of suggestion of a crocket, and was of opinion that ‘we
+have in England no monument of the middle ages which is one whit more
+precious.’</p>
+
+<p>The cathedral has no west front, and its exterior is, it must be
+confessed, a veritable patchwork of different styles. The Puerta del
+Obispo, facing the Episcopal Palace, in the south transept probably
+dates from the twelfth century. The main entrance is through a
+four-ordered arch with three shafts in each jamb. The capitals are
+roughly moulded and have abaci. Over the lateral doorways (now closed
+up) are rudely-carved reliefs, with dragons and floral devices
+introduced into the decoration. The two odd-looking rosette-like
+ornaments above seem to be models of the interior of the dome. Above the
+three doors runs a gallery of five recessed arches, and over this again
+a blocked-up window.<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p>
+
+<p>The northern entrance, surmounted by a modern clock-tower, is,
+incongruously enough, in the classical style, with a rounded arch. The
+interior of this interesting little cathedral is impressive. We are at
+once struck with the width of the piers (seven feet across) as compared
+with that of the nave, which is only twenty-three feet. The arches here
+are in the Pointed style. The aisles are lower than the nave, and
+supported by broad massive buttresses. There being no western portal,
+that end of the church is occupied by chapels, which give a very
+singular effect to the building.</p>
+
+<p>The High Altar and chancel are in the Gothic style, and owe their
+construction to the absentee bishop Diego Meléndez Valdés, who ruled the
+See between 1496 and 1506. His arms, five fleurs-de-lys, may be seen on
+the railings. The retablo, with its jasper columns and gilded capitals,
+is modern. The subject is the Transfiguration. In the precinct of the
+High Altar is buried Count Ponce de Cabrera, one of the Emperor
+Alfonso’s most distinguished lieutenants. The Altar is in the late
+Gothic style, and must have been erected three centuries after the
+Count’s death. There are good wrought-iron pulpits on each side of the
+chancel.<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p>
+
+<p>The choir was also the work of Bishop Valdés. It occupies the bays west
+of the crossing as usual in Spanish churches, but the bad effect of that
+position is here greatly relieved by the piercing of the western screen
+or <i>trascoro</i> with two elliptical doorways, between which is a painting
+representing Christ surrounded by the Blessed. The fittings of the choir
+are very interesting, and of the same age as the screens. The backs of
+the lower range of stalls are carved with low reliefs of thirty-eight
+personages of the Old Dispensation, from Abel to Nebuchadnezzar,
+Caiaphas, and the Centurion. In their hands are scrolls containing
+texts, very cleverly chosen, of which a list is given in Neal’s
+<i>Ecclesiologist</i>, and reprinted in Street’s <i>Gothic Architecture in
+Spain</i>. The execution is rude, but expressive and painstaking. The upper
+stalls are adorned with full-length reliefs of saints, confessors, and
+martyrs of the New Dispensation, which are more delicately designed and
+finished. Above runs a canopy, sculptured with animal forms. The
+enormous metal lectern and the Bishop’s Throne, with its tapering spire,
+are fine examples of Gothic work.</p>
+
+<p>The chapels are not of special interest. That on the middle of the
+western wall is dedicated<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span> to San Ildefonso, but is more generally known
+as the Capilla del Cardenal, after its founder, Don Juan de Mella, who
+died in 1467. This prelate’s brother, Alonso de Mella, was the founder
+of a sect which seems to have resembled the Anabaptists of Westphalia;
+he was expelled from Castile, and took refuge at Granada, where he was
+put to death by the Moors. The retablo, by Gallegos, is in six
+divisions, the subjects being: San Ildefonso receiving at Toledo the
+chasuble from the hands of the Blessed Virgin, the Discovery of the
+Relics of St. Leocadia, the Veneration of the Relics, and (above) the
+Crucifixion, the Baptism of Christ, and the death of John the Baptist.
+This chapel contains the tombs of the Romero family. In the adjoining
+sacristy are some interesting battle-scenes from Old Testament history.</p>
+
+<p>The chapel of San Juan Evangelista was built with funds bequeathed by
+Canon Juan de Grado (1507), whose fine alabaster tomb is surmounted by
+his recumbent effigy, accompanied by a priest and an angel. Above the
+canopy is an exquisitely chiselled composition representing the
+Crucifixion, with expressive statues of the Apostles Peter and Paul;
+within is a curious but admirable genealogy of the Blessed Virgin,<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span> at
+the base of which is the recumbent figure of an old man, wearing a
+crown, and representing possibly one of the early patriarchs. The
+Capilla de San Miguel is of less interest. It contains the
+sixteenth-century tombs of the canons de Balbas. Of the side-chapels,
+the most notable is that of San Bernardo, rebuilt in the sixteenth
+century.</p>
+
+<p>In the sacristy is preserved a remarkable silver monstrance, six feet
+high, attributed by Ford to Enrique de Arfe. The stand is of later
+construction, and dates from 1598. On the upper part the local saint,
+Atilanus, may be seen, seated with the Saviour and the Virgin.</p>
+
+<p>The original cloisters were burnt in 1591, and rebuilt in the present
+Doric style in 1621 by Juan de Mora.</p>
+
+<p>Under the town walls, close to the cathedral, is the little Romanesque
+church of San Isidoro, noticeable for its extremely narrow windows, some
+mere slits in the masonry.</p>
+
+<p>We pass down the long lane-like street which leads into the town, and
+which in the sixteenth century was the scene of desperate conflicts
+between the Mazariegos and Monsalves, the Montagues and Capulets of
+Zamora. The first church passed is that of San Pedro, rebuilt by<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> Bishop
+Meléndez Valdés, and containing the revered ashes of St. Ildefonso,
+which were discovered here under miraculous circumstances in the year
+1260. The relics of St. Atilanus are also preserved here. Nothing
+remains of the primitive Romanesque structure, except a little apse on
+the Epistle side, and a closed-up doorway in the left wall. The
+originally-distinct nave and aisles were thrown into one at the
+restoration, and form overhead one immense span. The sacristy contains
+some interesting objects&mdash;sacred vessels and altarpieces of the
+sixteenth and seventeenth centuries.</p>
+
+<p>Presently we reach the second most interesting church in the town, La
+Magdalena, a small Romanesque work, said on rather doubtful authority to
+have been built by the Templars about 1312. The southern doorway is very
+large in comparison with the edifice. It is deeply recessed between
+massive buttresses, and formed by a rounded arch with shafts curiously
+moulded and twisted. Street speaks of this as a very grand example of
+the latest and most ornate Romanesque work. The carving on the arches is
+very rich. Above is a large rose window, resembling those in our own
+Temple church. The interior of the church is architecturally but<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> not
+æsthetically more interesting than the exterior. The nave has a flat
+wooden ceiling. The apse is groined, and the chancel has a waggon-vault.
+The stone pulpit against the north wall is a notable piece of work, but
+attention at once becomes riveted on the large canopied tombs at the
+entrance to the chancel. Both are square-topped, with round arches and
+capitals very purely and vigorously carved. They are generally asserted
+to date from the thirteenth century, but an inscription over one
+describes it as the sepulchre of one Acuña and his wife, who died in the
+fifteenth century. ‘The effect of this monument,’ says Street, ‘filling
+in as it does the angle at the end of the nave, is extremely good; its
+rather large detail and general proportions giving it the effect of
+being an integral part of the fabric rather than, as monuments usually
+are, a subsequent addition.’</p>
+
+<p>Another canopied tomb against the north wall undoubtedly dates from the
+earlier period. The capitals of the three twisted shafts are carved with
+the forms of wyverns fighting. The tomb is closed by a stone on which is
+a large cross. The occupant&mdash;believed by some to have been a Templar&mdash;is
+shown on his deathbed, while above him his soul&mdash;represented by a winged
+head&mdash;is<span class="pagenum"><a name="page_101" id="page_101">{101}</a></span> borne away by angels. This interesting work may be attributed
+to a native sculptor acquainted with the art of France and Italy.</p>
+
+<p>Santa Maria la Horta (or de la Huerta), near the river, was modelled,
+like the Magdalena, on the cathedral. Apart from its architectural
+peculiarities&mdash;the western tower, narrow windows, waggon-vaulting of the
+chancel, etc.&mdash;it is of interest on account of the retablos and
+paintings in its chapels. Here, as at the very similar church of San
+Leonardo, the roofing of the nave is not flat but arched, which goes to
+support Don J. M. Quadrado’s belief (opposed to Street’s) that the flat
+roof of La Magdalena is an innovation.</p>
+
+<p>The church of San Juan in the Plaza Mayor is in the Flamboyant style.
+Its most curious feature is a Christ Crucified near the west door,
+surrounded by human skulls built up in the form of a cross. Hard by is
+the early Gothic church of San Vicente, with a noble square tower in
+three stages, and a fine west front.</p>
+
+<p>In a town like Zamora only two kinds of buildings were
+esteemed&mdash;churches and fortresses. Time has spared few important civil
+monuments. The only ancient house of note<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> is that styled the Casa de
+los Momos, of which I give an illustration. The heavy stones forming the
+arch suggest a Castilian architect. The building dates from the
+sixteenth century, as the enormous coat-of-arms over the entrance might
+have prepared us to expect. The Ayuntamiento, or Town Hall, in itself
+devoid of interest, contains some good paintings by Ramon Pedro y
+Pedret, illustrating the history of the city. It will be seen that
+Zamora, like almost every other Spanish town, is entitled ‘most noble
+and loyal’ (<i>muy noble y leal</i>). It is a sombre, fascinating place,
+where the past is more easily recoverable by the fancy than in many
+cities more richly endowed with ancient monuments.<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p>
+
+<h2><a name="V" id="V"></a>V<br /><br />
+<span class="spc">AVILA</span></h2>
+
+<p class="nind"><span class="smcap">Like</span> Stratford-on-Avon, like Assisi, this sombre city in the mountains
+of Castile is the shrine of a single pre-eminent personality. To the
+Spaniard Avila is essentially the city of the great saint&mdash;of Santa
+Teresa, the greatest, perhaps, of Spain’s many great women. And the fame
+of the saint and, therefore, of the city, has spread far beyond the
+limits of the country in which she was born, and indeed outside of the
+church to which her every faculty was devoted. To those (and they are in
+the large majority) who approach Avila as pilgrims, it may seem idle to
+tell anything of its story unconnected with her. At Assisi you wish to
+hear only of Francis, and who cares aught for the Stratford of an
+earlier day than Shakespeare’s?</p>
+
+<p>But Teresa was the product of Avila, and to the making of her character
+all the experience and emotion of her ancestors had contributed. Those
+who would rightly understand<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> her must know something of the breed from
+which she sprang.</p>
+
+<p>The city is one of the forty-three said to have been founded by
+Hercules. It is mentioned, indeed, by Ptolemy, but we know nothing of
+its history previous to the reconquest of this part of Castile by
+Alfonso <small>VI.</small> Avila, like Salamanca and Segovia, arose from the ashes of
+the Moorish empire, and was repeopled and probably rebuilt by the Count
+Raymond of Burgundy. To him we owe those venerable walls, stern yet
+beautiful in their ruddy granite, that girdle the city round. But these
+served, at a very early date, to keep out other than the infidels. The
+annalists tell us that the knights of Avila, returning one day from a
+foray, found that the Moors had ravaged the neighbouring country and
+carried off a multitude of prisoners and much booty. Without hesitation
+the enraged gentlemen gave chase, and though the enemy were in vastly
+superior numbers, they overtook and routed them at Barbacedo, recovering
+most of the spoil and a good deal of additional treasure. But, on their
+return to Avila, the ungrateful commons closed the gates against them,
+and refused admittance to the deliverers of their own wives and children
+unless they were<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> given a large share of the booty. The indignant
+knights refused to surrender the guerdon of their swords, and entrenched
+themselves in the suburbs. Peace was restored only on the intervention
+of Count Raymond, who expelled the churlish townsmen and intrusted the
+government of the city to the knights. During the whole of the twelfth
+century the bitterest animosity continued to prevail between the
+descendants of these antagonists.</p>
+
+<p>Heroines are common in Spanish history. When the town was unexpectedly
+besieged by the Almoravides in the absence of nearly the whole male
+population, the women garrisoned the walls wearing the men’s helmets,
+and compelled the enemy to withdraw. The leader of these Amazons was
+Jimena Blásquez, wife of the governor, Fernán Lopez. Her female
+descendants were privileged, in remembrance of this event, to speak and
+to vote at the council board in the same way as men.</p>
+
+<p>Jimena’s kinsman, Nalvillos, was as unfortunate in love as he was
+fortunate in war. One day he saw Ayesha Galiana, the beautiful daughter
+of the late Moorish king of Toledo. Desperately enamoured, he forgot his
+own betrothal to Galinda Arias, and that the fair infidel had been<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span>
+promised to her countryman, Jenina Yahya. With the favour of the king he
+overcame all these obstacles, and made Ayesha his wife. But she could
+forget neither her old faith nor her old love. Nalvillos’ deeds of
+prowess failed to win her heart; and one day he returned to Avila from a
+victorious expedition to find that the bird had flown. She had returned
+to her first love, Yahya, who had raised the standard of revolt at
+Talavera. The furious Castilian stormed the town, slew the Moor, and
+penetrated to his faithless wife’s bower, only to find her expiring from
+a self-inflicted wound. Nalvillos lived many years after, and fought and
+won many battles. He rose to great distinction in the service of his
+sovereign, but we never hear of his marrying again.</p>
+
+<p>It was in this town, that styles itself <i>del rey</i>, <i>de los leales</i>, <i>de
+los caballeros</i>, that the boy king Alfonso <small>VIII.</small> was placed by the
+Regent, Don Manrique de Lara, to protect him from his uncle, Fernando of
+Leon. But the class rancour of Avila was not unknown to Fernando, who
+stirred up the people of the suburbs against the <i>serranos</i>, or
+aristocratic townsfolk, promising them a share in his new town of Ciudad
+Rodrigo. The knights were victorious, and do not seem<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> to have conducted
+themselves with great generosity towards the vanquished.</p>
+
+<p>The inveterate hostility of the commons did not tend, as it might be
+expected to have done, to unite the threatened ranks of the patricians.
+These prosecuted bitter feuds among themselves, different families
+striving desperately for the mastery. One faction, on being expelled
+from the town, took refuge in a neighbouring castle, where they were
+surprised and cut to pieces by the Moors.</p>
+
+<p>The place was regarded, notwithstanding, as the safest asylum for the
+boy-kings who so often appear in the pages of Castilian history. During
+his minority, Alfonso <small>XI.</small> remained in the custody of the bishop till the
+pretenders to the regency had adjusted their claims to his lordship’s
+satisfaction. In the Civil War of 1367 Avila was on the right side&mdash;that
+of Enrique <small>II.</small>&mdash;and suffered severely in consequence at the hands of the
+Black Prince’s marauding hordes. Here at the Puerta del Alcazar took
+place, at the instance of Carrillo, Archbishop of Toledo, the mock
+deposition and degradation of Enrique <small>IV.</small>, represented by an effigy, and
+the proclamation of his eleven-year-old son as king. Yet in 1474 the
+fickle city displayed<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> every sign of grief and remorse on the
+unfortunate monarch’s death.</p>
+
+<p>In the disputed succession that ensued Avila sided with Queen Isabel.
+Possibly as an expression of royal gratitude, the convent of Santo Tomás
+was chosen for the first seat of the Tribunal of the Inquisition; and in
+1491 three Jews, professing the faith of their fathers to the last, were
+roasted to death in the Mercado Grande.</p>
+
+<p>Avila was the seat of the Supreme Junta of the Comunidad from July to
+September 1520. The rebellious temper of her citizens found expression
+in Philip <small>II.</small>’s reign in some anonymous placards, posted in the streets,
+reflecting on the king’s policy. The royal vengeance was indiscriminate
+and drastic. The Vicar of Santo Tomás was stripped of his sacerdotal
+functions, Don Enrique Davila was imprisoned for life in the castle of
+Turegano, and Don Diego Bracamonte perished on the scaffold. This king’s
+successor inflicted the <i>coup de grâce</i> on the luckless town by
+expelling its large and industrious Morisco population. Avila never
+recovered her prosperity. She remains an example of the wholly
+destructive policy of the Spanish Hapsburgs. Not only was the country<span class="pagenum"><a name="page_109" id="page_109">{109}</a></span>
+ruined by the expulsion of the Jews and Moriscos, but these exiles were
+not able to transplant their industry to some other clime. With their
+expulsion so much productive and industrial power was absolutely lost to
+the world. The wealth acquired by the Inquisition at the expense of its
+victims, or rather what was left of it, ultimately found its way into
+the State coffers on the establishment of the new order of things a
+century ago.</p>
+
+<p>Avila ‘of the Knights’ was, before all else, a fortress. When the walls
+were built, churches and suburbs were left outside the enclosure, that
+the military advantages of the height on which the old town stands might
+not be lost. These walls of dark-red granite girdle Avila to-day,
+unbroken, formidable, intact. They rise so high that they shut out from
+view all that they enclose, except the towers of the cathedral. Near San
+Vicente the masonry is fourteen feet thick, and forty-two feet in
+height. Flanking defence is provided by eighty-six elliptical
+towers&mdash;thirty on the north, twelve on the west, twenty-five on the
+south, twenty-one on the east. These rise above the crenellated parapet
+at places by eighteen feet. The ten gateways are formed by two towers
+being brought together and con<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span>nected with arches. The most impressive
+gates are the Puertas del Mercado and de San Vicente, the former
+admitting to the scanty remains of the old Alcazar, the latter facing
+the church of San Vicente. In both cases the flanking towers are
+connected at the level of their platforms by a high, arched and
+crenellated gallery. The actual gateway is defended by a portcullis, and
+the usual apertures for thrusting out lances, beams, etc. One of the
+gates, now walled up, was known as the Puerta de la Mala Ventura, in
+memory of a baseless tradition that it was the scene of the massacre by
+Alfonso el Batallador of certain Avilese nobles who had been given him
+as hostages for the little King Alfonso <small>VII.</small> of Castile. Nearly all the
+gates open on to squares or places of arms. A leisurely walk round these
+grand old walls is one of the most agreeable experiences of a journey in
+Spain, and carries the mind back to the days when knighthood was in
+flower. From their strength it is easy to see how the town could have
+been held by a limited number of Caballeros against the commoners of the
+suburb outside. There seems no reason to doubt that the walls were, as
+tradition avers, built by Raymond of Burgundy in the last decade of the
+eleventh century. Eight<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> hundred men were employed upon them daily
+during nine years, under the direction of a Roman, Cassandro, and a
+Frenchman, Florin de Ponthieu.</p>
+
+<p>&nbsp; </p>
+
+<p>Built into the city wall at its eastern end is the noble cathedral of
+San Salvador, founded according to some by Fernán Gonzalez, Count of
+Castile, and begun a second time in 1091 by Alvár Garcia of Estella in
+Navarra. It is, perhaps, the finest example extant of the
+fortress-church of the Middle Ages. The oldest part is the apse, which
+makes a pronounced bastion or projection in the city wall. The external
+walls probably date from Alvár Garcia’s time, but the rest of the church
+must be from one to two centuries later.</p>
+
+<p>The church consists of a nave, aisles, projecting transepts and a
+chevet, which has semicircular chapels built into the town wall and
+double aisle. The chevet is, architecturally, perhaps the most
+interesting part of the structure. Nothing at all is to be seen without
+of the chapels, over which is carried the ordinary rampart walk or
+allure; behind this rises a second battlemented wall, from which we look
+down on to the aisle roof of the chevet and clerestory of the central
+apse. This end of the cathedral appears from the<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> exterior simply as an
+unusually massive round tower projecting from the wall. The west front
+is flanked by two towers, only one of which&mdash;the northern&mdash;is completed.
+This is a notable and fortresslike structure, recalling similar work in
+England. The strongly-defined buttresses finish in pinnacles, and are
+outlined at the angles with a ball enrichment, which is also to be seen
+on the pointed arches over the belfry windows. The windows themselves
+are round-arched, as are also those now filled up in a lower stage of
+the tower. The entrance is comparatively modern. On either side is the
+figure of a wild man with shield and mace&mdash;strange guardians of a
+church! On the spandrils of the arch are the figures of Saints Peter and
+Paul. The middle stage of this front is occupied by a curious
+retablo-like composition. In the various compartments are the figures of
+Christ and different saints, sheltered by ugly canopies; and surmounting
+this work is an extravagant and tasteless acroterium, displaying the
+arms of the Chapter. Behind and above this is the older and infinitely
+more graceful west window within an elliptical arch, and with delicate
+though elaborate traceries.</p>
+
+<p>Very much finer is the north porch, admitting not to the transept but to
+the nave. The elliptical<span class="pagenum"><a name="page_113" id="page_113">{113}</a></span> arch has on each side six jambs, each of which
+is adorned with the figure of an apostle resting on the capital of a
+pilaster and sheltered beneath a canopy. The five orders of the arch are
+sculptured with reliefs of angels and prophets, alternating with
+wreaths. In the centre of the tympanum is the seated figure of Christ;
+and around Him, arranged in four horizontal divisions, are compositions
+representing the Betrayal and Last Supper, the Coronation of the Virgin,
+and the Angelic Choir. Street recognises in this doorway the work of the
+architect of the portals of the cathedrals of Leon and Burgos. Before it
+are two lions couchant on pedestals, chained to the walls. The porch
+dates from the fourteenth century. Above it is a canopy begun in 1566,
+and intended to form a kind of triumphal arch. Crowning all is seen the
+figure of the Redeemer.</p>
+
+<p>The north transept is pierced by a fine wheel-window of sixteen
+divisions. The windows of the clerestory are very large, and placed
+between great double flying buttresses. Since 1772 the upper and lower
+traceries have been blocked up, for a reason not apparent to the modern
+observer. The windows of the transept escaped this treatment, and are
+filled with good stained glass.</p>
+
+<p>The nave is 130 feet long and 28 feet broad.<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> The arches are supported
+by piers of four pilasters, the capitals of which show Romanesque
+influence. The aisles are only about half the height of the nave, and
+are 24 feet wide. Their pitched roof formerly admitted light into the
+nave through the triforium, now blocked up.</p>
+
+<p>The outer walls of the chevet, as we have seen, are the most ancient
+part of the fabric, but the seven chapels formed within the thickness of
+the wall are of later date. The extraordinary beauty of this part of the
+church is due to the division of the ambulatory into two by a series of
+tall, slender columns carrying some excellent groining. The outer or
+recessed aisle is narrower than the inner, an inequality corrected very
+skilfully at the opening into the south transept by an imperceptible
+deviation in the line of columns. Very little light penetrates through
+the narrow slits in the chapel walls into this sombre, beautiful arcade.</p>
+
+<p>Behind the reredos of the High Altar sleeps the learned bishop, Don
+Alonso Fernández de Madrigal, surnamed el Tostado and el Abulense, who
+died in 1455. The prelate, who was one of the most prolific writers that
+ever lived, is shown in alabaster writing at a desk. The framework of
+the tomb is adorned with reliefs of the Adora<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span>tion of the Magi and
+Shepherds, of the Divine and Cardinal Virtues, and of the Eternal
+Father. This noble work has been variously ascribed to Berruguete and to
+Domenico Fancelli, whose more famous performance we shall see in the
+church of Santo Tomás.</p>
+
+<p>In the chapel of Santa Ana is buried Don Sancho Davila, Bishop of
+Plasencia, who died in 1625. Most of the tombs in the chapels of the
+chevet belong, however, to the thirteenth century, though the dates on
+most of them are merely conjectural, and were inscribed in the sixteenth
+century by a prebendary of the cathedral.</p>
+
+<p>The High Altar is backed by an elaborate retablo of the age of the
+Catholic Kings. It is divided into three stages, and was painted by
+Pedro Berruguete (father of the more famous Alonso), Santos Cruz, and
+Juan de Borgoña (father of Felipe). To the two first-named may be
+attributed the ten panels of the lowest stage, representing Saints Peter
+and Paul, the Four Evangelists, and Four Doctors of the Church, and the
+Transfiguration, Annunciation, Nativity, Adoration of the Magi, and
+Presentation in the Temple, in the second stage. To Borgoña we may
+ascribe the Agony in the Garden, the Scourging, Crucifixion, Descent
+into Hell, and<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span> Resurrection, in the third stage. To the right and left
+of the church are two beautiful Renaissance retablos in alabaster,
+illustrating the lives of Saints Secundus and Catharine, and two
+tasteful gilt iron pulpits. The light reaches the High Altar through two
+rows of thirteen windows, the lower ‘round-arched, of two
+horseshoe-headed lights divided by a shafted monial,’ and the upper
+‘round-headed, broadish windows, with jamb-shafts and richly-chevroned
+arches.’ The fine stained glass is the work of Albert of Holland
+(1520-1525).</p>
+
+<p>The choir was placed in the easternmost bay of the nave in 1531. The
+<i>trascoro</i> or back of the choir is adorned with reliefs of the Adoration
+of the Magi, the Massacre of the Innocents, and the Presentation;
+smaller panels represent other scenes from the history of Christ and the
+Blessed Virgin. The frieze with its fourteen figures of prophets is the
+finest part of the work. The choir stalls were begun in 1527 by Juan
+Rodrigo, and completed by Cornelius of Holland in 1536. The carving is
+of varying merit. The upper panels appear to portray the martyrdoms of
+different saints, episodes in whose lives are shown on the panels below.
+The ornamentation of the columns and friezes is profuse and delicately
+done.<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p>
+
+<p>In the south transept is the fine tomb of Don Sancho Davila, Bishop of
+Sigüenza, who died in 1534, and near him that of a namesake, whose
+effigy is clad in armour. This knight died before the walls of Alhama in
+a combat so furious that his scattered limbs had afterwards to be
+collected and pieced together by his friends. A curious tomb is to be
+seen near by: the figures of a knight in armour and an ecclesiastic
+repose on black coffins, the sides of which are sculptured with
+escutcheons upheld by woolly-haired savages; a monkey is seen pulling
+the negroes’ hair. In the chapel of San Miguel, at the north-west end of
+the nave, is an interesting tomb of the thirteenth century, representing
+a funeral, whereat the anguish of the mourners contrasts strikingly with
+the stoical indifference of the clergy.</p>
+
+<p>The gorgeous chapel of San Segundo at the south-east of the apse,
+outside the town wall, was founded in 1595 by Bishop Manrique, on the
+model, it is said, of the Escorial. Magnificence, rather than good
+taste, characterises this chapel and its furniture. Frescoes by
+Francisco Llamas illustrate the life of the saint, whose ashes are
+contained in a Churrigueresque tabernacle. On the opposite side of the
+apse, but within the wall,<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> is another excrescence, the Velada chapel,
+completed in the eighteenth century.</p>
+
+<p>The sacristy is an ornate Renaissance structure, richly gilded and
+painted. The alabaster retablo over the altar of St. Barnabas is the
+work of a genius whose name unfortunately has not been handed down. The
+chamber also contains some curious fifteenth-century paintings relating
+to the life of St. Peter. Here may be seen the superb monstrance of Juan
+de Arfe, dated 1574, and therefore among his earliest works.</p>
+
+<p>The cloister on the south side of the cathedral was built in the early
+sixteenth century on the site of an earlier one. There was an attempt
+made at the same time to restore, more or less at haphazard, all the
+tombs and epitaphs left from earlier times. At the angles are chapels,
+one of which, the Piedad, contains some good stained glass and
+iron-work. East of the cloister is the spacious apartment called the
+Cardinal’s Chapel, after Cardinal Davila y Mujica, whose tomb it
+contains. Here met the Junta of the Comuneros. The fine stained glass in
+the windows shows the skill of Juan de Santillana and Juan de
+Valdevieso, two famous glass-workers of Burgos.<span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<p>In some respects more interesting than the cathedral, and probably more
+ancient, taken as a whole, is the Romanesque church of San Vicente,
+outside the walls, near the Segovia gate. It marks the site of the
+martyrdom of Vicente and his sisters, Sabina and Cristeta, who had taken
+refuge here to escape the persecution of Dacian, at the beginning of the
+fourth century. Their religion having been discovered, they were again
+apprehended, and put to death by their skulls being battered against the
+rocks. Their bodies were left unburied, but a great serpent came out of
+a hole near by and protected them from insult. A Jew approached the
+spot, led by spiteful curiosity, and was seized by the monster, which
+wound its coils about him. The terrified Hebrew invoked the name of
+Christ and was released. He was baptized, and secretly gave the martyrs
+honourable burial, subsequently raising a church over the scene of their
+martyrdom. So runs the tradition. These dissenters from the state
+religion of the Roman Empire are remembered and revered to this day, and
+magnificent fanes are rightly raised over their graves. Their ashes are
+preserved in reliquaries more costly than royal thrones, and kings kneel
+before their shrines. But no monuments are erected, no reverence paid
+to<span class="pagenum"><a name="page_120" id="page_120">{120}</a></span> the equally high-minded and courageous dissenters from the state
+religion of the Spanish monarchy, who perished in the flames kindled by
+the Inquisition. The very city which delighted to honour Vicente and his
+sisters, and recorded its detestation of the lawful authority that put
+them to death, was the seat of the dreadful tribunal of Torquemada and
+the scene of cruelties worse than any perpetrated by the Romans.</p>
+
+<p>The basilica raised by the converted Jew was swept away by the Moors,
+and the relics of the martyrs seem to have been transported elsewhere.
+They were recovered, at least in part, at the time of the resettlement
+of the city, and the present church was built by St. Ferdinand in 1252
+to contain them; though parts of the fabric certainly seem, despite the
+absence of documentary evidence, to date from a century earlier. The
+church is built on sloping ground, the difficulties of the site being
+admirably overcome. The plan is cruciform, the nave and aisles
+terminating in apses. The crossing is surmounted by a square lantern,
+and the western front flanked by steeples. An open cloister runs along
+the outside of the south aisle.</p>
+
+<p>The western front is very beautiful. The southern tower or steeple wants
+a third or upper<span class="pagenum"><a name="page_121" id="page_121">{121}</a></span> story, which was added to the north tower only in the
+fifteenth century. The second stories are arcaded, and splayed at their
+angles. On the third gable-like story of the north steeple are hung the
+bells, one of which bears the date 1158. These towers open only into the
+westernmost bay of the nave, which forms the porch of the church,
+opening on the outside with a high-pointed arch, and into the interior
+through a superb double doorway. Street speaks of this porch as follows:
+‘The whole effect is fine, and the light and shade admirable and well
+contrasted; but the charm of the whole work seemed to me to lie very
+much in the contrast between the noble simplicity and solid massiveness
+of the architecture generally, and the marvellous beauty and delicacy of
+the enrichments of the western doorway, which is certainly one of the
+very finest transitional works I have ever seen.’ The shaft dividing the
+doors is sculptured with a figure of Christ seated on a pedestal.
+Statues of the twelve Apostles occupy the jambs. Over each door a round
+arch springs from luxuriantly carved capitals, flanked by the heads of
+bulls and lions. The tympana are occupied with representations of Dives
+and Lazarus, and the Release of a Blessed Spirit.<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span> The round arch which
+encloses the whole portal exhibits a marvellous profusion of delicate
+and rich ornamentation. A Spanish writer truly observes that the foliage
+looks as if the faintest breeze would stir it; the beasts seem ready to
+spring, and the birds as if, with the least effort, they might
+disentangle themselves and fly from the branches. Over the arch is a
+parapet and string-course, and a round-arched window opening into the
+nave.</p>
+
+<p>The church is usually entered by the south door opening into the aisle
+beside the transept. The seven orders of the archivolt are almost devoid
+of ornament, but the capitals are carved with curious figures of wild
+beasts fighting. The monogram of Christ on the keystone of the innermost
+arch is rare in Castilian churches, and the rude sculptured figures on
+the capitals are very primitive and unsymmetrical. On one of the jambs
+the Virgin and the Angel Gabriel are sculptured; on another a curious
+mitred personage representing, it is believed, one of the ancestors of
+the Messiah.</p>
+
+<p>This porch is older by two centuries than the cloister running along the
+south side of the church. It is in twelve semicircular arches, with a
+buttress between every three. Made of<span class="pagenum"><a name="page_123" id="page_123">{123}</a></span> purple granite, it contrasts
+strikingly with the sandstone of the main edifice.</p>
+
+<p>The north front is very plain and severe. The massive buttresses excited
+the enthusiasm of Street. The north door is of corresponding simplicity.
+Beside it, as at the side of the south door, are a couple of tombs,
+which seem to prove that the space round the church was at one time used
+as a burial-ground.</p>
+
+<p>The eastern end is the most interesting part of the building. The
+central apse is larger and loftier than the adjoining apses. All three
+are divided perpendicularly by slender engaged shafts, terminating in
+capitals under the eaves; and horizontally by carved or moulded
+string-courses. The central apse has three round-headed windows; the
+lateral apses, two each. The capitals and corbels are everywhere very
+finely carved. There are few better examples of Romanesque work in the
+Peninsula. The square lantern is pierced on each side with a three-light
+window of Gothic design. At its angles it is surmounted by stone
+crosses.</p>
+
+<p>The interior is impressive and thoroughly Romanesque. The piers are
+square, and rest on round bases. The capitals are carved with oak
+leaves. The arches are semicircular, and<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> the vaulting pointed. Between
+two string-courses runs a triforium of round-arched openings, the
+windows of the clerestory being likewise rounded and of one light. The
+windows of the aisles have been closed up. The church is undergoing
+extensive repairs. The piers of the lantern seem to be of later date
+than the foundation of the church, and seem to indicate that the
+original lantern had at one time fallen in. The interior is octagonal,
+and pierced with four lancet stained-glass windows. On the chancel side
+is a fine fourteenth-century painting of the Crucifixion, with the
+Virgin and Disciples.</p>
+
+<p>The interior of the central apse is occupied by the High Altar, with an
+ugly baroque retablo which unfortunately conceals the graceful windows.</p>
+
+<p>The shrine of San Vicente and his brethren is placed on the south side
+of the crossing. In the ages of faith this was an object of
+extraordinary sanctity. Men were sworn on the tomb, and it was
+universally believed that the arms of those who bore false witness
+thereon withered away. The practice was forbidden by law under Ferdinand
+and Isabel. Notwithstanding, grave doubts existed as to the actual
+whereabouts of the martyrs’ bodies. To set the<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span> matter at rest, the
+Bishop Martin de Vilches, in the reign of Enrique <small>III.</small>, decided on a
+thorough examination of the tomb. Having celebrated Mass, he caused the
+sarcophagus to be opened. Dense vapour immediately issued forth, and the
+bishop thrust in his hand, to withdraw it a second later, convulsed with
+a violent pain, and covered with blood. He proceeded no further with the
+investigation, and ordered the tomb to be closed, satisfied that it
+contained the holy relics. The imprint of his blood-stained hand was
+left on a tablet placed inside the arches on which the sarcophagus
+rests. This appears to date from the thirteenth century, and is carved
+with interesting reliefs. The baldachino covering it is carried on four
+bold columns, and was added by Bishop de Vilches, whose arms it bears.
+The figure at the apex appears to represent San Vicente.</p>
+
+<p>In the south transept is a tablet with an inscription declaring that
+there lie the remains of the Jew who gave the martyrs decent burial.
+Close by is the shrine, executed by Francisco de Mora, of San Pedro del
+Barco, a saint of absolutely unknown antecedents, and mentioned as far
+back as 1302.</p>
+
+<p>The crypt has been modernised. On it may<span class="pagenum"><a name="page_126" id="page_126">{126}</a></span> be seen the rock on which the
+tutelary saints suffered martyrdom, and a miraculous image, called
+Nuestra Señora de la Sotteraña, which is obviously far from possessing
+the antiquity its devotees claim for it.</p>
+
+<p>&nbsp; </p>
+
+<p>Characteristics very similar to San Vicente are exhibited by the church
+of San Pedro in the picturesque Mercado Grande. Dating from the latter
+part of the twelfth century, we find here also the apsidal east end, the
+square lantern, and the entrances at the west end and beside the
+transepts. The western porch is very fine, and above it is a very
+beautiful wheel-window. The north doorway is more richly sculptured, and
+is later than the rest of the fabric. There are a few points of
+difference between this church and that previously described. There is
+no triforium, and the clerestory windows are of a single light, and much
+larger than those of the nave. As at San Vicente, the apsidal chapels
+have been spoilt by injudicious painting. In the transept are the tombs
+of the rival families of Blasco Jimeno and Esteban Domingo,
+distinguished by shields of six and thirteen bezants respectively. The
+church is in every respect a noble edifice, but loses interest after you
+have visited the almost identical<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> basilica of San Vicente. Nor will
+your attention be long engaged by the modern monument to the illustrious
+natives of Avila in the centre of the market-place, crowned by the
+statue of Santa Teresa. Here took place in 1491 the <i>auto da fé</i> of the
+Jew, Benito Garcia, found guilty of murdering a Christian child, and
+stealing a consecrated Host for the purpose of sacrilegious rites. It
+should be added that no particular child could be put forward by the
+prosecution as having been murdered, and the suppositious victim went
+down to posterity simply as the Niño de la Guardia&mdash;la Guardia being the
+village where the crime was supposed to have taken place. The body was
+conveniently assumed to have been taken up to heaven. Its disappearance
+did not benefit the luckless Hebrews, two of whom, before the execution
+of Garcia, were torn to pieces by red-hot pincers.</p>
+
+<p>&nbsp; </p>
+
+<p>The town proper having always been regarded as an acropolis, the greater
+number of churches are situated outside the walls. Several of these,
+like those already described, are of considerable interest. The doughty
+Nalvillos is said to lie beneath the flags of the church of Santiago.
+San Andrés is an interesting Romanesque structure,<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span> spoilt, however, by
+the addition of an incongruous sacristy. To the north-west of the town,
+near the river (Adaja), is the curious little sanctuary of San Segundo,
+with a wooden roof, and rather suggestive of Norman architecture. It
+marks the spot whereon fell an unfortunate Saracen, who was pushed over
+the turret above by the sainted Secundus. Some of the ashes of that
+muscular Christian are preserved here, beneath the fine alabaster statue
+which represents him kneeling with an open book before him. The
+sanctuary is believed to occupy the site of the earliest Christian
+church of Avila. The actual edifice is not nearly so old as the ruined
+and abandoned church of San Isidore, now fast crumbling away.</p>
+
+<p>&nbsp; </p>
+
+<p>One of the most important monuments of the city is the church of the
+Dominican monastery of Santo Tomás (now used as a missionary college).
+It was founded in 1478 by Doña Maria Davila, wife of a Viceroy of
+Sicily, and completed in 1493. Torquemada, the Grand Inquisitor,
+interested the Catholic sovereigns in the work, and the cost was met by
+the confiscated property of Jews and heretics. The cloisters and
+conventual buildings are devoid of interest. The west front is in a poor
+late Gothic style, and distinguished<span class="pagenum"><a name="page_129" id="page_129">{129}</a></span> by richness rather than beauty.
+The two massive flanking buttresses are outlined with a ball ornament,
+and end in eaves, corbel tables, and paltry pinnacles. Beneath the gable
+is a huge escutcheon, and beneath this again a round window. The doorway
+is within a deep porch; the archivolt is pointed and elaborately fluted
+and carved; on either side of the doorway are statues of saints of the
+Dominican order beneath canopies. The interior is more interesting. The
+chancel is almost square, the transept short; and, curious to relate,
+not only is the choir placed in a gallery in the western nave, but the
+altar is correspondingly elevated at the eastern end. Street thought the
+effect of this arrangement very fine, an opinion which all are not
+likely to share. The reredos is tastefully carved and painted. The choir
+stalls are good, as usual in Spain, particularly the royal chairs, which
+have splendid canopies, and bear the device of the yoke and sheaf of
+arrows.</p>
+
+<p>Interest here, however, centres mainly in the superb Renaissance
+monument to the Infante Juan, eldest son of Ferdinand and Isabel, who
+died at Salamanca in 1497, aged nineteen. Ferdinand, to soften the blow,
+caused his wife to be informed that he and not the prince had perished;
+and such, in Isabel’s temperament, was<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> the excess of conjugal over
+maternal affection, that her relief when the real state of things was
+revealed to her enabled her to bear the loss of her son with comparative
+composure. The tomb was the work of Domenico Alessandro the Florentine,
+specimens of whose skill we have seen in the cathedral. At the corners
+of the sarcophagus are eagles; the sides are covered with reliefs of the
+Virgin and the Baptist, and of the Cardinal and Theological Virtues. On
+the edge of the upper slab are carved escutcheons, angels, trophies, and
+garlands. The recumbent effigy of the prince, crowned, and with sword
+and mantle, is marvellously well done. The sculptor has expressed
+adolescence in stone. This rightly ranks among the finest works of art
+in Spain. Hardly inferior is the tomb of Juan Davila and his wife, Joana
+Velazquez de la Torre, the prince’s attendants, also by the Florentine.
+Don Juan is shown clad in somewhat fantastic armour; a page kneeling at
+his feet holds his helmet. Sphynxes are placed at the corners of the
+sarcophagus, the sides of which bear medallions representing St. James
+destroying infidels, and St. John the Divine in a cauldron of boiling
+oil.</p>
+
+<p>In the sacristy is a tomb more impressive than<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span> either of these, but in
+a very different sense. A plain slab covers the body of Tomás de
+Torquemada, Grand Inquisitor of Spain. He lies here in the temple reared
+on the fortunes of the men and women he had plundered and burned. There
+is no inscription to tell us who rests here; but Torquemada is as little
+likely to be forgotten as Attila or Nero. Few things in Avila create a
+deeper, sadder impression than the tomb of this strange, sinister
+priest.</p>
+
+<p>&nbsp; </p>
+
+<p>His was one phase of the religious temperament, not perhaps more
+difficult of comprehension to us modern northerners than Teresa’s. We
+execrate the one and revere the other, and understand neither. Still, we
+know enough to see that the Inquisitor and the Nun stand respectively
+for what is worst and best in the Spanish character. And, happily, the
+woman’s fame has far outshone the man’s.</p>
+
+<p>We may assume that no one who visits Avila is ignorant of the leading
+events in her career, or needs to be told what manner of woman she was.
+What we have to do is to follow her footsteps through her native city.
+The house in which she was born on March 28, 1515, has been converted
+into an ugly church (Nuestra Seráfica<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span> Madre Santa Teresa de Jesus). The
+exterior is in the baroque style. The room in which she first saw the
+light is now a chapel in the worst taste, and contains her rosary,
+sandals, and even one of her fingers. It was from this house that she
+stole away with her brother Lorenzo, determined to seek martyrdom at the
+hands of the Moors. Here she indulged in those ‘worldly conversations’
+and that light reading which to her carefully polished conscience in
+after years appeared fraught with such dire peril. Here her vocation was
+born; and to this house she returned from the cloister in after years to
+watch by the deathbed of her father, Alonso de Cepeda.</p>
+
+<p>It was in the Carmelite convent of the Incarnation, north of the city,
+that Teresa took the veil on All Souls’ Day 1533. Nothing remains of the
+structure as it was in her day. More interesting is the convent of ‘Las
+Madres,’ which occupies the site of the first foundation of the reformed
+order. The poor chapel of St. Joseph gave way in 1608 to the present
+handsome church designed by Francisco de Mora, who spared the tomb and
+chapel of Teresa’s brother, Lorenzo. Other fine monuments are those of
+Bishop Alvaro de Mendoza, and of Francisco Velazquez and his wife. In
+the garden of the<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span> convent is shown an apple-tree planted by the saint.
+Her body does not rest here, but at Alba de Tormes, where she expired on
+October 15, 1582.</p>
+
+<p>You may also visit, for her sake, the church of San Juan in the Mercado
+Chico, where she was baptized on April 7, 1515.</p>
+
+<p>Attached to the Dominican convent is the sumptuous chapel of Mosén Rubio
+de Bracamonte, which was founded by Doña Maria de Herrera in 1516. The
+architecture represents the transition from late Gothic to Renaissance.
+The interior is richly adorned with marbles, the semicircular windows
+with stained glass. The tomb of the patron (Mosén Rubio, lord of Fuente
+del Sol) and his wife is in keeping with the splendour of the edifice,
+which is further enriched by two ancient paintings of Saints Jerome and
+Anthony of Padua. The reredos dates from the early seventeenth century.</p>
+
+<p>The dark granite of which the houses of Avila are built gives them a
+spurious air of antiquity. Very few date from before the age of Charles
+<small>V.</small> Near the cathedral is the mansion of the Marquis de Velada, whose
+ancestor, Gomez Velada, entertained the Emperor here in 1534. Opposite
+is an interesting doorway, with the figure of an<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span> armed knight,
+surrounded by escutcheons and enclosed within a trefoil arch. A
+magnificent doorway, likewise sculptured with armed figures and overhung
+by a kind of bartizan, leads into the fine courtyard of the palace of
+the Condes de Polentinos. An interesting house is that of the Davilas of
+Villafranca. The escutcheon with thirteen bezants between two chained
+slaves, supported by mounted heralds, was won by the family in an
+expedition to Ronda. At the side is a picturesque window with a grating,
+above which is the inscription <i>Petrus Davila et Maria Cordubensis uxor
+<span class="smcap">MDXLI.</span></i>, and beneath, in Spanish, ‘Where one door shuts another opens.’
+The houses of the Bracamontes and of the Counts of Superunda deserve
+notice.<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<h2><a name="VI" id="VI"></a>VI<br /><br />
+<span class="spc">ZARAGOZA</span></h2>
+
+<p class="nind"><span class="smcap">While</span> certain cities may lay claim to having been at one time or another
+the capital of the united kingdom of Leon and Castile, and while, in
+fact, two often held the rank at the same time, Zaragoza, from its
+reconquest by the Christians to the unification of the Spanish monarchy,
+was the undisputed capital of the kingdom of Aragon. We must not expect
+on that account to find that it was any more amenable to the royal
+authority, or any less turbulent than the cities of the sister state. On
+the contrary, nowhere in the Peninsula was liberty more highly prized or
+more strenuously vindicated, than in the chief city of Aragon. And it
+holds what out of Spain, at any rate, will be considered the honourable
+distinction of having offered the most determined resistance to the
+establishment of the Inquisition. Many cities in the dominions of His
+Catholic Majesty are entitled to style themselves ‘most heroic.’ None
+assuredly deserve<span class="pagenum"><a name="page_136" id="page_136">{136}</a></span> the description better than this, the Numantia of
+modern Spain.</p>
+
+<p>An Iberian town seems to have existed here from the remotest times, and
+to have been known as Salduba. On its annexation by the Romans, it was
+rechristened Caesaraugusta, and under that name is referred to by
+Pompeius Mela as the most famous of the inland cities of Tarraconensis.
+Christianity took root here at an early date. Bishops of Caesaraugusta
+are mentioned by St. Cyprian, and the local martyrology includes the
+names of Saints Valerus, Vincent, and Engracia. When, in the year 542,
+Zaragoza was besieged by the Franks under Childebert, the exposition of
+the relics of these martyrs is said to have sufficed to propitiate the
+enemy and to preserve the town from destruction.</p>
+
+<p>In the year 713 the city opened its gates to Muza, the Moorish invader,
+without, as Don Francisco Codera believes, striking a blow. The Crescent
+reigned over Zaragoza for four centuries. During that time there were
+many changes of rulers. The blood of martyrs again watered the soil
+under the cruel Wali, Othman Aben Nasr, though generally throughout the
+period of Muslim domination the Christians enjoyed the same freedom as
+their co-religionists, under the same<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span> yoke, in other parts of Spain.
+Their principal church having been converted into a mosque, San Pablo
+was, during this period, their place of worship.</p>
+
+<p>In the year 778 occurred the famous expedition of Charlemagne, around
+which an almost impenetrable veil of poetry and legend was woven through
+the Middle Ages. Hoseya al Arabi having been superseded in the
+government of the city by order of the Khalifa, Abd-ur-Rahman, appealed
+for assistance to the great Emperor of the West, who, for motives which
+remain obscure, entered Spain with a considerable force. On reaching
+Zaragoza, he found that Al Arabi had already regained possession of the
+city; and either on that account, or because his late ally refused to
+open the gates, he retraced his steps towards the north. In the pass of
+Roncesvalles his rearguard was attacked and cut up by the
+mountaineers&mdash;a reverse which has been immortalised as the occasion of
+the death of the Paladin Roland, and commemorated in the legendary lore
+of nearly every European tongue.</p>
+
+<p>At the latter end of the ninth century Zaragoza (or Sarakusta, as it was
+called by the Moors), shook off the yoke of the Khalifas, and under the
+sway of the renowned Hafsûn became for a short<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span> time an independent
+state. More lasting was the monarchy set up at the close of the eleventh
+century, on the break-up of the Spanish Khalifate, by the vigorous
+Almundhir Ben Hud, whose power extended from Lerida to Guadalajara, from
+the mountains of Biscay to the Mediterranean. His son and successor,
+Suleyman, made the mistake of dividing his dominions among his four
+sons, Sarakusta being assigned to the eldest, Ahmed Almuktader. But,
+united or disunited, the Moors of north-eastern Spain were incapable of
+offering an effective resistance to the ever-growing power of the
+Christian kingdom of Aragon. In the spring of 1118, Alfonso el
+Batallador appeared before the walls of Zaragoza with a formidable host.
+The city held out till the garrison witnessed the total defeat of an
+army sent to their relief by the Almoravides. All hope being then gone,
+the gates were opened on December 18, 1118, and Zaragoza became the
+capital of the kingdom of Aragon.</p>
+
+<p>As such, it was endowed with a very liberal charter&mdash;the <i>fuero</i>, of
+which we read so often in Aragonese history. The defence of these
+liberties was intrusted to twenty magistrates, who were invested with
+authority to deal in the most summary and drastic fashion with
+evildoers, what<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span>ever might be their station. Nor did they hesitate, in
+after years, to raze the castles of any barons who threatened the peace
+of the city. Domestic affairs were regulated by twelve jurates,
+representing the twelve parishes. Pedro <small>II.</small> amplified these privileges,
+and decreed that the municipality should not be responsible for its acts
+even to the sovereign.</p>
+
+<p>The history of Zaragoza during the twelfth, thirteenth, and fourteenth
+centuries is full of instances of civil strife, of faction fights, and
+of struggles with the royal authority. The citizens refused to recognise
+Alfonso <small>III.</small> as king till he had been crowned within their walls. They
+paid dearly for their arrogance under Pedro <small>IV.</small>, who hanged thirty of
+their number at the Toledo gate, and burnt the articles of the Union&mdash;a
+pact extorted from one of his predecessors&mdash;in a public assembly.</p>
+
+<p>Under Fernando <small>I.</small> the city’s privileges were further curtailed. But as
+licence and disorder showed no signs of abating, a kind of vigilance
+committee was formed in 1454, headed by Jimeno Gordo. This worthy put
+down all disturbances with iron hand, and waged war on the neighbouring
+barons. His career was cut short in 1474 by Ferdinand the Catholic, who
+caused him to be<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> publicly executed. All the disorderly elements of the
+city rejoiced at his death.</p>
+
+<p>The introduction of the Inquisition met with much opposition in several
+Spanish towns, but nowhere more than at Zaragoza. Deputations were sent
+from the states of Aragon to wait on the king at Valladolid, to urge
+upon him the withdrawal of the obnoxious tribunal, without avail. Such
+contemptuous indifference to the laws and wishes of the people of Aragon
+roused the Zaragozans to a dangerous pitch of exasperation. About
+midnight, September 14, 1485, a party of six men entered the cathedral,
+and found the Inquisitor, Pedro de Arbues of Epila, in prayer before the
+altar. They at once transfixed him with their swords and knives, but
+only a few of the blows struck home, thanks to the shirt of mail which
+the victim, like most of the Inquisitors, wore beneath his cassock. The
+deed, of course, only riveted the chains of the Holy Office more firmly
+upon the Aragonese.</p>
+
+<p>Most of the assassins were captured, and perished in the flames. De
+Arbues was canonised in 1664. There can be no question that the
+Inquisition was established contrary to the laws of the country, and
+that the man met his death through presuming to discharge unlawful
+func<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span>tions. He died for having broken the law, his executioners for
+having vindicated it.</p>
+
+<p>The persistent encroachments of the Crown upon their constitutional
+rights during the next century met with strenuous resistance from the
+people of Aragon. The long-impending storm burst in 1590. Antonio Pérez,
+having incurred the anger of Philip <small>II.</small>, fled to Zaragoza, and invoked
+the protection of the states. According to the <i>fueros</i>, he was then
+confined in the prison of the Manifestacion pending his trial. But the
+Holy Office impudently removed him from the custody of the law, and
+threw him into their prison of the Aljaferia. A popular tumult followed.
+Pérez was released and taken back to his first prison. The Viceroy, the
+Marqués de Almenara, died of chagrin, it is said, at the insults he had
+received from the crowd. Four months later a fresh riot broke out, and
+enabled Pérez to make good his escape to France.</p>
+
+<p>Philip now sent an army of 14,000 men into Aragon to re-establish his
+authority on the ruins of the constitution. The Justiciary, Juan de
+Lanuza, summoned the people to defend their country. But the Castilians
+dispersed this hastily collected force at the first encounter, and
+entered Zaragoza unopposed on December 12. Juan<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> de Lanuza and many
+other persons of note were judicially murdered; the leaders of the
+aristocracy were imprisoned, and the city sacked from end to end.</p>
+
+<p>Never again did Zaragoza raise its head in defiance of the King of
+Spain. The <i>fueros</i> continued nominally in force till 1707, when they
+were formally abrogated by Philip <small>V.</small> in revenge perhaps for the defeat
+sustained before the walls at the hands of Stanhope and Stahremberg. But
+the spirit of the people was far from being crushed. They might bow
+before their own king, but they would not bend the knee to a foreigner.
+Zaragoza’s defence in 1808 is one of the most glorious episodes in the
+history of the nation. When the revolution broke out at Madrid on May 2,
+the citizens expelled the Governor, Guillelmi, and elected as leader Don
+Jose Palafox, a young noble of great personal courage and charm. He was
+assisted by a priest named Santiago Sas, his secretary Boggiero, who is
+said to have penned all his proclamations, and by three peasant leaders,
+‘Tio’ Jorge, ‘Tio’ Marin, and Mariano Cerezo. All their equipment for
+war consisted at the outset of 220 men, a few muskets, and sixteen guns;
+yet when Lefebvre Desnouettes arrived before the<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span> place on June 15, he
+met with so stubborn a resistance that he was compelled to proceed
+cautiously. He reduced the city indeed to a heap of ruins, but he had
+not taken it when Dupont’s surrender at Bailen obliged him, on August
+15, to raise the siege.</p>
+
+<p>The French reappeared in December 1808, to the number of 18,000 men,
+under the command of Marshals Lannes, Moncey, Mortier, and Junot. The
+city was attacked on two sides at once, but more especially from the
+Jesuit convent on the left bank of the Ebro, which the Spaniards had
+neglected to secure. What followed may be read in the pages of Napier.
+The besiegers breached the wall near the convent of Santa Engracia, and
+the combat was continued day after day in the streets of the town. Every
+house was held as a fortress, every few yards of street was defended by
+a barricade. In answer to the summons to surrender rang Palafox’s
+defiant ‘War to the knife and to the last ditch!’ The women in many
+cases fought beside the men. When Maria Agustin saw her sweetheart fall
+at his post, she took the linstock from his hand and fired the gun
+herself. The fame of this ‘Maid of Saragossa’ has penetrated every
+<span class="pagenum"><a name="page_144" id="page_144">{144}</a></span>land. For twenty-one days the fighting continued in the streets.
+Finally, on February 21, 1809, the defenders capitulated on honourable
+terms. The town was a smoking heap of ruins and of dead. Zaragoza had
+shown an astonished world that the spirit of Saguntum and Numantia yet
+lived in Spaniards. And, we doubt not, it still lives.</p>
+
+<p>The city soon arose from the ashes. It rapidly recovered its prosperity,
+which took a fresh impetus on the opening of the four railways, east,
+west, north, and south. Here you see both the Old and the New Spain&mdash;the
+one with its heroic, glorious memories, the other with its promise of
+things as great and happier.</p>
+
+<h3>THE CITY</h3>
+
+<p>Zaragoza stands on the right bank of the Ebro in an oasis in the desert
+of Aragon. Nothing could be more attractive than the immediate environs,
+or more desolate than the country a few miles farther out. Such a
+situation was familiar to the Berber conquerors, who made themselves at
+home here and left their mark on the architecture of the city long after
+the last ‘Tagarin’ Moor had been expelled. Not, of course, that Zaragoza
+is to be compared as<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> regards Musulman architecture with Seville,
+Cordova, Granada, and Toledo; but the Moor has left behind him
+unmistakable evidences of his presence, and an interesting monument
+called the Aljaferia, which endures, though oft and oft restored, to
+this day.</p>
+
+<p>The name seems to be derived from Jaffir, a not uncommon name among the
+Moors, and borne perhaps by one of the Beni Hud dynasty, for whom the
+building served as a palace. At the conquest in 1118 it was allotted by
+Alfonso the Battler to the Benedictine order. In the fourteenth century
+it again became the residence of royalty, and doubtless was entirely
+transformed and repaired. It was the scene of great splendour at the
+coronation of King Martin, and of several of his successors. To-day it
+presents a sad and dilapidated appearance. The imposing staircase,
+decorated with fine stucco work, is the creation of the Catholic
+sovereigns, who seem to have had some idea of reconstituting the past
+glories of the palace in true Moorish style. The ceilings of some of the
+chambers are in the artesonado style&mdash;the work of fifteenth-century
+artificers. The most beautiful is to be seen in the Salon de la Alcoba,
+where was born in 1271 the sainted Princess Isabel, afterwards Queen of
+Portugal,<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> and persistently confounded by English writers with St.
+Elizabeth of Hungary. Everywhere among the decorations appear the
+devices and mottoes of Ferdinand and Isabel.</p>
+
+<p>Genuine Moorish work is to be seen in a little octagonal chamber opening
+off the patio. Of the eight arches, two are in horseshoe shape, and the
+others formed by irregular and capricious curves. The columns are almost
+hidden in the walls. The ceiling is modern, and unfortunately cuts off
+the view of the elegant <i>ajimeces</i> and arabesques of the upper stage.
+The ornamentation recalls that of the Alhambra. This chamber&mdash;said by
+some, on no particular authority, to have been a mosque&mdash;was the seat of
+the Inquisition down to 1706. The guide points out a cell called La
+Torreta, in which&mdash;according to Verdi’s opera <i>Il Trovatore</i>&mdash;Manrico
+was confined. The opera is founded on a legend of Zaragoza, and the
+libretto was written by Garcia Gutierrez, a native of the city.</p>
+
+<p>Some may enjoy the beautiful view of the Pyrenees obtained from the
+Aljaferia more than the building itself.</p>
+
+<p>&nbsp; </p>
+
+<p>Probably only a few fragments of this old palace are older than the
+Cathedral of La Seo.<span class="pagenum"><a name="page_147" id="page_147">{147}</a></span> This is the name commonly given in Aragon to the
+cathedral church, and comes, of course, from the Latin <i>sedes</i>, like our
+own word ‘See.’ Zaragoza became the metropolitan city of Aragon in 1318,
+and the archiepiscopal dignity was reserved as far as possible to the
+illegitimate sons of the kings. The city has now two cathedrals, which
+are used for alternating periods of six months. The Seo is the older of
+these, and occupies the site of the Moorish mosque&mdash;some say, even of an
+earlier Christian temple dating from Roman times. The church was, at all
+events, entirely rebuilt between 1188 and 1432, several Moorish names
+being mentioned among the architects. It can hardly be said to have been
+completed till the year 1550. Here were crowned the Kings of Aragon, and
+here, as we have related, was slain the Inquisitor, Pedro de Arbues.</p>
+
+<p>The west front was completed as late as 1685 by Julian Garza and Juan
+Bautista Contini. It is in the classical style of that period, and is in
+two stages separated by a broad entablature. The lower stage is adorned
+with massive Corinthian columns, and pierced with three doorways; the
+upper story is decorated with three statues of Christ and the Apostles
+Peter and Paul, by Giral, placed in niches; above is a<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> pediment
+finished with an ugly finial. This front is flanked by an octagonal
+tower of four stages, each smaller than the lower one, and is therefore
+not inaptly compared by Ford to a telescope. This structure is in the
+same style and reveals the same want of taste as the adjoining façade.
+The third stage contains the belfry. The whole is surmounted by a
+weather-vane and steeple, perched on a Moorish-looking dome. The statues
+of the Apostles on the belfry are by Acali. There is no other façade
+worthy of notice; but the Puerta de la Pavostria is in the better and
+earlier classic style of the sixteenth century. It derives its name from
+a functionary known as the Pavorde, who here distributed alms.</p>
+
+<p>Street, who did not consider this cathedral in general interesting, has
+much to say about a portion of brickwork at the north-east angle, inlaid
+with small tiles in diapers, red, blue, green, white, and buff on white.
+The eminent architect sees in this an interesting specimen of Moorish
+work, and praises the grave quiet of the whole decoration (<i>Gothic
+Architecture in Spain</i>, xvii. 372).</p>
+
+<p>The church is of unusual breadth, there being two aisles and a row of
+chapels on each side of the nave. ‘The nave and aisles,’ says the<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span>
+authority we have just quoted, ‘are all roofed at the same level, the
+vaulting springing from the capitals of the main columns, and the whole
+of the light is admitted by windows in the end walls, and high up in the
+outer walls of the aisles. In this respect Spanish churches of late date
+almost always exhibit an attention to the requirements of the climate,
+which is scarcely ever seen in the thirteenth and fourteenth centuries;
+and this church owes almost all its good effect to this circumstance,
+for it is in light and shade only, and neither in general detail nor in
+design that it is a success.’</p>
+
+<p>The vaultings are adorned with gilded pendants and bosses, very much in
+the Moorish style. The light red marble pavement, with rays diverging
+from the yellow marble bases of the columns, appears to have been
+intended to suggest a reflection of the roof with its ogive vaultings
+above. The decoration is tasteful and not elaborate. The capitals are
+sculptured with <i>putti</i> upholding escutcheons with animals and foliage.</p>
+
+<p>Over the chancel is the lantern, octagonal in plan, which replaced an
+earlier one in the first quarter of the sixteenth century. The work was
+undertaken by Enrique de Egas, only at the<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> express command of the king.
+The lower part is adorned with statues in niches, and with the canting
+arms (the half-moon) of the family of Archbishop de Luna.</p>
+
+<p>The reredos of the High Altar is of alabaster and in the Gothic style.
+It was executed at the order of (and not by, as we have seen erroneously
+stated) Archbishop Dalmacio de Mur (1430-1456). The seven compartments
+are filled with compositions representing the martyrdom of St. Lawrence,
+the burial of St. Vincent, and episodes in the history of St. Valerus;
+with statues of the two latter saints, angels, and New Testament scenes.
+In all, the expressions and the draperies are exquisitely rendered. Don
+J. M. Quadrado is of opinion that this superb work was executed by Pedro
+Johán of Cataluña, Ans, Gombao, Caspar, and Gil Morlán successively.</p>
+
+<p>Before the High Altar the coronation took place, and the king, robed
+like a deacon, prostrated himself before the primate. On the gospel side
+is the wooden coffin which contains the ashes of Maria, daughter of
+<i>Jaime lo Conqueridor</i>, who died in 1267. At her side is the noble
+marble tomb of Archbishop Don Juan de Aragon, brother of Ferdinand the
+Catholic, with<span class="pagenum"><a name="page_151" id="page_151">{151}</a></span> statues of the Mater Dolorosa, attended by Saints
+Jerome, Martin, and Francis. Here are also the tombs of Archbishop Don
+Alonso, natural son of Ferdinand the Catholic, and of his natural son,
+also Archbishop, Don Fernando. The first-named did not take orders till
+after the birth of his son and successor, and only celebrated one mass,
+deeming himself unworthy of the sacerdotal functions. Beneath a tablet
+is deposited the heart of the Infante Baltasar Carlos, eldest son of
+Philip <small>IV.</small>, carried off by smallpox at the age of seventeen. His
+portrait is familiar to students of Velazquez.</p>
+
+<p>The choir occupies two of the five bays west of the crossing. It is in
+the Gothic style, and closed by a modern railing. In the centre is the
+tomb of Archbishop de Mede, from whose time the choir dates. The stalls
+are of Flemish oak. The fine lectern dates from 1413. The <i>trascoro</i>, or
+back of the choir, is a gorgeous plateresque affair in marble and
+stucco, the work of Tudelilla of Tarazona, who flourished about 1538.
+His are the statues of the martyrs Vincent and Laurence, the four
+reliefs illustrating their martyrdom, and that of San Valero, and the
+groups of cherubim. The tabernacle is in a not untasteful baroque style,
+and has side columns of black marble and<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> a good crucifix. This figure
+of Christ is said to have addressed Canon Funes, afterwards Bishop of
+Albarracin, who is shown on his knees regarding it. The sides of the
+choir are adorned with statues of saints, including that of Pedro de
+Arbues, on the very spot where he was slain.</p>
+
+<p>Few of the chapels are of interest, and all but one have been disfigured
+with baroque portals. In the chapel of San Bernardo is the fine tomb and
+effigy by Morlánes of Archbishop Don Fernando de Aragon, above being a
+retablo representing the Betrayal and the Crucifixion. Close by lies
+Doña Ana de Gurrea, mother of the prelate (died 1527). The chapel of San
+Gabriel, founded by Gabriel de Zaporta, is notable for its fine bronze
+<i>reja</i> and plateresque adornments. In the chapel of San Dominguito del
+Val are preserved ‘the remains of the third child crucified by the Jews
+in hatred of Christ towards the year 1250’; and the chapel of San Pedro
+de Arbues contains that worthy’s body, his kneeling effigy by José
+Ramirez, and paintings by Jimenez of Tarazona. In the chapel of Nuestra
+Señora de la Blanca are collected the tombs of sundry archbishops. The
+chapel of San Miguel owes its origin to a ghastly legend. Passing
+through the pine grove of Villaroya, the Archbishop Don<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span> Lope de Luna
+heard a voice calling him. He turned and saw that it proceeded from a
+severed head which came leaping towards him. The decapitated man had
+called on the Archangel at the moment the axe descended, and life was
+miraculously preserved in his head till he had made his confession, and
+was absolved by the primate. De Luna’s tomb is a triumph of Gothic art.
+He is shown with mitre and crozier, reclining on a sarcophagus which is
+sculptured with twenty-eight figures of friars in various attitudes. In
+niches in the wall surrounding the tomb are beautifully carved figures
+of ecclesiastics and grandees, full of vigour and expression. The name
+of the sculptor of this fine work is unhappily unknown.</p>
+
+<p>In the sacristy is to be seen the Gothic cross of gold and jewel-work,
+on which the kings of Aragon swore to observe the <i>fueros</i>. Some of the
+vestments are very fine. A casulla is said to have come from old St.
+Paul’s, London, at the time of the Reformation. There is a magnificent
+<i>custodia</i>, dating from 1537, and a fine silver reliquary, sent from
+Avignon in 1405 by Benedict <small>XIII.</small> (the anti-pope, De Luna). In the Sala
+Capitular are pictures attributed to Ribera and Zurbarán. The fine tiled
+pavement of this room is modern.<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span></p>
+
+<p>The church of Santiago is mentioned as far back as 1121, and retains a
+few Romanesque features. Here the saint is said to have lived on his
+visit to Spain; and in the porch the magistrates of the city used to
+assemble and to administer justice.</p>
+
+<p>The most important church in Zaragoza after the Seo is, in Street’s
+estimation, that of San Pablo, built in 1259. The octagonal steeple is
+faced with tiles in much the same way as the part of the cathedral wall
+above described, and is certainly a later addition to the structure. The
+nave is of four bays and terminates in a five-sided apse. The aisle is
+continued all round the church, and communicates with the nave by
+pointed arches in an extraordinarily thick wall. In the left aisle are
+five early and highly interesting Gothic retablos. The elaborate reredos
+of the High Altar, with its reliefs of the Passion and of the Acts of
+St. Paul, is hardly worthy of the master&mdash;Damian Forment&mdash;to whom it has
+been hastily attributed. Ford suggests that it is the work of one of his
+pupils.</p>
+
+<p>The church of Santa Engracia, which figured prominently in the great
+siege, commemorates the massacre of a number of Christians of both sexes
+by the soldiery of Dacian. The bodies of<span class="pagenum"><a name="page_155" id="page_155">{155}</a></span> the saints, Engracia and
+Lupercius, having been discovered here in 1389, the church already built
+on the spot was enlarged, and finally rebuilt with great splendour by
+Ferdinand the Catholic. A terrific explosion on August 13, 1808,
+completely wrecked the fabric, leaving little more than the plateresque
+portal, believed to have been designed by Morlánes. The entrance is
+through a round arch recessed within another, and surrounded by a
+retablo-like arrangement of niches containing groups. The outer arch is
+flanked by four statues of doctors of the Church in niches, and
+surmounted by statues of Ferdinand and Isabel.</p>
+
+<p>The existing church, clumsily restored by the Hermits of St. Jerome,
+contains some interesting tombs of the martyrs. They appear to date from
+the fifth century. One is decorated with reliefs in the rudest Byzantine
+style, the subjects being Adam and Eve and the Serpent, and the sixteen
+martyrs, whose relics are enclosed. The pillar is shown at which Santa
+Engracia was flogged by order of Dacian, and a well which is believed to
+contain the bones of innumerable martyrs.</p>
+
+<p>It is curious and painful how constantly the memorials of religious
+fanaticism confront one in this beautiful country. Here we are shown the
+spot where a Christian suffered for his faith;<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span> there where a Jew
+perished; there where a Moor died for conscience’ sake. Persecution
+naturally engenders a vindictive and intolerant temper in its victims,
+and these, become the masters, are hardened, not softened, by
+affliction. Religion, too, in Spain was almost always identified with
+race. The Moor, the Jew, and the Lutheran were not only infidels or
+heretics, but aliens&mdash;the political and racial enemies of the Spaniard.
+In fact, religious intolerance in the Peninsula cannot be said to have
+assumed such unnatural forms as in France and Germany, where men of the
+same blood and language cut each other’s throats, and vied with each
+other in doing the most harm to their native lands.</p>
+
+<p>To the dawn of the sixteenth century also belonged the famous leaning
+tower at Zaragoza, the Torre Nueva, now demolished; while the Lonja or
+Exchange commemorates the reign of Juana la Loca, or as the inscription
+states, of her and her son, Don Carlos, ‘conregnantes’ (1551). This is
+one of the many buildings scattered over Spain and Europe generally
+which were intended to accommodate brokers and business men, who
+resolutely refuse to swarm in the appointed spots&mdash;witness our own Royal
+Exchange, the Lonjas of Seville and Granada, etc. The exterior belongs<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span>
+to no recognised style. The round-headed door is flanked by two windows
+of similar shape; above runs a sort of imitation gallery, then two more
+rows of round-headed windows, finished off with a fine eaves-cornice.
+The soffits of the arches are elaborately carved. At each corner of the
+edifice is a little tower, roofed with white and green tiles. The
+interior is divided into a nave and aisles by twenty-four columns, of
+which seventeen are embedded in the walls. From their Ionic capitals
+spring seventeen arches, which at the points of intersection are studded
+with gilt bosses. The Lion of Zaragoza may be distinguished among the
+decorations, and over the door and on the walls the arms of Spain.
+O’Shea says that the ‘gigantones’&mdash;gigantic figures representing the
+four quarters of the globe, carried about in processions&mdash;are kept here.</p>
+
+<p>&nbsp; </p>
+
+<p>A great many of the fine old mansions (<i>solares</i>) of the aristocracy and
+merchants of Zaragoza disappeared in the siege, or to permit of modern
+improvements. Those which remain date mostly from the sixteenth century.
+The finest, on the whole, is the Casa de la Infanta, so-called as having
+been the residence of La Vallabriga, a lady banished from Madrid for
+marrying the<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span> Infante Don Luis. The house was built by a rich merchant
+named Gabriel Zaporta in the middle of the sixteenth century. A square
+entrance admits to a court, round which runs a gallery, upheld by
+columns on fluted pedestals, and formed of caryatide figures
+interlocked. On these rest the capitals, elaborately carved with masks,
+and on these again is borne the gallery, the arches and parapet of which
+are enriched with medallions, masks, grotesques, and foliage. The
+decoration is a fine specimen of the plateresque style. The staircase,
+in the same style, is worthy of note.</p>
+
+<p>The fine old Casa de Comercio, described in several guide-books of
+recent date, no longer exists. The noble mansion of the Counts of
+Sastago housed Philip <small>III.</small> in 1599; and the Audiencia occupies the site
+of the ancestral home of the De Luna family, to which belonged the
+anti-pope Benedict <small>XIII.</small> and the wicked Count in Verdi’s opera.</p>
+
+<p>We have left almost to the last that ambitious but meretricious memorial
+of the decadence, the new cathedral, or Iglesia del Pilar. The Apostle
+James (Santiago), according to tradition, visited the city forty years
+after the birth of Christ. He was favoured by a vision of the Blessed
+Virgin,<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span> poised on a pillar of jasper, and attended by angels. He built
+a modest chapel on the spot, which soon became a great resort of
+pilgrims. This was replaced in the thirteenth century by a large church,
+which was demolished to make room for the present building, erected in
+1686 by Don Francisco Herrera. The design, bad enough in itself, was
+made worse by Ventura Rodriguez seventy years later. The exterior hardly
+merits description, though the domes or cupolas with their brilliant
+green, yellow, and white tiling are not without a certain bizarre
+beauty.</p>
+
+<p>Spanish writers are as severe as others in their condemnation of this
+spacious edifice: ‘The baroque style’ (says Don J. M. Quadrado), ‘as
+timid and clumsy in the general proportion of the work as it was
+audacious and presumptuous in detail, gave space not repose to the
+Pilar&mdash;size without grandeur. The eye measures vainly this square of
+1500 feet, and observes the nave and aisles equal in dimensions; it
+rests on the twelve square piers&mdash;enormous masses which might serve for
+the bases of towers, recoils from the bare vault, from the thick
+cornice, from the ridiculous foliage of the capitals, the arches, etc.
+This disagreeable impression is intensified by the strange and confused
+disposition of the<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span> temple, which, divided into two by the Shrine and
+the High Altar, presents two centres of attraction, and obstructs the
+nave with objects masking each other.’</p>
+
+<p>The only objects of particular interest in this vast edifice are those
+just named, which stand back to back. The Shrine or Capilla Santa
+constitutes a chapel within a chapel, the exterior being rectangular,
+the interior elliptical. Overhead is an oval dome borne on four
+Corinthian columns, with capitals richly gilded, and over this again
+another cupola or lantern painted by a namesake (not a relative) of
+Velazquez. There are four smaller domes painted by Goya and Bayeu. The
+profusion of rich marbles, the elaboration of the architecture, the
+brilliancy of the frescoes, and the multitude of statues give this
+chapel a sumptuous and not inartistic appearance. Around are hung
+banners taken from the infidels. The Sacred Pillar is almost entirely
+concealed, but there is a hole in the casing through which the devout
+may kiss it. On each side of the chapel imposing staircases lead to the
+crypt, in which lie several archbishops and canons, and the heart of Don
+Juan José of Austria, brother of Carlos <small>II.</small></p>
+
+<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p><p>The High Altar of the cathedral is of alabaster and in the Gothic
+style, the work of one Damian Forment, an early sixteenth-century
+artist. The lower reliefs, separated by slender pilasters, represent the
+Espousals of the Virgin, the Annunciation, the Visitation, the Nativity,
+the Adoration of the Magi, the Crucifixion, and the Resurrection. Above,
+in canopied niches, are the Assumption, the Nativity, and the
+Presentation. The canopies are richly adorned with the figures of
+saints. At the sides are two large statues of St. James and St.
+Braulio&mdash;objects of special devotion&mdash;and at the apex of the
+altar-screen are two angels supporting Our Lady of the Pillar. The whole
+is undoubtedly the finest work of art in the cathedral.</p>
+
+<p>The choir stalls merit attention. They were designed by the Navarrese
+Estebán de Obray, and carved by the Florentine Giovanni Moreto and
+Nicolás de Jobato between 1542 and 1548. The infinite number and variety
+of the designs, the delicacy and intricacy of the work, suggest that it
+was accomplished in two or more generations rather than in six years.
+Equally admirable is the bronze <i>reja</i> by Juan Tomás Celina (1574) on a
+marble base, sculptured by the Majorcan artist, Guillermo Salvá.</p>
+
+<p>The sacristy contains an immense variety of<span class="pagenum"><a name="page_162" id="page_162">{162}</a></span> offerings to the shrine by
+pilgrims from all parts of the world. These had been accumulating for
+centuries, and the Chapter were able some years ago to raise a sum of
+£20,000 by disposing of only a portion of them. Without profanity we
+might perhaps say that the Virgen del Pilar is to Zaragoza what Diana
+was to the Ephesians. Hundreds make a living by selling pictures and
+models of the shrine, and a surprising number of silversmiths do a
+roaring trade in images and medals. Yet it is not quite wise or safe for
+the traveller to scoff at a devotion which largely inspired the heroic
+defence of 1808, and supplied the place of arms, strategy, and able
+leadership.</p>
+
+<p>Close by, the yellow Ebro is spanned by the seven arches of the Puente
+de Piedra. Its origin is of unknown antiquity. It was here in 1435, when
+one of the arches collapsed&mdash;presaging the destruction by the Genoese of
+the Aragonese fleet which sailed that day; and the inscription
+mentioning Alfonso <small>V.</small>, and the date 1437, can only refer to its
+reconstruction. And across this bridge we pass into the stern, desert
+country of Aragon, and so on to the distant, gleaming Pyrenees.<span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<div class="figcenter" id="plt_001">
+<p class="plt">Plate 1</p>
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p>
+
+<div class="figcenter" id="plt_002">
+<p class="plt">Plate 2</p>
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
+
+<div class="figcenter" id="plt_003">
+<p class="plt">Plate 3</p>
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE BRIDGE OF PIEDRA</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p>
+
+<div class="figcenter" id="plt_004">
+<p class="plt">Plate 4</p>
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LA ACERA DE SAN FRANCISCO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span></p>
+
+<div class="figcenter" id="plt_005">
+<p class="plt">Plate 5</p>
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE TOWN HALL</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span></p>
+
+<div class="figcenter" id="plt_006">
+<p class="plt">Plate 6</p>
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE OLD PARISH CHURCH</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span></p>
+
+<div class="figcenter" id="plt_007">
+<p class="plt">Plate 7</p>
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE IN WHICH CHRISTOPHER COLUMBUS DIED, 1506</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span></p>
+
+<div class="figcenter" id="plt_008">
+<p class="plt">Plate 8</p>
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE WHERE KING PHILIP II. WAS BORN, 1527</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span></p>
+
+<div class="figcenter" id="plt_009">
+<p class="plt">Plate 9</p>
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROYAL PALACE OF PHILIP III.</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
+
+<div class="figcenter" id="plt_010">
+<p class="plt">Plate 10</p>
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN JUAN DE LETRAN</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
+
+<div class="figcenter" id="plt_011">
+<p class="plt">Plate 11</p>
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COLLEGE OF THE ESCOCESES</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<div class="figcenter" id="plt_012">
+<p class="plt">Plate 12</p>
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COLLEGE OF THE INGLESES</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<div class="figcenter" id="plt_013">
+<p class="plt">Plate 13</p>
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR VIEW OF THE LIBRARY</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p>
+
+<div class="figcenter" id="plt_014">
+<p class="plt">Plate 14</p>
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE MUSEUM</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
+
+<div class="figcenter" id="plt_015">
+<p class="plt">Plate 15</p>
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE MUSEUM</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p>
+
+<div class="figcenter" id="plt_016">
+<p class="plt">Plate 16</p>
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. BACK OF A CHOIR STALL. BY BERRUGUETE</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p>
+
+<div class="figcenter" id="plt_017">
+<p class="plt">Plate 17</p>
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. DETAIL OF THE CHOIR STALLS OF SAN BENITO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p>
+
+<div class="figcenter" id="plt_018">
+<p class="plt">Plate 18</p>
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. SEVERAL FRAGMENTS OF CHOIR STALLS BY BERRUGUETE</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p>
+
+<div class="figcenter" id="plt_019">
+<p class="plt">Plate 19</p>
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. HEAD OF ST. PAUL. WOOD CARVING. COMMENCEMENT OF EIGHTEENTH
+CENTURY</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<div class="figcenter" id="plt_020">
+<p class="plt">Plate 20</p>
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. CENTRE-PART OF A WOODEN ALTAR-PIECE END OF THE FIFTEENTH CENTURY</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<div class="figcenter" id="plt_021">
+<p class="plt">Plate 21</p>
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p>
+
+<div class="figcenter" id="plt_022">
+<p class="plt">Plate 22</p>
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<div class="figcenter" id="plt_023">
+<p class="plt">Plate 23</p>
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. ALTAR-PIECE CARVED IN WOOD. END OF FIFTEENTH CENTURY</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<div class="figcenter" id="plt_024">
+<p class="plt">Plate 24</p>
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. THE ASSUMPTION OF THE VIRGIN. BY RUBENS</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figcenter" id="plt_025">
+<p class="plt">Plate 25</p>
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. ST. ANTHONY OF PADUA AND THE CHILD JESUS. BY RUBENS</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p>
+
+<div class="figcenter" id="plt_026">
+<p class="plt">Plate 26</p>
+<a href="images/plt_026.jpg">
+<img src="images/plt_026.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. THE ANNUNCIATION. BY JOSÉ MARTINEZ</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p>
+
+<div class="figcenter" id="plt_027">
+<p class="plt">Plate 27</p>
+<a href="images/plt_027.jpg">
+<img src="images/plt_027.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. THE HOLY FAMILY. BY RAPHAEL</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p>
+
+<div class="figcenter" id="plt_028">
+<p class="plt">Plate 28</p>
+<a href="images/plt_028.jpg">
+<img src="images/plt_028.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. ST. FRANCIS AND A LAY BROTHER BY RUBENS</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<div class="figcenter" id="plt_029">
+<p class="plt">Plate 29</p>
+<a href="images/plt_029.jpg">
+<img src="images/plt_029.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JOACHIM AND THE VIRGIN AS A CHILD BY MURILLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<div class="figcenter" id="plt_030">
+<p class="plt">Plate 30</p>
+<a href="images/plt_030.jpg">
+<img src="images/plt_030.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. ST. BRUNO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<div class="figcenter" id="plt_031">
+<p class="plt">Plate 31</p>
+<a href="images/plt_031.jpg">
+<img src="images/plt_031.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CENTRE OF THE FAÇADE OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
+
+<div class="figcenter" id="plt_032">
+<p class="plt">Plate 32</p>
+<a href="images/plt_032.jpg">
+<img src="images/plt_032.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE FAÇADE OF ST. GREGORIO (LEFT SIDE)</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p>
+
+<div class="figcenter" id="plt_033">
+<p class="plt">Plate 33</p>
+<a href="images/plt_033.jpg">
+<img src="images/plt_033.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE FAÇADE OF ST. GREGORIO (RIGHT SIDE)</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p>
+
+<div class="figcenter" id="plt_034">
+<p class="plt">Plate 34</p>
+<a href="images/plt_034.jpg">
+<img src="images/plt_034.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LEFT ANGLE IN THE COURT OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p>
+
+<div class="figcenter" id="plt_035">
+<p class="plt">Plate 35</p>
+<a href="images/plt_035.jpg">
+<img src="images/plt_035.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY IN THE COURT OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p>
+
+<div class="figcenter" id="plt_036">
+<p class="plt">Plate 36</p>
+<a href="images/plt_036.jpg">
+<img src="images/plt_036.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE COURT OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p>
+
+<div class="figcenter" id="plt_037">
+<p class="plt">Plate 37</p>
+<a href="images/plt_037.jpg">
+<img src="images/plt_037.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR GATE OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
+
+<div class="figcenter" id="plt_038">
+<p class="plt">Plate 38</p>
+<a href="images/plt_038.jpg">
+<img src="images/plt_038.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<div class="figcenter" id="plt_039">
+<p class="plt">Plate 39</p>
+<a href="images/plt_039.jpg">
+<img src="images/plt_039.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LOWER PART OF THE FAÇADE OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p>
+
+<div class="figcenter" id="plt_040">
+<p class="plt">Plate 40</p>
+<a href="images/plt_040.jpg">
+<img src="images/plt_040.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE PORTAL OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
+
+<div class="figcenter" id="plt_041">
+<p class="plt">Plate 41</p>
+<a href="images/plt_041.jpg">
+<img src="images/plt_041.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LOWER CENTRAL PART OF THE FAÇADE OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<div class="figcenter" id="plt_042">
+<p class="plt">Plate 42</p>
+<a href="images/plt_042.jpg">
+<img src="images/plt_042.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
+
+<div class="figcenter" id="plt_043">
+<p class="plt">Plate 43</p>
+<a href="images/plt_043.jpg">
+<img src="images/plt_043.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE RIGHT-HAND SIDE OF THE PORCH OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
+
+<div class="figcenter" id="plt_044">
+<p class="plt">Plate 44</p>
+<a href="images/plt_044.jpg">
+<img src="images/plt_044.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE LEFT-HAND SIDE OF THE PORCH OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<div class="figcenter" id="plt_045">
+<p class="plt">Plate 45</p>
+<a href="images/plt_045.jpg">
+<img src="images/plt_045.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<div class="figcenter" id="plt_046">
+<p class="plt">Plate 46</p>
+<a href="images/plt_046.jpg">
+<img src="images/plt_046.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<div class="figcenter" id="plt_047">
+<p class="plt">Plate 47</p>
+<a href="images/plt_047.jpg">
+<img src="images/plt_047.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL ENTRANCE TO THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p>
+
+<div class="figcenter" id="plt_048">
+<p class="plt">Plate 48</p>
+<a href="images/plt_048.jpg">
+<img src="images/plt_048.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL GATE OF THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<div class="figcenter" id="plt_049">
+<p class="plt">Plate 49</p>
+<a href="images/plt_049.jpg">
+<img src="images/plt_049.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. VIEW OF THE INTERIOR</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" id="plt_050">
+<p class="plt">Plate 50</p>
+<a href="images/plt_050.jpg">
+<img src="images/plt_050.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. THE RETABLO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
+
+<div class="figcenter" id="plt_051">
+<p class="plt">Plate 51</p>
+<a href="images/plt_051.jpg">
+<img src="images/plt_051.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LA CAMARA SANTA; OR PRIMITIVE CHAPEL OF SAN MIGUEL WHERE ARE PRESERVED
+THE RELICS SAVED BY PELAYO FROM THE HANDS OF THE MOORS</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<div class="figcenter" id="plt_052">
+<p class="plt">Plate 52</p>
+<a href="images/plt_052.jpg">
+<img src="images/plt_052.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COFFIN IN OVIEDO CATHEDRAL, AND DETAILS OF THE SEPULCHRE FROM COVADONGA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<div class="figcenter" id="plt_053">
+<p class="plt">Plate 53</p>
+<a href="images/plt_053.jpg">
+<img src="images/plt_053.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OLD TOWER OF THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p>
+
+<div class="figcenter" id="plt_054">
+<p class="plt">Plate 54</p>
+<a href="images/plt_054.jpg">
+<img src="images/plt_054.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. OAKEN ARK, OR CHEST CONTAINING HOLY RELICS, IN THE CAMARA
+SANTA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<div class="figcenter" id="plt_055">
+<p class="plt">Plate 55</p>
+<a href="images/plt_055.jpg">
+<img src="images/plt_055.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SECTION, PLAN, AND DETAILS OF THE CAMARA SANTA IN THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
+
+<div class="figcenter" id="plt_056">
+<p class="plt">Plate 56</p>
+<a href="images/plt_056.jpg">
+<img src="images/plt_056.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. CROSS OF THE ANGELS, IN THE CAMARA SANTA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p>
+
+<div class="figcenter" id="plt_057">
+<p class="plt">Plate 57</p>
+<a href="images/plt_057.jpg">
+<img src="images/plt_057.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CROSSES AND CASKETS OF THE ASTURIAS</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
+
+<div class="figcenter" id="plt_058">
+<p class="plt">Plate 58</p>
+<a href="images/plt_058.jpg">
+<img src="images/plt_058.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. CROSS OF VICTORY, OR OF PELAYO, IN THE CAMARA SANTA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<div class="figcenter" id="plt_059">
+<p class="plt">Plate 59</p>
+<a href="images/plt_059.jpg">
+<img src="images/plt_059.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITAL, REPRESENTING THE DEATH OF FAVILA THE FATHER OF PELAYA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<div class="figcenter" id="plt_060">
+<p class="plt">Plate 60</p>
+<a href="images/plt_060.jpg">
+<img src="images/plt_060.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA MARIA DE NARANCO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<div class="figcenter" id="plt_061">
+<p class="plt">Plate 61</p>
+<a href="images/plt_061.jpg">
+<img src="images/plt_061.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE PARISH CHURCH OF SANTA MARIA DE NARANCO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p>
+
+<div class="figcenter" id="plt_062">
+<p class="plt">Plate 62</p>
+<a href="images/plt_062.jpg">
+<img src="images/plt_062.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN MIGUEL DE LINEO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
+
+<div class="figcenter" id="plt_063">
+<p class="plt">Plate 63</p>
+<a href="images/plt_063.jpg">
+<img src="images/plt_063.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PARISH CHURCH OF SAN JUAN DE PRIORIO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<div class="figcenter" id="plt_064">
+<p class="plt">Plate 64</p>
+<a href="images/plt_064.jpg">
+<img src="images/plt_064.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN JUAN DE PRIORIO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<div class="figcenter" id="plt_065">
+<p class="plt">Plate 65</p>
+<a href="images/plt_065.jpg">
+<img src="images/plt_065.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTALS, TOWER, AND DETAILS OF THE CHURCHES OF ST. CLARA, ST. JOHN, AND
+OUR LADY DE LA VEGA, THE LAST-NAMED FOUNDED IN THE TWELFTH CENTURY</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
+
+<div class="figcenter" id="plt_066">
+<p class="plt">Plate 66</p>
+<a href="images/plt_066.jpg">
+<img src="images/plt_066.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
+
+<div class="figcenter" id="plt_067">
+<p class="plt">Plate 67</p>
+<a href="images/plt_067.jpg">
+<img src="images/plt_067.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN AND DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p>
+
+<div class="figcenter" id="plt_068">
+<p class="plt">Plate 68</p>
+<a href="images/plt_068.jpg">
+<img src="images/plt_068.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, PRINCIPAL ENTRANCE, AND DETAILS OF THE CHURCH OF SAN JUAN DE
+AMANDI (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p>
+
+<div class="figcenter" id="plt_069">
+<p class="plt">Plate 69</p>
+<a href="images/plt_069.jpg">
+<img src="images/plt_069.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF SAN JUAN
+DE AMANDI (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<div class="figcenter" id="plt_070">
+<p class="plt">Plate 70</p>
+<a href="images/plt_070.jpg">
+<img src="images/plt_070.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, PORCH, AND DETAILS OF THE PARISH CHURCH OF VILLAVICIOSA (CONCEJO
+DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<div class="figcenter" id="plt_071">
+<p class="plt">Plate 71</p>
+<a href="images/plt_071.jpg">
+<img src="images/plt_071.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FRONT, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF
+VILLAVICIOSA (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" id="plt_072">
+<p class="plt">Plate 72</p>
+<a href="images/plt_072.jpg">
+<img src="images/plt_072.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN AND SECTION OF CHURCH OF SAN SALVADOR DE VALDEDIOS (CONCEJO DE
+VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<div class="figcenter" id="plt_073">
+<p class="plt">Plate 73</p>
+<a href="images/plt_073.jpg">
+<img src="images/plt_073.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TRANSVERSE SECTION AND WINDOWS OF THE CHURCH OF SAN SALVADOR DE
+VALDEDIOS (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span></p>
+
+<div class="figcenter" id="plt_074">
+<p class="plt">Plate 74</p>
+<a href="images/plt_074.jpg">
+<img src="images/plt_074.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLANS, SECTIONS, AND DETAILS OF THE PAROCHIAL CHURCHES OF PRIESCA AND
+FUENTES (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span></p>
+
+<div class="figcenter" id="plt_075">
+<p class="plt">Plate 75</p>
+<a href="images/plt_075.jpg">
+<img src="images/plt_075.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF CHURCH OF SANTA MARIA DE VILLAMAYOR (CONCEJO DEL INFIESTO)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span></p>
+
+<div class="figcenter" id="plt_076">
+<p class="plt">Plate 76</p>
+<a href="images/plt_076.jpg">
+<img src="images/plt_076.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SANTA MARIA DE VILLAMAYOR (CONCEJO DE INFIESTO)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p>
+
+<div class="figcenter" id="plt_077">
+<p class="plt">Plate 77</p>
+<a href="images/plt_077.jpg">
+<img src="images/plt_077.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, SECTIONS, AND DETAILS OF SAN ADRIAN DE TUÑON (CONCEJO DE
+VILLANUEVA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span></p>
+
+<div class="figcenter" id="plt_078">
+<p class="plt">Plate 78</p>
+<a href="images/plt_078.jpg">
+<img src="images/plt_078.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF HERMITAGE OF SANTA CRISTINA (CONCEJO DE LA POLA DE LENA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
+
+<div class="figcenter" id="plt_079">
+<p class="plt">Plate 79</p>
+<a href="images/plt_079.jpg">
+<img src="images/plt_079.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SEPULCHRES IN THE CLOISTERS OF THE COLLEGIATE CHURCH OF
+COVADONGA (CONCEJO DE CANGAS DE ONIS)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" id="plt_080">
+<p class="plt">Plate 80</p>
+<a href="images/plt_080.jpg">
+<img src="images/plt_080.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF PARISH-CHURCH OF UJO (CONCEJO DE MIERES)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" id="plt_081">
+<p class="plt">Plate 81</p>
+<a href="images/plt_081.jpg">
+<img src="images/plt_081.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF PAROCHIAL CHURCH OF UJO (CONCEJO DE MIERES)</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" id="plt_082">
+<p class="plt">Plate 82</p>
+<a href="images/plt_082.jpg">
+<img src="images/plt_082.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF SEGOVIA FROM THE NIEVAS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<div class="figcenter" id="plt_083">
+<p class="plt">Plate 83</p>
+<a href="images/plt_083.jpg">
+<img src="images/plt_083.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<div class="figcenter" id="plt_084">
+<p class="plt">Plate 84</p>
+<a href="images/plt_084.jpg">
+<img src="images/plt_084.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p>
+
+<div class="figcenter" id="plt_085">
+<p class="plt">Plate 85</p>
+<a href="images/plt_085.jpg">
+<img src="images/plt_085.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR AND CATHEDRAL FROM THE FUENCISLA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
+
+<div class="figcenter" id="plt_086">
+<p class="plt">Plate 86</p>
+<a href="images/plt_086.jpg">
+<img src="images/plt_086.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM THE NIEVAS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p>
+
+<div class="figcenter" id="plt_087">
+<p class="plt">Plate 87</p>
+<a href="images/plt_087.jpg">
+<img src="images/plt_087.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OLD HOUSES IN THE PLAZA MAYOR</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span></p>
+
+<div class="figcenter" id="plt_088">
+<p class="plt">Plate 88</p>
+<a href="images/plt_088.jpg">
+<img src="images/plt_088.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE WALLS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span></p>
+
+<div class="figcenter" id="plt_089">
+<p class="plt">Plate 89</p>
+<a href="images/plt_089.jpg">
+<img src="images/plt_089.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>AQUEDUCT OVER THE RIVER CASTILLA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<div class="figcenter" id="plt_090">
+<p class="plt">Plate 90</p>
+<a href="images/plt_090.jpg">
+<img src="images/plt_090.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL FROM THE HOYOS HILL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<div class="figcenter" id="plt_091">
+<p class="plt">Plate 91</p>
+<a href="images/plt_091.jpg">
+<img src="images/plt_091.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE CATHEDRAL FROM THE SQUARE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<div class="figcenter" id="plt_092">
+<p class="plt">Plate 92</p>
+<a href="images/plt_092.jpg">
+<img src="images/plt_092.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE CATHEDRAL FROM THE SQUARE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p>
+
+<div class="figcenter" id="plt_093">
+<p class="plt">Plate 93</p>
+<a href="images/plt_093.jpg">
+<img src="images/plt_093.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CASA DE LOS PICOS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span></p>
+
+<div class="figcenter" id="plt_094">
+<p class="plt">Plate 94</p>
+<a href="images/plt_094.jpg">
+<img src="images/plt_094.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SANTA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<div class="figcenter" id="plt_095">
+<p class="plt">Plate 95</p>
+<a href="images/plt_095.jpg">
+<img src="images/plt_095.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH OF SANTA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p>
+
+<div class="figcenter" id="plt_096">
+<p class="plt">Plate 96</p>
+<a href="images/plt_096.jpg">
+<img src="images/plt_096.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SANTA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p>
+
+<div class="figcenter" id="plt_097">
+<p class="plt">Plate 97</p>
+<a href="images/plt_097.jpg">
+<img src="images/plt_097.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE MINT AND THE PARRAL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p>
+
+<div class="figcenter" id="plt_098">
+<p class="plt">Plate 98</p>
+<a href="images/plt_098.jpg">
+<img src="images/plt_098.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE PARRAL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p>
+
+<div class="figcenter" id="plt_099">
+<p class="plt">Plate 99</p>
+<a href="images/plt_099.jpg">
+<img src="images/plt_099.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF THE PARRAL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<div class="figcenter" id="plt_100">
+<p class="plt">Plate 100</p>
+<a href="images/plt_100.jpg">
+<img src="images/plt_100.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TURÉGANO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<div class="figcenter" id="plt_101">
+<p class="plt">Plate 101</p>
+<a href="images/plt_101.jpg">
+<img src="images/plt_101.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TURÉGANO CASTLE</p>
+
+<p>PROVINCE OF SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" id="plt_102">
+<p class="plt">Plate 102</p>
+<a href="images/plt_102.jpg">
+<img src="images/plt_102.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF COCA CASTLE</p>
+
+<p>PROVINCE OF SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<div class="figcenter" id="plt_103">
+<p class="plt">Plate 103</p>
+<a href="images/plt_103.jpg">
+<img src="images/plt_103.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANOTHER VIEW OF COCA CASTLE</p>
+
+<p>PROVINCE OF SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span></p>
+
+<div class="figcenter" id="plt_104">
+<p class="plt">Plate 104</p>
+<a href="images/plt_104.jpg">
+<img src="images/plt_104.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ST. ANDREW’S GATE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<div class="figcenter" id="plt_105">
+<p class="plt">Plate 105</p>
+<a href="images/plt_105.jpg">
+<img src="images/plt_105.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ARCH OF THE FUENCISLA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<div class="figcenter" id="plt_106">
+<p class="plt">Plate 106</p>
+<a href="images/plt_106.jpg">
+<img src="images/plt_106.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SANTIAGO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<div class="figcenter" id="plt_107">
+<p class="plt">Plate 107</p>
+<a href="images/plt_107.jpg">
+<img src="images/plt_107.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR BEFORE THE FIRE IN 1862</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p>
+
+<div class="figcenter" id="plt_108">
+<p class="plt">Plate 108</p>
+<a href="images/plt_108.jpg">
+<img src="images/plt_108.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR FROM THE HOYOS HILL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p>
+
+<div class="figcenter" id="plt_109">
+<p class="plt">Plate 109</p>
+<a href="images/plt_109.jpg">
+<img src="images/plt_109.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE ALCAZAR</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p>
+
+<div class="figcenter" id="plt_110">
+<p class="plt">Plate 110</p>
+<a href="images/plt_110.jpg">
+<img src="images/plt_110.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR FROM THE CAVES</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p>
+
+<div class="figcenter" id="plt_111">
+<p class="plt">Plate 111</p>
+<a href="images/plt_111.jpg">
+<img src="images/plt_111.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE ALCAZAR BEFORE THE FIRE IN 1862</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<div class="figcenter" id="plt_112">
+<p class="plt">Plate 112</p>
+<a href="images/plt_112.jpg">
+<img src="images/plt_112.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRES OF THE FAMILY OF THE MARQUESES DE VILLENA IN THE CHURCH OF
+THE PARRAL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<div class="figcenter" id="plt_113">
+<p class="plt">Plate 113</p>
+<a href="images/plt_113.jpg">
+<img src="images/plt_113.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. NICHOLAS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p>
+
+<div class="figcenter" id="plt_114">
+<p class="plt">Plate 114</p>
+<a href="images/plt_114.jpg">
+<img src="images/plt_114.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF THE CHURCH OF VERA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<div class="figcenter" id="plt_115">
+<p class="plt">Plate 115</p>
+<a href="images/plt_115.jpg">
+<img src="images/plt_115.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH OF VERA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p>
+
+<div class="figcenter" id="plt_116">
+<p class="plt">Plate 116</p>
+<a href="images/plt_116.jpg">
+<img src="images/plt_116.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD OF THE MARQUIS OF ARCOS’ HOUSE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
+
+<div class="figcenter" id="plt_117">
+<p class="plt">Plate 117</p>
+<a href="images/plt_117.jpg">
+<img src="images/plt_117.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF ST. JOHN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<div class="figcenter" id="plt_118">
+<p class="plt">Plate 118</p>
+<a href="images/plt_118.jpg">
+<img src="images/plt_118.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. JOHN. SEGOVIA FROM THE EAST</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<div class="figcenter" id="plt_119">
+<p class="plt">Plate 119</p>
+<a href="images/plt_119.jpg">
+<img src="images/plt_119.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS CABALLEROS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p>
+
+<div class="figcenter" id="plt_120">
+<p class="plt">Plate 120</p>
+<a href="images/plt_120.jpg">
+<img src="images/plt_120.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. MARTIN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<div class="figcenter" id="plt_121">
+<p class="plt">Plate 121</p>
+<a href="images/plt_121.jpg">
+<img src="images/plt_121.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF ST. MARTIN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
+
+<div class="figcenter" id="plt_122">
+<p class="plt">Plate 122</p>
+<a href="images/plt_122.jpg">
+<img src="images/plt_122.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PARISH CHURCH OF ST. MARTIN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figcenter" id="plt_123">
+<p class="plt">Plate 123</p>
+<a href="images/plt_123.jpg">
+<img src="images/plt_123.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH OF THE PORTICO, CORNICE AND CAPITALS OF THE PORTICO OF THE PARISH
+CHURCH OF ST. MARTIN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<div class="figcenter" id="plt_124">
+<p class="plt">Plate 124</p>
+<a href="images/plt_124.jpg">
+<img src="images/plt_124.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF ST. STEPHEN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" id="plt_125">
+<p class="plt">Plate 125</p>
+<a href="images/plt_125.jpg">
+<img src="images/plt_125.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTICO OF ST. STEPHEN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<div class="figcenter" id="plt_126">
+<p class="plt">Plate 126</p>
+<a href="images/plt_126.jpg">
+<img src="images/plt_126.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF ST. STEPHEN AND EXTERIOR DETAILS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<div class="figcenter" id="plt_127">
+<p class="plt">Plate 127</p>
+<a href="images/plt_127.jpg">
+<img src="images/plt_127.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN LORENZO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<div class="figcenter" id="plt_128">
+<p class="plt">Plate 128</p>
+<a href="images/plt_128.jpg">
+<img src="images/plt_128.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN LORENZO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p>
+
+<div class="figcenter" id="plt_129">
+<p class="plt">Plate 129</p>
+<a href="images/plt_129.jpg">
+<img src="images/plt_129.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LATERAL FAÇADE OF THE CHURCH OF SAN LORENZO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<div class="figcenter" id="plt_130">
+<p class="plt">Plate 130</p>
+<a href="images/plt_130.jpg">
+<img src="images/plt_130.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CHURCH OF SAN LORENZO, WITH DETAILS OF CAPITALS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<div class="figcenter" id="plt_131">
+<p class="plt">Plate 131</p>
+<a href="images/plt_131.jpg">
+<img src="images/plt_131.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CHURCH OF SAN LORENZO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" id="plt_132">
+<p class="plt">Plate 132</p>
+<a href="images/plt_132.jpg">
+<img src="images/plt_132.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN MILLÁN. THE EPISTLE SIDE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" id="plt_133">
+<p class="plt">Plate 133</p>
+<a href="images/plt_133.jpg">
+<img src="images/plt_133.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN MILLÁN. THE GOSPEL SIDE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" id="plt_134">
+<p class="plt">Plate 134</p>
+<a href="images/plt_134.jpg">
+<img src="images/plt_134.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHES AND EAVES OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<div class="figcenter" id="plt_135">
+<p class="plt">Plate 135</p>
+<a href="images/plt_135.jpg">
+<img src="images/plt_135.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SECTIONAL ELEVATIONS OF THE PARISH CHURCH OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p>
+
+<div class="figcenter" id="plt_136">
+<p class="plt">Plate 136</p>
+<a href="images/plt_136.jpg">
+<img src="images/plt_136.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, AND DETAILS OF THE PARISH CHURCH OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<div class="figcenter" id="plt_137">
+<p class="plt">Plate 137</p>
+<a href="images/plt_137.jpg">
+<img src="images/plt_137.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PARISH CHURCH OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<div class="figcenter" id="plt_138">
+<p class="plt">Plate 138</p>
+<a href="images/plt_138.jpg">
+<img src="images/plt_138.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PARISH CHURCH OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<div class="figcenter" id="plt_139">
+<p class="plt">Plate 139</p>
+<a href="images/plt_139.jpg">
+<img src="images/plt_139.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, AND DETAILS OF THE CHURCH OF THE CONVENT OF CORPUS CHRISTI</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<div class="figcenter" id="plt_140">
+<p class="plt">Plate 140</p>
+<a href="images/plt_140.jpg">
+<img src="images/plt_140.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CONVENT OF SANTO DOMINGO AND TOWERS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<div class="figcenter" id="plt_141">
+<p class="plt">Plate 141</p>
+<a href="images/plt_141.jpg">
+<img src="images/plt_141.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTED SOCLES IN THE INTERIOR OF THE TOWER OF SANTO DOMINGO, COMMONLY
+CALLED THE TOWER OF HERCULES</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p>
+
+<div class="figcenter" id="plt_142">
+<p class="plt">Plate 142</p>
+<a href="images/plt_142.jpg">
+<img src="images/plt_142.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE CONVENT OF OUR LADY DE LA SIERRA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p>
+
+<div class="figcenter" id="plt_143">
+<p class="plt">Plate 143</p>
+<a href="images/plt_143.jpg">
+<img src="images/plt_143.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>RUINS OF THE CHAPEL OF THE CONVENT OF OUR LADY DE LA SIERRA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" id="plt_144">
+<p class="plt">Plate 144</p>
+<a href="images/plt_144.jpg">
+<img src="images/plt_144.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE RUINED CONVENT OF OUR LADY DE LA SIERRA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<div class="figcenter" id="plt_145">
+<p class="plt">Plate 145</p>
+<a href="images/plt_145.jpg">
+<img src="images/plt_145.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CONVENT OF OUR LADY DE LA SIERRA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<div class="figcenter" id="plt_146">
+<p class="plt">Plate 146</p>
+<a href="images/plt_146.jpg">
+<img src="images/plt_146.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" id="plt_147">
+<p class="plt">Plate 147</p>
+<a href="images/plt_147.jpg">
+<img src="images/plt_147.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" id="plt_148">
+<p class="plt">Plate 148</p>
+<a href="images/plt_148.jpg">
+<img src="images/plt_148.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<div class="figcenter" id="plt_149">
+<p class="plt">Plate 149</p>
+<a href="images/plt_149.jpg">
+<img src="images/plt_149.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p>
+
+<div class="figcenter" id="plt_150">
+<p class="plt">Plate 150</p>
+<a href="images/plt_150.jpg">
+<img src="images/plt_150.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<div class="figcenter" id="plt_151">
+<p class="plt">Plate 151</p>
+<a href="images/plt_151.jpg">
+<img src="images/plt_151.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<div class="figcenter" id="plt_152">
+<p class="plt">Plate 152</p>
+<a href="images/plt_152.jpg">
+<img src="images/plt_152.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
+
+<div class="figcenter" id="plt_153">
+<p class="plt">Plate 153</p>
+<a href="images/plt_153.jpg">
+<img src="images/plt_153.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>A DANCE IN THE PLAZA DEL PUEBLO DE NIEVA, SEGOVIA. BY A. GARCIA MENCIA.
+(No. 181, EXHIBITION OF 1871)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
+
+<div class="figcenter" id="plt_154">
+<p class="plt">Plate 154</p>
+<a href="images/plt_154.jpg">
+<img src="images/plt_154.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ENRIQUE IV. CONDUCTING THE INFANTA ISABEL THROUGH THE STREETS OF
+SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
+
+<div class="figcenter" id="plt_155">
+<p class="plt">Plate 155</p>
+<a href="images/plt_155.jpg">
+<img src="images/plt_155.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GROUP OF PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p>
+
+<div class="figcenter" id="plt_156">
+<p class="plt">Plate 156</p>
+<a href="images/plt_156.jpg">
+<img src="images/plt_156.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<div class="figcenter" id="plt_157">
+<p class="plt">Plate 157</p>
+<a href="images/plt_157.jpg">
+<img src="images/plt_157.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<div class="figcenter" id="plt_158">
+<p class="plt">Plate 158</p>
+<a href="images/plt_158.jpg">
+<img src="images/plt_158.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p>
+
+<div class="figcenter" id="plt_159">
+<p class="plt">Plate 159</p>
+<a href="images/plt_159.jpg">
+<img src="images/plt_159.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p>
+
+<div class="figcenter" id="plt_160">
+<p class="plt">Plate 160</p>
+<a href="images/plt_160.jpg">
+<img src="images/plt_160.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p>
+
+<div class="figcenter" id="plt_161">
+<p class="plt">Plate 161</p>
+<a href="images/plt_161.jpg">
+<img src="images/plt_161.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p>
+
+<div class="figcenter" id="plt_162">
+<p class="plt">Plate 162</p>
+<a href="images/plt_162.jpg">
+<img src="images/plt_162.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" id="plt_163">
+<p class="plt">Plate 163</p>
+<a href="images/plt_163.jpg">
+<img src="images/plt_163.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<div class="figcenter" id="plt_164">
+<p class="plt">Plate 164</p>
+<a href="images/plt_164.jpg">
+<img src="images/plt_164.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p>
+
+<div class="figcenter" id="plt_165">
+<p class="plt">Plate 165</p>
+<a href="images/plt_165.jpg">
+<img src="images/plt_165.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<div class="figcenter" id="plt_166">
+<p class="plt">Plate 166</p>
+<a href="images/plt_166.jpg">
+<img src="images/plt_166.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
+
+<div class="figcenter" id="plt_167">
+<p class="plt">Plate 167</p>
+<a href="images/plt_167.jpg">
+<img src="images/plt_167.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p>
+
+<div class="figcenter" id="plt_168">
+<p class="plt">Plate 168</p>
+<a href="images/plt_168.jpg">
+<img src="images/plt_168.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>WALLS AND POSTERN GATE WITH THE HOUSE OF DOÑA URRACA</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<div class="figcenter" id="plt_169">
+<p class="plt">Plate 169</p>
+<a href="images/plt_169.jpg">
+<img src="images/plt_169.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>STONE BRIDGE OVER THE DUERO</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<div class="figcenter" id="plt_170">
+<p class="plt">Plate 170</p>
+<a href="images/plt_170.jpg">
+<img src="images/plt_170.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BRIDGE OVER THE DUERO</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p>
+
+<div class="figcenter" id="plt_171">
+<p class="plt">Plate 171</p>
+<a href="images/plt_171.jpg">
+<img src="images/plt_171.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE CATHEDRAL</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
+
+<div class="figcenter" id="plt_172">
+<p class="plt">Plate 172</p>
+<a href="images/plt_172.jpg">
+<img src="images/plt_172.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE CATHEDRAL</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p>
+
+<div class="figcenter" id="plt_173">
+<p class="plt">Plate 173</p>
+<a href="images/plt_173.jpg">
+<img src="images/plt_173.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. GATE OF THE BISHOP</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<div class="figcenter" id="plt_174">
+<p class="plt">Plate 174</p>
+<a href="images/plt_174.jpg">
+<img src="images/plt_174.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EAST FRONT</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<div class="figcenter" id="plt_175">
+<p class="plt">Plate 175</p>
+<a href="images/plt_175.jpg">
+<img src="images/plt_175.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. GATE OF THE BISHOP</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<div class="figcenter" id="plt_176">
+<p class="plt">Plate 176</p>
+<a href="images/plt_176.jpg">
+<img src="images/plt_176.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. GATE OF THE BISHOP</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<div class="figcenter" id="plt_177">
+<p class="plt">Plate 177</p>
+<a href="images/plt_177.jpg">
+<img src="images/plt_177.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p>
+
+<div class="figcenter" id="plt_178">
+<p class="plt">Plate 178</p>
+<a href="images/plt_178.jpg">
+<img src="images/plt_178.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<div class="figcenter" id="plt_179">
+<p class="plt">Plate 179</p>
+<a href="images/plt_179.jpg">
+<img src="images/plt_179.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>DETAIL OF THE INTERIOR</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p>
+
+<div class="figcenter" id="plt_180">
+<p class="plt">Plate 180</p>
+<a href="images/plt_180.jpg">
+<img src="images/plt_180.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA.</p>
+
+<p>DETAIL OF THE INTERIOR</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" id="plt_181">
+<p class="plt">Plate 181</p>
+<a href="images/plt_181.jpg">
+<img src="images/plt_181.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA. CHANCEL</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<div class="figcenter" id="plt_182">
+<p class="plt">Plate 182</p>
+<a href="images/plt_182.jpg">
+<img src="images/plt_182.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA: EXAMPLE OF THE VAULTING</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p>
+
+<div class="figcenter" id="plt_183">
+<p class="plt">Plate 183</p>
+<a href="images/plt_183.jpg">
+<img src="images/plt_183.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA. INTERIOR</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" id="plt_184">
+<p class="plt">Plate 184</p>
+<a href="images/plt_184.jpg">
+<img src="images/plt_184.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA. TRANSEPT AND NAVE</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<div class="figcenter" id="plt_185">
+<p class="plt">Plate 185</p>
+<a href="images/plt_185.jpg">
+<img src="images/plt_185.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>DETAIL OF A WINDOW DEEPLY RECESSED</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_348" id="page_348">{348}</a></span></p>
+
+<div class="figcenter" id="plt_186">
+<p class="plt">Plate 186</p>
+<a href="images/plt_186.jpg">
+<img src="images/plt_186.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>TRANSEPT PORCH</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p>
+
+<div class="figcenter" id="plt_187">
+<p class="plt">Plate 187</p>
+<a href="images/plt_187.jpg">
+<img src="images/plt_187.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA MARIA LA NUEVA. DETAIL OF THE EXTERIOR</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></p>
+
+<div class="figcenter" id="plt_188">
+<p class="plt">Plate 188</p>
+<a href="images/plt_188.jpg">
+<img src="images/plt_188.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA MARIA LA NUEVA. DOORWAY IN THE WALL ON THE EPISTLE SIDE</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span></p>
+
+<div class="figcenter" id="plt_189">
+<p class="plt">Plate 189</p>
+<a href="images/plt_189.jpg">
+<img src="images/plt_189.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA MARIA LA NUEVA. CAPITALS OF RECESSED WINDOWS</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p>
+
+<div class="figcenter" id="plt_190">
+<p class="plt">Plate 190</p>
+<a href="images/plt_190.jpg">
+<img src="images/plt_190.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF MAGDALEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<div class="figcenter" id="plt_191">
+<p class="plt">Plate 191</p>
+<a href="images/plt_191.jpg">
+<img src="images/plt_191.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL DOOR OF THE CHURCH OF THE MAGDALEN</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<div class="figcenter" id="plt_192">
+<p class="plt">Plate 192</p>
+<a href="images/plt_192.jpg">
+<img src="images/plt_192.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN AND SECTIONS OF THE PARISH CHURCH OF ST. PETER</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p>
+
+<div class="figcenter" id="plt_193">
+<p class="plt">Plate 193</p>
+<a href="images/plt_193.jpg">
+<img src="images/plt_193.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PARISH CHURCH OF ST. PETER (NAVE)</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span></p>
+
+<div class="figcenter" id="plt_194">
+<p class="plt">Plate 194</p>
+<a href="images/plt_194.jpg">
+<img src="images/plt_194.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE OF THE CID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p>
+
+<div class="figcenter" id="plt_195">
+<p class="plt">Plate 195</p>
+<a href="images/plt_195.jpg">
+<img src="images/plt_195.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TAPESTRY OF THE BEGINNING OF THE FIFTEENTH CENTURY</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span></p>
+
+<div class="figcenter" id="plt_196">
+<p class="plt">Plate 196</p>
+<a href="images/plt_196.jpg">
+<img src="images/plt_196.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span></p>
+
+<div class="figcenter" id="plt_197">
+<p class="plt">Plate 197</p>
+<a href="images/plt_197.jpg">
+<img src="images/plt_197.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTING IN THE TOWN HALL BY RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p>
+
+<div class="figcenter" id="plt_198">
+<p class="plt">Plate 198</p>
+<a href="images/plt_198.jpg">
+<img src="images/plt_198.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTING ON THE UPPER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<div class="figcenter" id="plt_199">
+<p class="plt">Plate 199</p>
+<a href="images/plt_199.jpg">
+<img src="images/plt_199.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTING ON THE LOWER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" id="plt_200">
+<p class="plt">Plate 200</p>
+<a href="images/plt_200.jpg">
+<img src="images/plt_200.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROYAL ESCUTCHEON. DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" id="plt_201">
+<p class="plt">Plate 201</p>
+<a href="images/plt_201.jpg">
+<img src="images/plt_201.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ST. FERDINAND AND KING JOHN II. DECORATIVE PAINTING IN THE TOWN HALL. BY
+RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<div class="figcenter" id="plt_202">
+<p class="plt">Plate 202</p>
+<a href="images/plt_202.jpg">
+<img src="images/plt_202.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ARMS OF THE TOWN. BY RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p>
+
+<div class="figcenter" id="plt_203">
+<p class="plt">Plate 203</p>
+<a href="images/plt_203.jpg">
+<img src="images/plt_203.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>QUEEN URRACA AND ARIAS GONZALO. DECORATIVE PAINTING IN THE TOWN HALL. BY
+RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p>
+
+<div class="figcenter" id="plt_204">
+<p class="plt">Plate 204</p>
+<a href="images/plt_204.jpg">
+<img src="images/plt_204.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TROPHIES OF ARMS AND ARMOUR IN THE TOWN HALL BY RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></p>
+
+<div class="figcenter" id="plt_205">
+<p class="plt">Plate 205</p>
+<a href="images/plt_205.jpg">
+<img src="images/plt_205.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE HOUSE OF THE MOMOS</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p>
+
+<div class="figcenter" id="plt_206">
+<p class="plt">Plate 206</p>
+<a href="images/plt_206.jpg">
+<img src="images/plt_206.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BRIDGE OF ROCOBAYO OVER THE ESLA</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p>
+
+<div class="figcenter" id="plt_207">
+<p class="plt">Plate 207</p>
+<a href="images/plt_207.jpg">
+<img src="images/plt_207.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>STONE QUARRIES OF THE TOWN OF VALDEROJO</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_370" id="page_370">{370}</a></span>&nbsp; </p>
+
+
+<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span>&nbsp; </p>
+
+<div class="figcenter" id="plt_208">
+<p class="plt">Plate 208</p>
+<a href="images/plt_208.jpg">
+<img src="images/plt_208.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>EARTHWORKS OF THE ANCIENT CITY OF TORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p>
+
+<div class="figcenter" id="plt_209">
+<p class="plt">Plate 209</p>
+<a href="images/plt_209.jpg">
+<img src="images/plt_209.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>NORTH AND CENTRE GATES OF THE COLLEGIATE CHURCH OF TORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p>
+
+<div class="figcenter" id="plt_210">
+<p class="plt">Plate 210</p>
+<a href="images/plt_210.jpg">
+<img src="images/plt_210.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, EXTERIOR VIEW, AND DETAILS OF THE COLLEGIATE CHURCH OF TORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_374" id="page_374">{374}</a></span></p>
+
+<div class="figcenter" id="plt_211">
+<p class="plt">Plate 211</p>
+<a href="images/plt_211.jpg">
+<img src="images/plt_211.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GROUP OF PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p>
+
+<div class="figcenter" id="plt_212">
+<p class="plt">Plate 212</p>
+<a href="images/plt_212.jpg">
+<img src="images/plt_212.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GROUP OF PEASANTS OF THE VILLAGE OF CARBAJALES</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_376" id="page_376">{376}</a></span></p>
+
+<div class="figcenter" id="plt_213">
+<p class="plt">Plate 213</p>
+<a href="images/plt_213.jpg">
+<img src="images/plt_213.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_377" id="page_377">{377}</a></span></p>
+
+<div class="figcenter" id="plt_214">
+<p class="plt">Plate 214</p>
+<a href="images/plt_214.jpg">
+<img src="images/plt_214.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_378" id="page_378">{378}</a></span></p>
+
+<div class="figcenter" id="plt_215">
+<p class="plt">Plate 215</p>
+<a href="images/plt_215.jpg">
+<img src="images/plt_215.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_379" id="page_379">{379}</a></span></p>
+
+<div class="figcenter" id="plt_216">
+<p class="plt">Plate 216</p>
+<a href="images/plt_216.jpg">
+<img src="images/plt_216.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_380" id="page_380">{380}</a></span></p>
+
+<div class="figcenter" id="plt_217">
+<p class="plt">Plate 217</p>
+<a href="images/plt_217.jpg">
+<img src="images/plt_217.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF THE ALCAZAR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p>
+
+<div class="figcenter" id="plt_218">
+<p class="plt">Plate 218</p>
+<a href="images/plt_218.jpg">
+<img src="images/plt_218.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p>
+
+<div class="figcenter" id="plt_219">
+<p class="plt">Plate 219</p>
+<a href="images/plt_219.jpg">
+<img src="images/plt_219.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
+
+<div class="figcenter" id="plt_220">
+<p class="plt">Plate 220</p>
+<a href="images/plt_220.jpg">
+<img src="images/plt_220.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_384" id="page_384">{384}</a></span></p>
+
+<div class="figcenter" id="plt_221">
+<p class="plt">Plate 221</p>
+<a href="images/plt_221.jpg">
+<img src="images/plt_221.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_385" id="page_385">{385}</a></span></p>
+
+<div class="figcenter" id="plt_222">
+<p class="plt">Plate 222</p>
+<a href="images/plt_222.jpg">
+<img src="images/plt_222.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_386" id="page_386">{386}</a></span></p>
+
+<div class="figcenter" id="plt_223">
+<p class="plt">Plate 223</p>
+<a href="images/plt_223.jpg">
+<img src="images/plt_223.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p>
+
+<div class="figcenter" id="plt_224">
+<p class="plt">Plate 224</p>
+<a href="images/plt_224.jpg">
+<img src="images/plt_224.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_388" id="page_388">{388}</a></span></p>
+
+<div class="figcenter" id="plt_225">
+<p class="plt">Plate 225</p>
+<a href="images/plt_225.jpg">
+<img src="images/plt_225.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE TO THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p>
+
+<div class="figcenter" id="plt_226">
+<p class="plt">Plate 226</p>
+<a href="images/plt_226.jpg">
+<img src="images/plt_226.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN OF CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_390" id="page_390">{390}</a></span></p>
+
+<div class="figcenter" id="plt_227">
+<p class="plt">Plate 227</p>
+<a href="images/plt_227.jpg">
+<img src="images/plt_227.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>AVILA CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_391" id="page_391">{391}</a></span></p>
+
+<div class="figcenter" id="plt_228">
+<p class="plt">Plate 228</p>
+<a href="images/plt_228.jpg">
+<img src="images/plt_228.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SIDE DOOR OF THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_392" id="page_392">{392}</a></span></p>
+
+<div class="figcenter" id="plt_229">
+<p class="plt">Plate 229</p>
+<a href="images/plt_229.jpg">
+<img src="images/plt_229.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_393" id="page_393">{393}</a></span></p>
+
+<div class="figcenter" id="plt_230">
+<p class="plt">Plate 230</p>
+<a href="images/plt_230.jpg">
+<img src="images/plt_230.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_394" id="page_394">{394}</a></span></p>
+
+<div class="figcenter" id="plt_231">
+<p class="plt">Plate 231</p>
+<a href="images/plt_231.jpg">
+<img src="images/plt_231.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_395" id="page_395">{395}</a></span></p>
+
+<div class="figcenter" id="plt_232">
+<p class="plt">Plate 232</p>
+<a href="images/plt_232.jpg">
+<img src="images/plt_232.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
+
+<div class="figcenter" id="plt_233">
+<p class="plt">Plate 233</p>
+<a href="images/plt_233.jpg">
+<img src="images/plt_233.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE INTERIOR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p>
+
+<div class="figcenter" id="plt_234">
+<p class="plt">Plate 234</p>
+<a href="images/plt_234.jpg">
+<img src="images/plt_234.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p>
+
+<div class="figcenter" id="plt_235">
+<p class="plt">Plate 235</p>
+<a href="images/plt_235.jpg">
+<img src="images/plt_235.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p>
+
+<div class="figcenter" id="plt_236">
+<p class="plt">Plate 236</p>
+<a href="images/plt_236.jpg">
+<img src="images/plt_236.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p>
+
+<div class="figcenter" id="plt_237">
+<p class="plt">Plate 237</p>
+<a href="images/plt_237.jpg">
+<img src="images/plt_237.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p>
+
+<div class="figcenter" id="plt_238">
+<p class="plt">Plate 238</p>
+<a href="images/plt_238.jpg">
+<img src="images/plt_238.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p>
+
+<div class="figcenter" id="plt_239">
+<p class="plt">Plate 239</p>
+<a href="images/plt_239.jpg">
+<img src="images/plt_239.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. ALTAR OF SAN SEGUNDO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p>
+
+<div class="figcenter" id="plt_240">
+<p class="plt">Plate 240</p>
+<a href="images/plt_240.jpg">
+<img src="images/plt_240.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. ALTAR OF SANTA LUCIA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p>
+
+<div class="figcenter" id="plt_241">
+<p class="plt">Plate 241</p>
+<a href="images/plt_241.jpg">
+<img src="images/plt_241.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. SEPULCHRE OF DON JUAN D’AVILA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_405" id="page_405">{405}</a></span></p>
+
+<div class="figcenter" id="plt_242">
+<p class="plt">Plate 242</p>
+<a href="images/plt_242.jpg">
+<img src="images/plt_242.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. TOMB OF EL TESTADO BISHOP OF AVILA IN 1449</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_406" id="page_406">{406}</a></span></p>
+
+<div class="figcenter" id="plt_243">
+<p class="plt">Plate 243</p>
+<a href="images/plt_243.jpg">
+<img src="images/plt_243.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. ALTAR BEHIND THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_407" id="page_407">{407}</a></span></p>
+
+<div class="figcenter" id="plt_244">
+<p class="plt">Plate 244</p>
+<a href="images/plt_244.jpg">
+<img src="images/plt_244.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. SILVER MONSTRANCE OF JUAN DE ARFE. SIXTEENTH CENTURY</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_408" id="page_408">{408}</a></span></p>
+
+<div class="figcenter" id="plt_245">
+<p class="plt">Plate 245</p>
+<a href="images/plt_245.jpg">
+<img src="images/plt_245.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS SEPULCHRE OF THE INFANTE DON JUAN, SON OF
+FERDINAND AND ISABELLA THE MASTERPIECE OF MICER DOMENICO OF FLORENCE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p>
+
+<div class="figcenter" id="plt_246">
+<p class="plt">Plate 246</p>
+<a href="images/plt_246.jpg">
+<img src="images/plt_246.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRE OF THE HOLY MARTYRS VICENTE, SABINA AND CRISTINA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_410" id="page_410">{410}</a></span></p>
+
+<div class="figcenter" id="plt_247">
+<p class="plt">Plate 247</p>
+<a href="images/plt_247.jpg">
+<img src="images/plt_247.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CHAPEL OF SAN BERNARDO BY P. GONZALVO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p>
+
+<div class="figcenter" id="plt_248">
+<p class="plt">Plate 248</p>
+<a href="images/plt_248.jpg">
+<img src="images/plt_248.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. PETER</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_412" id="page_412">{412}</a></span></p>
+
+<div class="figcenter" id="plt_249">
+<p class="plt">Plate 249</p>
+<a href="images/plt_249.jpg">
+<img src="images/plt_249.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE TO THE CHURCH OF ST. PETER</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_413" id="page_413">{413}</a></span></p>
+
+<div class="figcenter" id="plt_250">
+<p class="plt">Plate 250</p>
+<a href="images/plt_250.jpg">
+<img src="images/plt_250.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAROCHIAL CHURCH OF ST. PETER</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_414" id="page_414">{414}</a></span></p>
+
+<div class="figcenter" id="plt_251">
+<p class="plt">Plate 251</p>
+<a href="images/plt_251.jpg">
+<img src="images/plt_251.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LONGITUDINAL SECTION AND DETAILS OF THE PARISH CHURCH OF ST. PETER.
+AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_415" id="page_415">{415}</a></span></p>
+
+<div class="figcenter" id="plt_252">
+<p class="plt">Plate 252</p>
+<a href="images/plt_252.jpg">
+<img src="images/plt_252.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE CHURCH OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_416" id="page_416">{416}</a></span></p>
+
+<div class="figcenter" id="plt_253">
+<p class="plt">Plate 253</p>
+<a href="images/plt_253.jpg">
+<img src="images/plt_253.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE BEFORE ITS RESTORATION</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_417" id="page_417">{417}</a></span></p>
+
+<div class="figcenter" id="plt_254">
+<p class="plt">Plate 254</p>
+<a href="images/plt_254.jpg">
+<img src="images/plt_254.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE BEFORE ITS RESTORATION</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p>
+
+<div class="figcenter" id="plt_255">
+<p class="plt">Plate 255</p>
+<a href="images/plt_255.jpg">
+<img src="images/plt_255.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. NORTH FAÇADE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_419" id="page_419">{419}</a></span></p>
+
+<div class="figcenter" id="plt_256">
+<p class="plt">Plate 256</p>
+<a href="images/plt_256.jpg">
+<img src="images/plt_256.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. PRINCIPAL FAÇADE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_420" id="page_420">{420}</a></span></p>
+
+<div class="figcenter" id="plt_257">
+<p class="plt">Plate 257</p>
+<a href="images/plt_257.jpg">
+<img src="images/plt_257.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. EASTERN FAÇADE, RESTORED</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_421" id="page_421">{421}</a></span></p>
+
+<div class="figcenter" id="plt_258">
+<p class="plt">Plate 258</p>
+<a href="images/plt_258.jpg">
+<img src="images/plt_258.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. FAÇADE.</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_422" id="page_422">{422}</a></span></p>
+
+<div class="figcenter" id="plt_259">
+<p class="plt">Plate 259</p>
+<a href="images/plt_259.jpg">
+<img src="images/plt_259.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. CENTRAL GATE, RESTORED</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
+
+<div class="figcenter" id="plt_260">
+<p class="plt">Plate 260</p>
+<a href="images/plt_260.jpg">
+<img src="images/plt_260.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. DETAIL OF THE MIDDLE CORNICE, RESTORED</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_424" id="page_424">{424}</a></span></p>
+
+<div class="figcenter" id="plt_261">
+<p class="plt">Plate 261</p>
+<a href="images/plt_261.jpg">
+<img src="images/plt_261.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF THE BASILICA OF SAN VICENTE, SANTAS SABINA AND CRISTINA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_425" id="page_425">{425}</a></span></p>
+
+<div class="figcenter" id="plt_262">
+<p class="plt">Plate 262</p>
+<a href="images/plt_262.jpg">
+<img src="images/plt_262.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. PRINCIPAL WEST ENTRANCE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_426" id="page_426">{426}</a></span></p>
+
+<div class="figcenter" id="plt_263">
+<p class="plt">Plate 263</p>
+<a href="images/plt_263.jpg">
+<img src="images/plt_263.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. PRINCIPAL WEST ENTRANCE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_427" id="page_427">{427}</a></span></p>
+
+<div class="figcenter" id="plt_264">
+<p class="plt">Plate 264</p>
+<a href="images/plt_264.jpg">
+<img src="images/plt_264.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. GENERAL VIEW OF THE INTERIOR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p>
+
+<div class="figcenter" id="plt_265">
+<p class="plt">Plate 265</p>
+<a href="images/plt_265.jpg">
+<img src="images/plt_265.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. SEPULCHRE OF THE HOLY MARTYRS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_429" id="page_429">{429}</a></span></p>
+
+<div class="figcenter" id="plt_266">
+<p class="plt">Plate 266</p>
+<a href="images/plt_266.jpg">
+<img src="images/plt_266.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE INTERIOR OF THE BASILICA OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_430" id="page_430">{430}</a></span></p>
+
+<div class="figcenter" id="plt_267">
+<p class="plt">Plate 267</p>
+<a href="images/plt_267.jpg">
+<img src="images/plt_267.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p>
+
+<div class="figcenter" id="plt_268">
+<p class="plt">Plate 268</p>
+<a href="images/plt_268.jpg">
+<img src="images/plt_268.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH OF SAN VICENTE. CENTRAL PART</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_432" id="page_432">{432}</a></span></p>
+
+<div class="figcenter" id="plt_269">
+<p class="plt">Plate 269</p>
+<a href="images/plt_269.jpg">
+<img src="images/plt_269.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_433" id="page_433">{433}</a></span></p>
+
+<div class="figcenter" id="plt_270">
+<p class="plt">Plate 270</p>
+<a href="images/plt_270.jpg">
+<img src="images/plt_270.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SECTION OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_434" id="page_434">{434}</a></span></p>
+
+<div class="figcenter" id="plt_271">
+<p class="plt">Plate 271</p>
+<a href="images/plt_271.jpg">
+<img src="images/plt_271.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_435" id="page_435">{435}</a></span></p>
+
+<div class="figcenter" id="plt_272">
+<p class="plt">Plate 272</p>
+<a href="images/plt_272.jpg">
+<img src="images/plt_272.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p>
+
+<div class="figcenter" id="plt_273">
+<p class="plt">Plate 273</p>
+<a href="images/plt_273.jpg">
+<img src="images/plt_273.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_437" id="page_437">{437}</a></span></p>
+
+<div class="figcenter" id="plt_274">
+<p class="plt">Plate 274</p>
+<a href="images/plt_274.jpg">
+<img src="images/plt_274.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_438" id="page_438">{438}</a></span></p>
+
+<div class="figcenter" id="plt_275">
+<p class="plt">Plate 275</p>
+<a href="images/plt_275.jpg">
+<img src="images/plt_275.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE COURT OF SILENCE, IN THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_439" id="page_439">{439}</a></span></p>
+
+<div class="figcenter" id="plt_276">
+<p class="plt">Plate 276</p>
+<a href="images/plt_276.jpg">
+<img src="images/plt_276.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS. THE COURT OF SILENCE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_440" id="page_440">{440}</a></span></p>
+
+<div class="figcenter" id="plt_277">
+<p class="plt">Plate 277</p>
+<a href="images/plt_277.jpg">
+<img src="images/plt_277.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS. COURT OF THE KINGS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_441" id="page_441">{441}</a></span></p>
+
+<div class="figcenter" id="plt_278">
+<p class="plt">Plate 278</p>
+<a href="images/plt_278.jpg">
+<img src="images/plt_278.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS. COURTYARD OF THE INFIRMARY</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p>
+
+<div class="figcenter" id="plt_279">
+<p class="plt">Plate 279</p>
+<a href="images/plt_279.jpg">
+<img src="images/plt_279.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_443" id="page_443">{443}</a></span></p>
+
+<div class="figcenter" id="plt_280">
+<p class="plt">Plate 280</p>
+<a href="images/plt_280.jpg">
+<img src="images/plt_280.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_444" id="page_444">{444}</a></span></p>
+
+<div class="figcenter" id="plt_281">
+<p class="plt">Plate 281</p>
+<a href="images/plt_281.jpg">
+<img src="images/plt_281.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_445" id="page_445">{445}</a></span></p>
+
+<div class="figcenter" id="plt_282">
+<p class="plt">Plate 282</p>
+<a href="images/plt_282.jpg">
+<img src="images/plt_282.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF THE CLOISTERS IN THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_446" id="page_446">{446}</a></span></p>
+
+<div class="figcenter" id="plt_283">
+<p class="plt">Plate 283</p>
+<a href="images/plt_283.jpg">
+<img src="images/plt_283.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHOIR OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_447" id="page_447">{447}</a></span></p>
+
+<div class="figcenter" id="plt_284">
+<p class="plt">Plate 284</p>
+<a href="images/plt_284.jpg">
+<img src="images/plt_284.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_448" id="page_448">{448}</a></span></p>
+
+<div class="figcenter" id="plt_285">
+<p class="plt">Plate 285</p>
+<a href="images/plt_285.jpg">
+<img src="images/plt_285.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHOIR STALLS IN THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p>
+
+<div class="figcenter" id="plt_286">
+<p class="plt">Plate 286</p>
+<a href="images/plt_286.jpg">
+<img src="images/plt_286.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHOIR STALLS IN THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_450" id="page_450">{450}</a></span></p>
+
+<div class="figcenter" id="plt_287">
+<p class="plt">Plate 287</p>
+<a href="images/plt_287.jpg">
+<img src="images/plt_287.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN SEGUNDO. STATUE OF SAN SEGUNDO BY BERRUGUETE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p>
+
+<div class="figcenter" id="plt_288">
+<p class="plt">Plate 288</p>
+<a href="images/plt_288.jpg">
+<img src="images/plt_288.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SANTO TOMÁS. SEPULCHRE OF THE INFANTE JUAN, ONLY SON OF
+FERDINAND AND ISABELLA. AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_452" id="page_452">{452}</a></span></p>
+
+<div class="figcenter" id="plt_289">
+<p class="plt">Plate 289</p>
+<a href="images/plt_289.jpg">
+<img src="images/plt_289.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTO TOMÁS. SEPULCHRE OF PRINCE JUAN, ONLY SON OF FERDINAND AND
+ISABELLA. AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_453" id="page_453">{453}</a></span></p>
+
+<div class="figcenter" id="plt_290">
+<p class="plt">Plate 290</p>
+<a href="images/plt_290.jpg">
+<img src="images/plt_290.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTO TOMÁS. SEPULCHRE OF PRINCE JUAN, ONLY SON OF FERDINAND AND
+ISABELLA. AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_454" id="page_454">{454}</a></span></p>
+
+<div class="figcenter" id="plt_291">
+<p class="plt">Plate 291</p>
+<a href="images/plt_291.jpg">
+<img src="images/plt_291.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GOTHIC GATE IN RUINS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_455" id="page_455">{455}</a></span></p>
+
+<div class="figcenter" id="plt_292">
+<p class="plt">Plate 292</p>
+<a href="images/plt_292.jpg">
+<img src="images/plt_292.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF A PRIVATE HOUSE OPPOSITE THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p>
+
+<div class="figcenter" id="plt_293">
+<p class="plt">Plate 293</p>
+<a href="images/plt_293.jpg">
+<img src="images/plt_293.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CALLE DE PEDRO D’AVILA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p>
+
+<div class="figcenter" id="plt_294">
+<p class="plt">Plate 294</p>
+<a href="images/plt_294.jpg">
+<img src="images/plt_294.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CELEBRATED WINDOW IN THE HOUSE OF PEDRO D’AVILA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p>
+
+<div class="figcenter" id="plt_295">
+<p class="plt">Plate 295</p>
+<a href="images/plt_295.jpg">
+<img src="images/plt_295.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD OF THE POLENTINOS’ PALACE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_459" id="page_459">{459}</a></span></p>
+
+<div class="figcenter" id="plt_296">
+<p class="plt">Plate 296</p>
+<a href="images/plt_296.jpg">
+<img src="images/plt_296.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTICO OF THE POLENTINOS’ PALACE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p>
+
+<div class="figcenter" id="plt_297">
+<p class="plt">Plate 297</p>
+<a href="images/plt_297.jpg">
+<img src="images/plt_297.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN ANDRES AND SAN SEGUNDO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_461" id="page_461">{461}</a></span></p>
+
+<div class="figcenter" id="plt_298">
+<p class="plt">Plate 298</p>
+<a href="images/plt_298.jpg">
+<img src="images/plt_298.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HERMITAGE OF SAN ISIDRO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_462" id="page_462">{462}</a></span></p>
+
+<div class="figcenter" id="plt_299">
+<p class="plt">Plate 299</p>
+<a href="images/plt_299.jpg">
+<img src="images/plt_299.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ACADEMY</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p>
+
+<div class="figcenter" id="plt_300">
+<p class="plt">Plate 300</p>
+<a href="images/plt_300.jpg">
+<img src="images/plt_300.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CAMPOSAGRADO PALACE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p>
+
+<div class="figcenter" id="plt_301">
+<p class="plt">Plate 301</p>
+<a href="images/plt_301.jpg">
+<img src="images/plt_301.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CASA DE LA BARAGAÑAS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p>
+
+<div class="figcenter" id="plt_302">
+<p class="plt">Plate 302</p>
+<a href="images/plt_302.jpg">
+<img src="images/plt_302.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CASA DE LA TORRE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_466" id="page_466">{466}</a></span></p>
+
+<div class="figcenter" id="plt_303">
+<p class="plt">Plate 303</p>
+<a href="images/plt_303.jpg">
+<img src="images/plt_303.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL OF MOSEN RUBI</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_467" id="page_467">{467}</a></span></p>
+
+<div class="figcenter" id="plt_304">
+<p class="plt">Plate 304</p>
+<a href="images/plt_304.jpg">
+<img src="images/plt_304.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PALACE OF THE CONDE DE SUPERUNDA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_468" id="page_468">{468}</a></span></p>
+
+<div class="figcenter" id="plt_305">
+<p class="plt">Plate 305</p>
+<a href="images/plt_305.jpg">
+<img src="images/plt_305.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MINIATURES FROM THE AVILA MISSAL, TWELFTH CENTURY (NATIONAL LIBRARY)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p>
+
+<div class="figcenter" id="plt_306">
+<p class="plt">Plate 306</p>
+<a href="images/plt_306.jpg">
+<img src="images/plt_306.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MINIATURES FROM THE AVILA MISSAL, TWELFTH CENTURY (NATIONAL LIBRARY)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p>
+
+<div class="figcenter" id="plt_307">
+<p class="plt">Plate 307</p>
+<a href="images/plt_307.jpg">
+<img src="images/plt_307.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF SAN FRANCISCO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p>
+
+<div class="figcenter" id="plt_308">
+<p class="plt">Plate 308</p>
+<a href="images/plt_308.jpg">
+<img src="images/plt_308.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>A ROMAN CAPITAL OF THE CHURCH OF SAN FRANCISCO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_472" id="page_472">{472}</a></span></p>
+
+<div class="figcenter" id="plt_309">
+<p class="plt">Plate 309</p>
+<a href="images/plt_309.jpg">
+<img src="images/plt_309.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LATIN-BYZANTINE FRIEZE IN THE CHURCH OF SAN FRANCISCO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_473" id="page_473">{473}</a></span></p>
+
+<div class="figcenter" id="plt_310">
+<p class="plt">Plate 310</p>
+<a href="images/plt_310.jpg">
+<img src="images/plt_310.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MONASTERY OF SAN PEDRO AT ARENAS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_474" id="page_474">{474}</a></span></p>
+
+<div class="figcenter" id="plt_311">
+<p class="plt">Plate 311</p>
+<a href="images/plt_311.jpg">
+<img src="images/plt_311.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM CABEZO-CORTADO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_475" id="page_475">{475}</a></span></p>
+
+<div class="figcenter" id="plt_312">
+<p class="plt">Plate 312</p>
+<a href="images/plt_312.jpg">
+<img src="images/plt_312.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM ALTABAS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p>
+
+<div class="figcenter" id="plt_313">
+<p class="plt">Plate 313</p>
+<a href="images/plt_313.jpg">
+<img src="images/plt_313.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM ALTABAS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p>
+
+<div class="figcenter" id="plt_314">
+<p class="plt">Plate 314</p>
+<a href="images/plt_314.jpg">
+<img src="images/plt_314.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE BRIDGE OVER THE EBRO, FROM THE RUINS OF SAN LAZARO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_478" id="page_478">{478}</a></span></p>
+
+<div class="figcenter" id="plt_315">
+<p class="plt">Plate 315</p>
+<a href="images/plt_315.jpg">
+<img src="images/plt_315.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE BRIDGE OVER THE EBRO, FROM EL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_479" id="page_479">{479}</a></span></p>
+
+<div class="figcenter" id="plt_316">
+<p class="plt">Plate 316</p>
+<a href="images/plt_316.jpg">
+<img src="images/plt_316.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p><p>GENERAL VIEW OF ZARAGOZA</p>
+</div>
+
+<div class="figcenter" id="plt_317">
+<p class="plt">Plate 317</p>
+<a href="images/plt_317.jpg">
+<img src="images/plt_317.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p>
+
+<div class="figcenter" id="plt_318">
+<p class="plt">Plate 318</p>
+<a href="images/plt_318.jpg">
+<img src="images/plt_318.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_482" id="page_482">{482}</a></span></p>
+
+<div class="figcenter" id="plt_319">
+<p class="plt">Plate 319</p>
+<a href="images/plt_319.jpg">
+<img src="images/plt_319.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM THE PORTILLA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_483" id="page_483">{483}</a></span></p>
+
+<div class="figcenter" id="plt_320">
+<p class="plt">Plate 320</p>
+<a href="images/plt_320.jpg">
+<img src="images/plt_320.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_484" id="page_484">{484}</a></span></p>
+
+<div class="figcenter" id="plt_321">
+<p class="plt">Plate 321</p>
+<a href="images/plt_321.jpg">
+<img src="images/plt_321.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CALLE DEL MERCADO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_485" id="page_485">{485}</a></span></p>
+
+<div class="figcenter" id="plt_322">
+<p class="plt">Plate 322</p>
+<a href="images/plt_322.jpg">
+<img src="images/plt_322.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PASEO DE SANTA ENGRACIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p>
+
+<div class="figcenter" id="plt_323">
+<p class="plt">Plate 323</p>
+<a href="images/plt_323.jpg">
+<img src="images/plt_323.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p>
+
+<div class="figcenter" id="plt_324">
+<p class="plt">Plate 324</p>
+<a href="images/plt_324.jpg">
+<img src="images/plt_324.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p>
+
+<div class="figcenter" id="plt_325">
+<p class="plt">Plate 325</p>
+<a href="images/plt_325.jpg">
+<img src="images/plt_325.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GLAZED TILES ON THE WALLS OF THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_489" id="page_489">{489}</a></span></p>
+
+<div class="figcenter" id="plt_326">
+<p class="plt">Plate 326</p>
+<a href="images/plt_326.jpg">
+<img src="images/plt_326.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CATHEDRAL OF LA SEO, FROM A PAINTING BY R. GONZALVO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_490" id="page_490">{490}</a></span></p>
+
+<div class="figcenter" id="plt_327">
+<p class="plt">Plate 327</p>
+<a href="images/plt_327.jpg">
+<img src="images/plt_327.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO. VIEW OF THE TRANSEPT</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_491" id="page_491">{491}</a></span></p>
+
+<div class="figcenter" id="plt_328">
+<p class="plt">Plate 328</p>
+<a href="images/plt_328.jpg">
+<img src="images/plt_328.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO. DETAIL OF TRANSEPT</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p>
+
+<div class="figcenter" id="plt_329">
+<p class="plt">Plate 329</p>
+<a href="images/plt_329.jpg">
+<img src="images/plt_329.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL OF ST. JOHN IN THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p>
+
+<div class="figcenter" id="plt_330">
+<p class="plt">Plate 330</p>
+<a href="images/plt_330.jpg">
+<img src="images/plt_330.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL OF GABRIEL DE ZAPORTA IN THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p>
+
+<div class="figcenter" id="plt_331">
+<p class="plt">Plate 331</p>
+<a href="images/plt_331.jpg">
+<img src="images/plt_331.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO. REJA BRONZE REPOUSSÉ BEFORE THE CHAPEL OF ZAPORTA.
+ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_495" id="page_495">{495}</a></span></p>
+
+<div class="figcenter" id="plt_332">
+<p class="plt">Plate 332</p>
+<a href="images/plt_332.jpg">
+<img src="images/plt_332.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRE OF ARCHBISHOP DON LOPE DE LUNA IN THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_496" id="page_496">{496}</a></span></p>
+
+<div class="figcenter" id="plt_333">
+<p class="plt">Plate 333</p>
+<a href="images/plt_333.jpg">
+<img src="images/plt_333.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CENTRAL DOME OF THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p>
+
+<div class="figcenter" id="plt_334">
+<p class="plt">Plate 334</p>
+<a href="images/plt_334.jpg">
+<img src="images/plt_334.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SILVER MONSTRANCE IN THE CATHEDRAL OF LA SEO, WEIGHT 200 KILOGRAMMES</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_498" id="page_498">{498}</a></span></p>
+
+<div class="figcenter" id="plt_335">
+<p class="plt">Plate 335</p>
+<a href="images/plt_335.jpg">
+<img src="images/plt_335.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CENSER GIVEN TO THE CATHEDRAL OF LA SEO BY MOSÉN JUAN DE TORRELLAS AT
+THE END OF THE FIFTEENTH CENTURY</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_499" id="page_499">{499}</a></span></p>
+
+<div class="figcenter" id="plt_336">
+<p class="plt">Plate 336</p>
+<a href="images/plt_336.jpg">
+<img src="images/plt_336.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF EL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_500" id="page_500">{500}</a></span></p>
+
+<div class="figcenter" id="plt_337">
+<p class="plt">Plate 337</p>
+<a href="images/plt_337.jpg">
+<img src="images/plt_337.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF EL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p>
+
+<div class="figcenter" id="plt_338">
+<p class="plt">Plate 338</p>
+<a href="images/plt_338.jpg">
+<img src="images/plt_338.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_502" id="page_502">{502}</a></span></p>
+
+<div class="figcenter" id="plt_339">
+<p class="plt">Plate 339</p>
+<a href="images/plt_339.jpg">
+<img src="images/plt_339.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE SIDE-ALTAR IN OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_503" id="page_503">{503}</a></span></p>
+
+<div class="figcenter" id="plt_340">
+<p class="plt">Plate 340</p>
+<a href="images/plt_340.jpg">
+<img src="images/plt_340.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR. VIEW OF THE CHOIR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_504" id="page_504">{504}</a></span></p>
+
+<div class="figcenter" id="plt_341">
+<p class="plt">Plate 341</p>
+<a href="images/plt_341.jpg">
+<img src="images/plt_341.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR. ORGAN IN THE CHOIR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_505" id="page_505">{505}</a></span></p>
+
+<div class="figcenter" id="plt_342">
+<p class="plt">Plate 342</p>
+<a href="images/plt_342.jpg">
+<img src="images/plt_342.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL IN OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_506" id="page_506">{506}</a></span></p>
+
+<div class="figcenter" id="plt_343">
+<p class="plt">Plate 343</p>
+<a href="images/plt_343.jpg">
+<img src="images/plt_343.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HIGH ALTAR OF THE CATHEDRAL OF OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_507" id="page_507">{507}</a></span></p>
+
+<div class="figcenter" id="plt_344">
+<p class="plt">Plate 344</p>
+<a href="images/plt_344.jpg">
+<img src="images/plt_344.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTINGS ON THE CUPOLA OF OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_508" id="page_508">{508}</a></span></p>
+
+<div class="figcenter" id="plt_345">
+<p class="plt">Plate 345</p>
+<a href="images/plt_345.jpg">
+<img src="images/plt_345.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF OUR LADY DEL PILAR. CHOIR STALLS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_509" id="page_509">{509}</a></span></p>
+
+<div class="figcenter" id="plt_346">
+<p class="plt">Plate 346</p>
+<a href="images/plt_346.jpg">
+<img src="images/plt_346.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR. CHOIR STALLS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_510" id="page_510">{510}</a></span></p>
+
+<div class="figcenter" id="plt_347">
+<p class="plt">Plate 347</p>
+<a href="images/plt_347.jpg">
+<img src="images/plt_347.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF OUR LADY DEL PILAR. CHOIR STALLS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_511" id="page_511">{511}</a></span></p>
+
+<div class="figcenter" id="plt_348">
+<p class="plt">Plate 348</p>
+<a href="images/plt_348.jpg">
+<img src="images/plt_348.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR, BY M. DE UNCETA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_512" id="page_512">{512}</a></span></p>
+
+<div class="figcenter" id="plt_349">
+<p class="plt">Plate 349</p>
+<a href="images/plt_349.jpg">
+<img src="images/plt_349.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_513" id="page_513">{513}</a></span></p>
+
+<div class="figcenter" id="plt_350">
+<p class="plt">Plate 350</p>
+<a href="images/plt_350.jpg">
+<img src="images/plt_350.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SILVER SALVER IN THE CATHEDRAL OF EL PILAR</p>
+
+<p>SIXTEENTH CENTURY</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_514" id="page_514">{514}</a></span></p>
+
+<div class="figcenter" id="plt_351">
+<p class="plt">Plate 351</p>
+<a href="images/plt_351.jpg">
+<img src="images/plt_351.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VASE IN THE CATHEDRAL OF EL PILAR</p>
+
+<p>FIFTEENTH CENTURY</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_515" id="page_515">{515}</a></span></p>
+
+<div class="figcenter" id="plt_352">
+<p class="plt">Plate 352</p>
+<a href="images/plt_352.jpg">
+<img src="images/plt_352.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF THE MAGDALEN</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_516" id="page_516">{516}</a></span></p>
+
+<div class="figcenter" id="plt_353">
+<p class="plt">Plate 353</p>
+<a href="images/plt_353.jpg">
+<img src="images/plt_353.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLACE AND CHURCH OF ST. NICHOLAS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_517" id="page_517">{517}</a></span></p>
+
+<div class="figcenter" id="plt_354">
+<p class="plt">Plate 354</p>
+<a href="images/plt_354.jpg">
+<img src="images/plt_354.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF THE CHURCH OF SAN MIGUEL</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_518" id="page_518">{518}</a></span></p>
+
+<div class="figcenter" id="plt_355">
+<p class="plt">Plate 355</p>
+<a href="images/plt_355.jpg">
+<img src="images/plt_355.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE CHURCH OF SANTA ENGRACIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_519" id="page_519">{519}</a></span></p>
+
+<div class="figcenter" id="plt_356">
+<p class="plt">Plate 356</p>
+<a href="images/plt_356.jpg">
+<img src="images/plt_356.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. PAUL. PUERTA DEL CRISTO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_520" id="page_520">{520}</a></span></p>
+
+<div class="figcenter" id="plt_357">
+<p class="plt">Plate 357</p>
+<a href="images/plt_357.jpg">
+<img src="images/plt_357.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE NEW OR LEANING TOWER</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_521" id="page_521">{521}</a></span></p>
+
+<div class="figcenter" id="plt_358">
+<p class="plt">Plate 358</p>
+<a href="images/plt_358.jpg">
+<img src="images/plt_358.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF THE CALLE DE ANTONIO PEREZ</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_522" id="page_522">{522}</a></span></p>
+
+<div class="figcenter" id="plt_359">
+<p class="plt">Plate 359</p>
+<a href="images/plt_359.jpg">
+<img src="images/plt_359.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF SAN MIGUEL</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_523" id="page_523">{523}</a></span></p>
+
+<div class="figcenter" id="plt_360">
+<p class="plt">Plate 360</p>
+<a href="images/plt_360.jpg">
+<img src="images/plt_360.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF SAN PABLO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_524" id="page_524">{524}</a></span></p>
+
+<div class="figcenter" id="plt_361">
+<p class="plt">Plate 361</p>
+<a href="images/plt_361.jpg">
+<img src="images/plt_361.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF THE TROVADOR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_525" id="page_525">{525}</a></span></p>
+
+<div class="figcenter" id="plt_362">
+<p class="plt">Plate 362</p>
+<a href="images/plt_362.jpg">
+<img src="images/plt_362.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT WALL AND BUILDINGS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_526" id="page_526">{526}</a></span></p>
+
+<div class="figcenter" id="plt_363">
+<p class="plt">Plate 363</p>
+<a href="images/plt_363.jpg">
+<img src="images/plt_363.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>STATUE OF PIGNATELLI</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_527" id="page_527">{527}</a></span></p>
+
+<div class="figcenter" id="plt_364">
+<p class="plt">Plate 364</p>
+<a href="images/plt_364.jpg">
+<img src="images/plt_364.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD IN THE HOUSE OF PARDO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_528" id="page_528">{528}</a></span></p>
+
+<div class="figcenter" id="plt_365">
+<p class="plt">Plate 365</p>
+<a href="images/plt_365.jpg">
+<img src="images/plt_365.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE COURT-YARD IN THE HOUSE OF PARDO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_529" id="page_529">{529}</a></span></p>
+
+<div class="figcenter" id="plt_366">
+<p class="plt">Plate 366</p>
+<a href="images/plt_366.jpg">
+<img src="images/plt_366.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE TO THE AUDIENCIA PALACE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_530" id="page_530">{530}</a></span></p>
+
+<div class="figcenter" id="plt_367">
+<p class="plt">Plate 367</p>
+<a href="images/plt_367.jpg">
+<img src="images/plt_367.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PALACE OF THE PROVINCIAL DEPUTATION</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_531" id="page_531">{531}</a></span></p>
+
+<div class="figcenter" id="plt_368">
+<p class="plt">Plate 368</p>
+<a href="images/plt_368.jpg">
+<img src="images/plt_368.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD IN THE COUNT OF ARGILLO’S HOUSE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_532" id="page_532">{532}</a></span></p>
+
+<div class="figcenter" id="plt_369">
+<p class="plt">Plate 369</p>
+<a href="images/plt_369.jpg">
+<img src="images/plt_369.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>EAVES ON THE HOUSE OF THE CONDE DE ARGILLO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_533" id="page_533">{533}</a></span></p>
+
+<div class="figcenter" id="plt_370">
+<p class="plt">Plate 370</p>
+<a href="images/plt_370.jpg">
+<img src="images/plt_370.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD IN THE COUNT OF ARGILLO’S HOUSE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_534" id="page_534">{534}</a></span></p>
+
+<div class="figcenter" id="plt_371">
+<p class="plt">Plate 371</p>
+<a href="images/plt_371.jpg">
+<img src="images/plt_371.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE IN THE PLAZA DE SAN CARLOS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_535" id="page_535">{535}</a></span></p>
+
+<div class="figcenter" id="plt_372">
+<p class="plt">Plate 372</p>
+<a href="images/plt_372.jpg">
+<img src="images/plt_372.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE EXCHANGE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_536" id="page_536">{536}</a></span></p>
+
+<div class="figcenter" id="plt_373">
+<p class="plt">Plate 373</p>
+<a href="images/plt_373.jpg">
+<img src="images/plt_373.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE EXCHANGE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_537" id="page_537">{537}</a></span></p>
+
+<div class="figcenter" id="plt_374">
+<p class="plt">Plate 374</p>
+<a href="images/plt_374.jpg">
+<img src="images/plt_374.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR VIEW OF THE EXCHANGE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_538" id="page_538">{538}</a></span></p>
+
+<div class="figcenter" id="plt_375">
+<p class="plt">Plate 375</p>
+<a href="images/plt_375.jpg">
+<img src="images/plt_375.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_539" id="page_539">{539}</a></span></p>
+
+<div class="figcenter" id="plt_376">
+<p class="plt">Plate 376</p>
+<a href="images/plt_376.jpg">
+<img src="images/plt_376.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_540" id="page_540">{540}</a></span></p>
+
+<div class="figcenter" id="plt_377">
+<p class="plt">Plate 377</p>
+<a href="images/plt_377.jpg">
+<img src="images/plt_377.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_541" id="page_541">{541}</a></span></p>
+
+<div class="figcenter" id="plt_378">
+<p class="plt">Plate 378</p>
+<a href="images/plt_378.jpg">
+<img src="images/plt_378.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD OF THE HOUSE OF ZAPORTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_542" id="page_542">{542}</a></span></p>
+
+<div class="figcenter" id="plt_379">
+<p class="plt">Plate 379</p>
+<a href="images/plt_379.jpg">
+<img src="images/plt_379.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD IN THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_543" id="page_543">{543}</a></span></p>
+
+<div class="figcenter" id="plt_380">
+<p class="plt">Plate 380</p>
+<a href="images/plt_380.jpg">
+<img src="images/plt_380.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_544" id="page_544">{544}</a></span></p>
+
+<div class="figcenter" id="plt_381">
+<p class="plt">Plate 381</p>
+<a href="images/plt_381.jpg">
+<img src="images/plt_381.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_545" id="page_545">{545}</a></span></p>
+
+<div class="figcenter" id="plt_382">
+<p class="plt">Plate 382</p>
+<a href="images/plt_382.jpg">
+<img src="images/plt_382.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF THE PROVINCIAL MUSEUM</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_546" id="page_546">{546}</a></span></p>
+
+<div class="figcenter" id="plt_383">
+<p class="plt">Plate 383</p>
+<a href="images/plt_383.jpg">
+<img src="images/plt_383.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY IN THE PROVINCIAL MUSEUM</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_547" id="page_547">{547}</a></span></p>
+
+<div class="figcenter" id="plt_384">
+<p class="plt">Plate 384</p>
+<a href="images/plt_384.jpg">
+<img src="images/plt_384.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALJAFERIA OR CITADEL. WINDOW OF THE MAIN STAIRCASE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_548" id="page_548">{548}</a></span></p>
+
+<div class="figcenter" id="plt_385">
+<p class="plt">Plate 385</p>
+<a href="images/plt_385.jpg">
+<img src="images/plt_385.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. INTERIOR OF THE (SO CALLED) MOSQUE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_549" id="page_549">{549}</a></span></p>
+
+<div class="figcenter" id="plt_386">
+<p class="plt">Plate 386</p>
+<a href="images/plt_386.jpg">
+<img src="images/plt_386.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. ENTRANCE TO THE (SO CALLED) MOSQUE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_550" id="page_550">{550}</a></span></p>
+
+<div class="figcenter" id="plt_387">
+<p class="plt">Plate 387</p>
+<a href="images/plt_387.jpg">
+<img src="images/plt_387.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. INTERIOR OF THE (SO CALLED) MOSQUE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_551" id="page_551">{551}</a></span></p>
+
+<div class="figcenter" id="plt_388">
+<p class="plt">Plate 388</p>
+<a href="images/plt_388.jpg">
+<img src="images/plt_388.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. DETAILS OF THE INTERIOR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_552" id="page_552">{552}</a></span></p>
+
+<div class="figcenter" id="plt_389">
+<p class="plt">Plate 389</p>
+<a href="images/plt_389.jpg">
+<img src="images/plt_389.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. DETAILS OF THE INTERIOR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_553" id="page_553">{553}</a></span></p>
+
+<div class="figcenter" id="plt_390">
+<p class="plt">Plate 390</p>
+<a href="images/plt_390.jpg">
+<img src="images/plt_390.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE ALJAFERIA</p>
+
+<p>PROVINCIAL MUSEUM, ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_554" id="page_554">{554}</a></span></p>
+
+<div class="figcenter" id="plt_391">
+<p class="plt">Plate 391</p>
+<a href="images/plt_391.jpg">
+<img src="images/plt_391.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE ALJAFERIA</p>
+
+<p>PROVINCIAL MUSEUM, ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_555" id="page_555">{555}</a></span></p>
+
+<div class="figcenter" id="plt_392">
+<p class="plt">Plate 392</p>
+<a href="images/plt_392.jpg">
+<img src="images/plt_392.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ST. ISABEL AND HER HUSBAND. TAPESTRY IN THE UNIVERSITY</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_556" id="page_556">{556}</a></span></p>
+
+<div class="figcenter" id="plt_393">
+<p class="plt">Plate 393</p>
+<a href="images/plt_393.jpg">
+<img src="images/plt_393.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE BARRACKS OF THE ALJAFERIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_557" id="page_557">{557}</a></span></p>
+
+<div class="figcenter" id="plt_394">
+<p class="plt">Plate 394</p>
+<a href="images/plt_394.jpg">
+<img src="images/plt_394.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CASA DE LA INFANTA. “THE DEPARTURE FOR THE FIGHT” BY P. GONZALVO
+PEREZ.</p>
+
+<p>(No. 204 EXHIBITION OF 1871)</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_558" id="page_558">{558}</a></span></p>
+
+<div class="figcenter" id="plt_395">
+<p class="plt">Plate 395</p>
+<a href="images/plt_395.jpg">
+<img src="images/plt_395.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF OUR LADY DEL CARMEN, FAMOUS FOR THE DEFENCE MADE BY THE HEROINE
+OF ZARAGOZA DURING THE SIEGE OF 1808. ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_559" id="page_559">{559}</a></span></p>
+
+<div class="figcenter" id="plt_396">
+<p class="plt">Plate 396</p>
+<a href="images/plt_396.jpg">
+<img src="images/plt_396.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE DEFENCE OF ZARAGOZA IN 1809, BY NICOLAS MEJIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_560" id="page_560">{560}</a></span></p>
+
+<div class="figcenter" id="plt_397">
+<p class="plt">Plate 397</p>
+<a href="images/plt_397.jpg">
+<img src="images/plt_397.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE FIRST SIEGE OF ZARAGOZA. BY A. FERRANT Y FISCHERMANS</p>
+
+<p>(No. 131, EXHIBITION OF 1871)</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_561" id="page_561">{561}</a></span></p>
+
+<div class="figcenter" id="plt_398">
+<p class="plt">Plate 398</p>
+<a href="images/plt_398.jpg">
+<img src="images/plt_398.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HEROIC DEFENCE OF THE TOWER OF ST. AUGUSTINE AT ZARAGOZA IN THE WAR OF
+INDEPENDENCE BY C. ALVAREZ DUMONT</p>
+
+<p>(NATIONAL EXHIBITION OF FINE ARTS, 1884)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_562" id="page_562">{562}</a></span></p>
+
+<div class="figcenter" id="plt_399">
+<p class="plt">Plate 399</p>
+<a href="images/plt_399.jpg">
+<img src="images/plt_399.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HEROIC COMBAT IN THE PULPIT OF THE CHURCH OF SAN AUGUSTIN AT ZARAGOZA IN
+1809. BY C. ALVAREZ DUMONT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_563" id="page_563">{563}</a></span></p>
+
+<div class="figcenter" id="plt_400">
+<p class="plt">Plate 400</p>
+<a href="images/plt_400.jpg">
+<img src="images/plt_400.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE MAID OF ZARAGOZA. BY M. HIRALDEZ ACOSTA</p>
+
+<p>No. 213 EXHIBITION OF 1871</p>
+</div>
+
+<p><span class="pagenum"><a name="page_564" id="page_564">{564}</a></span></p>
+
+<div class="figcenter" id="plt_401">
+<p class="plt">Plate 401</p>
+<a href="images/plt_401.jpg">
+<img src="images/plt_401.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE MAID OF ZARAGOZA. BY NAVARRO Y CANIZARES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_565" id="page_565">{565}</a></span></p>
+
+<div class="figcenter" id="plt_402">
+<p class="plt">Plate 402</p>
+<a href="images/plt_402.jpg">
+<img src="images/plt_402.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH FROM THE ALJAFERIA PALACE AT ZARAGOZA, NOW IN THE ARCHÆOLOGICAL
+MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_566" id="page_566">{566}</a></span></p>
+
+<div class="figcenter" id="plt_403">
+<p class="plt">Plate 403</p>
+<a href="images/plt_403.jpg">
+<img src="images/plt_403.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH FROM THE ALJAFERIA PALACE AT ZARAGOZA. NOW IN THE ARCHÆOLOGICAL
+MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_567" id="page_567">{567}</a></span></p>
+
+<div class="figcenter" id="plt_404">
+<p class="plt">Plate 404</p>
+<a href="images/plt_404.jpg">
+<img src="images/plt_404.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF “THE MOSQUE” OF THE ALJAFERIA</p>
+
+<p>ZARAGOZA PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_568" id="page_568">{568}</a></span></p>
+
+<div class="figcenter" id="plt_405">
+<p class="plt">Plate 405</p>
+<a href="images/plt_405.jpg">
+<img src="images/plt_405.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CORBELS OF EAVES. GOTHIC STYLE, FROM THE OLD CUSTOM
+HOUSE. ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_569" id="page_569">{569}</a></span></p>
+
+<div class="figcenter" id="plt_406">
+<p class="plt">Plate 406</p>
+<a href="images/plt_406.jpg">
+<img src="images/plt_406.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CORBELS OF EAVES</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_570" id="page_570">{570}</a></span></p>
+
+<div class="figcenter" id="plt_407">
+<p class="plt">Plate 407</p>
+<a href="images/plt_407.jpg">
+<img src="images/plt_407.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CORBELS OF EAVES. GOTHIC STYLE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_571" id="page_571">{571}</a></span></p>
+
+<div class="figcenter" id="plt_408">
+<p class="plt">Plate 408</p>
+<a href="images/plt_408.jpg">
+<img src="images/plt_408.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CORBELS OF EAVES. POINTED STYLE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_572" id="page_572">{572}</a></span></p>
+
+<div class="figcenter" id="plt_409">
+<p class="plt">Plate 409</p>
+<a href="images/plt_409.jpg">
+<img src="images/plt_409.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. ARAB CAPITALS OF THE ALJAFERIA CASTLE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_573" id="page_573">{573}</a></span></p>
+
+<div class="figcenter" id="plt_410">
+<p class="plt">Plate 410</p>
+<a href="images/plt_410.jpg">
+<img src="images/plt_410.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. ARAB CAPITALS FROM THE ALJAFERIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_574" id="page_574">{574}</a></span></p>
+
+<div class="figcenter" id="plt_411">
+<p class="plt">Plate 411</p>
+<a href="images/plt_411.jpg">
+<img src="images/plt_411.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. ARAB CAPITALS FROM THE ALJAFERIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_575" id="page_575">{575}</a></span></p>
+
+<div class="figcenter" id="plt_412">
+<p class="plt">Plate 412</p>
+<a href="images/plt_412.jpg">
+<img src="images/plt_412.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE STORY OF LUCRETIA. A PLATE FROM THE WORK ENTITLED “MUJERES ILUSTRES”
+(FAMOUS WOMEN) BY BOCCACCIO. PRINTED AT ZARAGOZA BY PABLO HURUS IN 1495
+(NATIONAL LIBRARY)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_576" id="page_576">{576}</a></span></p>
+
+<div class="figcenter" id="plt_413">
+<p class="plt">Plate 413</p>
+<a href="images/plt_413.jpg">
+<img src="images/plt_413.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>A PAGE FROM THE WORK ENTITLED “EXAMPLE AGAINST THE DECEPTION AND PERILS
+OF THE WORLD” BY JUAN DE CAPUA. PRINTED IN ZARAGOZA BY PABLO HURUS IN
+1493 (NATIONAL LIBRARY)</p>
+</div>
+
+<hr class="full" />
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 64970 ***</div>
+</body>
+</html>
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #64970 (https://www.gutenberg.org/ebooks/64970)
diff --git a/old/64970-0.txt b/old/64970-0.txt
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+The Project Gutenberg eBook of Valladolid, Oviedo, Avila & Zaragoza, by
+Albert F. Calvert
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: Valladolid, Oviedo, Avila & Zaragoza
+
+Author: Albert F. Calvert
+
+Release Date: March 31, 2021 [eBook #64970]
+
+Language: English
+
+Character set encoding: UTF-8
+
+Produced by: Chuck Greif, Thiers Halliwell and the Online Distributed
+             Proofreading Team at http://www.pgdp.net (This file was
+             produced from images available at The Internet Archive)
+
+*** START OF THE PROJECT GUTENBERG EBOOK VALLADOLID, OVIEDO, AVILA &
+ZARAGOZA ***
+
+
+
+
+                          THE SPANISH SERIES
+
+                      VALLADOLID, OVIEDO, SEGOVIA
+                      ZAMORA, AVILA, AND ZARAGOZA
+
+
+
+
+                          THE SPANISH SERIES
+
+                     _EDITED BY ALBERT F. CALVERT_
+
+
+                      GOYA
+                      TOLEDO
+                      SEVILLE
+                      MURILLO
+                      CORDOVA
+                      VELAZQUEZ
+                      CERVANTES
+                      THE PRADO
+                      THE ESCORIAL
+                      SPANISH ARMS AND ARMOUR
+                      GRANADA AND THE ALHAMBRA
+                      LEON, BURGOS, AND SALAMANCA
+                      VALLADOLID, OVIEDO, SEGOVIA,
+                         ZAMORA, AVILA, AND ZARAGOZA
+
+
+                      _In preparation._
+
+                      MADRID
+                      GALICIA
+                      EL GRECO
+                      CITIES OF ANDALUCIA
+                      MURCIA AND VALENCIA
+                      ROYAL PALACES OF SPAIN
+                      TAPESTRIES OF THE ROYAL PALACE
+                      CATALONIA AND BALEARIC ISLANDS
+                      SANTANDER, BISCAYA, AND NAVARRE
+
+
+
+
+                          VALLADOLID, OVIEDO
+                            SEGOVIA, ZAMORA
+                           AVILA, & ZARAGOZA
+
+                      AN HISTORICAL & DESCRIPTIVE
+                    ACCOUNT, BY ALBERT F. CALVERT,
+                        WITH 413 ILLUSTRATIONS
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+
+                  NEW YORK: JOHN LANE COMPANY MCMVIII
+
+
+        Edinburgh: T. and A. CONSTABLE, Printers to His Majesty
+
+
+
+
+PREFACE
+
+
+The six cities of Spain which form the subject of the following pages
+are little known to English travellers. Yet no one who would understand
+the country can afford to pass them by. Not only are they compact of
+artistic and architectural treasures, but within their walls much of the
+history of the Spanish nation has been made. Oviedo--that little city
+between the mountains and the sea, so far off the beaten track--was the
+cradle of the monarchy, the residence and burial-place of its patriot
+kings. For all men of Spanish blood it is holy ground. In Zamora we have
+the typical city of the heroic age of Spain, the era of half-fabulous
+heroes, whose personalities are made known to us only by folklore and
+ballads.
+
+Segovia and Avila are towns of the Reconquest, wardens, one might say,
+against the redoubtable Moor. To the fancy their grass-grown streets
+still re-echo with the tramp of armed men, with the ring of spears and
+the word of command. The shadowy warriors of Oviedo and Zamora here
+give place to the tall knight who stalks across the page of history,
+ready to do battle with pagan Moor or Christian tyrant. But Avila
+enshrines the holier memory of the sainted Theresa, greatest of Spanish
+women, revered not least in the lands for whose conversion to her faith
+she unceasingly prayed. And so we pass on, each town illustrating a
+different stage of a great nation’s development.
+
+In Valladolid, which preceded and subsequently nearly supplanted Madrid
+as the capital of Spain, we are again on holy ground; for Cervantes
+dwelt here, and here died the immortal Columbus. Zaragoza, the chief
+city of a kingdom that influenced the destinies of powerful European
+States when Castile was hardly known to the outside world, has ever been
+a noble and important capital, boasting a glory which has been brightest
+perhaps in its later days. To the citizens of Zaragoza was reserved the
+honour of rejecting the Inquisition, to which other towns reluctantly
+submitted, and just one hundred years ago she proved to an astonished
+Europe that within her crumbling walls dwelt the old brood of
+Numantia--that she was prolific still of heroes and heroines.
+
+The prowess of Augustina would not indeed have come as a surprise to
+those who knew her country well; nor could the most thoughtless of
+travellers, after a survey of the memorials of genius and vitality which
+these six cities contain, ever believe the greatness of the people to be
+exhausted. Already Valladolid and Zaragoza throb with life and commerce.
+But a few more years and the other cities, already stirring, will
+pulsate with the spirit of young Spain, and the Phœnix, born a thousand
+years ago at Oviedo, will renew its youth for the tenth time.
+
+To Señor J. Lacoste my thanks are due for his courtesy in permitting me
+to reproduce many of the photographs which find a place in this book,
+and I have also to acknowledge the assistance rendered me by Mr. E. B.
+d’Auvergne in the preparation of the text.
+
+                                                               A. F. C.
+
+
+
+
+CONTENTS
+
+
+CHAP.                                                               PAGE
+
+  I. VALLADOLID                                                        1
+
+ II. OVIEDO                                                           38
+
+III. SEGOVIA                                                          59
+
+ IV. ZAMORA                                                           86
+
+  V. AVILA                                                           103
+
+ VI. ZARAGOZA                                                        135
+
+
+
+
+ILLUSTRATIONS
+
+
+VALLADOLID
+
+SUBJECT                                                            PLATE
+
+General View of Valladolid,                                            1
+
+General View of Valladolid,                                            2
+
+The Bridge of Piedra,                                                  3
+
+La Acera de San Francisco,                                             4
+
+The Town Hall,                                                         5
+
+The Old Parish Church,                                                 6
+
+House in which Christopher Columbus died,                              7
+
+House where King Philip II. was born,                                  8
+
+The Royal Palace of Philip III.,                                       9
+
+Church of San Juan de Letran,                                         10
+
+College of the Escoceses,                                             11
+
+College of the Ingleses,                                              12
+
+Interior view of the Library,                                         13
+
+Interior of the Museum,                                               14
+
+Façade of the Museum,                                                 15
+
+Museum: Back of a Choir Stall, by Berruguete,                         16
+
+Museum: Detail of the Choir Stalls of San Benito,                     17
+
+Museum: Several Fragments of Choir Stalls, by Berruguete,             18
+
+Museum: Head of St. Paul,                                             19
+
+Museum: Centre part of a Wooden Altar-piece,                          20
+
+Museum: Fragments of Choir Stalls, by Berruguete,                     21
+
+Museum: Fragments of Choir Stalls, by Berruguete,                     22
+
+Museum: Altar-piece carved in wood,                                   23
+
+Museum: The Assumption of the Virgin, by Rubens,                      24
+
+Museum: St. Anthony of Padua and the Child Jesus, by
+Rubens,                                                               25
+
+Museum: The Annunciation, by José Martinez,                           26
+
+Museum: The Holy Family, by Raphael,                                  27
+
+Museum: St. Francis and a Lay Brother, by Rubens,                     28
+
+St. Joachim and the Virgin as a Child, by Murillo,                    29
+
+Provincial Museum: San Bruno,                                         30
+
+Centre of the Façade of San Gregorio,                                 31
+
+Detail of the Façade of San Gregorio,                                 32
+
+Detail of the Façade of San Gregorio,                                 33
+
+Left Angle in the Court of San Gregorio,                              34
+
+Gallery in the Court of San Gregorio,                                 35
+
+Detail in the Court of San Gregorio,                                  36
+
+Interior Gate of San Gregorio,                                        37
+
+Façade of San Pablo,                                                  38
+
+Lower Part of the Façade of San Pablo,                                39
+
+Detail of the Portal of San Pablo,                                    40
+
+Lower Central Part of the Façade of San Pablo,                        41
+
+Portal of San Pablo,                                                  42
+
+Detail of the Porch of San Pablo,                                     43
+
+Detail of the Porch of San Pablo,                                     44
+
+
+OVIEDO
+
+General View,                                                         45
+
+Tower of the Cathedral                                                46
+
+Principal Entrance to the Cathedral,                                  47
+
+Principal Gate of the Cathedral,                                      48
+
+Cathedral: View of the Interior,                                      49
+
+Cathedral: The Retablo,                                               50
+
+La Camara Santa,                                                      51
+
+Coffin in the Cathedral,                                              52
+
+Old Tower of the Cathedral,                                           53
+
+Cathedral: Oaken Ark,                                                 54
+
+Cathedral: Section, Plan, and Details of the Camara Santa,            55
+
+Cathedral: Cross of the Angels,                                       56
+
+Crosses and Caskets of the Asturias,                                  57
+
+Cathedral: Cross of Victory,                                          58
+
+A Capital,                                                            59
+
+Santa Maria de Naranco,                                               60
+
+Santa Maria de Naranco,                                               61
+
+Church of San Miguel de Lineo,                                        62
+
+Church of San Juan de Priorio,                                        63
+
+Church of San Juan de Priorio,                                        64
+
+Details of the Churches of St. Clara, St. John, and Our Lady
+de la Vega,                                                           65
+
+Details of Santa Maria de Valdedios,                                  66
+
+Details of Santa Maria de Valdedios,                                  67
+
+Details of San Juan de Amandi,                                        68
+
+Details of San Juan de Amandi,                                        69
+
+Details of the Church of Villaviciosa,                                70
+
+Details of the Church of Villaviciosa,                                71
+
+Plan and Section of San Salvador de Valdedios,                        72
+
+Details of San Salvador de Valdedios,                                 73
+
+Details of the Churches of Priesca and Fuentes,                       74
+
+Details of Santa Maria de Villamayor,                                 75
+
+Details of Santa Maria de Villamayor,                                 76
+
+Details of San Adrian de Tunon,                                       77
+
+Details of the Hermitage of Santa Cristina,                           78
+
+Details of the Collegiate Church of Covadonga,                        79
+
+Details of the Church of Ujo,                                         80
+
+Details of the Church of Ujo,                                         81
+
+
+SEGOVIA
+
+General View from the Nievas,                                         82
+
+General View,                                                         83
+
+The Roman Aqueduct,                                                   84
+
+The Alcazar and Cathedral from the Fuencisla,                         85
+
+General View from the Nievas,                                         86
+
+Old Houses in the Plaza Mayor,                                        87
+
+View of the Walls,                                                    88
+
+Aqueduct over the River Castilla,                                     89
+
+The Cathedral,                                                        90
+
+View of the Cathedral,                                                91
+
+View of the Cathedral,                                                92
+
+Casa de los Picos,                                                    93
+
+Church of Santa Cruz,                                                 94
+
+Porch of the Church of Santa Cruz,                                    95
+
+Church of Santa Cruz,                                                 96
+
+View of the Mint and the Parral,                                      97
+
+Façade of the Parral,                                                 98
+
+Cloisters of the Parral,                                              99
+
+General View of Turégano,                                            100
+
+Turégano Castle,                                                     101
+
+General View of Coca Castle,                                         102
+
+Another View of Coca Castle,                                         103
+
+St. Andrew’s Gate,                                                   104
+
+The Arch of the Fuencisla,                                           105
+
+Gate of Santiago,                                                    106
+
+The Alcazar before the Fire of 1862,                                 107
+
+The Alcazar from the Hoyos Hill,                                     108
+
+View of the Alcazar,                                                 109
+
+The Alcazar from the Caves,                                          110
+
+Façade of the Alcazar before the Fire of 1862,                       111
+
+Details of the Church of the Parral,                                 112
+
+Church of St. Nicholas,                                              113
+
+View of the Church of Vera Cruz,                                     114
+
+Porch of the Church of Vera Cruz,                                    115
+
+Courtyard of the Marquis of Arcos’ House,                            116
+
+Façade of St. John,                                                  117
+
+Church of St. John,                                                  118
+
+San Juan de los Caballeros,                                          119
+
+Church of St. Martin,                                                120
+
+Porch of St. Martin,                                                 121
+
+Parish Church of St. Martin,                                         122
+
+Details of the Church of St. Martin,                                 123
+
+General View of St. Stephen,                                         124
+
+Portico of St. Stephen,                                              125
+
+Details of St. Stephen,                                              126
+
+Church of San Lorenzo,                                               127
+
+Church of San Lorenzo,                                               128
+
+Lateral Façade of San Lorenzo,                                       129
+
+The Church of San Lorenzo,                                           130
+
+Details of San Lorenzo,                                              131
+
+Interior of San Millán,                                              132
+
+Interior of San Millán,                                              133
+
+Arches and Eaves of San Millán,                                      134
+
+Sectional Elevations of San Millán,                                  135
+
+Details of San Millán,                                               136
+
+Details of San Millán,                                               137
+
+Details of San Millán,                                               138
+
+Details of the Convent of Corpus Christi,                            139
+
+Interior of the Convent of Santo Domingo and Towers,                 140
+
+Painted Socles in the Tower of Santo Domingo,                        141
+
+Façade of the Convent of Our Lady de la Sierra,                      142
+
+Ruins of the Chapel of the Convent of Our Lady de la Sierra,         143
+
+Interior of the Ruined Convent of Our Lady de la Sierra,             144
+
+Porch of the Convent of Our Lady de la Sierra,                       145
+
+General View of the Roman Aqueduct,                                  146
+
+The Roman Aqueduct,                                                  147
+
+The Roman Aqueduct,                                                  148
+
+The Roman Aqueduct,                                                  149
+
+The Roman Aqueduct,                                                  150
+
+The Roman Aqueduct,                                                  151
+
+The Roman Aqueduct,                                                  152
+
+A Dance in the Plaza del Pueblo de Nieva,                            153
+
+Enrique IV. conducting the Infanta Isabel through the Streets
+of Segovia,                                                          154
+
+Group of Peasants of the Province,                                   155
+
+Peasants of the Province,                                            156
+
+Peasants of the Province,                                            157
+
+Peasants of the Province,                                            158
+
+Peasants of the Province,                                            159
+
+Peasants of the Province,                                            160
+
+Peasants of the Province,                                            161
+
+Peasants of the Province,                                            162
+
+Peasants of the Province,                                            163
+
+Peasants of the Province,                                            164
+
+Peasants of the Province,                                            165
+
+ZAMORA
+
+View of Zamora,                                                      166
+
+View of Zamora,                                                      167
+
+Walls and Postern Gate,                                              168
+
+Stone Bridge over the Duero,                                         169
+
+Bridge over the Duero,                                               170
+
+View of the Cathedral,                                               171
+
+Façade of the Cathedral,                                             172
+
+Cathedral: Gate of the Bishop,                                       173
+
+The Cathedral: East Front,                                           174
+
+Cathedral: Gate of the Bishop,                                       175
+
+Cathedral: Gate of the Bishop,                                       176
+
+Ancient Cistercian Monastery of Moreruela,                           177
+
+Ancient Cistercian Monastery of Moreruela,                           178
+
+Ancient Cistercian Monastery of Moreruela: Detail of the
+Interior,                                                            179
+
+Ancient Cistercian Monastery of Moreruela: Detail of the
+Interior,                                                            180
+
+Ancient Cistercian Monastery of Moreruela: Chancel,                  181
+
+Ancient Cistercian Monastery of Moreruela: Example of the
+Vaulting,                                                            182
+
+Ancient Cistercian Monastery of Moreruela: Interior,                 183
+
+Ancient Cistercian Monastery of Moreruela: Transept and
+Nave,                                                                184
+
+Ancient Cistercian Monastery of Moreruela: Detail of a
+Window,                                                              185
+
+Ancient Cistercian Monastery of Moreruela: Transept Porch,           186
+
+Santa Maria la Nueva: Detail of the Exterior,                        187
+
+Santa Maria la Nueva: Doorway,                                       188
+
+Santa Maria la Nueva: Capitals of Recessed Windows,                  189
+
+Church of the Magdalen,                                              190
+
+Principal Door of the Church of the Magdalen,                        191
+
+Plan and Sections of the Church of St. Peter,                        192
+
+Details of the Church of St. Peter (Nave),                           193
+
+House of The Cid,                                                    194
+
+Tapestry of the Beginning of the Fifteenth Century,                  195
+
+Painting in the Town Hall,                                           196
+
+Painting in the Town Hall,                                           197
+
+Painting in the Town Hall,                                           198
+
+Painting in the Town Hall,                                           199
+
+The Royal Escutcheon,                                                200
+
+St. Ferdinand and King John II.,                                     201
+
+The Arms of the Town,                                                202
+
+Queen Urraca and Aris Gonzalo,                                       203
+
+Trophies of Arms and Armour in the Town Hall,                        204
+
+The House of the Momos,                                              205
+
+Bridge of Rocobayo over the Esla,                                    206
+
+Stone Quarries of the Town of Valderojo,                             207
+
+Earthworks of the ancient City of Toro,                              208
+
+North and Centre Gates of the Church of Toro,                        209
+
+Details of the Church of Toro,                                       210
+
+Group of Peasants of the Village of Bermigo de Sayago,               211
+
+Group of Peasants of the Village of Carbajales,                      212
+
+Peasants of the Village of Bermigo de Sayago,                        213
+
+
+AVILA
+
+General View,                                                        214
+
+General View,                                                        215
+
+View of Avila,                                                       216
+
+Gate of the Alcazar,                                                 217
+
+Gate of San Vicente,                                                 218
+
+Gate of San Vicente,                                                 219
+
+Gate of San Vicente,                                                 220
+
+Gate of San Vicente,                                                 221
+
+A Street,                                                            222
+
+View of the Cathedral,                                               223
+
+Exterior of the Cathedral,                                           224
+
+Entrance to the Cathedral,                                           225
+
+Plan of the Cathedral,                                               226
+
+The Cathedral,                                                       227
+
+Side Door of the Cathedral,                                          228
+
+Cathedral: Pulpit of Repoussé Iron Work,                             229
+
+Cathedral: Pulpit of Repoussé Iron Work,                             230
+
+Cathedral: Pulpit of Repoussé Iron Work,                             231
+
+Interior of the Cathedral,                                           232
+
+Cathedral: Detail of the Interior,                                   233
+
+Cathedral: Detail of the Choir,                                      234
+
+Cathedral: The Choir,                                                235
+
+Cathedral: Detail of the Choir,                                      236
+
+Cathedral: Detail of the Choir,                                      237
+
+Cathedral: Detail of the Choir,                                      238
+
+Cathedral: Altar of San Segundo,                                     239
+
+Cathedral: Altar of Santa Lucia,                                     240
+
+Cathedral: Sepulchre of Don Juan d’Avila,                            241
+
+Cathedral: Tomb of El Testado,                                       242
+
+Cathedral: Altar behind the Choir,                                   243
+
+Cathedral: Silver Monstrance of Juan de Arfe,                        244
+
+Convent of Santo Tomas: Sepulchre of the Infante Don Juan,           245
+
+Sepulchre of the Holy Martyrs Vicente, Sabina, and Cristina,         246
+
+Interior of the Chapel of San Bernardo,                              247
+
+Church of St. Peter,                                                 248
+
+Entrance to the Church of St. Peter,                                 249
+
+Church of St. Peter,                                                 250
+
+Details of the Church of St. Peter,                                  251
+
+Exterior of the Church of San Vicente,                               252
+
+Basilica of San Vicente before its restoration,                      253
+
+Basilica of San Vicente before its restoration,                      254
+
+Basilica of San Vicente: North Façade,                               255
+
+Basilica of San Vicente: Principal Façade,                           256
+
+Basilica of San Vicente: Eastern Façade, restored,                   257
+
+Basilica of San Vicente: Façade,                                     258
+
+Basilica of San Vicente: Central Gate, restored,                     259
+
+Basilica of San Vicente: Detail of the middle cornice, restored,     260
+
+Basilica of San Vicente: Portal,                                     261
+
+Basilica of San Vicente: Principal west entrance,                    262
+
+Basilica of San Vicente: Principal west entrance,                    263
+
+Basilica of San Vicente: General view of the Interior,               264
+
+Basilica of San Vicente: Sepulchre of the Holy Martyrs,              265
+
+Basilica of San Vicente: Detail of the Interior,                     266
+
+Porch of the Church of San Vicente,                                  267
+
+Porch of the Church of San Vicente,                                  268
+
+Porch of the Convent of Santo Tomas,                                 269
+
+Section of the Convent of Santo Tomas,                               270
+
+Plan of the Convent of Santo Tomas,                                  271
+
+Gate of the Convent of Santo Tomas,                                  272
+
+Door of the Convent of Santo Tomas,                                  273
+
+Interior of the Convent of Santo Tomas,                              274
+
+The Court of Silence in the Convent of Santo Tomas,                  275
+
+Convent of Santo Tomas: The Court of Silence,                        276
+
+Convent of Santo Tomas: The Court of the Kings,                      277
+
+Convent of Santo Tomas: Courtyard of the Infirmary,                  278
+
+Cloisters of the Convent of Santo Tomas,                             279
+
+Cloisters of the Convent of Santo Tomas,                             280
+
+Cloisters of the Convent of Santo Tomas,                             281
+
+Gate of the Cloisters in the Convent of Santo Tomas,                 282
+
+Choir of the Convent of Santo Tomas,                                 283
+
+Convent of Santo Tomas: Details of the Choir,                        284
+
+Choir Stalls in the Convent of Santo Tomas,                          285
+
+Choir Stalls in the Convent of Santo Tomas,                          286
+
+Church of San Segundo: Statue of San Segundo,                        287
+
+Church of Santo Tomas: Sepulchre of the Infante Don Juan,            288
+
+Church of Santo Tomas: Sepulchre of the Infante Don Juan,            289
+
+Church of Santo Tomas: Sepulchre of the Infante Don Juan,            290
+
+Gothic Gate in ruins,                                                291
+
+Door of a Private House,                                             292
+
+Calle de Pedro d’Avila,                                              293
+
+Celebrated Window in the House of Pedro d’Avila,                     294
+
+Courtyard of the Polentinos’ Palace,                                 295
+
+Portico of the Polentinos’ Palace,                                   296
+
+Church of San Andrés and San Segundo,                                297
+
+Hermitage of San Isidro,                                             298
+
+The Academy,                                                         299
+
+Camposagrado Palace,                                                 300
+
+Casa de la Baraganas,                                                301
+
+Casa de la Torre,                                                    302
+
+Chapel of Mosen Rubi,                                                303
+
+Palace of the Conde de Superunda,                                    304
+
+Miniatures from the Avila Missal,                                    305
+
+Miniatures from the Avila Missal,                                    306
+
+Door of San Francisco,                                               307
+
+A Roman Capital of the Church of San Francisco,                      308
+
+Latin-Byzantine Frieze in the Church of San Francisco,               309
+
+Monastery of San Pedro at Arenas,                                    310
+
+
+ZARAGOZA
+
+General View from Cabezo-Cortado,                                    311
+
+General View from Altabas,                                           312
+
+General View from Altabas,                                           313
+
+The Bridge over the Ebro, from the Ruins of San Lazaro,              314
+
+The Bridge over the Ebro, from El Pilar,                             315
+
+General View of Zaragoza,                                            316
+
+General View of Zaragoza,                                            317
+
+General View of Zaragoza,                                            318
+
+General View from the Portilla,                                      319
+
+View of Zaragoza,                                                    320
+
+Calle del Mercado,                                                   321
+
+Paseo de Santa Engracia,                                             322
+
+Cathedral of La Seo,                                                 323
+
+Cathedral of La Seo,                                                 324
+
+Glazed Tiles on the Walls of the Cathedral of La Seo,                325
+
+Interior of the Cathedral of La Seo,                                 326
+
+Cathedral of La Seo: View of the Transept,                           327
+
+Cathedral of La Seo: Detail of Transept,                             328
+
+Chapel of St. John in the Cathedral of La Seo,                       329
+
+Chapel of Gabriel de Zaporta in the Cathedral of La Seo,             330
+
+Cathedral of La Seo: Reja bronze repoussé,                           331
+
+Sepulchre of Archbishop Don Lope de Luna in the Cathedral
+of La Seo,                                                           332
+
+Central Dome of the Cathedral of La Seo,                             333
+
+Silver Monstrance in the Cathedral of La Seo,                        334
+
+Censer belonging to the Cathedral of La Seo,                         335
+
+Cathedral of El Pilar,                                               336
+
+Cathedral of El Pilar,                                               337
+
+Interior of Our Lady del Pilar,                                      338
+
+Side Altar in Our Lady del Pilar,                                    339
+
+Our Lady del Pilar: View of the Choir,                               340
+
+Our Lady del Pilar: Organ in the Choir,                              341
+
+Chapel in Our Lady del Pilar,                                        342
+
+High Altar in Our Lady del Pilar,                                    343
+
+Paintings on the Cupola of Our Lady del Pilar,                       344
+
+Our Lady del Pilar : Choir Stalls,                                   345
+
+Our Lady del Pilar: Choir Stalls,                                    346
+
+Our Lady del Pilar: Choir Stalls,                                    347
+
+Our Lady del Pilar, by M. de Unceta,                                 348
+
+Our Lady del Pilar,                                                  349
+
+Silver Salver in the Cathedral of El Pilar,                          350
+
+Vase in the Cathedral of El Pilar,                                   351
+
+Church of the Magdalen,                                              352
+
+Place and Church of St. Nicholas,                                    353
+
+Portal of the Church of San Miguel,                                  354
+
+Façade of the Church of Santa Engracia,                              355
+
+Church of St. Paul: Puerta del Cristo,                               356
+
+The New, or Leaning Tower,                                           357
+
+Tower of the Calle de Antonio Perez,                                 358
+
+Tower of San Miguel,                                                 359
+
+Tower of San Pablo,                                                  360
+
+Tower of the Trovador,                                               361
+
+Ancient Wall and Buildings,                                          362
+
+Statue of Pignatelli,                                                363
+
+Courtyard in the House of Pardo,                                     364
+
+Detail of the Courtyard in the House of Pardo,                       365
+
+Entrance to the Audiencia Palace,                                    366
+
+Palace of the Provincial Deputation,                                 367
+
+Courtyard in the Count of Argillo’s House,                           368
+
+Eaves on the House of the Conde de Argillo,                          369
+
+Courtyard in the Count of Argillo’s House,                           370
+
+House in the Plaza de San Carlos,                                    371
+
+The Exchange,                                                        372
+
+Façade of the Exchange,                                              373
+
+Interior of the Exchange,                                            374
+
+Porch of the House of Zaporta,                                       375
+
+Courtyard of the House of Zaporta,                                   376
+
+Courtyard of the House of Zaporta,                                   377
+
+Courtyard of the House of Zaporta,                                   378
+
+Courtyard of the House of Zaporta,                                   379
+
+Courtyard of the House of Zaporta,                                   380
+
+Detail of the Courtyard of the House of Zaporta,                     381
+
+Court of the Provincial Museum,                                      382
+
+Gallery in the Provincial Museum,                                    383
+
+The Aljaferia or Citadel. Window of the Main Staircase,              384
+
+Aljaferia: Interior of the Mosque,                                   385
+
+Aljaferia: Interior of the Mosque,                                   386
+
+Aljaferia: Interior of the Mosque,                                   387
+
+Aljaferia: Details of the Interior,                                  388
+
+Aljaferia: Details of the Interior,                                  389
+
+Details of the Aljaferia,                                            390
+
+Details of the Aljaferia,                                            391
+
+St. Isabel and her Husband. Tapestry in the University,              392
+
+View of the Barracks of the Aljaferia,                               393
+
+The Casa de la Infanta. ‘The Departure for the Fight,’ by
+P. Gonzalvo Perez,                                                   394
+
+Gate of Our Lady del Carmen,                                         395
+
+The Defence of Zaragoza in 1809, by Nicolas Mejia,                   396
+
+The First Siege of Zaragoza, by A. Ferrant y Fischermans,            397
+
+Heroic Defence of the Tower of St. Augustine at Zaragoza in
+the War of Independence, by C. Alvarez Dumont,                       398
+
+Heroic Combat in the Pulpit of the Church of San Augustin at
+Zaragoza in 1809, by C. Alvarez Dumont,                              399
+
+The Maid of Zaragoza, by M. Hiraldez Acosta,                         400
+
+The Maid of Zaragoza, by Navarro y Canizares,                        401
+
+Arch from the Aljaferia Palace, now in the Archæological
+Museum,                                                              402
+
+Arch from the Aljaferia Palace, now in the Archæological
+Museum,                                                              403
+
+Provincial Museum: Detail of ‘The Mosque’ of the Aljaferia,          404
+
+Provincial Museum: Corbels of Eaves, Gothic style, from the
+old Custom House,                                                    405
+
+Provincial Museum: Corbels of Eaves,                                 406
+
+Provincial Museum: Corbels of Eaves, Gothic style,                   407
+
+Provincial Museum: Corbels of Eaves, Pointed style,                  408
+
+Provincial Museum: Arab Capitals of the Aljaferia Castle,            409
+
+Provincial Museum: Arab Capitals from the Aljaferia,                 410
+
+Provincial Museum: Arab Capitals from the Aljaferia,                 411
+
+The Story of Lucretia. A Plate from the work entitled
+‘Mugeres Ilustres,’ translated from Boccaccio,                       412
+
+A Page from the work entitled ‘Example against the Deception
+and Perils of the World,’ by Juan de Capua,                          413
+
+
+
+
+Valladolid, Oviedo, Segovia, Zamora, Avila, and Zaragoza
+
+
+
+
+I
+
+VALLADOLID
+
+ITS STORY
+
+
+Valladolid, a thriving, bustling place, as Spanish cities go, stands on
+the rivers Pisuerga and Esgueva, a few miles above the confluence of
+their united streams with the Duero. All round spreads the vast, dreary
+plain of Castile, interrupted within sight of the town by a ring of low
+hills. Trains thunder past from north, south, and west, keeping
+Valladolid in close touch with Madrid, with France, with Portugal, and
+with the rest of the world. The natural centre, this, of the old kingdom
+of Leon and Castile, of which it was for a long time the political
+capital.
+
+The etymology of the name has perplexed historians not a little. The
+most probable derivation is from the Arabic Belad-Walid, the valley of
+Walid, or (as likely) of the Wali or governor. In Latin documents the
+name is Vallisoletum, from which the poetical etymology, _vallis
+odoris_, was ingeniously manufactured. Though a great many of the towns
+in this part of Spain were founded on fresh sites on the resettlement of
+the country in the ninth and tenth centuries, Valladolid can, with some
+show of probability, claim a more remote origin. The contention of the
+old writers that this was the town called Pintia, described by Ptolemy
+as lying on the road from Caesaraugusta to Asturica, is to some extent
+borne out by numerous remains, attesting the existence at this spot of a
+Roman community of opulence and importance.
+
+The earliest mention of the place since the Christian era occurs in the
+Chronicle of Cardeña, where in the year 1072 it is referred to as one of
+the two towns (Rio Seco being the other) offered to Doña Urraca by her
+brother, Sancho, in exchange for Zamora. We may presume, therefore, that
+it was already a place of some consequence. In 1074 it was handed over
+by Alfonso VI. to Count Pedro Ansúrez, the companion of his exile at
+Toledo. This noble plays the same part in its history as Count Raymond
+does in that of Salamanca. The principal buildings, such as Santa Maria
+la Antigua and the bridge over the Pisuerga, are ascribed to him. He
+founded and generously endowed the collegiate church of Santa Maria la
+Mayor, with the adjacent abbey, of which, in after years, infantes and
+the sons of the most exalted persons were alone deemed worthy to be
+abbots. The famous Bernard, Archbishop of Toledo, came to bless the
+church, with the not less famous Alvar Fañez, who was Count Pedro’s
+son-in-law. When good King Alfonso passed away, Ansúrez took the oath of
+allegiance to his daughter, Queen Urraca, and to her husband, ‘The
+Battler of Aragon.’ When the royal twain came to blows, the count
+surrendered all the strongholds he held to the queen, and presented
+himself to the king, saying that ‘with the hands, the tongue, and the
+body which had paid him homage,’ he could do as he willed. Alfonso the
+Battler let him depart unmolested, and he was laid to rest in 1118,
+clothed in his armour, in the collegiate church he had endowed.
+
+The lordship of Valladolid now passed to Armengol, son of Count Pedro’s
+eldest daughter, by the Count of Urgel. Under his sway the city
+prospered exceedingly. King Alfonso VII. chose it for the place of his
+marriage with a Polish princess, and for several ecclesiastical
+councils. Two more counts of the same name continued the dynasty of
+Ansúrez till the year 1208; but of these the town saw little, for as
+Counts of Urgel they were vassals of Aragon, and spent most of their
+time in that kingdom. The last count left half of his Castilian
+dominions to the Pope, the other half to his daughter Aurembiax, who was
+believed to be the mistress of the King of Aragon. Alfonso VIII. of
+Castile can hardly, therefore, be blamed for setting aside a disposition
+which handed over the principal town in his kingdom to two foreign
+potentates. In the year 1208, accordingly, the city was incorporated
+with the monarchy. Soon after (1215) it became for the first time the
+royal residence--that of the Queen-Regent Berenguela and her youthful
+charge, Don Enrique I.; and in accordance with this precedent, two years
+later, Fernando III. was crowned here, in the Plaza Mayor. Thenceforward
+the town became the usual seat of the court, though an official capital
+in the modern sense Spain did not possess till Philip II.’s time. The
+last years of the thirteenth century saw the reins of government in the
+hands of a native of Valladolid, the Queen-Regent, Maria de Molina,
+widow of Sancho el Bravo. Her predilection for her own birthplace
+practically extinguished the pretensions of Burgos to rank as capital,
+and during her stormy regency Valladolid stood by her loyally. She was
+not the least capable or intrepid of the many able women-rulers by whom
+Spain has been so well served.
+
+Though the seat of government, Valladolid was not wanting in the
+turbulent, independent spirit characteristic of the Castilian cities. In
+1328 a rumour spread abroad that the king’s Jewish treasurer, Joseph,
+was about to carry off the Infanta Leonor, and to marry her to the
+detested favourite, Nuñez Osorio. Sure enough the princess presently
+appeared, mounted and attended by an escort, as if proceeding on a
+journey. The citizens forced her to return to the palace, and clamoured
+for the head of the treasurer. Leonor promised to satisfy them if they
+would permit her to go to the Alcazar, or citadel, whither she contrived
+to convey the trembling Hebrew concealed among her retinue. Safe inside
+the fortress, Infanta and Jew set the mob at defiance, and sustained a
+siege till relieved by the king. Comically enough, Alfonso dismissed his
+favourite on the ground that he was the cause of these disturbances,
+while the Infanta married the Prince of Portugal, whom she had been on
+her way to meet when forced back by the crowd.
+
+Women figure largely in the history of Valladolid. Here in the church of
+Santa Maria la Mayor, Peter the Cruel was married to the hapless Blanche
+de Bourbon, to leave her three days later. It was only by the entreaties
+of his mistress, Maria de Padilla, that he could be persuaded to return
+to his wife; but unable to overcome his repugnance to the poor princess,
+he again abandoned her a few days after, this time for ever.
+
+The convent of La Merced owes its origin to another case of erratic
+passion. Donha Leonor Telles de Meneses had been torn from the arms of
+her first husband, João Lourenço d’Acunha, by the King of Portugal, who
+raised her to the throne. D’Acunha retired to Valladolid, where he was
+buried in the church of Santa Maria la Antigua. In the course of time
+Leonor’s second husband also died, and she also came to Valladolid,
+possibly to see what had become of the first. Doubly a widow, she found
+consolation in the affection of a knight named Zoilo Iñiguez, by whom
+she had a daughter called Maria. Leonor’s experience of love and
+matrimony led her at her death to charge her daughter’s guardian, one
+Laserna, to dedicate the girl to religion, and to found a convent for
+her special accommodation. Before this could be accomplished, Maria, who
+believed herself to be a relation of Laserna, fell in love with his
+nephew, and incontinently married him. On discovering the secret of her
+origin, she so far complied with her mother’s wish as to build a
+convent, in which Queen Leonor as the foundress was entombed.
+
+About the same time, by order of Juan I., the old Alcazar, round which
+the town had been built, was demolished to make room for the existing
+convent of San Benito. The monastery of San Pablo became the residence
+of the court during the minority of Juan II. That king may be said to
+have lived here permanently, and to have confirmed Valladolid in its
+dignity as capital of the realm. As such it was the scene of much
+splendour and chivalrous display under the rule of the high-minded
+favourite, the great Constable Alvaro de Luna. And it was in the little
+Plaza del Ochavo, in the centre of the town, having run his course as a
+true knight and a wise statesman, that he met his fate with the dignity
+and composure which had distinguished him during his whole career.
+
+The place of his execution was chosen by his enemies as precisely the
+scene of his greatest triumphs. He was confined during his last night in
+the house of his enemy, Zuñiga, where he passed the hours ‘in great
+contrition and affliction of spirit.’ ‘The melancholy 2nd of June 1453
+dawned,’ says Don Jose Quadrado, ‘and in the Plaza del Ochavo, which
+then formed the principal square of Valladolid, loomed a scaffold draped
+with black cloth, and above it a cross set with lighted tapers. On a
+post was fixed the spike destined to receive the severed head. The
+Constable was conducted to the spot by the streets of Francos,
+Cantarranas, and Plateria, mounted on a mule with black trappings, and
+preceded by a crier, whose violent denunciations drew from him only the
+humble words, _Más merezco_ (“I deserve more”). Alighting on the side of
+the church of San Francisco, and mounting the scaffold with firmness,
+having knelt before the cross, he hesitated whether he should address
+the people, when he perceived among the crowd his faithful page Moreles,
+and Barrasa, esquire to Don Enrique. He told the latter to adjure his
+master not to follow the example of the king, his father, in the way of
+rewarding his servants; to the former he gave his signet-ring, which
+the youth received weeping, not a few of the bystanders weeping loudly
+also. “With my body they may do as they please,” he said on perceiving
+the spike and divining its object; and baring his throat, and his hands
+being bound with his own girdle, he offered his head to the executioner,
+who a few seconds later held it up, dripping with blood, before the
+horror-stricken people. The body remained exposed three, and the head
+nine days, with a box beside it to receive alms. With these he was
+buried among malefactors in the hermitage of San Andrés outside the
+walls; but at the end of two months he was given a more decent sepulture
+in San Francisco, where he lay till the rehabilitation of his memory and
+his magnificent entombment thirty-one years later in the cathedral of
+Toledo.’
+
+The feeble and ungrateful king (Juan II.) survived his favourite little
+more than a year, and died at the convent of San Pablo, which had been
+his usual abode. Valladolid remained steadily loyal to his miserable
+successor, Enrique IV., when scarcely another town in his dominions
+would harbour him. Yet, strangely enough, it was in this city, in the
+house of Juan Vivero (where the Audiencia now stands), that the king’s
+sister Isabel, in defiance of his wishes, celebrated in secret, but with
+great ceremony, her marriage with Ferdinand of Aragon. This was on
+October 18, 1469--an auspicious night for Spain. But the city was too
+full of Enrique’s partisans to afford a safe asylum to the newly-wedded
+pair, who immediately betook themselves to Dueñas.
+
+Valladolid, always on the side of authority, accepted ‘the Catholic
+Kings’ on the death of Enriqùe, to the exclusion of Juana, whom a modern
+writer inexplicably calls that monarch’s illegitimate daughter. She was
+barred from the succession on the ground that she was not his daughter
+at all. The vigorous but hardly beneficent rule of Ferdinand and Isabel
+was celebrated in 1489 by eighteen persons being burned alive in the
+Plaza Mayor, while a few years after the city was emptied of its Jewish
+inhabitants. A whole quarter left tenantless, deserted homes, and
+smoking human sacrifices marked the inauguration of the New Monarchy in
+Valladolid. Yet the city prospered, and was too busy to notice the
+worn-out adventurer, the Admiral of the Indies, the immortal Christopher
+Columbus, who died within its walls on May 20, 1506. But all their
+prosperity could not reconcile the sturdy citizens to the arbitrary
+government of Charles V.’s regents. Valladolid threw in her lot with
+the Comunidad. Her sons bled in the cause of liberty beside Padilla on
+the fatal field of Villalar; and when the Flemish emperor proclaimed an
+amnesty on visiting the city in 1522, many of her townsmen found
+themselves among the three hundred specially excluded from its
+operation.
+
+Philip II. was born here on May 21, 1527; here he was married to his
+first and Portuguese wife; here also she died in giving birth to his
+luckless son Carlos. Yet it was this native of Valladolid who reduced it
+to the rank of a provincial city, and in the year 1560 definitely
+declared Madrid to be the _unica corte_, the official capital of Spain.
+This measure has been variously criticised, but it is certainly
+difficult to perceive the advantages which the new capital possessed
+over the old, or over Toledo or Zaragoza. This loss of dignity was
+followed by a more dreadful catastrophe. Valladolid was devastated by a
+fire in the night of September 21, 1561, four hundred and forty houses
+being destroyed, though only three persons lost their lives. The
+silversmiths, for whom the city was renowned, saved their wares by
+throwing them into the wells. The conflagration was caused by the
+sparks blown from a fire lit by some beggars in the shadow of a wall.
+Possibly the citizens were reminded of those other flames so frequently
+kindled in their midst by the abominable Inquisition, when men and women
+were roasted to death in the presence and with the approval of His
+Catholic Majesty Philip II. The furious element was less destructive
+than the Holy Office.
+
+The city was practically rebuilt by order of the despot, and as a mark
+of his favour he persuaded the Pope to erect it into a diocese in the
+last years of the sixteenth century. His successor, with a judgment of
+which he rarely gave proof, reinstated Valladolid in its rank of capital
+of the monarchy, and resided here in the palace facing San Pablo (now
+the Audiencia). Here Anne of Austria and Philip IV. were born. Cervantes
+lived here in one of the houses in the Rastro behind the Campo Grande,
+where he finished the first part of _Don Quixote_. His experience of the
+city was unfortunate. He was, together with his family, imprisoned on
+the charge of being implicated in a night brawl, wherein as a matter of
+fact he had simply played the part of Good Samaritan. His brother wits
+and the literati unceasingly assailed Valladolid as unworthy the
+residence of the court, and after five years Philip III. was obliged,
+professedly because the city was unhealthy, to restore Madrid to its
+pre-eminence. The abandoned capital was hit very hard. Industry and
+commerce languished, nothing but the religious vocation flourished. The
+project of rendering the Duero and Pisuerga navigable for large vessels
+was given up, and, to crown all, the Moriscos to the number of one
+thousand were expelled, taking the silk industry with them. Inundations
+and all sorts of calamities followed in quick succession. Whatever money
+men earned in moribund Castile, they used to build churches and
+convents. The city’s attachment to the Bourbon cause in the War of the
+Spanish Succession disposed Philip V. to transfer the court hither a
+second time; but the pre-eminence of Madrid was too firmly established
+to permit this. The French invaders, a hundred years ago, found the
+place ruined and stagnant. Since then Valladolid has awakened from her
+sleep. The opening of the North of Spain Railway, and the establishment
+here of the company’s loco-motive works, gave a great impetus to her
+progress, and she is now an important commercial town, the centre of the
+corn trade of Castile. No Spanish city north of the Guadarrama gives
+such promise as Valladolid.
+
+
+THE CITY
+
+A city which was so long the capital of the monarchy--the city where
+Columbus died and Cervantes lived--whose streets are haunted by the
+immortal creature of Le Sage’s genius--can be no unworthy goal for a
+pilgrimage. It has memories far more stirring than Madrid, which in
+physiognomy it rather resembles. A cold, formal town it seems at first
+sight, with modern-looking squares, straight streets, and severe,
+imposing buildings; but behind these you find the old city of Juan II.
+and Enrique IV., a labyrinth of tortuous lanes, gloomy palaces, and
+ruinous monastic houses.
+
+The handsome Accra de Recoletos, which looks across the spacious Campo
+Grande--the city’s principal park--leads from the triumphal Puerta del
+Carmen, commemorating the reign of Charles III., to the majestic Arch of
+Santiago. We pass through, and presently reach the Plaza Mayor, now
+called the Plaza de la Constitucion, the focus of the city’s life.
+
+A minor Puerta del Sol, Ford calls this regular, symmetrically planned
+open space, designed after the great fire of 1561 by Francisco
+Salamanca. The houses enclosing it are of uniform architecture, with
+three tiers of balconies in the three Grecian orders, capable, it is
+said, of accommodating 24,000 spectators. The portico is supported by
+massive granite columns of a bluish tinge, each a monolith. On the north
+side is the ungraceful Ayuntamiento (Town Hall), with weather-vanes on
+its towers and martial trophies surmounting the town clock. The space is
+as lively and gay as any in Spain. The sun shines brightly, the birds
+fly as freely overhead as across the innocent plains; here there is no
+deeper shadow than elsewhere, no abiding gloom or ghostly chill. Yet if
+ever a spot deserved to be called accursed it is this. Let us project
+ourselves back into the past, to a bright morning in May in the year
+1559. The balconies have not yet been built, but stands and tiers of
+seats have been constructed round the Plaza. There is a grand display of
+bunting, and the richest draperies are hung from the crowded
+windows--silks and cloth of gold and silver, damasks and brocades. On a
+daïs are seen the little prince, Don Carlos, and his aunt the Infanta
+Juana. The civic dignitaries of the town are here, the craftsmen in
+their liveries; but making the bravest show of all are the bishop and
+the clergy, arrayed in full canonicals, as befits the solemn Act of
+Faith at which they are about to assist. The square is packed with a
+vast multitude--men have come from far and near to see this thing--and
+people are pouring down the narrow streets, an unceasing stream. All
+eyes are fixed on the platform in the centre of the Plaza, whereon
+faggots and brushwood are neatly piled round fourteen pillars, and busy
+varlets are bestirring themselves. A subdued murmur betokens the
+approach of the procession. For the alguazils who clear the way, for the
+horribly clad familiars of the Holy Office who stalk before, the
+spectators have no eyes: the gaze of those thousands is levelled on the
+fourteen men and women walking slowly to their awful doom. Were ever
+creatures so shockingly grotesque? They wear a perfectly ridiculous
+headgear, like an elongated nightcap, or a hat such as our grenadiers
+wore in days gone by; a sort of smock covers their bodies, an ugly
+flame-coloured garment, painted with figures of dancing and grimacing
+devils. You can hardly restrain a smile. I’ll wager those gallants
+yonder are cracking some clever jokes at their expense, for the Latin is
+by nature a wag. We all know who they are, these wretches. Not long
+before Valladolid was thrilled by the rumour that a Lutheran conventicle
+had been discovered here in the heart of His Most Catholic Majesty’s
+capital. A holy woman, suspicious of her husband’s orthodoxy, had
+followed him one day, found him in the midst of this heretical assembly,
+and denounced him to the Holy Office. That is the man, Juan Garcia, a
+goldsmith whom all the townsmen have known and dealt with this many a
+year. Where’s his wife? somewhere in the crowd, doubtless, praying for
+his soul. Virtue like hers is worthy of heroines or devils. Most notable
+of the heretical crew is the Doctor Cazalla, one of the king’s most
+notable preachers; but the Holy Inquisitors are no respecters of
+persons. They would drag you from behind the throne. The priest with the
+Doctor is his brother Francisco. The woman is his sister, Doña Beatriz.
+Burn a woman? Ay, surely. There are four more, one of them a
+serving-wench. That black-avised fellow is a mere Jew from Lisbon--there
+is little sympathy for him. Then there are four gentlemen,
+and--hold!--one has a gag in his mouth. It is the Bachelor, Antonio
+Herrerruelo, an obstinate fellow, who will not recede one hair’s-breadth
+from his heretical opinions or concede one iota. The sixteen that
+follow interest us less. They have been reconciled with Mother Church,
+and for them no worse fate is reserved than the confiscation of all
+their goods and solitary confinement for life. Ha! one of them has
+fainted. It is the youthful daughter of the Marqués de Alcañias, Doña
+Ana Enriques. They say that one of this batch is an Englishman. Perhaps
+he has seen Catholics hanged, drawn, and quartered in his own land, and
+can forgive the Spaniard.
+
+The learned Dominican in the pulpit reads the sentences of the Holy
+Tribunal of the Inquisition, and we may be sure his voice shakes with
+paternal tenderness when _he absolves_ those who are passing into the
+shadow of perpetual imprisonment. As for those fourteen others--the
+Church has done with them, and in sorrow, not in anger, she hands them
+over to the secular arm.
+
+Now who will face the flames? for even the secular arm is merciful at
+the eleventh hour. Thousands of eyes are strained towards the scaffold.
+What is passing? Cazalla is making a farewell speech. Is he obdurate?
+No; from mouth to mouth the rumour runs that he professes penitence,
+that he abjures his errors. His brothers, the women--look at their
+blanched faces!--mutter some such words. Their necks are encircled by
+the collars of the garrote--they stand on the well-laid pyre. But it is
+not lighted yet. Swiftly the executioner steps from one post to the
+other. A quiet turn of the screw, and the souls of the heretics have
+fled, and the flames may have their corpses.
+
+But he with the gag, Herrerruelo? We watch him breathlessly. At all
+admonitions he simply shakes his head. The executioner even hesitates to
+fire the pile. He has his hand on the spring of the garrote. A word from
+the heretic, and he will be dead, unscorched, instantaneously. It is
+useless. Herrerruelo will not speak that word. The fire is lighted. The
+logs crackle and blaze. We can hardly see the victim’s form. No groan
+nor sigh escapes him. But on his face, says one close to him, is stamped
+the extremest sadness that ever human being knew. Is it for yourself,
+Castilian of the old Roman mould? Nay, rather, I think, for your country
+which you see perishing beside you slowly but inevitably on the pyre of
+fanaticism and superstition.
+
+It is over. The integrity of the faith of Spain has been vindicated. But
+the heroism of Herrerruelo soon finds imitators. His wife follows him to
+the flames a few years later. Philip II. himself comes to assist at a
+superb act of faith which demands another holocaust. He solemnly swears
+to defend the faith and to enforce the decrees of its tribunal. ‘And you
+leave me to burn?’ is the bitter reproach a Veronese gentleman among the
+doomed men dares to address to the king. ‘Ay,’ says Philip, ‘I would
+bring the wood myself to burn my own son were he a heretic.’ There was
+thus something of the Roman spirit on both sides. The brave Italian’s
+fortitude so inspires a fellow-sufferer that he leaps gaily into the
+flames, calling for wood, more wood.
+
+The shame of the Inquisition rests not on the Spanish people. The
+citizens of Valladolid were kept in check on these dreadful occasions
+only by large bodies of troops. Torquemada, the Grand Inquisitor, dared
+not go forth without an armed escort of two hundred and fifty men. The
+Spaniards of to-day, with few exceptions, refer to the institution with
+expressions of abhorrence, startling even to Protestant ears. But it
+must be admitted that some writers more or less half-heartedly attempt a
+defence. Don J. M. Quadrado observes that the Holy Office saved the
+country from the horrors of religious wars, to which the obvious
+rejoinder is that the wars of religion, judged by their results, proved
+less disastrous to France, Germany, and Switzerland, than the policy of
+repression proved to Spain, and that the religious unity of other
+countries, such as Italy and Austria, has been preserved with
+comparatively little physical suasion.
+
+We will leave the Plaza Mayor, this bright place with such gloomy
+memories, and see what monuments Faith has raised of a more honourable
+and durable kind. We cross the prettily named Place of the Golden
+Fountain, and the Plaza del Ochavo, where Alvaro de Luna died, and a
+little farther on find the Cathedral of Valladolid.
+
+This church was begun in 1585, by order of Philip II., and replaced the
+old Iglesia Mayor founded by Pedro Ansúrez. The work was intrusted to
+Herrera, the architect of the Escorial, but his plans were never fully
+carried out, and the cathedral remains to-day unfinished, and also
+unfortunately marred by Churriguera and his disciples. The style of
+Herrera very eloquently expressed the temper and spirit, if not of the
+Spain of his day, certainly of his sovereign. The model of the church is
+to be seen in the muniment room. It is cruciform, the nave and transept
+to be flanked with aisles and chapels, the crossing to be surmounted by
+a dome, and a tower to be at each of the four corners. Only one of the
+towers was ever finished, and that collapsed in 1841; it is now being
+rebuilt. Street, who is very severe on all non-Gothic buildings in
+Spain, says that ‘nothing could ever cure the hideous unsightliness of
+the exterior. Herrera’s west front was revised by Churriguera in the
+eighteenth century, and cannot therefore be fairly criticised; but the
+side elevation remains as Herrera designed it, and is really valuable as
+a warning. Flying buttresses were, of course, an abomination; so in
+their place he erected enormous solid buttresses above the aisles to
+resist the thrust of the nave vault. They are shapeless blocks of
+masonry, projecting about forty feet from the clerestory wall, and
+finished with a horrid concave line at the top.’
+
+The interior is not wanting in majesty and massiveness. Only the nave,
+with its aisles and chapels, has been completed. The huge piers carry
+bold arches, separated by a broad cornice from a plastered and panelled
+groined ceiling. The walls are destitute of ornament, but over the
+arched entrances to the chapels runs an open gallery with balustrades.
+The aisles have been obstructed by ‘provisional chapels,’ which Herrera
+would have indignantly swept away; and the choir, which he intended to
+place behind the High Altar, is now placed so as to block the best view
+of the nave. The Capilla Mayor, placed in the crossing, is in bad taste,
+with innumerable doors and tribunes piercing its walls. One cannot but
+agree with the Spanish writer who says that nothing is wanting to
+destroy the impression of ‘a grand whole,’ which Herrera was especially
+anxious to create.
+
+The choir stalls, mostly from the convent of San Pablo, were designed by
+the architect, and display some fine inlay work. The remainder are in
+the Gothic style, and come from the old church. The chapels contain
+nothing worthy of note, except a picture by Lucas Jordaens, and the tomb
+of Count Pedro Ansúrez, whose remains were brought here from the church
+he founded. A very poor effigy represents the hero, whose merits are set
+forth in rhymed verse.
+
+In the sacristy is one of the finest specimens of the metal-work for
+which Spain has always been renowned. The solid silver monstrance, by
+Juan de Arfe, is 6½ feet high, and weighs upwards of 150 lbs. It is in
+the shape of a temple in four stories, two of which are octagonal, and
+two circular. Statuettes of Adam and Eve, and a relief of the mystery
+of the Conception, adorn this exquisite work, for which the artificer
+received 44,000 reals.
+
+Adjacent to the cathedral are some remains of the Iglesia Mayor, founded
+by Pedro Ansúrez, and rebuilt in the reign of St. Ferdinand. A doorway,
+still standing, and the various scattered pillars are in the Romanesque
+style, but there are also traces of Gothic work. A cloister existing at
+the end of the sixteenth century is described as one of the finest in
+Spain, containing many sculptures, all coloured, and tombs of notable
+people. Part of this cloister has gone to form a room called the
+Library, but that it still contains books I was unable to ascertain.
+
+The Iglesia Mayor is said to have been built at the same time as the
+church of Santa Maria la Antigua, on the other side of the square, and
+both by Count Ansúrez. Comparing conflicting testimony, and the opinions
+of various architects, the conclusion would appear to be that the church
+was founded before the Count’s time (for it is mentioned in documents as
+far back as 1088, and was in his day called the Ancient), and that the
+existing fabric dates mainly from the reign of Alfonso IX.
+(1230-44)--not from the time of the alleged restorer, Alfonso XI. Santa
+Maria is, beyond doubt, the most interesting church in the city. Its
+lofty steeple, with tiled roof and semicircular windows in all its four
+stages, is one of the few prominent landmarks of the wayfarer to
+Valladolid. The side apses are Romanesque, but the nave terminates in an
+apse, Gothic in style, and pierced with lancet windows. The buttresses
+taper off into graceful finials, with crockets and gargoyles. The main
+apse and transept are both pierced near the roof with an elegant
+openwork balustrade. The steeple is thoroughly Lombard in character.
+
+The interior exhibits an interesting blending of the Romanesque and
+Gothic styles. On the outer door, defaced by a modern portico, formerly
+hung the knockers wrenched off the gates of the Mezquita at Cordova by
+the first Count Armengol. The mouldings of the arch are Romanesque, but
+Gothic is the beautiful groining of the interior. At the west end of the
+church is a gallery for the choir, with stalls and organ. In the days
+when this was built churches were built for the laity, and the clergy
+did not insist on taking up the greater part of the nave, as they did in
+after years. The chapel of the Counts of Cancelada contains some good
+paintings. The most valuable accessory is, however, the reredos by the
+celebrated Juan de Juni, begun in 1551 and finished in 1557. The work
+betrays an extraordinary degree of skill and vigour, but it is
+over-elaborate and in parts fantastic.
+
+On the north this venerable church is flanked by a very beautiful
+Romanesque cloister of fourteen semicircular arches in three bays. The
+shafts, says Street, are moulded and wrought in imitation of the coupled
+columns of early Italian artists. This cloister, together with the
+steeple, makes up the most picturesque group of buildings in Valladolid,
+and is well worth careful preservation, if not restoration.
+
+We will visit the University on the south side of the square another
+time, and will now thread our way northwards to the Plaza de San Pablo,
+a very interesting site. At the corner of the Calles de las Angustias
+and San Martin is the house where the Andalusian painter Alonso Cano is
+said to have killed his wife. He fled (so we are told) in consequence to
+his native city of Granada, where he became a prebendary of the
+cathedral, and executed his finest work. The church of San Martin is a
+very ordinary seventeenth-century structure; but it was founded soon
+after the resettlement of the city, and preserves its steeple, in the
+same style as that of Santa Maria la Antigua, and dating from about
+1200. There was a baseless story that this was originally a Moorish
+watch-tower.
+
+The Dominican monastery of San Pablo was founded in 1276 by Queen
+Violante, the rebellious consort of Alfonso XI. Maria de Molina showered
+favours on the community, whose friendly rivals, the Franciscans, were
+established in the Plaza Mayor. Later on, as we have said, Juan II. made
+the building his home, and died here in 1454--near to, if not in, the
+odour of sanctity. Here, too, the Cortes often used to sit. The present
+building may be considered the creation of Cardinal Juan de Torquemada
+(not the notorious Inquisitor), whose death took place in 1468. The
+façade was constructed in the latter part of the fifteenth century, and
+restored in the seventeenth and nineteenth centuries; it is a debased
+late-Gothic style, the main object of the architects being evidently to
+multiply evidences of their skill. In this they succeeded, for no one
+can question the merit of the execution. The riotous exuberance of the
+decoration renders a description difficult. The doorway is placed within
+an arch of a curious waved line. On either side are shown saints of the
+order, standing on pedestals, with pinnacle-like canopies above them.
+Above the arch is an indifferent relief of the Coronation of the Blessed
+Virgin, attended by Cardinal Torquemada with his patron saints, the
+Baptist and the Evangelist. All this part of the decoration is enclosed
+within an ugly flattened arch. Above is the figure of Christ Enthroned,
+and on each side of Him a trefoil arch containing the figures of the
+Four Evangelists. These arches frame windows with exquisite traceries,
+such as fill the circular window above the Christ. The upper part of the
+façade is in three stages, each filled with figures of saints and
+heraldic devices. ‘Every vacant space,’ says Street, ‘seems to have a
+couple of angels holding coats-of-arms, so that it is impossible not to
+feel that the sculptor and the founder must have had some idea of heaven
+as peopled by none with less than a proper number of quarterings on
+their shields, or without claim to the possession of _Sangre Azul_.’ The
+arms displayed on the lower part of the façade are not, however, those
+of Torquemada, but of the Duke of Lerma, the favourite of Philip III.,
+by whom the church was restored. Here he celebrated his first Mass in
+the year 1618, having sought refuge in the church from the cares of
+state, or the disappointments of a courtier’s life; and here, too, he
+was ultimately buried. The church was plundered and dismantled by the
+French during the Peninsular War, and the interior is now inaccessible
+to visitors.
+
+On the other side of the Plazuela is the palace built by Lerma on the
+site of the house where Don Carlos was born, and sold by him to Philip
+III. for thirty-seven million maravedis. The façade is simple, not
+undignified, and adorned with the royal arms over the doorway. The
+patio, or inner quadrangle, is decorated with busts of the Roman
+emperors and the arms of the old provinces of Spain. Here, says Ford,
+Napoleon took up his quarters on that memorable visit to Spain which at
+once altered the complexion of affairs. The building is now the
+Audiencia, or Law Court.
+
+Philip II. was born in the house at the corner of the square and the
+Calle Cadesa de San Gregorio, and baptized in the church of San Pablo.
+Except for its associations, the house is uninteresting.
+
+Next to San Pablo is the Colegio San Gregorio, built by Alonso de
+Burgos, Isabel the Catholic’s Confessor, in remembrance of his student
+days at the former establishment. The work, elaborate as it is, occupied
+only eight years--1488 to 1496. The architect, Matias Carpintero, for
+some unknown reason committed suicide before its completion in 1490. The
+façade of the main entrance resembles that of the older foundation. The
+design displays more originality, but the execution is by no means as
+good. The lintel and jambs of the square doorway are decorated by a
+relieved pattern of fleur-de-lys, and enclosed within an arched canopy
+of fanciful outline. On either side of the doorway are statues of wild
+men--possibly an allusion to the discovery of America--and over the
+lintel a relief represents the founder kneeling before the patron saint.
+From the canopy, twisted tapering pillars soar upwards and divide the
+upper stage into three parts. The middle one is occupied by the relief
+of a pomegranate tree springing from a basin, and sheltering children
+and birds among its branches; it supports the coat-of-arms of Ferdinand
+and Isabel. The lateral divisions contain figures supporting
+escutcheons, the whole being ‘even more extremely heraldic in its
+decorations’ than San Pablo. The open-work, cusping at the top, looks as
+if made of coarse wicker-work, and is happily fast disappearing under
+the corrosive effects of frost and rain. The interior of San Gregorio
+wearies the eye with its excess of heraldic decoration. The inner
+court, notwithstanding, is noble and spacious, with a double gallery of
+six arches on each side springing from spirally-fluted columns. The
+fleur-de-lys appear on the arms of the founder; the yoke and sheaf of
+arrows are the well-known devices of the Catholic kings. The chapel was
+stripped by the French of all of value that it contained, including the
+sepulchral effigy of Alonso de Burgos. The college is now one of the
+municipal buildings.
+
+The secularised church and convent of San Benito on the west side of the
+town were founded by Juan I. on the site of the old Alcazar, in
+reparation for a Benedictine house destroyed by his father. The actual
+fabric was commenced in 1453, and hardly completed three centuries
+later. The plan of the church reminds one of Santa Maria la Antigua. The
+interior is lofty and impressive. There are two choirs--one in the
+western gallery, and the other, as usual in Spain, in the middle of the
+church, and enclosed by brick walls. The church was very strongly built,
+and is, appropriately enough, occupied by the military.
+
+In the church of La Magdalena is buried Bishop Pedro de la Gasca, who
+recovered Peru for the monarchy from the clutches of Pizarro. His tomb
+in the centre of the transept was chiselled by Esteban Jordán in 1577.
+
+The other churches of Valladolid hardly repay a visit. We may now turn
+our attention to the University, close to the Antigua Church. Founded in
+the eleventh century, this institution rose into importance only on the
+decline of the University of Salamanca. The statues of its
+patrons--Alfonso VIII., Alfonso XI., Juan I., and Enrique III.--surmount
+the grotesque and extravagant façade, which is in the worst baroque or
+Churrigueresque style. Older and more interesting are the English and
+Scots Colleges. The former was founded by Sir Francis Englefield in 1590
+or thereabouts, for the education of young Englishmen for the Catholic
+priesthood. The Scots College is an analogous institution, founded by
+Colonel Sempill at Madrid in 1627, and transferred hither in 1771. The
+Irish College is at Salamanca. Both seminaries are still resorted to, to
+some extent, by youths from the United Kingdom, though a novitiate in
+Valladolid might not seem an adequate training for parochial work in
+English cities or Highland glens.
+
+Sculpture is the art that has been least cultivated in Spain.
+Exceptional interest attaches, therefore, to the Museum of Valladolid,
+which contains a valuable collection of the works of native sculptors,
+or rather carvers. The building itself is the old College of Santa Cruz,
+built in 1486 by the famous Enrique de Egas, and intended by the
+founder, Cardinal Mendoza (_el tercer Rey_) to harbour impoverished
+genius. The exterior is surmounted by a balustrade, and strengthened
+with buttresses tapering into pinnacles. The principal façade is a fine
+example of Plateresque work, with much that is Gothic about the detail.
+The coats-of-arms of the Catholic kings and of the founder appear, of
+course, in the decoration, and the cardinal is shown adoring the cross
+upheld by St. Helen. The inner court is surrounded by a triple tier of
+galleries, with semicircular arches, octagonal pillars, and elegant
+balustrades.
+
+Within these walls have been collected treasures from the demolished,
+dismantled, and disused churches, convents, and palaces of the city,
+many of the objects now here having been removed from their original
+positions by the French and left behind them in the hurry of flight.
+Here we find the retablo executed between 1526 and 1532 for the church
+of San Benito by Alonso Berruguete. Street, who disliked all the works
+of the Renaissance, denounced this altarpiece in unmeasured terms; but
+no impartial critic can deny the beauty of certain of the figures,
+notably those of Abraham and St. Sebastian. In the museum may also be
+seen the choir stalls from the same church, carved by the master in
+1528--ten years before he designed the _silleria_ of Toledo. The work
+displays marvellous imagination and great delicacy in the execution.
+
+The genius of Juan de Juni, who was living at Valladolid in 1570, is
+best represented by his wooden statue of the Dead Christ, from the
+convent of San Francisco. So ghastly is the realism of this figure, that
+looking at the rigid limbs--more like those of a gladiator than of the
+Crucified--we feel that corruption is about to take place, and avert our
+eyes in horror. One is tempted to hold one’s nose, as Murillo is said to
+have done while contemplating a canvas by Valdes Leal. Not less vigorous
+and infinitely more attractive is the noble statue of St. Bruno by the
+same sculptor.
+
+Gregorio Hernandez was the last of the trio of carver-sculptors who
+lived and worked at Valladolid. He was an indefatigable and prolific
+worker, and never doubted that the sole mission of art was to serve the
+purposes of religion. He died in 1636, in Juni’s old house, at No. 37
+Calle de San Luis. He is well represented in this museum. St. Teresa is
+perhaps his best work, but shows his want of vigour as compared with his
+two predecessors. It was Hernandez who unfortunately set the example of
+draping statues with nets and fabrics, since followed with such unhappy
+results.
+
+Few artists on canvas, or in stone or wood, have so well expressed the
+evil passions of the mob as the unknown sculptor of Christ bearing the
+Cross. The multitude is composed, of course, of local types--of those
+ferocious bravos and audacious picaros who abounded in Spain at that
+time, and whose ugliest characteristics are here caught and rendered
+with astonishing realism. A different genius is exemplified by the
+beautiful statues in bronze gilt of the Duke and Duchess of Lerma, which
+once decorated their tombs at San Pablo. They were begun by an Italian,
+Pompeio Leoni, but completed, it is believed, by another hand.
+
+The pictures in the museum are not of great importance. The Assumption
+and two other works by Rubens are in bad condition, and almost surpassed
+in interest by some pleasing productions of the modern Spanish school.
+
+Not far from the museum is the house where Columbus died (No. 7
+Cristobal Colon). He came hither on his return from his last voyage in
+1504, and languished here, absolutely neglected by the cold-hearted
+Ferdinand, for eighteen months. From Philip and Joanna he hoped to
+obtain a fuller recognition of his services, and upon their landing in
+Spain he sent them the assurance of his homage and respect. Philip
+acknowledged this in a generous and kindly spirit--an act which,
+together with his oft-expressed disapprobation of the Inquisition,
+should be remembered to the handsome Burgundian’s credit. But on the
+21st May 1506, Columbus went on a longer voyage than any he had made to
+the Indies--to the undiscovered country whence no traveller returns. He
+left two sons--Hernando, who, like his father, lies in the cathedral of
+Seville, and Diego, the ancestor of the present Duke of Veragua.
+
+The house of Cervantes, of which I have already spoken in the historical
+chapter, is in the Calle de Miguel Iscar, leading from the Acero de
+Recoletos to the Mercado.
+
+Interesting old houses are not uncommon in Valladolid. Besides those
+already mentioned are the Casas del Cordon and de los Duendes, built in
+part in the reign of Juan II.; the palace of Fabio Neli, the great
+patron of art and letters in Valladolid, with its classical doorway; the
+archiepiscopal palace, once the residence of the Marquises of
+Villasante; and the house of the unfortunate Calderon, minister of
+Philip III., in the Calle de Teresa Gil. Berruguete’s workshop may be
+seen near the convent (now barracks) of San Benito.
+
+These memorials of the city’s golden age having been inspected, you may
+ruminate on its past and future (for Valladolid _has_ a future) in the
+beautiful shaded promenades by the Pisuerga or beneath the trees of the
+Magdalena park; and thus refreshed may possibly be ready to investigate
+the archives of the kingdom at Simancas, seven miles away. Considerable
+time and patience will, however, be required, since the collection
+consists of upwards of thirty-three millions of documents, arranged in
+eighty thousand bundles.
+
+
+
+
+II
+
+OVIEDO
+
+
+The province of Asturias is, for all men of Spanish blood, holy ground.
+Its fastnesses sheltered the last little remnant of the nation which
+refused to bow before the foreign yoke, its mountains proved an
+impregnable bulwark against the invader. At Covadonga, Spain, beaten to
+her knees, with broken sword and buckler, struck back wildly,
+despairingly. Her adversary recoiled; in that instant she recovered her
+breath, and, rising to her feet, pressed him steadily, stealthily,
+irresistibly backwards. Asturias was not the cradle, but the asylum of
+the Spanish nation. Here, to use familiar expressions, she found
+salvation in the last ditch; she was saved at the eleventh hour.
+
+How dreadful was the peril of the nation we may understand when we read
+that the coast of Asturias itself was overrun by the Moors, and that a
+Muslim governor ruled at Gijon. Only a few glens in the wild Cantabrian
+mountains can boast a soil never profaned by the tread of the infidel.
+Oviedo can claim no such distinction. The ground on which she stands
+was, beyond all doubt, within the Moorish dominions. And she was not, as
+it is a very common error to suppose, the first capital of the reborn
+monarchy. It was at Cangas de Onis that Pelayo held his primitive court,
+and to Pravia, nearer the ocean, that Silo transferred the seat of
+government. Not till the reign of Alfonso the Chaste (791-842) did
+Oviedo become the capital of the infant monarchy.
+
+The town was younger even than the kingdom. It sprang up round a
+monastery founded by King Froila I. on the spot where in 760 the Abbot
+Fromistano had dedicated a humble church to St. Vincent. Before the
+monastery was built, the first stones were laid of the famous basilicas
+of the Salvador and of Saints Julian and Basilissa. Alfonso was born
+here, and partly out of affection for his native place, partly perhaps
+from an aversion to the capital of his enemy, Mauregato, he established
+his court here, beside the churches he loved. He girded the town with
+walls, and raised the bishop to the rank of primate of his dominions.
+Sovereign of two of the smaller provinces of Spain, he is said to have
+been emulous of the splendour of his contemporary Charlemagne. He
+endeavoured to restore the state of the old Gothic court. He revived the
+laws, the customs, and the ritual of his ancestors, and imported
+precious woods and marbles from afar for the embellishment of his little
+capital. His successors imitated not only the ceremonial and luxury of
+the Byzantine Emperors, but also their intriguing and methods of
+punishment. Putting out the eyes was as popular a means of ridding
+oneself of an opponent at Oviedo as at Constantinople. Alfonso el Magno
+avenged himself in this way on his four brothers, Veremundo, Nuño,
+Odoario, and Froila, whom he detected conspiring against him. Veremundo,
+notwithstanding, escaped to Astorga, where the inhabitants espoused his
+cause and defended him against his brother. Another conspiracy proved
+more successful, and Alfonso was driven from the throne by his own son.
+One day the dethroned sovereign presented himself before his successor
+and craved a boon. It was to lead the Asturian hosts once more against
+the infidels. The request was granted, and victory, as it had always
+done, attended the old king’s banners. And he had no sooner laid aside
+his arms, than, crowned with laurels in place of a diadem, he passed
+away at Zamora, December 20, 910.
+
+The dominions of Alfonso were dismembered at his abdication, and Oviedo
+for the brief space of twenty years remained the capital of the kingdom
+of Asturias alone. Ramiro II. reunited the monarchy, and at the same
+time transferred the capital to Leon. Oviedo became again the temporary
+seat of government, when Al Mansûr’s ever-victorious host swept over
+Spain, submerging all the Christian conquests, and breaking only against
+the impenetrable barrier of the Asturias. Leon was not restored to its
+rank till the reign of Alfonso V. (999-1027). This second period of
+residence of the kings at Oviedo was marked by the miraculous
+intervention of Heaven on behalf of an innocent man--if the chroniclers
+may be credited. Ataulfo, Bishop of Santiago, was accused of enormous
+crimes, and, having been summoned to the court, was condemned on
+insufficient evidence by Veremundo II. to be exposed to the fury of a
+wild bull. The prelate, strong in the knowledge of his innocence,
+celebrated Mass, and presented himself in the arena clad in his
+pontifical vestments. The furious animal entered, and lo! at once
+prostrated himself before the devoted man, offering his head and horns
+to be caressed. Nay, more, he threatened the spectators with his fury.
+Amid the plaudits of all, the holy bishop withdrew, and retired to a
+church in the valley of the Pravia, where he died in the odour of
+sanctity. Oviedo was known as the city of the bishops, as it was the
+residence of a great many prelates whose Sees were _in partibus
+infidelium_--that is to say, had passed under the control of the Moors.
+
+The history of the city, and indeed of the province, from the tenth
+century onwards, is of scant interest. Asturias was erected by Alfonso
+VII. in 1153 for a brief space into an independent kingdom in favour of
+the Infanta Urraca, his natural daughter by a lady of the province; but
+on her death it was reunited to the monarchy of Castile and Leon. Oviedo
+was too remote from the scene of the long campaign against the Muslims
+and from the later seats of government to take any prominent part in the
+nation’s affairs. But it did not escape the assaults of the French in
+the Peninsular War. The town was remorselessly sacked by General Bonnet,
+in spite of a resistance not unworthy of the posterity of Pelayo’s
+unconquerable warriors.
+
+A quiet, clean city, swept unceasingly by wind and rain, Oviedo at
+first sight recalls but faintly its glorious past. Yet when we look
+carefully about us, we find that time has been kind to those early
+sanctuaries which were the cause of the town’s existence, and which have
+merited for it the title of ‘the holy.’ Approaching more as a pilgrim
+than a critic, in no sceptical frame of mind, you will find few places
+in Spain more deeply interesting. And though it is neither the oldest
+nor the most interesting architecturally of the local monuments, your
+steps will turn at once to the Cámara Santa, attached to the
+cathedral--the Palladium of Spain.
+
+In the seventh century (so runs the legend) when the hosts of Khosru
+threatened the Holy Land, an ark or coffer, worked by the disciples of
+the Apostles and full of relics of ineffable sanctity, was conveyed by
+pious hands to Egypt. Thence it was transported to Cartagena, thence to
+Toledo; and when that city in its turn was menaced by the ever-advancing
+Saracen, it was taken by King Pelayo to the cave of Monsagro, ten miles
+from Oviedo. When the chaste king and his architect, Tioda, re-erected
+the basilica of San Salvador, founded by Froila, in the year 802, a
+chapel dedicated to San Miguel, and now called the Cámara Santa, was
+built expressly to receive this venerated reliquary.
+
+This sanctuary is now approached from the south side of the cathedral by
+a flight of twenty-two steps, built in the sixteenth century. We reach
+first the chapel, or ante-cámara, restored if not entirely constructed
+in the reign of Alfonso VI. (1072-1109), and representing the highest
+pitch of development reached at that time by Romanesque art in Spain.
+The roof is groined, and supported on each side by six columns built
+into the wall. Each column consists of two pilasters, rising from high
+pedestal bases, and supporting the statues of two Apostles. These
+figures are expressive, though rude, and the draperies are graceful and
+natural. At their feet are fantastic animals. The capitals of the
+columns are richly and beautifully carved with foliage, and with
+compositions representing scenes from the life of the Saviour and
+combats between men and lions. The capitals of the small pillars at the
+corners of the pedestals are also curious and delicately carved. Over
+the door are three heads in relief, of Christ, the Virgin, and St. John,
+early Romanesque work once painted and then disfigured by whitewash. The
+pavement of hard _argamasa_, or tessellated work, resembles, as Ford
+remarks, Norman-Byzantine works in Sicily. Beneath is a crypt, or lower
+chapel, dedicated to St. Leocadia.
+
+At the far end of the Ante-cámara is the Relicario, the sanctuary
+actually constructed by Alfonso the Chaste. It measures about 19½ by 17
+feet, and consists of a single low vault with traces of paintings, and
+lighted by a little window in the arch spanning the entrance.
+
+Enclosed within a railing is the _Arca_, a chest of oak, 7½ feet long by
+3¾ broad, and thinly plated with silver. A Latin inscription of four
+lines on the lid goes to prove that this was the work, not of Alfonso
+the Chaste, but of Alfonso VI., a conclusion warranted also by the
+Arabic inscription in Kufic characters, in praise of the Most High,
+running round the chest--a form of decoration not introduced into
+Christian work till after the fall of Toledo. On one face of the ark are
+reliefs of the Twelve Apostles within niches, with the Four Evangelists
+at the angles, and the figure of Christ, supported by angels, in the
+middle. On one side are reliefs of the Nativity, Adoration of the
+Shepherds, and the Flight into Egypt; on the other the Revolt of Satan,
+the Ascension, and the Apostles. The subject of the reliefs on the cover
+is the Crucifixion.
+
+What this ark contains is a matter for pious speculation. It is reckoned
+rash and impious to attempt to solve the mystery; and it is related that
+when Bishop Sandoval y Rojas, after much prayer and fasting, placed the
+key in the lock, he experienced such horror that his hair rose erect and
+knocked off his mitre! It is extraordinary that Bonnet’s soldiers did
+not attempt to solve the mystery.
+
+On the cover of the Arca are placed smaller reliquaries, beautiful
+specimens of silversmith’s work, which some may think of more interest
+than their contents. These, according to tradition, are the following:
+two thorns from Christ’s crown, and one of the deniers for which he was
+sold; a piece of St. Bartholomew’s skin; some drops of blood which
+exuded from a crucifix profaned by the Jews; a fragment of the rod of
+Moses; one of St. Peter’s sandals; a fragment of the True Cross; and
+certain ivory tablets dated 1162.
+
+Other precious relics are exhibited in the chamber, among them the
+winding-sheet of the Saviour, in a superb box of gold and blue enamel.
+The Cruz de la Victoria was carved of plain oak and carried as a
+standard by Pelayo at Covadonga; it is now encrusted with gold and
+brilliant enamels--work executed, as the inscription records, at Gauzon,
+near Oviedo, in the year 908. Another cross, styled the Cruz de los
+Angeles, dates from the times of Alfonso the Chaste, for whom it was
+made, it is said, by two angels disguised as goldsmiths. This precious
+relic is in the shape of a Maltese cross, is set with gems _en
+cabochon_, and encrusted with gilt filigree-work. In the centre is set a
+precious ruby. On the arms is inscribed the date of the making (808
+A.D.) and an anathema on whomsoever should steal it. It is certainly
+remarkable that this inscription should contain nothing about the
+supernatural workmanship of the cross!
+
+       *       *       *       *       *
+
+The cathedral built by Tioda by order of Alfonso the Chaste was pulled
+down in the twelfth century. The foundation of the existing edifice may
+be attributed to Bishop Gutierre de Toledo, who flourished about 1390.
+The work was continued zealously by his successors, but was not
+altogether completed till the sixteenth century was half gone. The west
+front is flanked by towers, only one of which, as so often happens in
+Spain, has been raised above the general roof-level. The southern tower
+is of singular dignity and beauty. It rises to the height of 224 feet,
+and is divided into five stages, of which three are above the level of
+the aisles. The massive piers on which the structure rests are continued
+upwards in the form of buttresses along the corners, and are fluted,
+moulded, and enriched with canopies, crockets, and ornaments of the most
+elaborate and at the same time tasteful character. The windows are of
+three lights, with good traceries, above the archivolts appearing a kind
+of trefoil ornament. The third stage is girt by a beautiful parapet. The
+fourth stage is rather Renaissance than Gothic in treatment. It is
+flanked by tapering finials, and constitutes the belfry. Here is hung
+the bell named after King Vamba, which dates from 1219. On the topmost
+stage rises the graceful steeple, thickly encrusted with crockets, and
+flanked by pinnacles which seem to be a reproduction of it in miniature.
+No more beautiful church steeple than this is to be seen in Spain, or
+indeed in Europe. Repeated restorations, notably in 1521 and 1728, have
+fortunately left its fairy-like symmetry unimpaired.
+
+The tower, however, unquestionably dwarfs the rest of the front, which
+is composed of a fine portico of three arches, the middle one being the
+highest. This central porch is flanked by statues of Alfonso the Chaste
+and King Froila. Despite these, and the canopied niches in the
+buttresses, the whole front presents a bare and forbidding aspect, not
+devoid, it must be conceded, of majesty. The portico was evidently only
+intended to be the base of the towers, of which, as we have seen, one
+only has been erected.
+
+The interior is harmonious and pleasing. The nave is about twice the
+height of the aisles, with which it communicates through pointed arches.
+The piers are lightly fluted and encircled by simple fillets of foliage.
+Above the arches runs a gallery with a graceful balustrade, and pointed
+openings divided by mullions and containing good traceries. The
+clerestory windows are tall and of six lights, the mullions being bent
+so as to form tracery. On the south side they are filled with good
+stained glass; the northern windows are filled up. The transepts are
+spacious and lighted by wheel windows. There is no lantern over the
+crossing.
+
+The chancel occupies a pentagonal apse at the east end of the nave, lit
+with five stained-glass windows. The retablo, dating from 1440, but
+since restored, is indifferent. The subjects of the reliefs are taken
+from the life of Christ. Near the High Altar are the tombs of various
+bishops, and a fine kneeling effigy of Bishop del Villar, who is buried
+at Segovia. The pulpits are of gilt iron. In the Renaissance chapels
+behind the chancel is the tomb of Bishop Gutierre.
+
+In the transept is a rudely sculptured figure of Christ, believed to
+date from the twelfth century. The shells sculptured on the capital of
+the pillar, against which it stands, refer to the pilgrims who
+frequented this famous shrine.
+
+The choir stalls are richly carved with caprices and scenes, ‘ill
+according,’ remarks a Spanish writer, ‘with the sanctity of the place.’
+But the backs of the lower seats bear representations of Biblical
+characters, which, like the canopies above, are exquisitely carved. The
+organs are Churrigueresque, and the gorgeous Gothic trascoro is in
+hardly better taste. The chapels date mostly from the seventeenth and
+eighteenth centuries, and contain nothing of interest, except the
+alleged body of St. Eulalia of Merida.
+
+Communicating with the north transept is the Capilla del Rey Casto. This
+chapel, founded by Alfonso the Chaste, was entirely rebuilt in the
+eighteenth century by a bishop named Melaz in the worst baroque style.
+This was the pantheon of the early kings of Asturias, and some tombs,
+probably containing their remains, are certainly here; but the
+inscriptions are merely the result of guess-work. Only one sarcophagus
+can be identified, and that, it appears from the inscription, is the
+resting-place of one Ithacus. Who this personage was, and what he had
+done to merit sepulture in the royal vault, are riddles to which history
+supplies no answer.
+
+The cloister, begun in the fourteenth and finished in the fifteenth
+century, is in good Gothic style. The pointed arches looking on the
+court are divided by four or five slender shafts, which support elegant
+tracery. Among the statues that of Alfonso XI. Is the best preserved.
+The capitals and corbels are curiously and richly carved with such
+subjects as King Favila hunting the bear, the duel of Froila, and what
+Mr. O’Shea very rightly calls ‘a series of comical pictorial reviews of
+the times.’ There are many tombs in the cloister, belonging to various
+epochs, mostly earlier than the fourteenth century. They are of all
+styles, but Don J. M. Quadrado points out that the epitaphs are almost
+uniform in style. The famous Bishop Pelayo’s tomb (died 1153) is here.
+
+The chapter-house is a fine specimen of thirteenth-century architecture.
+The archives adjoining contain some documents and codices of the
+greatest value. Here is preserved the _Libro Gotico_ of the twelfth
+century, a beautifully illuminated manuscript, throwing light on the
+costumes and customs of that day.
+
+The other churches founded by Alfonso the Chaste and his predecessors in
+the town itself have either been demolished or so often restored,
+rebuilt, and renovated, that they cannot be considered worth a visit.
+The earliest foundation of all, San Vicente, was modernised in 1592, and
+is interesting as containing the bones of the Abbot Feijoo, a man
+greatly esteemed by his contemporaries for his learning and sanctity
+(died 1764).
+
+The Gothic church of San Francisco, now attached to a hospital, was
+founded by Fray Pedro, a companion of the great Francis of Assisi
+himself. This is the burying-place of the great family of Quirós, which
+claimed, in a not very reverent distich, to rank in point of dignity and
+antiquity next to the Divinity (‘Después de Dios, la casa de Quirós’).
+In the chancel lies Gonzalo Bernaldo de Quirós the Older, the youthful
+friend of Enrique of Trastamara, who died, wearing the religious habit,
+in 1575. Within a sepulchre upheld by lions which bear escutcheons
+crossed by the bar sinister, are the ashes of another Gonzalo Bernaldo,
+a distinguished illegitimate scion of the house. He is shown clad in
+armour, and at his feet a dog--symbolical, possibly, of the fidelity and
+tenacity with which he watched over the interests of his family during
+the minority of its chiefs. Close by is the vault of the house of
+Valdecarzana; a modern inscription informs us that during the interment
+of one of that family, a live cow must be present in the church--why or
+wherefore not being stated.
+
+The church of Santa Maria de la Vega, outside the town, was the chapel
+of a Benedictine nunnery founded by Gontroda, mistress of Alfonso VII.,
+who took the veil here in 1154. She was joined in her retirement, it is
+believed, by her daughter Urraca, sometime Queen of Navarre, and
+afterwards of Asturias. A century later another interesting penitent
+sought an asylum here: Doña Sancha Alvarez, mistress of the greatest
+noble in Spain, Rodrigo Alvarez de Asturias. The two ladies’ tombs lie
+close together. The sarcophagus of Gontroda is adorned with Romanesque
+reliefs of birds, and of hounds chasing deer, in curiously crude and
+conventional attitudes; Sancha’s tomb shows Gothic influence, and is
+sculptured in low relief. The epitaphs extol the virtues and amiability
+of the departed ladies.
+
+       *       *       *       *       *
+
+The two most interesting monuments in the district are the ancient
+churches of Santa Maria de Naranco and San Miguel de Lino, both outside
+the walls. The former was rebuilt by Ramiro I., and is, therefore, well
+over a thousand years old. Attached to it were a palace and baths, every
+trace of which has long since disappeared. The architecture presents
+curious local peculiarities. The church is situated on a slope, and is
+composed of a single nave resting on a crypt or substructure. The only
+entrance is by a porch on the north side, which is on the level of the
+nave and approached by steps. The whole exterior is severe and simple,
+strong buttresses running up the walls to the sloping roof. In the west
+front three stages may be distinguished: the lowest is formed by the
+substructure entered in the middle by a round arch; above this the nave
+terminates in a portico of three round arches, which spring from four
+palm-like pillars with Corinthian capitals; in the middle of the third
+stage is a window of three lights, also round arched. The interior has
+remained practically unchanged since Ramiro’s day. The chancel and choir
+occupy opposite ends of the nave, and are raised by one and three steps
+respectively above the level of the flooring. Both are shut off by three
+round arches, the middle one being higher than the others; and an arcade
+of closed arches runs along the side-walls of the nave. These arches are
+rudely constructed, and rest upon, rather than spring from, octagonal
+capitals, quaintly carved with figures of priests and lions. The columns
+are composed each of four engaged shafts, of the same pattern as those
+of the western portico. The ribs of the waggon-vaulted ceiling spring
+from corbels, beneath which are reliefs representing the two orders of
+society in Asturias in the ninth century--knights engaged in combat, and
+toilers carrying loads. Under these again are circular medallions,
+filled with conventional foliage, and having in the centre reliefs of
+lions and birds. The church was probably intended to be open at both
+ends, as it is now, that the congregation assembled on the hillside
+might be able to assist in divine worship. It is one of the most
+valuable architectural monuments of Spain.
+
+The little basilica of San Miguel de Lino was built near Santa Maria by
+King Ramiro about the year 850. The name was originally _de ligno_,
+_i.e._ of the wood, and was derived quite possibly from a fragment of
+the True Cross preserved here. Here we have a cruciform church in
+miniature, with transepts, lantern, and apsidal chapels, of a height
+which seems out of proportion to their other reduced dimensions. The
+apsidal chapels formed a semicircle at the foundation, but have been
+squared off since. The roofs are tiled and pitched. The buttresses
+resemble those of the Naranco church. The walls are pierced, here and
+there, with windows of three lights, with round arches, columns spirally
+fluted, and columns cut into leaves; above these is an elaborate
+geometrical tracery, suggestive of Moorish influence. The jambs of the
+round-arched western porch are rudely carved with curious groups. One of
+these is irresistibly grotesque. A man is shown balancing himself with
+his hands on the top of a pole and his legs in the air, exactly like the
+familiar monkey on a stick of our childhood; with head downwards, he
+grins into the jaws of a lion, which stands on its hind legs agape with
+surprise or indignation. Behind the gymnast another man appears to be
+indulging in some sort of dumb-bell exercise. This amazing composition
+is averred by some authorities to represent the martyrdom of a saint!
+The floral designs which border it are skilfully, even delicately,
+executed.
+
+The chancel is on a lower level than the nave, which is reached on each
+side by a flight of steps, in a chapel projecting from the transept. The
+lantern has one of the earliest attempts at a domed roof, now
+unfortunately concealed by a later flat ceiling. The columns and arches
+are Byzantine in style, and the capitals carved with rosettes in
+medallions and strapwork. The nave is waggon vaulted and lower than the
+transept.
+
+       *       *       *       *       *
+
+The modern buildings of Oviedo present few features of interest. The old
+walls have almost entirely disappeared, and few of the palaces or
+noblemen’s houses date further back than the seventeenth century. The
+University, founded in 1608 by the executors of Archbishop de Valdés, is
+a dignified building in the classical style--such as one might see in
+any fair-sized town in southern Europe. The Ayuntamiento, uninteresting
+in itself, contains a charter granted by the sixth and confirmed by the
+seventh Alfonso. Those who have had the opportunity of studying it say
+that it illustrates the transition from Latin to Spanish--just as the
+history of Oviedo illustrates the development of the Goth into the
+Spaniard.
+
+
+
+
+III
+
+SEGOVIA
+
+
+The ancient and beautiful city of Segovia occupies one of those sites
+which men would have chosen for the building of towns as soon as towns
+ever came to be built. We may therefore be sure that the roots of the
+city’s life lie very far back in the past--an assurance confirmed by the
+name, which bespeaks an Iberian origin. Mediæval writers mentioned this
+as among the towns built by the fabulous King Hispan, whose name, with
+those of his relatives, Iberia and Pyrrhus, is always introduced to
+explain a mystery or to adorn a tale. To the Romans the place was known
+as Segobriga; and that it was a flourishing and important colony the
+great aqueduct, the most famous of its monuments, remains to this day to
+attest. We may assume the town under the Roman yoke was happy, for it
+had no history--at least, nothing of it has reached us. There were
+bishops on these barren heights in early times, for they are referred to
+by name as attending councils at Toledo in the sixth and seventh
+centuries. At the time of the Mohammedan conquest, a hermit called Fruto
+rallied the Christians in the fastnesses of the mountains and kept alive
+in them the Christian faith and traditions. This holy person was the
+brother of the martyrs Valentin and Engracia, whom the Moors put to
+death. This the hardened infidels did, the chroniclers assure us, in
+spite of miracles which might have converted Mohammed himself; for the
+Segovian saints cleft mountains asunder with the stroke of a knife, and
+produced fountains from the solid rock with the touch of a wand; while a
+mare, to whom the Eucharist had been offered as food, dropped on her
+knees in adoration. It is clear that in after years the Christians of
+Segovia enjoyed the liberty of worship that the Muslims of Spain
+everywhere conceded to their subjects; for we hear of a bishop, Ildered,
+governing his flock here in the year 940. In the following century it
+was included within the dominions of the Amir of Toledo, and on the
+downfall of that monarchy was annexed to the growing kingdom of Castile.
+
+Like Salamanca and Avila, Segovia was repeopled at the instance of Count
+Raymond of Burgundy, chiefly by Gallegos from the north-west. It
+received its first charter from Alfonso VI. in 1108. Thereafter its
+citizens were always to be found in the fighting line. Tradition avers
+that Madrid was recovered from the Moors by the Segovians; and their
+chiefs on that glorious occasion were Dia Sanz and Fernán Garcia, whose
+descendants for many years after divided the government of the city
+between them. But the chronicles register a very black stain on the
+city’s fame: the assassination by the townsfolk of Alvar Fañez, the
+illustrious brother-in-arms of Alfonso VI., at Easter, 1114. Four years
+later, the Segovians took the side of Alfonso VII. against his mother,
+Queen Urraca, and were rewarded by the reconstitution of their town into
+a bishopric.
+
+The history of Segovia differs little from that of other Castilian
+towns. Its citizens shared the glories and the hardships of the
+ceaseless campaigns against the Moors, and did not hold aloof from the
+equally numerous civil wars that distracted the kingdom. In 1295 they
+refused submission to the young king, Fernando IV., and his mother,
+Maria de Molina. The brave queen forced her way into the town, and found
+the gates shut behind her. Undismayed, she harangued the stubborn
+townsmen. ‘Open your gates,’ she cried, ‘and I will go with my son to
+more grateful and obedient towns; where vassals are less easily deceived
+by intriguers, and where mother and son are not separated!’ The people
+were moved by her reproaches, and, admitting the king, escorted both in
+triumph to the Alcazar.
+
+The minority of Alfonso XI. (1320) was attended by sanguinary disorders
+in the streets of Segovia. Every church and house became a fortress, and
+the rival factions stormed and laid siege to each other’s strongholds
+within the narrow compass of the city walls. In 1368 the nobility held
+the Alcazar for Enrique of Trastamara, whilst the commons held the town
+for Pedro the Cruel; but the Gracious King, after the death of his
+half-brother at Montiel, visited Segovia and won all hearts. A hundred
+years later the town was distinguished by its loyalty to the wretched
+Enrique IV., who here betrayed his own daughter, Juana, by a
+reconciliation with his sister, Isabel. Not content with this, he
+appeared in the streets, leading by the bridle the palfrey of the woman
+who denied his own child’s legitimacy.
+
+The townsfolk, at the beginning of the reign of Charles V., threw in
+their lot with the Comuneros; but the Alcazar throughout the rising was
+held by the royal forces. The King-Emperor and his successor, like
+their predecessors, frequently sojourned in the old palace-fortress.
+Later on, it was often used as a state prison. The famous Ripperdá, the
+Dutch adventurer, passed a portion of his captivity here; and the
+Marquis of Ayamonte was confined here prior to his execution in 1648.
+The establishment of the court permanently at Madrid, and the building
+of La Granja by Philip V. in 1721, diminished the importance of Segovia
+as a royal residence. In few countries have the larger provincial towns
+loomed more conspicuously in the past than in Spain, and in few are they
+nowadays more decayed and bloodless. Segovia remains, as Antonio
+Gallenga described it, ‘an unmatched picture of the Middle Ages. You
+read its history on the old city walls with their eighty-three towers;
+in the domes and belfries of its churches; in the bare and blank ruins
+of its deserted monasteries; in the battlemented towers of its noble
+mansions.’
+
+The town stands high and bravely on the mountains, its flanks washed by
+two clear streams, Eresma and Clamores. The towers and domes rise
+sharply against the clear sky, high above the surrounding hills; an
+island of the air Segovia seems as you catch sight of her from the
+dusty plains of Old Castile. Even as clouds in their fantastic
+formations take the semblance of far-away cities, so at certain hours
+from afar off you might take this to be just such a cloud-town. And when
+you draw nearer you find the valleys are cool and green, and that the
+tall trees flourish here and do not wither as in the plains round Burgos
+and Valladolid.
+
+       *       *       *       *       *
+
+Coming from La Granja, the first you see of Segovia’s wonders is
+fittingly by far the oldest. The aqueduct dates, it is believed, from
+Trajan’s reign, and is the most considerable of the Roman remains of
+Spain. In the Middle Ages, like most other classical works, it was
+attributed to diabolical agency, and is still often called El Puente del
+Diablo. Beginning at the Fuente Fria in the Sierra Guadarrama, ten miles
+away, with many zigzags it passes over hill and dale, and at last spans
+the deep valley before the city, and is carried across the streets to
+the Alcazar. It is built of granite with black veins, hewn in great
+blocks, which are pieced together without mortar or clamps. Every block
+is visible on one side or another. For the distance of nine hundred
+yards the aqueduct is carried on one hundred and nineteen arches,
+varying in height from twenty-three to ninety-four feet. For a third of
+this length the arches are in two tiers. The work is devoid of
+ornamentation, except for the remains of a cornice. All is not Roman
+work. The aqueduct was partially demolished in the eleventh century
+during a siege by the Moors, and when Queen Isabel the Catholic
+determined to restore it, thirty-six arches between the convents of La
+Concepcion and San Francisco had fallen in. The restoration of these was
+intrusted, on the recommendation of the Prior of El Parral, to a young
+monk of that house, named Fray Juan Escovedo, who performed his
+difficult task with remarkable skill. Indeed, it is not easy to
+distinguish the Spaniard’s work from the Roman’s. Escovedo died in 1489.
+The only reward he received for his labours was the timber of the
+scaffoldings.
+
+Some of the arches have been for centuries embedded in the city walls.
+The work, though severe and imposing, is not perhaps equal to the Pont
+de Gard, or even to certain other Roman remains in Spain. Yet nothing
+could be more curious, or, in a sense, more picturesque, than the views
+of the quaint old houses framed by its arches, or grander than these as
+seen from San Juan, or towering above the Plaza Mayor. Their height is,
+of course, magnified by the hovels clustering at their bases, in
+comparison with which the aqueduct appears rather the work of Cyclopes
+than of men. And through these arches, as through a gate of triumph, we
+pass into the mediæval city.
+
+Yet this is not the only monument of classical antiquity in Segovia. The
+rude figure of Hercules about to slay the Erymanthine Boar was
+discovered in the interior of the tower of Santo Domingo el Real, which
+became the property of the Dominican nuns in 1513. The demigod, to whom
+the foundation of so many Spanish cities has been ascribed, was no doubt
+worshipped here.
+
+       *       *       *       *       *
+
+This ancient town of warlike people is surrounded by high walls, reared
+by the settlers of Count Raymond in the eleventh century, though the
+Alcazar, the ‘Casa de Segovia’ (adjoining the fine old Puerta de San
+Juan), and the ‘Tower of Hercules’ just mentioned, all forming part of
+the enceinte, may have been in the first instance of Roman origin. The
+wall is strengthened by bastions and towers of various shapes--square,
+round, and polygonal--some with brick archings and ornamental courses
+of brick and plaster. The wall and towers preserve their battlements.
+The ‘allure,’ or rampart walk, is in parts so narrow as hardly to permit
+of safe walking. Among the most picturesque gates is that of San Andrés.
+It lies between two towers, one square, the other larger and polygonal,
+and crowning the very edge of the declivity; from one to the other runs
+a gallery, supported by a semicircular arch. This gate was restored by
+Ferdinand and Isabel, and at one time afforded ingress to the Jewry of
+Segovia. The masonry of the adjoining wall resembles that of the
+aqueduct close by, and may possibly be a fragment of the Roman
+fortifications.
+
+Segovia, we are often reminded, looks like a ship in full sail towards
+the west; and the Alcazar is at the prow. Whether or not it occupies the
+site of a Saracen or Roman work, there can be no doubt that the present
+structure was founded by the conqueror of Toledo, Alfonso VI., at the
+end of the eleventh century, and was remodelled and enlarged by Juan II.
+in the fifteenth. Much of it is now entirely modern, the interior of the
+fabric having been completely restored after the fire of 1862. For all
+that, this citadel of Segovia remains a fine typical castle of Castile,
+the castle-land. The massive Torre de Juan Segundo forms the east part
+of the building. Its four sides are furnished with the bartizans
+characteristic of Spanish castles, which spring out of the wall at about
+half its height, and rise considerably above the battlements. Between
+them runs a machicolation carried on corbels. The windows in this
+magnificent tower are sheltered by quaint stone canopies; and the whole
+façade is covered with plaster, on which Gothic tracery has been stamped
+with a mould as at the Alhambra. The interior is vaulted, and has three
+floors.
+
+Around the inner court were disposed the royal apartments, which indeed
+still exist, though the fire and consequent restoration have shorn them
+of most of their beauties. Don J. M. Quadrado, who saw them before the
+catastrophe, declares they were of magical splendour. A curious story is
+associated with the Sala del Cordon. In 1258 the learned king, Alfonso
+X., discoursing at the Alcazar as was his wont with a party of sages,
+remarked, like Lafontaine’s Garo, that if the Creator had consulted him
+he would have turned out a better world; others have it that he declared
+his belief that the earth revolved round the sun, and not the sun round
+the earth. Whatever he said, he was rebuked for his profanity by Brother
+Antonio, a Franciscan. But the king hardened his heart. That very night,
+as he lay in bed, a thunderbolt came crashing through the ceiling, and
+sent him quaking and beseeching absolution to the feet of the friar. In
+memory of this event he decorated the walls of this apartment with the
+cord or girdle of St. Francis, which perhaps as a member of the lay
+‘Third Order’ he was entitled to wear.
+
+Passing through the handsome Sala del Trono, we reach the Sala de los
+Reyes, adorned before the conflagration with an ancient and valuable
+series of effigies of the early kings of Leon and Castile. From one of
+the windows Pedro, a son of Enrique II., fell out of the arms of his
+nurse, and was dashed to pieces on the rocks below. The woman, rather
+than face the king’s anger, threw herself after her charge and met the
+same fate.
+
+The part of rock at the western extremity of town and citadel is
+defended by the strong Torre de Homenage, which was held for Isabel the
+Catholic by Andrés de Cabrera in 1476 when the rest of the fortress had
+been seized by the partisans of Juana. In 1507, on the contrary, it
+offered a vigorous resistance to the same Cabrera, to whom, however,
+the garrison surrendered on May 15. The tower is surmounted and
+strengthened by seven turrets. The irregular disposition of these
+_cubos_ and _torreones_ (round towers and bartizans) round the four
+sides of a keep is a peculiarity of Spanish military architecture. Here
+they used to be crowned with peaked roofs of slate, probably like those
+that lend such a bizarre appearance to the palace at Cintra. This
+feature, like the plaster-work on the façade, shows distinct Moorish
+influence, and encourages the belief that the castle was modelled on
+that of the Muslim lords of Toledo.
+
+We have seen how important was the part played in the history of the
+kingdom by this grand old citadel. I must not forget to mention that Le
+Sage places here the scene of the confinement of Gil Blas before his
+marriage; but as is well known, the author of the most famous of
+picaresque romances never set foot south of the Pyrenees.
+
+       *       *       *       *       *
+
+The space to the east of the Alcazar was formerly occupied by the old
+cathedral, built in the twelfth century, and totally destroyed by the
+Comuneros in 1520. It was determined to erect the new cathedral on a
+more convenient site, and on the 8th June 1522 the Bishop, going in
+procession, laid the foundation-stone of the existing building on the
+west side of the Plaza Mayor. The plans were drawn by Juan Gil de
+Hontañon, and are very similar to those of the new cathedral at
+Salamanca, of which Hontañon was architect, though he is said to have
+used another’s designs. Street thinks (and few will disagree with him)
+that this is the finer cathedral of the two, chiefly because its eastern
+end is semicircular and not square. It is one of the very latest Gothic
+cathedrals, and is on the whole a beautiful building in fine warm-hued
+stone. The plan is that of an oblong, rounded at the eastern end; or, to
+be more precise, it includes a nave with aisles, into which on both
+sides open chapels placed between flying buttresses, and a chevet with
+seven polygonal chapels. The choir occupies the customary position in
+the middle of the nave. A cupola, 220 feet high, rises over the
+crossing. The length of the church is given as 330 feet, the breadth as
+158 feet, the nave being 44 feet across, the aisles 30 feet.
+
+The west front is divided by buttresses into five compartments,
+corresponding to the nave, aisles, and rows of chapels, both in width
+and in elevation. The three entrances are enclosed within pointed
+arches. The ornamentation is restrained and pure. At the southern corner
+the front is flanked by a square tower 345 feet high and 35 feet in
+area, with six rows of windows enclosed within arcades and all blinded
+except those of the belfry. The angles of the platform are adorned with
+pinnacles, and the tower is surmounted by an octagonal clock-story.
+Higher than the Giralda of Seville and broader than the Tower at Toledo,
+this structure is a matter of legitimate pride to the Segovians.
+
+The rest of the exterior closely resembles that of Salamanca--‘the same
+concealment of the roofs and roof-lines everywhere,’ laments Street. The
+outside of the chevet exhibits an excess of ornamental work; it is, in
+fact, a forest of pinnacles. On the south side the façade is partly
+hidden by the cloister and sacristies.
+
+The interior is bright and altogether pleasing. The columns are massive
+and gracefully moulded, and the arches lofty. The nave and aisles are
+lighted by windows filled with beautifully-coloured glass. There is no
+triforium, but instead a balustrade in the flamboyant style in front of
+the clerestory of the nave.
+
+The lantern or cupola over the crossing, and the gorgeous reredos behind
+the High Altar, are quite out of keeping with the general aspect of the
+church. The chancel is enclosed by three very fine iron screens, quite
+Plateresque in character, though executed in 1733. The majority of the
+stalls in the choir were designed for the old cathedral, half a century
+at least before its destruction. The organ on the Epistle side, now
+enclosed in an eighteenth-century case, also came from the old church,
+and was the gift of Enrique III. The rich marble retablo at the west end
+of the choir was given by Carlos III., and enshrines in a silver
+reliquary the ashes of the local martyrs, Fruto and his brethren.
+
+The chapels are not specially interesting. Those in the chevet are
+exactly alike, and furnished like those in the aisles, for the most
+part, with seventeenth-century retablos. In one (Nuestra Señora del
+Rosario) is buried Doña Maria Quintana, who ended a dissipated life in
+the odour of sanctity on August 16, 1734. Her epitaph runs: ‘Hic vespere
+et mane et meridie laudes Deo reddidit, et vitandi crimina zelo preces
+et lacrymas Juges effudit; hic quam intra chorum psallere secum
+prohibuit, extra chorum fructuose psallere Spiritus docuit; hic tertio
+ab obitu die nondum rigida membra, à juncturis suis jamdiu separata
+quiescunt ossa. An forsan post mortem etiam prophetabunt?’ The chapel
+of St. Hierotio was dedicated to that saint by Bishop Escalzo under the
+false impression that he was the founder of the see. The Capilla de la
+Piedad (fifth in the left aisle) is remarkable for a fine Descent from
+the Cross, a retablo with colossal and expressionful figures, painted by
+Juan de Juni in 1571. In the same chapel is a painting by Alonso Sánchez
+Coello, the Apparition of Christ to St. Thomas, spoilt by injudicious
+re-touching.
+
+On the south side of the cathedral is the cloister, which belonged to
+the old church, and was reconstructed here in beautiful flamboyant style
+by Juan Campero in 1524. It is entered by a fine Gothic doorway, in the
+Consuelo chapel (wherein is the noble tomb of Bishop de Covarrubias). On
+the cross-vaulting of the cloister may be seen the arms of Bishop Arias
+Dávila. We notice the monuments of three of the architects--Rodrigo Gil
+de Hontañon (died 1577), and his successors, Campo Agüero and Viadero.
+In the chapel of Santa Catalina at the foot of the West Tower are
+contained the remains of little Prince Pedro, with his painted and
+gilded effigy. The superb monstrance preserved in this chapel was
+designed in 1656 by Rafael González. At the northern aisle of the
+cloister may be read this inscription: ‘Aquí está sepultada la devota
+Mari Saltos con quién Dios obré este milagro en la Fonzisla. Fizo su
+vida en la otra iglesia, acabó sus dias como Católica Cristiana, Año de
+1237.’ (Here is buried the devout Maria Saltos, with whom God performed
+a miracle at Foncisla. She passed her life in the other church, and
+finished her days as a Catholic Christian in the year 1237.) ‘The other
+church’ was of the Hebrew persuasion, to which Maria belonged. Accused
+of adultery, and condemned to die by the elders of her community--which
+was a self-governing body in Spain within certain limits--she was cast
+from the Peña Grajera, the Tarpeian Rock of Segovia. At the supreme
+moment she was heard to invoke the Virgin of the Christians, and reached
+the ground unharmed. She was baptized, and died, as the epitaph
+testifies, a devout Catholic. The incident may be ranked with the
+remarkable, if not miraculous, escape of the Catholic secretaries at
+Prague, known as the Fensterstürz.
+
+The chapter-house, adjacent to the Western Tower, is a very splendid
+apartment, paved with marble, upholstered with crimson velvet, and
+containing some good engravings, mostly Flemish. An elegant staircase
+leads to the library above.
+
+       *       *       *       *       *
+
+At the back of the cathedral is the Plaza Mayor, one of the most
+picturesque squares in Spain. The Ayuntamiento with its Doric columns
+looks strangely out of place, surrounded as it is by old houses with
+projecting upper stories and wooden loggias of a Gothic, almost German
+character. The church of San Miguel may be attributed to Hontañon or one
+of his assistants. It replaces an earlier structure, in the porch of
+which the town council used to meet. In the north transept is an
+interesting triptych, where St. Michael is represented weighing souls.
+Hard by, at the corner of the Calle Ancha and Calle de los Huertos, is
+the old mansion of the Arias Dávila family, with a tall square turreted
+tower, adorned in its lower stages with diapered plaster. Near the
+church of San Martin are another fine tower belonging to the Marquis de
+Lozoya, and the house (now a book-shop) of Juan Bravo, one of the three
+leaders of the Comuneros.
+
+The church of San Martin is approached by a flight of steps, and
+encircled on three sides by a cloister or portico, which was used in the
+twelfth century, at all events, as a burial-ground. The west porch is
+bold and original, with statuary in the jambs of the doorway, and
+capitals carved with birds in couples. The church was originally
+apsidal, but has been frequently restored. The Bravos and Rios, two
+prominent families of Segovia, are buried here; and the tomb of Gonzalo
+de Herrera and his wife in alabaster is in a chapel on the left-hand
+side. The church is surmounted by a modern cupola over the crossing, and
+by an ancient tower placed, oddly enough, over the middle of the nave.
+
+Near the Puerta de San Martin is the Casa de los Picos, which was
+acquired and rebuilt in the fourteenth century by the family of Hoz. It
+seems once to have been known as the Jews’ House, till in the sixteenth
+century its façade was rebuilt with the extraordinary facetted stones
+from which it derives its present name. While in this neighbourhood, the
+few poor remains of the palace of Enrique III. should be inquired for.
+
+Where the Calle Real opens into the Plaza Mayor is situated one of the
+most interesting churches in Segovia. Corpus Christi Church was till the
+year 1410 a Jewish synagogue. In that year a rabbi obtained from the
+sacristan of San Facundo a consecrated Host as a security, it is said,
+for a loan. The street where this impious transaction took place is
+still known as Mal Consejo. The Jews attempted to profane the Sacred
+Wafer in their synagogue, but were scared by awful portents, and
+confessed their crime. Their place of worship was forfeited, apparently
+at the suggestion of St. Vincent Ferrer, and consecrated as a Catholic
+church. It bears a strong likeness to Santa Maria la Blanca at Toledo.
+The nave and aisles are separated by horseshoe arches springing from
+fir-cone capitals, above which runs a series of blind windows. The
+ceiling is of wood. The transept and dome have been added since the
+adaptation to the purposes of Christian worship. The sacristan will
+point out the crack in the wall which occurred at the moment of the
+attempted sacrilege.
+
+Santa Trinidad, on the north side of the Plaza Mayor, is a Romanesque
+church of the San Martin type. It is adjoined like the latter by a
+portico, also used once as a place of sepulture. The apse is lit by
+three windows, below which are others now only to be seen from the
+interior. A lane leads from this church to San Nicolás, close to the
+walls. Here the two apses are each lit by a single window, and over the
+smaller of the two is raised a low tower with two round-arched belfry
+windows. The secularised church of San Facundo exhibits similar
+characteristics. It contains a not very valuable museum.
+
+Segovia is a Paradise for the ecclesiologist, but so many of the
+churches differ only in the smallest particulars from the San Martin and
+San Millán type that a description of each would be tedious. An
+exception must be made as regards San Esteban, opposite the Episcopal
+Palace, famous for its Romanesque tower, the finest work of the kind in
+Spain. The base of the tower is as high as the nave; the remaining five
+stages are adorned on each side with graceful arcaded windows. The
+angles are splayed off, and up the middle runs a shaft. The tower is
+surmounted by a pinnacle, evidently a later addition, and in very bad
+style. The external cloister of San Esteban is the most beautiful in the
+town.
+
+In the disused church of San Juan de los Caballeros are buried the
+founders of the two great houses of Segovia, Fernán Garcia and Dia Sanz,
+averred by tradition to have been the conquerors of Madrid.
+
+The finest specimen of these early Romanesque churches is to be seen
+outside the south wall. San Millán is said to have been founded by the
+Counts of Castile in the tenth century, but the present fabric dates
+from the twelfth. The church consists of a nave, aisles, and external
+cloisters on each side, all ending in eastern apses. There is a low,
+square lantern over the crossing, and a modern square tower at the east
+end of the north cloister. The west front is very simple and pierced
+with a round-arched door and four windows. The arches of the cloister
+spring from finely sculptured capitals on double shafts. Street calls
+attention to a local peculiarity in the design of the north and south
+doors. ‘Their jambs consist of shafts set within very bold, square
+recesses; and the number of orders in the arch is double that of those
+in the jamb, they being alternately carried on the capitals of the
+shafts, and upon the square order of the jambs. The effect is good....’
+The interior is well preserved, but daubed all over with whitewash and
+plaster. The church is barrel-vaulted, but may once have had a flat
+timber roof. The capitals of the massive columns are carved with very
+large and striking figures of men and animals. The corbels are adorned
+with masks and caprices, very skilfully chiselled.
+
+       *       *       *       *       *
+
+Two other exceedingly interesting churches are also outside the city
+wall, in the valley of the Eresma. Descending by a very steep path from
+the Alcazar to the junction of the two streams, and passing an arch in
+the baroque style, we reach Fuencisla--the bubbling rock, from which
+water filters. Here a cypress marks the spot where Maria del Salto
+alighted uninjured from the crag above. The neighbouring church, built
+in 1613, contains the shrine of the wonder-working Virgin of the
+Fuencisla. It possesses a fine reredos and iron pulpit. In the convent
+of the Discalced Carmelites are preserved the head and body of the
+famous St. John of the Cross, the spiritual guide of St. Teresa, and one
+of the world’s greatest mystics. You may also see the pictured Christ
+which, it is alleged, spoke to the saint, bidding him ask a favour; John
+asked, as a devout Spaniard of that time might have been expected to do,
+for more suffering and humiliation. The cave in which he retired to pray
+may also be visited.
+
+Proceeding up the valley of the Eresma, we notice the old Casa de
+Moneda, or Mint, built in 1586, which down to 1730 coined all the money
+of Spain. Above it lies the curious little church of Vera Cruz, built in
+1204 by the Knights Templars, more or less on the model of the church
+of the Holy Sepulchre at Jerusalem. It would be difficult to convey a
+clearer idea of the peculiar conformation of this structure than by
+Street’s description: ‘The nave is dodecagonal, and has a small central
+chamber enclosed with solid walls, round which the vaulted nave forms a
+kind of aisle. This central chamber is of two stories in height, the
+lower entered by archways in the cardinal sides, and the upper by a
+double flight of steps leading to a door in its western side. The upper
+room is vaulted with a domical roof which has below it four ribs, two
+parallel north and south, and two parallel east and west, and it retains
+the original stone altar arcaded on its sides with a delicately wrought
+chevron enrichment and chevroned shafts. The upper chapel is lighted by
+seven little windows opening into the aisle around it. A slab indicates
+the position of the supposed sepulchre. The room below the chapel has
+also a dome, with ribs on its under side. On the east side of the
+building are the chancel and two chapels, forming parallel apses, to the
+south of which is a low steeple, the bottom stage of which is also
+converted into a chapel. The chapel in the centre of the nave is carried
+up and finished externally with a pointed roof, whilst the aisle is
+roofed with a lean-to abutting against its walls. There are pilasters at
+the angles outside, small windows high up in the walls, and a fine
+round-arched doorway on the western side.’ The sepulchre is placed on
+the upper story, as at Jerusalem, where the hill of Calvary has been
+included within the church. Note the red crosses recalling the original
+owners, and the fast disappearing paintings on the retablo in the
+chancel. The portion of the True Cross formerly preserved here was
+removed to Zamarramala in 1663, when the old Templars’ Church was
+abandoned so far as religious rites were concerned.
+
+Not far off, in a desolate spot once described as a terrestrial
+paradise, stands the church of El Parral, the chapel of a suppressed
+monastery of the Hermits of St. Jerome. It was founded in 1447 by the
+famous Juan Pacheco, Marquis of Villena, on the ground where he had
+defeated three antagonists in a protracted duel. The architects were
+Juan Gallego and the brothers Guas of Toledo. The plan of the church is
+unusual. The transept is very broad from east to west, and projects but
+little beyond the nave. The chancel is shallow, and its lateral walls
+run slant-wise to the eastern angles of the transept. Most churches of
+the Order of St. Jerome, according to a Spanish writer, were built this
+way. The effect is good. The nave is practically covered by a western
+gallery, and has but few windows; whereas the transept and chancel are
+flooded with light through six tall lancet windows with statues of the
+Twelve Apostles in their jambs. The contrast of light and shadow is very
+striking and beautiful. The choir or western gallery is carried on
+graceful arches and is handsomely panelled. Over the north-western
+chapel of the transept is the organ loft. The reredos behind the High
+Altar, in five stages separated by columns, was painted in 1553 by Diego
+de Urbina. The tombs of the founder and his wife lie on either side of
+the chancel. Their kneeling effigies, though sadly damaged and defaced,
+remain among the most beautiful examples of Spanish sculpture. Equally
+deserving of praise is the tomb of the Marquis’s natural daughter, the
+Countess de Medellin, in the south transept. The exterior of this church
+is not remarkable. The west front is pierced by a good double door, and
+‘adorned’ with two huge square coats-of-arms; it is flanked by a square
+tower pierced by rounded windows in the belfry story.
+
+Near to a cave where St. Dominic was accustomed to mortify the flesh,
+the Catholic Sovereigns built the church and convent of Santa Cruz, on
+the site of the first monastery of the order. The church has been truly
+described as a debased copy of El Parral. The western doorway is
+elaborate. Over the door, enclosed within a trefoil arch, is a
+Deposition from the Cross, with Ferdinand and Isabel kneeling on either
+side. Above, their escutcheons are displayed on either side of the
+crucifix. The retablo by Herrera, with which Philip II. endowed the
+church, was burnt in 1809, the fire irretrievably damaging the whole
+interior. Santa Cruz has now been converted into a charitable asylum.
+
+Following the line of the city wall, we pass the church of San
+Lorenzo--a good example of the local style--once surrounded by thriving
+looms, and re-enter the town by the Plaza del Azoguejo, a picturesque
+space where the citizens love to forgather in the shadow of the mighty
+aqueduct.
+
+
+
+
+IV
+
+ZAMORA
+
+
+Zamora on the Duero is one of the most picturesque towns in Spain, and
+one of the most celebrated in its annals. It is not well known to
+foreigners, probably on account of it being so difficult of approach.
+Few places bring back so vividly the stirring past of Castile.
+
+The town stands above the Duero on a rocky ridge, the castle and
+cathedral occupying the western extremity. The river is spanned by a
+bridge of seventeen arches, defended near either end by a high
+gate-tower. If the approach is quaint and mediæval, the view from this
+point is even more so. Towards sundown, the spirit of the Middle Ages
+seems to inform the town--all is sombre, fierce, strong, and venerable.
+The country round seems little better than a desert. From the walls
+above eyes seem to be scanning the horizon for the first gleam of
+hostile lances. Zamora belongs to the days when towns, like men, always
+wore armour. To-day she is broken and war-worn and old; but if her
+sword is rusted and her shield broken, she may well boast it was in the
+service of Spain.
+
+As we jolt over the old bridge, above the weirs of the Duero, and climb
+the steep street that leads into the town, we need no consultation of
+the records to tell us that we are here in the old Castile of the
+knightly days, that we shall find few memories of artists and poets, few
+of statesmen and great rulers, but many of hard fighters and holy
+priests. Zamora is constantly mentioned in the _Romancero_. We can
+imagine that it was a town towards which Don Quixote would have been
+drawn, but he only spoke of it as famous for bagpipes. Like Burgos and
+Valladolid and Salamanca, it was the creation of the mediæval time, and
+we hear first of it in the ninth century. Alfonso I., or his son Froila,
+took the town from the Moors. Thereafter, for many years, it continued
+to change hands. The Day of Zamora, famous in Spanish song and story
+(July 9, 901), when nearly seventy thousand Moors were slain or
+captured, assured the possession of the town to the Christians. In this
+terrific engagement Bernardo del Carpio is supposed to have won his
+spurs, though (if he ever existed, or the battle really took place) he
+must have been a hundred years old at the time! Soon after this victory
+the citizens clamoured for a spiritual shepherd, and a hermit named
+Atilanus was given them as bishop. Certain episodes of his youth began
+to trouble the prelate’s mind, and at the end of ten years he laid aside
+the pastoral staff, and declared himself unworthy of his office. He went
+on a pilgrimage, having thrown his episcopal ring into the Duero,
+proclaiming that he would not return till it was restored to him as a
+sign that God had pardoned him. All in the least familiar with folklore
+will, of course, know what happened next. Like the ring of Polycrates,
+like the ring in the arms of Glasgow, the bishop’s amulet was found in
+the body of a fish served up to him at supper. The relief of the good
+man at this unmistakable evidence of the Divine forgiveness, his return
+to his See, and the rejoicings of the inhabitants may be inferred and
+imagined. Atilanus was canonised by Urban II. in the eleventh century.
+
+Of another tremendous victory said to have been won before the walls of
+Zamora in 939 over the pertinacious Moors we need not speak further, for
+it is more than probable that the fight never occurred here at all, but
+at Simancas. There can, however, be no doubt that the place fell before
+the irresistible Al Mansûr in 981, in spite of the brave resistance of
+the commandant, Domingo Sarracino. The Moors repeopled the town, which
+was governed by one Abu-l-Was el Tojibita. It was labour wasted so far
+as they were concerned, for Zamora was soon, and finally, recovered by
+the Spaniards. And now we come to the episode which has secured the town
+so prominent a place in the annals and legendary lore of the country.
+
+Fernando I., King of Leon and Castile, in response to the importunities
+of his children, on his deathbed divided his dominions between them. To
+his eldest daughter, Urraca, he gave Zamora, to her sister, Toro. The
+disposition of his estates made, the dying king invoked the vengeance of
+Heaven on whomsoever should disturb it; and all present, except his
+eldest son Sancho, responded, Amen. It was not long before this prince
+(now King of Leon and Castile) showed his dissatisfaction with what
+Ford, with a touching faith in the sanctity of primogeniture, calls this
+unjust division. Toro was soon surrendered by Doña Elvira, and, very
+shortly after, the stout-hearted Urraca beheld from these walls the
+hosts of Castile beleaguering her little principality. With Sancho’s
+army was the Cid. With him, the chroniclers assure us, the Infanta was
+in love. If so, these tender sentiments were not allowed to interfere
+with the vigour of the attack and defence, which were both conducted
+with ferocious determination. The siege had lasted seven months when a
+personage called Bellido Dolfos, the son, delightfully enough, of Dolfos
+Bellido, sought an audience of the king. He had fled from Zamora, he
+said, to escape the vengeance of Urraca’s minister, Arias Gonzalo; and
+he would show the king the secret postern in the walls by which he had
+escaped, and by means of which the town could be taken. This audience
+appears to have taken place very close to the walls, for we are told
+that the citizens cried out to Sancho, adjuring him to have nothing to
+do with Dolfos, who had committed four acts of treason already. These
+well-meant hints, naturally enough, confirmed Sancho’s confidence in the
+stranger. On the morning of the 7th October 1072 the two went forth to
+reconnoitre the walls. Dolfos took advantage of the king in an unguarded
+moment, and stabbed him in the back. He then promptly ran towards the
+postern. The Cid, seeing him run, suspected something amiss, and
+mounting Babieca gave chase; but alas! he had forgotten his spurs, and
+the assassin made good his escape. Sancho was carried back to the camp,
+and before he expired attributed his destruction to his father’s curse.
+The siege was prosecuted with greater vigour than ever by his captains.
+Don Diego Ordoñez denounced the citizens, without exception of persons,
+as felon knaves. Arias Gonzalo and his four sons took it upon themselves
+to vindicate the honour of the town in five successive duels with the
+Castilian. Three of the Zamoran champions were slain by Ordoñez, but he
+was jerked out of his saddle by his dead adversary’s wounded horse, and
+the combat was declared by the judges to be at an end. The venerable
+Arias Gonzalo thus preserved one of his sons, and Castile her champion.
+The accession of Alfonso VI. to his murdered brother’s throne restored
+peace to the distracted kingdom, and left the Infanta in enjoyment of
+her little state.
+
+Zamora is still encircled with massive walls, strengthened with numerous
+round towers. The name of Urraca’s Palace is given to a house, old
+enough to all seeming, close to one of the gates opening near the
+northern end of the Paseo de Valorio; this gateway is flanked by two
+bastions, and above it may be seen the bust of Princess Urraca, with
+the inscription much defaced--
+
+  ‘Afuera, afuera Rodrigo
+   El soberbio castellano!
+   Acordórsete debiera
+   De aquel buen tiempo pasado,’ etc.
+
+These verses from the _Romancero_ are supposed to have been addressed by
+the Princess to the Cid, and allude, presumably, to the love-passages
+between them. The postern through which Dolfos escaped may be seen in
+the wall farther towards the west. The site of the Cid’s house is also
+pointed out. The tiny hermitage of Santiago in the Vega marks the spot
+of the assassination, and a battered cross on a pillar some distance
+outside the town commemorates Sancho’s exclamation that he would never
+be king till he was lord of Zamora.
+
+The castle from which perhaps Urraca and Arias Gonzalo looked across at
+Sancho’s camp is at the western extremity of the town. During the civil
+wars that disturbed the reign of Alfonso el Sabio, it was held for the
+king by Doña Teresa Gomez, wife of Garci Perez Chirino. Her youngest
+child was captured by the rebels, and to save his life she surrendered
+the fortress. At the time of the disputed succession following the
+demise of Enrique IV., the castle was held by the Portuguese in the
+interests of Juana ‘la Beltraneja,’ who held her court here for a brief
+season. The garrison resisted many determined assaults, and capitulated
+on honourable terms only after the battle of Toro, February 1476. In
+after years, and especially during the Peninsular War, the stronghold
+was adapted to the requirements of modern warfare, and has lost, in
+consequence, much of its mediæval character.
+
+Hard by is the cathedral, far away from the centre of the town. When the
+See was restored by Alfonso VI., Gerónimo, the Cid’s confessor, was
+appointed to it; but he was soon translated to Salamanca (or else Zamora
+was carved out of that See), and was succeeded by another Frenchman,
+Bernard, a namesake and countryman of Bernard, Archbishop of Toledo.
+These foreigners introduced the Romanesque style, of which Zamora must,
+in its primitive state, have been a noble example. The building was
+completed in 1174. To that period belongs the grand square tower at the
+west end of the north aisle--the most conspicuous landmark of the
+vicinity--with its three upper stories pierced on each side with one,
+two, and three windows respectively. The tower was designed for defence
+as well as ornament. Over the crossing rises a dome of beautiful
+construction, very Oriental in character, with turrets surmounted by
+smaller cupolas and pierced with rounded windows at its angles. Seen
+from within, this dome is of the ‘half-orange’ type, the ribbing of the
+vault giving it very much the appearance of the sections of the fruit.
+In the sharp fringe of ornament at the angles, Street saw the very
+earliest kind of suggestion of a crocket, and was of opinion that ‘we
+have in England no monument of the middle ages which is one whit more
+precious.’
+
+The cathedral has no west front, and its exterior is, it must be
+confessed, a veritable patchwork of different styles. The Puerta del
+Obispo, facing the Episcopal Palace, in the south transept probably
+dates from the twelfth century. The main entrance is through a
+four-ordered arch with three shafts in each jamb. The capitals are
+roughly moulded and have abaci. Over the lateral doorways (now closed
+up) are rudely-carved reliefs, with dragons and floral devices
+introduced into the decoration. The two odd-looking rosette-like
+ornaments above seem to be models of the interior of the dome. Above the
+three doors runs a gallery of five recessed arches, and over this again
+a blocked-up window.
+
+The northern entrance, surmounted by a modern clock-tower, is,
+incongruously enough, in the classical style, with a rounded arch. The
+interior of this interesting little cathedral is impressive. We are at
+once struck with the width of the piers (seven feet across) as compared
+with that of the nave, which is only twenty-three feet. The arches here
+are in the Pointed style. The aisles are lower than the nave, and
+supported by broad massive buttresses. There being no western portal,
+that end of the church is occupied by chapels, which give a very
+singular effect to the building.
+
+The High Altar and chancel are in the Gothic style, and owe their
+construction to the absentee bishop Diego Meléndez Valdés, who ruled the
+See between 1496 and 1506. His arms, five fleurs-de-lys, may be seen on
+the railings. The retablo, with its jasper columns and gilded capitals,
+is modern. The subject is the Transfiguration. In the precinct of the
+High Altar is buried Count Ponce de Cabrera, one of the Emperor
+Alfonso’s most distinguished lieutenants. The Altar is in the late
+Gothic style, and must have been erected three centuries after the
+Count’s death. There are good wrought-iron pulpits on each side of the
+chancel.
+
+The choir was also the work of Bishop Valdés. It occupies the bays west
+of the crossing as usual in Spanish churches, but the bad effect of that
+position is here greatly relieved by the piercing of the western screen
+or _trascoro_ with two elliptical doorways, between which is a painting
+representing Christ surrounded by the Blessed. The fittings of the choir
+are very interesting, and of the same age as the screens. The backs of
+the lower range of stalls are carved with low reliefs of thirty-eight
+personages of the Old Dispensation, from Abel to Nebuchadnezzar,
+Caiaphas, and the Centurion. In their hands are scrolls containing
+texts, very cleverly chosen, of which a list is given in Neal’s
+_Ecclesiologist_, and reprinted in Street’s _Gothic Architecture in
+Spain_. The execution is rude, but expressive and painstaking. The upper
+stalls are adorned with full-length reliefs of saints, confessors, and
+martyrs of the New Dispensation, which are more delicately designed and
+finished. Above runs a canopy, sculptured with animal forms. The
+enormous metal lectern and the Bishop’s Throne, with its tapering spire,
+are fine examples of Gothic work.
+
+The chapels are not of special interest. That on the middle of the
+western wall is dedicated to San Ildefonso, but is more generally known
+as the Capilla del Cardenal, after its founder, Don Juan de Mella, who
+died in 1467. This prelate’s brother, Alonso de Mella, was the founder
+of a sect which seems to have resembled the Anabaptists of Westphalia;
+he was expelled from Castile, and took refuge at Granada, where he was
+put to death by the Moors. The retablo, by Gallegos, is in six
+divisions, the subjects being: San Ildefonso receiving at Toledo the
+chasuble from the hands of the Blessed Virgin, the Discovery of the
+Relics of St. Leocadia, the Veneration of the Relics, and (above) the
+Crucifixion, the Baptism of Christ, and the death of John the Baptist.
+This chapel contains the tombs of the Romero family. In the adjoining
+sacristy are some interesting battle-scenes from Old Testament history.
+
+The chapel of San Juan Evangelista was built with funds bequeathed by
+Canon Juan de Grado (1507), whose fine alabaster tomb is surmounted by
+his recumbent effigy, accompanied by a priest and an angel. Above the
+canopy is an exquisitely chiselled composition representing the
+Crucifixion, with expressive statues of the Apostles Peter and Paul;
+within is a curious but admirable genealogy of the Blessed Virgin, at
+the base of which is the recumbent figure of an old man, wearing a
+crown, and representing possibly one of the early patriarchs. The
+Capilla de San Miguel is of less interest. It contains the
+sixteenth-century tombs of the canons de Balbas. Of the side-chapels,
+the most notable is that of San Bernardo, rebuilt in the sixteenth
+century.
+
+In the sacristy is preserved a remarkable silver monstrance, six feet
+high, attributed by Ford to Enrique de Arfe. The stand is of later
+construction, and dates from 1598. On the upper part the local saint,
+Atilanus, may be seen, seated with the Saviour and the Virgin.
+
+The original cloisters were burnt in 1591, and rebuilt in the present
+Doric style in 1621 by Juan de Mora.
+
+Under the town walls, close to the cathedral, is the little Romanesque
+church of San Isidoro, noticeable for its extremely narrow windows, some
+mere slits in the masonry.
+
+We pass down the long lane-like street which leads into the town, and
+which in the sixteenth century was the scene of desperate conflicts
+between the Mazariegos and Monsalves, the Montagues and Capulets of
+Zamora. The first church passed is that of San Pedro, rebuilt by Bishop
+Meléndez Valdés, and containing the revered ashes of St. Ildefonso,
+which were discovered here under miraculous circumstances in the year
+1260. The relics of St. Atilanus are also preserved here. Nothing
+remains of the primitive Romanesque structure, except a little apse on
+the Epistle side, and a closed-up doorway in the left wall. The
+originally-distinct nave and aisles were thrown into one at the
+restoration, and form overhead one immense span. The sacristy contains
+some interesting objects--sacred vessels and altarpieces of the
+sixteenth and seventeenth centuries.
+
+Presently we reach the second most interesting church in the town, La
+Magdalena, a small Romanesque work, said on rather doubtful authority to
+have been built by the Templars about 1312. The southern doorway is very
+large in comparison with the edifice. It is deeply recessed between
+massive buttresses, and formed by a rounded arch with shafts curiously
+moulded and twisted. Street speaks of this as a very grand example of
+the latest and most ornate Romanesque work. The carving on the arches is
+very rich. Above is a large rose window, resembling those in our own
+Temple church. The interior of the church is architecturally but not
+æsthetically more interesting than the exterior. The nave has a flat
+wooden ceiling. The apse is groined, and the chancel has a waggon-vault.
+The stone pulpit against the north wall is a notable piece of work, but
+attention at once becomes riveted on the large canopied tombs at the
+entrance to the chancel. Both are square-topped, with round arches and
+capitals very purely and vigorously carved. They are generally asserted
+to date from the thirteenth century, but an inscription over one
+describes it as the sepulchre of one Acuña and his wife, who died in the
+fifteenth century. ‘The effect of this monument,’ says Street, ‘filling
+in as it does the angle at the end of the nave, is extremely good; its
+rather large detail and general proportions giving it the effect of
+being an integral part of the fabric rather than, as monuments usually
+are, a subsequent addition.’
+
+Another canopied tomb against the north wall undoubtedly dates from the
+earlier period. The capitals of the three twisted shafts are carved with
+the forms of wyverns fighting. The tomb is closed by a stone on which is
+a large cross. The occupant--believed by some to have been a Templar--is
+shown on his deathbed, while above him his soul--represented by a winged
+head--is borne away by angels. This interesting work may be attributed
+to a native sculptor acquainted with the art of France and Italy.
+
+Santa Maria la Horta (or de la Huerta), near the river, was modelled,
+like the Magdalena, on the cathedral. Apart from its architectural
+peculiarities--the western tower, narrow windows, waggon-vaulting of the
+chancel, etc.--it is of interest on account of the retablos and
+paintings in its chapels. Here, as at the very similar church of San
+Leonardo, the roofing of the nave is not flat but arched, which goes to
+support Don J. M. Quadrado’s belief (opposed to Street’s) that the flat
+roof of La Magdalena is an innovation.
+
+The church of San Juan in the Plaza Mayor is in the Flamboyant style.
+Its most curious feature is a Christ Crucified near the west door,
+surrounded by human skulls built up in the form of a cross. Hard by is
+the early Gothic church of San Vicente, with a noble square tower in
+three stages, and a fine west front.
+
+In a town like Zamora only two kinds of buildings were
+esteemed--churches and fortresses. Time has spared few important civil
+monuments. The only ancient house of note is that styled the Casa de
+los Momos, of which I give an illustration. The heavy stones forming the
+arch suggest a Castilian architect. The building dates from the
+sixteenth century, as the enormous coat-of-arms over the entrance might
+have prepared us to expect. The Ayuntamiento, or Town Hall, in itself
+devoid of interest, contains some good paintings by Ramon Pedro y
+Pedret, illustrating the history of the city. It will be seen that
+Zamora, like almost every other Spanish town, is entitled ‘most noble
+and loyal’ (_muy noble y leal_). It is a sombre, fascinating place,
+where the past is more easily recoverable by the fancy than in many
+cities more richly endowed with ancient monuments.
+
+
+
+
+V
+
+AVILA
+
+
+Like Stratford-on-Avon, like Assisi, this sombre city in the mountains
+of Castile is the shrine of a single pre-eminent personality. To the
+Spaniard Avila is essentially the city of the great saint--of Santa
+Teresa, the greatest, perhaps, of Spain’s many great women. And the fame
+of the saint and, therefore, of the city, has spread far beyond the
+limits of the country in which she was born, and indeed outside of the
+church to which her every faculty was devoted. To those (and they are in
+the large majority) who approach Avila as pilgrims, it may seem idle to
+tell anything of its story unconnected with her. At Assisi you wish to
+hear only of Francis, and who cares aught for the Stratford of an
+earlier day than Shakespeare’s?
+
+But Teresa was the product of Avila, and to the making of her character
+all the experience and emotion of her ancestors had contributed. Those
+who would rightly understand her must know something of the breed from
+which she sprang.
+
+The city is one of the forty-three said to have been founded by
+Hercules. It is mentioned, indeed, by Ptolemy, but we know nothing of
+its history previous to the reconquest of this part of Castile by
+Alfonso VI. Avila, like Salamanca and Segovia, arose from the ashes of
+the Moorish empire, and was repeopled and probably rebuilt by the Count
+Raymond of Burgundy. To him we owe those venerable walls, stern yet
+beautiful in their ruddy granite, that girdle the city round. But these
+served, at a very early date, to keep out other than the infidels. The
+annalists tell us that the knights of Avila, returning one day from a
+foray, found that the Moors had ravaged the neighbouring country and
+carried off a multitude of prisoners and much booty. Without hesitation
+the enraged gentlemen gave chase, and though the enemy were in vastly
+superior numbers, they overtook and routed them at Barbacedo, recovering
+most of the spoil and a good deal of additional treasure. But, on their
+return to Avila, the ungrateful commons closed the gates against them,
+and refused admittance to the deliverers of their own wives and children
+unless they were given a large share of the booty. The indignant
+knights refused to surrender the guerdon of their swords, and entrenched
+themselves in the suburbs. Peace was restored only on the intervention
+of Count Raymond, who expelled the churlish townsmen and intrusted the
+government of the city to the knights. During the whole of the twelfth
+century the bitterest animosity continued to prevail between the
+descendants of these antagonists.
+
+Heroines are common in Spanish history. When the town was unexpectedly
+besieged by the Almoravides in the absence of nearly the whole male
+population, the women garrisoned the walls wearing the men’s helmets,
+and compelled the enemy to withdraw. The leader of these Amazons was
+Jimena Blásquez, wife of the governor, Fernán Lopez. Her female
+descendants were privileged, in remembrance of this event, to speak and
+to vote at the council board in the same way as men.
+
+Jimena’s kinsman, Nalvillos, was as unfortunate in love as he was
+fortunate in war. One day he saw Ayesha Galiana, the beautiful daughter
+of the late Moorish king of Toledo. Desperately enamoured, he forgot his
+own betrothal to Galinda Arias, and that the fair infidel had been
+promised to her countryman, Jenina Yahya. With the favour of the king he
+overcame all these obstacles, and made Ayesha his wife. But she could
+forget neither her old faith nor her old love. Nalvillos’ deeds of
+prowess failed to win her heart; and one day he returned to Avila from a
+victorious expedition to find that the bird had flown. She had returned
+to her first love, Yahya, who had raised the standard of revolt at
+Talavera. The furious Castilian stormed the town, slew the Moor, and
+penetrated to his faithless wife’s bower, only to find her expiring from
+a self-inflicted wound. Nalvillos lived many years after, and fought and
+won many battles. He rose to great distinction in the service of his
+sovereign, but we never hear of his marrying again.
+
+It was in this town, that styles itself _del rey_, _de los leales_, _de
+los caballeros_, that the boy king Alfonso VIII. was placed by the
+Regent, Don Manrique de Lara, to protect him from his uncle, Fernando of
+Leon. But the class rancour of Avila was not unknown to Fernando, who
+stirred up the people of the suburbs against the _serranos_, or
+aristocratic townsfolk, promising them a share in his new town of Ciudad
+Rodrigo. The knights were victorious, and do not seem to have conducted
+themselves with great generosity towards the vanquished.
+
+The inveterate hostility of the commons did not tend, as it might be
+expected to have done, to unite the threatened ranks of the patricians.
+These prosecuted bitter feuds among themselves, different families
+striving desperately for the mastery. One faction, on being expelled
+from the town, took refuge in a neighbouring castle, where they were
+surprised and cut to pieces by the Moors.
+
+The place was regarded, notwithstanding, as the safest asylum for the
+boy-kings who so often appear in the pages of Castilian history. During
+his minority, Alfonso XI. remained in the custody of the bishop till the
+pretenders to the regency had adjusted their claims to his lordship’s
+satisfaction. In the Civil War of 1367 Avila was on the right side--that
+of Enrique II.--and suffered severely in consequence at the hands of the
+Black Prince’s marauding hordes. Here at the Puerta del Alcazar took
+place, at the instance of Carrillo, Archbishop of Toledo, the mock
+deposition and degradation of Enrique IV., represented by an effigy, and
+the proclamation of his eleven-year-old son as king. Yet in 1474 the
+fickle city displayed every sign of grief and remorse on the
+unfortunate monarch’s death.
+
+In the disputed succession that ensued Avila sided with Queen Isabel.
+Possibly as an expression of royal gratitude, the convent of Santo Tomás
+was chosen for the first seat of the Tribunal of the Inquisition; and in
+1491 three Jews, professing the faith of their fathers to the last, were
+roasted to death in the Mercado Grande.
+
+Avila was the seat of the Supreme Junta of the Comunidad from July to
+September 1520. The rebellious temper of her citizens found expression
+in Philip II.’s reign in some anonymous placards, posted in the streets,
+reflecting on the king’s policy. The royal vengeance was indiscriminate
+and drastic. The Vicar of Santo Tomás was stripped of his sacerdotal
+functions, Don Enrique Davila was imprisoned for life in the castle of
+Turegano, and Don Diego Bracamonte perished on the scaffold. This king’s
+successor inflicted the _coup de grâce_ on the luckless town by
+expelling its large and industrious Morisco population. Avila never
+recovered her prosperity. She remains an example of the wholly
+destructive policy of the Spanish Hapsburgs. Not only was the country
+ruined by the expulsion of the Jews and Moriscos, but these exiles were
+not able to transplant their industry to some other clime. With their
+expulsion so much productive and industrial power was absolutely lost to
+the world. The wealth acquired by the Inquisition at the expense of its
+victims, or rather what was left of it, ultimately found its way into
+the State coffers on the establishment of the new order of things a
+century ago.
+
+Avila ‘of the Knights’ was, before all else, a fortress. When the walls
+were built, churches and suburbs were left outside the enclosure, that
+the military advantages of the height on which the old town stands might
+not be lost. These walls of dark-red granite girdle Avila to-day,
+unbroken, formidable, intact. They rise so high that they shut out from
+view all that they enclose, except the towers of the cathedral. Near San
+Vicente the masonry is fourteen feet thick, and forty-two feet in
+height. Flanking defence is provided by eighty-six elliptical
+towers--thirty on the north, twelve on the west, twenty-five on the
+south, twenty-one on the east. These rise above the crenellated parapet
+at places by eighteen feet. The ten gateways are formed by two towers
+being brought together and connected with arches. The most impressive
+gates are the Puertas del Mercado and de San Vicente, the former
+admitting to the scanty remains of the old Alcazar, the latter facing
+the church of San Vicente. In both cases the flanking towers are
+connected at the level of their platforms by a high, arched and
+crenellated gallery. The actual gateway is defended by a portcullis, and
+the usual apertures for thrusting out lances, beams, etc. One of the
+gates, now walled up, was known as the Puerta de la Mala Ventura, in
+memory of a baseless tradition that it was the scene of the massacre by
+Alfonso el Batallador of certain Avilese nobles who had been given him
+as hostages for the little King Alfonso VII. of Castile. Nearly all the
+gates open on to squares or places of arms. A leisurely walk round these
+grand old walls is one of the most agreeable experiences of a journey in
+Spain, and carries the mind back to the days when knighthood was in
+flower. From their strength it is easy to see how the town could have
+been held by a limited number of Caballeros against the commoners of the
+suburb outside. There seems no reason to doubt that the walls were, as
+tradition avers, built by Raymond of Burgundy in the last decade of the
+eleventh century. Eight hundred men were employed upon them daily
+during nine years, under the direction of a Roman, Cassandro, and a
+Frenchman, Florin de Ponthieu.
+
+       *       *       *       *       *
+
+Built into the city wall at its eastern end is the noble cathedral of
+San Salvador, founded according to some by Fernán Gonzalez, Count of
+Castile, and begun a second time in 1091 by Alvár Garcia of Estella in
+Navarra. It is, perhaps, the finest example extant of the
+fortress-church of the Middle Ages. The oldest part is the apse, which
+makes a pronounced bastion or projection in the city wall. The external
+walls probably date from Alvár Garcia’s time, but the rest of the church
+must be from one to two centuries later.
+
+The church consists of a nave, aisles, projecting transepts and a
+chevet, which has semicircular chapels built into the town wall and
+double aisle. The chevet is, architecturally, perhaps the most
+interesting part of the structure. Nothing at all is to be seen without
+of the chapels, over which is carried the ordinary rampart walk or
+allure; behind this rises a second battlemented wall, from which we look
+down on to the aisle roof of the chevet and clerestory of the central
+apse. This end of the cathedral appears from the exterior simply as an
+unusually massive round tower projecting from the wall. The west front
+is flanked by two towers, only one of which--the northern--is completed.
+This is a notable and fortresslike structure, recalling similar work in
+England. The strongly-defined buttresses finish in pinnacles, and are
+outlined at the angles with a ball enrichment, which is also to be seen
+on the pointed arches over the belfry windows. The windows themselves
+are round-arched, as are also those now filled up in a lower stage of
+the tower. The entrance is comparatively modern. On either side is the
+figure of a wild man with shield and mace--strange guardians of a
+church! On the spandrils of the arch are the figures of Saints Peter and
+Paul. The middle stage of this front is occupied by a curious
+retablo-like composition. In the various compartments are the figures of
+Christ and different saints, sheltered by ugly canopies; and surmounting
+this work is an extravagant and tasteless acroterium, displaying the
+arms of the Chapter. Behind and above this is the older and infinitely
+more graceful west window within an elliptical arch, and with delicate
+though elaborate traceries.
+
+Very much finer is the north porch, admitting not to the transept but to
+the nave. The elliptical arch has on each side six jambs, each of which
+is adorned with the figure of an apostle resting on the capital of a
+pilaster and sheltered beneath a canopy. The five orders of the arch are
+sculptured with reliefs of angels and prophets, alternating with
+wreaths. In the centre of the tympanum is the seated figure of Christ;
+and around Him, arranged in four horizontal divisions, are compositions
+representing the Betrayal and Last Supper, the Coronation of the Virgin,
+and the Angelic Choir. Street recognises in this doorway the work of the
+architect of the portals of the cathedrals of Leon and Burgos. Before it
+are two lions couchant on pedestals, chained to the walls. The porch
+dates from the fourteenth century. Above it is a canopy begun in 1566,
+and intended to form a kind of triumphal arch. Crowning all is seen the
+figure of the Redeemer.
+
+The north transept is pierced by a fine wheel-window of sixteen
+divisions. The windows of the clerestory are very large, and placed
+between great double flying buttresses. Since 1772 the upper and lower
+traceries have been blocked up, for a reason not apparent to the modern
+observer. The windows of the transept escaped this treatment, and are
+filled with good stained glass.
+
+The nave is 130 feet long and 28 feet broad. The arches are supported
+by piers of four pilasters, the capitals of which show Romanesque
+influence. The aisles are only about half the height of the nave, and
+are 24 feet wide. Their pitched roof formerly admitted light into the
+nave through the triforium, now blocked up.
+
+The outer walls of the chevet, as we have seen, are the most ancient
+part of the fabric, but the seven chapels formed within the thickness of
+the wall are of later date. The extraordinary beauty of this part of the
+church is due to the division of the ambulatory into two by a series of
+tall, slender columns carrying some excellent groining. The outer or
+recessed aisle is narrower than the inner, an inequality corrected very
+skilfully at the opening into the south transept by an imperceptible
+deviation in the line of columns. Very little light penetrates through
+the narrow slits in the chapel walls into this sombre, beautiful arcade.
+
+Behind the reredos of the High Altar sleeps the learned bishop, Don
+Alonso Fernández de Madrigal, surnamed el Tostado and el Abulense, who
+died in 1455. The prelate, who was one of the most prolific writers that
+ever lived, is shown in alabaster writing at a desk. The framework of
+the tomb is adorned with reliefs of the Adoration of the Magi and
+Shepherds, of the Divine and Cardinal Virtues, and of the Eternal
+Father. This noble work has been variously ascribed to Berruguete and to
+Domenico Fancelli, whose more famous performance we shall see in the
+church of Santo Tomás.
+
+In the chapel of Santa Ana is buried Don Sancho Davila, Bishop of
+Plasencia, who died in 1625. Most of the tombs in the chapels of the
+chevet belong, however, to the thirteenth century, though the dates on
+most of them are merely conjectural, and were inscribed in the sixteenth
+century by a prebendary of the cathedral.
+
+The High Altar is backed by an elaborate retablo of the age of the
+Catholic Kings. It is divided into three stages, and was painted by
+Pedro Berruguete (father of the more famous Alonso), Santos Cruz, and
+Juan de Borgoña (father of Felipe). To the two first-named may be
+attributed the ten panels of the lowest stage, representing Saints Peter
+and Paul, the Four Evangelists, and Four Doctors of the Church, and the
+Transfiguration, Annunciation, Nativity, Adoration of the Magi, and
+Presentation in the Temple, in the second stage. To Borgoña we may
+ascribe the Agony in the Garden, the Scourging, Crucifixion, Descent
+into Hell, and Resurrection, in the third stage. To the right and left
+of the church are two beautiful Renaissance retablos in alabaster,
+illustrating the lives of Saints Secundus and Catharine, and two
+tasteful gilt iron pulpits. The light reaches the High Altar through two
+rows of thirteen windows, the lower ‘round-arched, of two
+horseshoe-headed lights divided by a shafted monial,’ and the upper
+‘round-headed, broadish windows, with jamb-shafts and richly-chevroned
+arches.’ The fine stained glass is the work of Albert of Holland
+(1520-1525).
+
+The choir was placed in the easternmost bay of the nave in 1531. The
+_trascoro_ or back of the choir is adorned with reliefs of the Adoration
+of the Magi, the Massacre of the Innocents, and the Presentation;
+smaller panels represent other scenes from the history of Christ and the
+Blessed Virgin. The frieze with its fourteen figures of prophets is the
+finest part of the work. The choir stalls were begun in 1527 by Juan
+Rodrigo, and completed by Cornelius of Holland in 1536. The carving is
+of varying merit. The upper panels appear to portray the martyrdoms of
+different saints, episodes in whose lives are shown on the panels below.
+The ornamentation of the columns and friezes is profuse and delicately
+done.
+
+In the south transept is the fine tomb of Don Sancho Davila, Bishop of
+Sigüenza, who died in 1534, and near him that of a namesake, whose
+effigy is clad in armour. This knight died before the walls of Alhama in
+a combat so furious that his scattered limbs had afterwards to be
+collected and pieced together by his friends. A curious tomb is to be
+seen near by: the figures of a knight in armour and an ecclesiastic
+repose on black coffins, the sides of which are sculptured with
+escutcheons upheld by woolly-haired savages; a monkey is seen pulling
+the negroes’ hair. In the chapel of San Miguel, at the north-west end of
+the nave, is an interesting tomb of the thirteenth century, representing
+a funeral, whereat the anguish of the mourners contrasts strikingly with
+the stoical indifference of the clergy.
+
+The gorgeous chapel of San Segundo at the south-east of the apse,
+outside the town wall, was founded in 1595 by Bishop Manrique, on the
+model, it is said, of the Escorial. Magnificence, rather than good
+taste, characterises this chapel and its furniture. Frescoes by
+Francisco Llamas illustrate the life of the saint, whose ashes are
+contained in a Churrigueresque tabernacle. On the opposite side of the
+apse, but within the wall, is another excrescence, the Velada chapel,
+completed in the eighteenth century.
+
+The sacristy is an ornate Renaissance structure, richly gilded and
+painted. The alabaster retablo over the altar of St. Barnabas is the
+work of a genius whose name unfortunately has not been handed down. The
+chamber also contains some curious fifteenth-century paintings relating
+to the life of St. Peter. Here may be seen the superb monstrance of Juan
+de Arfe, dated 1574, and therefore among his earliest works.
+
+The cloister on the south side of the cathedral was built in the early
+sixteenth century on the site of an earlier one. There was an attempt
+made at the same time to restore, more or less at haphazard, all the
+tombs and epitaphs left from earlier times. At the angles are chapels,
+one of which, the Piedad, contains some good stained glass and
+iron-work. East of the cloister is the spacious apartment called the
+Cardinal’s Chapel, after Cardinal Davila y Mujica, whose tomb it
+contains. Here met the Junta of the Comuneros. The fine stained glass in
+the windows shows the skill of Juan de Santillana and Juan de
+Valdevieso, two famous glass-workers of Burgos.
+
+In some respects more interesting than the cathedral, and probably more
+ancient, taken as a whole, is the Romanesque church of San Vicente,
+outside the walls, near the Segovia gate. It marks the site of the
+martyrdom of Vicente and his sisters, Sabina and Cristeta, who had taken
+refuge here to escape the persecution of Dacian, at the beginning of the
+fourth century. Their religion having been discovered, they were again
+apprehended, and put to death by their skulls being battered against the
+rocks. Their bodies were left unburied, but a great serpent came out of
+a hole near by and protected them from insult. A Jew approached the
+spot, led by spiteful curiosity, and was seized by the monster, which
+wound its coils about him. The terrified Hebrew invoked the name of
+Christ and was released. He was baptized, and secretly gave the martyrs
+honourable burial, subsequently raising a church over the scene of their
+martyrdom. So runs the tradition. These dissenters from the state
+religion of the Roman Empire are remembered and revered to this day, and
+magnificent fanes are rightly raised over their graves. Their ashes are
+preserved in reliquaries more costly than royal thrones, and kings kneel
+before their shrines. But no monuments are erected, no reverence paid
+to the equally high-minded and courageous dissenters from the state
+religion of the Spanish monarchy, who perished in the flames kindled by
+the Inquisition. The very city which delighted to honour Vicente and his
+sisters, and recorded its detestation of the lawful authority that put
+them to death, was the seat of the dreadful tribunal of Torquemada and
+the scene of cruelties worse than any perpetrated by the Romans.
+
+The basilica raised by the converted Jew was swept away by the Moors,
+and the relics of the martyrs seem to have been transported elsewhere.
+They were recovered, at least in part, at the time of the resettlement
+of the city, and the present church was built by St. Ferdinand in 1252
+to contain them; though parts of the fabric certainly seem, despite the
+absence of documentary evidence, to date from a century earlier. The
+church is built on sloping ground, the difficulties of the site being
+admirably overcome. The plan is cruciform, the nave and aisles
+terminating in apses. The crossing is surmounted by a square lantern,
+and the western front flanked by steeples. An open cloister runs along
+the outside of the south aisle.
+
+The western front is very beautiful. The southern tower or steeple wants
+a third or upper story, which was added to the north tower only in the
+fifteenth century. The second stories are arcaded, and splayed at their
+angles. On the third gable-like story of the north steeple are hung the
+bells, one of which bears the date 1158. These towers open only into the
+westernmost bay of the nave, which forms the porch of the church,
+opening on the outside with a high-pointed arch, and into the interior
+through a superb double doorway. Street speaks of this porch as follows:
+‘The whole effect is fine, and the light and shade admirable and well
+contrasted; but the charm of the whole work seemed to me to lie very
+much in the contrast between the noble simplicity and solid massiveness
+of the architecture generally, and the marvellous beauty and delicacy of
+the enrichments of the western doorway, which is certainly one of the
+very finest transitional works I have ever seen.’ The shaft dividing the
+doors is sculptured with a figure of Christ seated on a pedestal.
+Statues of the twelve Apostles occupy the jambs. Over each door a round
+arch springs from luxuriantly carved capitals, flanked by the heads of
+bulls and lions. The tympana are occupied with representations of Dives
+and Lazarus, and the Release of a Blessed Spirit. The round arch which
+encloses the whole portal exhibits a marvellous profusion of delicate
+and rich ornamentation. A Spanish writer truly observes that the foliage
+looks as if the faintest breeze would stir it; the beasts seem ready to
+spring, and the birds as if, with the least effort, they might
+disentangle themselves and fly from the branches. Over the arch is a
+parapet and string-course, and a round-arched window opening into the
+nave.
+
+The church is usually entered by the south door opening into the aisle
+beside the transept. The seven orders of the archivolt are almost devoid
+of ornament, but the capitals are carved with curious figures of wild
+beasts fighting. The monogram of Christ on the keystone of the innermost
+arch is rare in Castilian churches, and the rude sculptured figures on
+the capitals are very primitive and unsymmetrical. On one of the jambs
+the Virgin and the Angel Gabriel are sculptured; on another a curious
+mitred personage representing, it is believed, one of the ancestors of
+the Messiah.
+
+This porch is older by two centuries than the cloister running along the
+south side of the church. It is in twelve semicircular arches, with a
+buttress between every three. Made of purple granite, it contrasts
+strikingly with the sandstone of the main edifice.
+
+The north front is very plain and severe. The massive buttresses excited
+the enthusiasm of Street. The north door is of corresponding simplicity.
+Beside it, as at the side of the south door, are a couple of tombs,
+which seem to prove that the space round the church was at one time used
+as a burial-ground.
+
+The eastern end is the most interesting part of the building. The
+central apse is larger and loftier than the adjoining apses. All three
+are divided perpendicularly by slender engaged shafts, terminating in
+capitals under the eaves; and horizontally by carved or moulded
+string-courses. The central apse has three round-headed windows; the
+lateral apses, two each. The capitals and corbels are everywhere very
+finely carved. There are few better examples of Romanesque work in the
+Peninsula. The square lantern is pierced on each side with a three-light
+window of Gothic design. At its angles it is surmounted by stone
+crosses.
+
+The interior is impressive and thoroughly Romanesque. The piers are
+square, and rest on round bases. The capitals are carved with oak
+leaves. The arches are semicircular, and the vaulting pointed. Between
+two string-courses runs a triforium of round-arched openings, the
+windows of the clerestory being likewise rounded and of one light. The
+windows of the aisles have been closed up. The church is undergoing
+extensive repairs. The piers of the lantern seem to be of later date
+than the foundation of the church, and seem to indicate that the
+original lantern had at one time fallen in. The interior is octagonal,
+and pierced with four lancet stained-glass windows. On the chancel side
+is a fine fourteenth-century painting of the Crucifixion, with the
+Virgin and Disciples.
+
+The interior of the central apse is occupied by the High Altar, with an
+ugly baroque retablo which unfortunately conceals the graceful windows.
+
+The shrine of San Vicente and his brethren is placed on the south side
+of the crossing. In the ages of faith this was an object of
+extraordinary sanctity. Men were sworn on the tomb, and it was
+universally believed that the arms of those who bore false witness
+thereon withered away. The practice was forbidden by law under Ferdinand
+and Isabel. Notwithstanding, grave doubts existed as to the actual
+whereabouts of the martyrs’ bodies. To set the matter at rest, the
+Bishop Martin de Vilches, in the reign of Enrique III., decided on a
+thorough examination of the tomb. Having celebrated Mass, he caused the
+sarcophagus to be opened. Dense vapour immediately issued forth, and the
+bishop thrust in his hand, to withdraw it a second later, convulsed with
+a violent pain, and covered with blood. He proceeded no further with the
+investigation, and ordered the tomb to be closed, satisfied that it
+contained the holy relics. The imprint of his blood-stained hand was
+left on a tablet placed inside the arches on which the sarcophagus
+rests. This appears to date from the thirteenth century, and is carved
+with interesting reliefs. The baldachino covering it is carried on four
+bold columns, and was added by Bishop de Vilches, whose arms it bears.
+The figure at the apex appears to represent San Vicente.
+
+In the south transept is a tablet with an inscription declaring that
+there lie the remains of the Jew who gave the martyrs decent burial.
+Close by is the shrine, executed by Francisco de Mora, of San Pedro del
+Barco, a saint of absolutely unknown antecedents, and mentioned as far
+back as 1302.
+
+The crypt has been modernised. On it may be seen the rock on which the
+tutelary saints suffered martyrdom, and a miraculous image, called
+Nuestra Señora de la Sotteraña, which is obviously far from possessing
+the antiquity its devotees claim for it.
+
+       *       *       *       *       *
+
+Characteristics very similar to San Vicente are exhibited by the church
+of San Pedro in the picturesque Mercado Grande. Dating from the latter
+part of the twelfth century, we find here also the apsidal east end, the
+square lantern, and the entrances at the west end and beside the
+transepts. The western porch is very fine, and above it is a very
+beautiful wheel-window. The north doorway is more richly sculptured, and
+is later than the rest of the fabric. There are a few points of
+difference between this church and that previously described. There is
+no triforium, and the clerestory windows are of a single light, and much
+larger than those of the nave. As at San Vicente, the apsidal chapels
+have been spoilt by injudicious painting. In the transept are the tombs
+of the rival families of Blasco Jimeno and Esteban Domingo,
+distinguished by shields of six and thirteen bezants respectively. The
+church is in every respect a noble edifice, but loses interest after you
+have visited the almost identical basilica of San Vicente. Nor will
+your attention be long engaged by the modern monument to the illustrious
+natives of Avila in the centre of the market-place, crowned by the
+statue of Santa Teresa. Here took place in 1491 the _auto da fé_ of the
+Jew, Benito Garcia, found guilty of murdering a Christian child, and
+stealing a consecrated Host for the purpose of sacrilegious rites. It
+should be added that no particular child could be put forward by the
+prosecution as having been murdered, and the suppositious victim went
+down to posterity simply as the Niño de la Guardia--la Guardia being the
+village where the crime was supposed to have taken place. The body was
+conveniently assumed to have been taken up to heaven. Its disappearance
+did not benefit the luckless Hebrews, two of whom, before the execution
+of Garcia, were torn to pieces by red-hot pincers.
+
+       *       *       *       *       *
+
+The town proper having always been regarded as an acropolis, the greater
+number of churches are situated outside the walls. Several of these,
+like those already described, are of considerable interest. The doughty
+Nalvillos is said to lie beneath the flags of the church of Santiago.
+San Andrés is an interesting Romanesque structure, spoilt, however, by
+the addition of an incongruous sacristy. To the north-west of the town,
+near the river (Adaja), is the curious little sanctuary of San Segundo,
+with a wooden roof, and rather suggestive of Norman architecture. It
+marks the spot whereon fell an unfortunate Saracen, who was pushed over
+the turret above by the sainted Secundus. Some of the ashes of that
+muscular Christian are preserved here, beneath the fine alabaster statue
+which represents him kneeling with an open book before him. The
+sanctuary is believed to occupy the site of the earliest Christian
+church of Avila. The actual edifice is not nearly so old as the ruined
+and abandoned church of San Isidore, now fast crumbling away.
+
+       *       *       *       *       *
+
+One of the most important monuments of the city is the church of the
+Dominican monastery of Santo Tomás (now used as a missionary college).
+It was founded in 1478 by Doña Maria Davila, wife of a Viceroy of
+Sicily, and completed in 1493. Torquemada, the Grand Inquisitor,
+interested the Catholic sovereigns in the work, and the cost was met by
+the confiscated property of Jews and heretics. The cloisters and
+conventual buildings are devoid of interest. The west front is in a poor
+late Gothic style, and distinguished by richness rather than beauty.
+The two massive flanking buttresses are outlined with a ball ornament,
+and end in eaves, corbel tables, and paltry pinnacles. Beneath the gable
+is a huge escutcheon, and beneath this again a round window. The doorway
+is within a deep porch; the archivolt is pointed and elaborately fluted
+and carved; on either side of the doorway are statues of saints of the
+Dominican order beneath canopies. The interior is more interesting. The
+chancel is almost square, the transept short; and, curious to relate,
+not only is the choir placed in a gallery in the western nave, but the
+altar is correspondingly elevated at the eastern end. Street thought the
+effect of this arrangement very fine, an opinion which all are not
+likely to share. The reredos is tastefully carved and painted. The choir
+stalls are good, as usual in Spain, particularly the royal chairs, which
+have splendid canopies, and bear the device of the yoke and sheaf of
+arrows.
+
+Interest here, however, centres mainly in the superb Renaissance
+monument to the Infante Juan, eldest son of Ferdinand and Isabel, who
+died at Salamanca in 1497, aged nineteen. Ferdinand, to soften the blow,
+caused his wife to be informed that he and not the prince had perished;
+and such, in Isabel’s temperament, was the excess of conjugal over
+maternal affection, that her relief when the real state of things was
+revealed to her enabled her to bear the loss of her son with comparative
+composure. The tomb was the work of Domenico Alessandro the Florentine,
+specimens of whose skill we have seen in the cathedral. At the corners
+of the sarcophagus are eagles; the sides are covered with reliefs of the
+Virgin and the Baptist, and of the Cardinal and Theological Virtues. On
+the edge of the upper slab are carved escutcheons, angels, trophies, and
+garlands. The recumbent effigy of the prince, crowned, and with sword
+and mantle, is marvellously well done. The sculptor has expressed
+adolescence in stone. This rightly ranks among the finest works of art
+in Spain. Hardly inferior is the tomb of Juan Davila and his wife, Joana
+Velazquez de la Torre, the prince’s attendants, also by the Florentine.
+Don Juan is shown clad in somewhat fantastic armour; a page kneeling at
+his feet holds his helmet. Sphynxes are placed at the corners of the
+sarcophagus, the sides of which bear medallions representing St. James
+destroying infidels, and St. John the Divine in a cauldron of boiling
+oil.
+
+In the sacristy is a tomb more impressive than either of these, but in
+a very different sense. A plain slab covers the body of Tomás de
+Torquemada, Grand Inquisitor of Spain. He lies here in the temple reared
+on the fortunes of the men and women he had plundered and burned. There
+is no inscription to tell us who rests here; but Torquemada is as little
+likely to be forgotten as Attila or Nero. Few things in Avila create a
+deeper, sadder impression than the tomb of this strange, sinister
+priest.
+
+       *       *       *       *       *
+
+His was one phase of the religious temperament, not perhaps more
+difficult of comprehension to us modern northerners than Teresa’s. We
+execrate the one and revere the other, and understand neither. Still, we
+know enough to see that the Inquisitor and the Nun stand respectively
+for what is worst and best in the Spanish character. And, happily, the
+woman’s fame has far outshone the man’s.
+
+We may assume that no one who visits Avila is ignorant of the leading
+events in her career, or needs to be told what manner of woman she was.
+What we have to do is to follow her footsteps through her native city.
+The house in which she was born on March 28, 1515, has been converted
+into an ugly church (Nuestra Seráfica Madre Santa Teresa de Jesus). The
+exterior is in the baroque style. The room in which she first saw the
+light is now a chapel in the worst taste, and contains her rosary,
+sandals, and even one of her fingers. It was from this house that she
+stole away with her brother Lorenzo, determined to seek martyrdom at the
+hands of the Moors. Here she indulged in those ‘worldly conversations’
+and that light reading which to her carefully polished conscience in
+after years appeared fraught with such dire peril. Here her vocation was
+born; and to this house she returned from the cloister in after years to
+watch by the deathbed of her father, Alonso de Cepeda.
+
+It was in the Carmelite convent of the Incarnation, north of the city,
+that Teresa took the veil on All Souls’ Day 1533. Nothing remains of the
+structure as it was in her day. More interesting is the convent of ‘Las
+Madres,’ which occupies the site of the first foundation of the reformed
+order. The poor chapel of St. Joseph gave way in 1608 to the present
+handsome church designed by Francisco de Mora, who spared the tomb and
+chapel of Teresa’s brother, Lorenzo. Other fine monuments are those of
+Bishop Alvaro de Mendoza, and of Francisco Velazquez and his wife. In
+the garden of the convent is shown an apple-tree planted by the saint.
+Her body does not rest here, but at Alba de Tormes, where she expired on
+October 15, 1582.
+
+You may also visit, for her sake, the church of San Juan in the Mercado
+Chico, where she was baptized on April 7, 1515.
+
+Attached to the Dominican convent is the sumptuous chapel of Mosén Rubio
+de Bracamonte, which was founded by Doña Maria de Herrera in 1516. The
+architecture represents the transition from late Gothic to Renaissance.
+The interior is richly adorned with marbles, the semicircular windows
+with stained glass. The tomb of the patron (Mosén Rubio, lord of Fuente
+del Sol) and his wife is in keeping with the splendour of the edifice,
+which is further enriched by two ancient paintings of Saints Jerome and
+Anthony of Padua. The reredos dates from the early seventeenth century.
+
+The dark granite of which the houses of Avila are built gives them a
+spurious air of antiquity. Very few date from before the age of Charles
+V. Near the cathedral is the mansion of the Marquis de Velada, whose
+ancestor, Gomez Velada, entertained the Emperor here in 1534. Opposite
+is an interesting doorway, with the figure of an armed knight,
+surrounded by escutcheons and enclosed within a trefoil arch. A
+magnificent doorway, likewise sculptured with armed figures and overhung
+by a kind of bartizan, leads into the fine courtyard of the palace of
+the Condes de Polentinos. An interesting house is that of the Davilas of
+Villafranca. The escutcheon with thirteen bezants between two chained
+slaves, supported by mounted heralds, was won by the family in an
+expedition to Ronda. At the side is a picturesque window with a grating,
+above which is the inscription _Petrus Davila et Maria Cordubensis uxor
+MDXLI._, and beneath, in Spanish, ‘Where one door shuts another opens.’
+The houses of the Bracamontes and of the Counts of Superunda deserve
+notice.
+
+
+
+
+VI
+
+ZARAGOZA
+
+
+While certain cities may lay claim to having been at one time or another
+the capital of the united kingdom of Leon and Castile, and while, in
+fact, two often held the rank at the same time, Zaragoza, from its
+reconquest by the Christians to the unification of the Spanish monarchy,
+was the undisputed capital of the kingdom of Aragon. We must not expect
+on that account to find that it was any more amenable to the royal
+authority, or any less turbulent than the cities of the sister state. On
+the contrary, nowhere in the Peninsula was liberty more highly prized or
+more strenuously vindicated, than in the chief city of Aragon. And it
+holds what out of Spain, at any rate, will be considered the honourable
+distinction of having offered the most determined resistance to the
+establishment of the Inquisition. Many cities in the dominions of His
+Catholic Majesty are entitled to style themselves ‘most heroic.’ None
+assuredly deserve the description better than this, the Numantia of
+modern Spain.
+
+An Iberian town seems to have existed here from the remotest times, and
+to have been known as Salduba. On its annexation by the Romans, it was
+rechristened Caesaraugusta, and under that name is referred to by
+Pompeius Mela as the most famous of the inland cities of Tarraconensis.
+Christianity took root here at an early date. Bishops of Caesaraugusta
+are mentioned by St. Cyprian, and the local martyrology includes the
+names of Saints Valerus, Vincent, and Engracia. When, in the year 542,
+Zaragoza was besieged by the Franks under Childebert, the exposition of
+the relics of these martyrs is said to have sufficed to propitiate the
+enemy and to preserve the town from destruction.
+
+In the year 713 the city opened its gates to Muza, the Moorish invader,
+without, as Don Francisco Codera believes, striking a blow. The Crescent
+reigned over Zaragoza for four centuries. During that time there were
+many changes of rulers. The blood of martyrs again watered the soil
+under the cruel Wali, Othman Aben Nasr, though generally throughout the
+period of Muslim domination the Christians enjoyed the same freedom as
+their co-religionists, under the same yoke, in other parts of Spain.
+Their principal church having been converted into a mosque, San Pablo
+was, during this period, their place of worship.
+
+In the year 778 occurred the famous expedition of Charlemagne, around
+which an almost impenetrable veil of poetry and legend was woven through
+the Middle Ages. Hoseya al Arabi having been superseded in the
+government of the city by order of the Khalifa, Abd-ur-Rahman, appealed
+for assistance to the great Emperor of the West, who, for motives which
+remain obscure, entered Spain with a considerable force. On reaching
+Zaragoza, he found that Al Arabi had already regained possession of the
+city; and either on that account, or because his late ally refused to
+open the gates, he retraced his steps towards the north. In the pass of
+Roncesvalles his rearguard was attacked and cut up by the
+mountaineers--a reverse which has been immortalised as the occasion of
+the death of the Paladin Roland, and commemorated in the legendary lore
+of nearly every European tongue.
+
+At the latter end of the ninth century Zaragoza (or Sarakusta, as it was
+called by the Moors), shook off the yoke of the Khalifas, and under the
+sway of the renowned Hafsûn became for a short time an independent
+state. More lasting was the monarchy set up at the close of the eleventh
+century, on the break-up of the Spanish Khalifate, by the vigorous
+Almundhir Ben Hud, whose power extended from Lerida to Guadalajara, from
+the mountains of Biscay to the Mediterranean. His son and successor,
+Suleyman, made the mistake of dividing his dominions among his four
+sons, Sarakusta being assigned to the eldest, Ahmed Almuktader. But,
+united or disunited, the Moors of north-eastern Spain were incapable of
+offering an effective resistance to the ever-growing power of the
+Christian kingdom of Aragon. In the spring of 1118, Alfonso el
+Batallador appeared before the walls of Zaragoza with a formidable host.
+The city held out till the garrison witnessed the total defeat of an
+army sent to their relief by the Almoravides. All hope being then gone,
+the gates were opened on December 18, 1118, and Zaragoza became the
+capital of the kingdom of Aragon.
+
+As such, it was endowed with a very liberal charter--the _fuero_, of
+which we read so often in Aragonese history. The defence of these
+liberties was intrusted to twenty magistrates, who were invested with
+authority to deal in the most summary and drastic fashion with
+evildoers, whatever might be their station. Nor did they hesitate, in
+after years, to raze the castles of any barons who threatened the peace
+of the city. Domestic affairs were regulated by twelve jurates,
+representing the twelve parishes. Pedro II. amplified these privileges,
+and decreed that the municipality should not be responsible for its acts
+even to the sovereign.
+
+The history of Zaragoza during the twelfth, thirteenth, and fourteenth
+centuries is full of instances of civil strife, of faction fights, and
+of struggles with the royal authority. The citizens refused to recognise
+Alfonso III. as king till he had been crowned within their walls. They
+paid dearly for their arrogance under Pedro IV., who hanged thirty of
+their number at the Toledo gate, and burnt the articles of the Union--a
+pact extorted from one of his predecessors--in a public assembly.
+
+Under Fernando I. the city’s privileges were further curtailed. But as
+licence and disorder showed no signs of abating, a kind of vigilance
+committee was formed in 1454, headed by Jimeno Gordo. This worthy put
+down all disturbances with iron hand, and waged war on the neighbouring
+barons. His career was cut short in 1474 by Ferdinand the Catholic, who
+caused him to be publicly executed. All the disorderly elements of the
+city rejoiced at his death.
+
+The introduction of the Inquisition met with much opposition in several
+Spanish towns, but nowhere more than at Zaragoza. Deputations were sent
+from the states of Aragon to wait on the king at Valladolid, to urge
+upon him the withdrawal of the obnoxious tribunal, without avail. Such
+contemptuous indifference to the laws and wishes of the people of Aragon
+roused the Zaragozans to a dangerous pitch of exasperation. About
+midnight, September 14, 1485, a party of six men entered the cathedral,
+and found the Inquisitor, Pedro de Arbues of Epila, in prayer before the
+altar. They at once transfixed him with their swords and knives, but
+only a few of the blows struck home, thanks to the shirt of mail which
+the victim, like most of the Inquisitors, wore beneath his cassock. The
+deed, of course, only riveted the chains of the Holy Office more firmly
+upon the Aragonese.
+
+Most of the assassins were captured, and perished in the flames. De
+Arbues was canonised in 1664. There can be no question that the
+Inquisition was established contrary to the laws of the country, and
+that the man met his death through presuming to discharge unlawful
+functions. He died for having broken the law, his executioners for
+having vindicated it.
+
+The persistent encroachments of the Crown upon their constitutional
+rights during the next century met with strenuous resistance from the
+people of Aragon. The long-impending storm burst in 1590. Antonio Pérez,
+having incurred the anger of Philip II., fled to Zaragoza, and invoked
+the protection of the states. According to the _fueros_, he was then
+confined in the prison of the Manifestacion pending his trial. But the
+Holy Office impudently removed him from the custody of the law, and
+threw him into their prison of the Aljaferia. A popular tumult followed.
+Pérez was released and taken back to his first prison. The Viceroy, the
+Marqués de Almenara, died of chagrin, it is said, at the insults he had
+received from the crowd. Four months later a fresh riot broke out, and
+enabled Pérez to make good his escape to France.
+
+Philip now sent an army of 14,000 men into Aragon to re-establish his
+authority on the ruins of the constitution. The Justiciary, Juan de
+Lanuza, summoned the people to defend their country. But the Castilians
+dispersed this hastily collected force at the first encounter, and
+entered Zaragoza unopposed on December 12. Juan de Lanuza and many
+other persons of note were judicially murdered; the leaders of the
+aristocracy were imprisoned, and the city sacked from end to end.
+
+Never again did Zaragoza raise its head in defiance of the King of
+Spain. The _fueros_ continued nominally in force till 1707, when they
+were formally abrogated by Philip V. in revenge perhaps for the defeat
+sustained before the walls at the hands of Stanhope and Stahremberg. But
+the spirit of the people was far from being crushed. They might bow
+before their own king, but they would not bend the knee to a foreigner.
+Zaragoza’s defence in 1808 is one of the most glorious episodes in the
+history of the nation. When the revolution broke out at Madrid on May 2,
+the citizens expelled the Governor, Guillelmi, and elected as leader Don
+Jose Palafox, a young noble of great personal courage and charm. He was
+assisted by a priest named Santiago Sas, his secretary Boggiero, who is
+said to have penned all his proclamations, and by three peasant leaders,
+‘Tio’ Jorge, ‘Tio’ Marin, and Mariano Cerezo. All their equipment for
+war consisted at the outset of 220 men, a few muskets, and sixteen guns;
+yet when Lefebvre Desnouettes arrived before the place on June 15, he
+met with so stubborn a resistance that he was compelled to proceed
+cautiously. He reduced the city indeed to a heap of ruins, but he had
+not taken it when Dupont’s surrender at Bailen obliged him, on August
+15, to raise the siege.
+
+The French reappeared in December 1808, to the number of 18,000 men,
+under the command of Marshals Lannes, Moncey, Mortier, and Junot. The
+city was attacked on two sides at once, but more especially from the
+Jesuit convent on the left bank of the Ebro, which the Spaniards had
+neglected to secure. What followed may be read in the pages of Napier.
+The besiegers breached the wall near the convent of Santa Engracia, and
+the combat was continued day after day in the streets of the town. Every
+house was held as a fortress, every few yards of street was defended by
+a barricade. In answer to the summons to surrender rang Palafox’s
+defiant ‘War to the knife and to the last ditch!’ The women in many
+cases fought beside the men. When Maria Agustin saw her sweetheart fall
+at his post, she took the linstock from his hand and fired the gun
+herself. The fame of this ‘Maid of Saragossa’ has penetrated every
+land. For twenty-one days the fighting continued in the streets.
+Finally, on February 21, 1809, the defenders capitulated on honourable
+terms. The town was a smoking heap of ruins and of dead. Zaragoza had
+shown an astonished world that the spirit of Saguntum and Numantia yet
+lived in Spaniards. And, we doubt not, it still lives.
+
+The city soon arose from the ashes. It rapidly recovered its prosperity,
+which took a fresh impetus on the opening of the four railways, east,
+west, north, and south. Here you see both the Old and the New Spain--the
+one with its heroic, glorious memories, the other with its promise of
+things as great and happier.
+
+
+THE CITY
+
+Zaragoza stands on the right bank of the Ebro in an oasis in the desert
+of Aragon. Nothing could be more attractive than the immediate environs,
+or more desolate than the country a few miles farther out. Such a
+situation was familiar to the Berber conquerors, who made themselves at
+home here and left their mark on the architecture of the city long after
+the last ‘Tagarin’ Moor had been expelled. Not, of course, that Zaragoza
+is to be compared as regards Musulman architecture with Seville,
+Cordova, Granada, and Toledo; but the Moor has left behind him
+unmistakable evidences of his presence, and an interesting monument
+called the Aljaferia, which endures, though oft and oft restored, to
+this day.
+
+The name seems to be derived from Jaffir, a not uncommon name among the
+Moors, and borne perhaps by one of the Beni Hud dynasty, for whom the
+building served as a palace. At the conquest in 1118 it was allotted by
+Alfonso the Battler to the Benedictine order. In the fourteenth century
+it again became the residence of royalty, and doubtless was entirely
+transformed and repaired. It was the scene of great splendour at the
+coronation of King Martin, and of several of his successors. To-day it
+presents a sad and dilapidated appearance. The imposing staircase,
+decorated with fine stucco work, is the creation of the Catholic
+sovereigns, who seem to have had some idea of reconstituting the past
+glories of the palace in true Moorish style. The ceilings of some of the
+chambers are in the artesonado style--the work of fifteenth-century
+artificers. The most beautiful is to be seen in the Salon de la Alcoba,
+where was born in 1271 the sainted Princess Isabel, afterwards Queen of
+Portugal, and persistently confounded by English writers with St.
+Elizabeth of Hungary. Everywhere among the decorations appear the
+devices and mottoes of Ferdinand and Isabel.
+
+Genuine Moorish work is to be seen in a little octagonal chamber opening
+off the patio. Of the eight arches, two are in horseshoe shape, and the
+others formed by irregular and capricious curves. The columns are almost
+hidden in the walls. The ceiling is modern, and unfortunately cuts off
+the view of the elegant _ajimeces_ and arabesques of the upper stage.
+The ornamentation recalls that of the Alhambra. This chamber--said by
+some, on no particular authority, to have been a mosque--was the seat of
+the Inquisition down to 1706. The guide points out a cell called La
+Torreta, in which--according to Verdi’s opera _Il Trovatore_--Manrico
+was confined. The opera is founded on a legend of Zaragoza, and the
+libretto was written by Garcia Gutierrez, a native of the city.
+
+Some may enjoy the beautiful view of the Pyrenees obtained from the
+Aljaferia more than the building itself.
+
+       *       *       *       *       *
+
+Probably only a few fragments of this old palace are older than the
+Cathedral of La Seo. This is the name commonly given in Aragon to the
+cathedral church, and comes, of course, from the Latin _sedes_, like our
+own word ‘See.’ Zaragoza became the metropolitan city of Aragon in 1318,
+and the archiepiscopal dignity was reserved as far as possible to the
+illegitimate sons of the kings. The city has now two cathedrals, which
+are used for alternating periods of six months. The Seo is the older of
+these, and occupies the site of the Moorish mosque--some say, even of an
+earlier Christian temple dating from Roman times. The church was, at all
+events, entirely rebuilt between 1188 and 1432, several Moorish names
+being mentioned among the architects. It can hardly be said to have been
+completed till the year 1550. Here were crowned the Kings of Aragon, and
+here, as we have related, was slain the Inquisitor, Pedro de Arbues.
+
+The west front was completed as late as 1685 by Julian Garza and Juan
+Bautista Contini. It is in the classical style of that period, and is in
+two stages separated by a broad entablature. The lower stage is adorned
+with massive Corinthian columns, and pierced with three doorways; the
+upper story is decorated with three statues of Christ and the Apostles
+Peter and Paul, by Giral, placed in niches; above is a pediment
+finished with an ugly finial. This front is flanked by an octagonal
+tower of four stages, each smaller than the lower one, and is therefore
+not inaptly compared by Ford to a telescope. This structure is in the
+same style and reveals the same want of taste as the adjoining façade.
+The third stage contains the belfry. The whole is surmounted by a
+weather-vane and steeple, perched on a Moorish-looking dome. The statues
+of the Apostles on the belfry are by Acali. There is no other façade
+worthy of notice; but the Puerta de la Pavostria is in the better and
+earlier classic style of the sixteenth century. It derives its name from
+a functionary known as the Pavorde, who here distributed alms.
+
+Street, who did not consider this cathedral in general interesting, has
+much to say about a portion of brickwork at the north-east angle, inlaid
+with small tiles in diapers, red, blue, green, white, and buff on white.
+The eminent architect sees in this an interesting specimen of Moorish
+work, and praises the grave quiet of the whole decoration (_Gothic
+Architecture in Spain_, xvii. 372).
+
+The church is of unusual breadth, there being two aisles and a row of
+chapels on each side of the nave. ‘The nave and aisles,’ says the
+authority we have just quoted, ‘are all roofed at the same level, the
+vaulting springing from the capitals of the main columns, and the whole
+of the light is admitted by windows in the end walls, and high up in the
+outer walls of the aisles. In this respect Spanish churches of late date
+almost always exhibit an attention to the requirements of the climate,
+which is scarcely ever seen in the thirteenth and fourteenth centuries;
+and this church owes almost all its good effect to this circumstance,
+for it is in light and shade only, and neither in general detail nor in
+design that it is a success.’
+
+The vaultings are adorned with gilded pendants and bosses, very much in
+the Moorish style. The light red marble pavement, with rays diverging
+from the yellow marble bases of the columns, appears to have been
+intended to suggest a reflection of the roof with its ogive vaultings
+above. The decoration is tasteful and not elaborate. The capitals are
+sculptured with _putti_ upholding escutcheons with animals and foliage.
+
+Over the chancel is the lantern, octagonal in plan, which replaced an
+earlier one in the first quarter of the sixteenth century. The work was
+undertaken by Enrique de Egas, only at the express command of the king.
+The lower part is adorned with statues in niches, and with the canting
+arms (the half-moon) of the family of Archbishop de Luna.
+
+The reredos of the High Altar is of alabaster and in the Gothic style.
+It was executed at the order of (and not by, as we have seen erroneously
+stated) Archbishop Dalmacio de Mur (1430-1456). The seven compartments
+are filled with compositions representing the martyrdom of St. Lawrence,
+the burial of St. Vincent, and episodes in the history of St. Valerus;
+with statues of the two latter saints, angels, and New Testament scenes.
+In all, the expressions and the draperies are exquisitely rendered. Don
+J. M. Quadrado is of opinion that this superb work was executed by Pedro
+Johán of Cataluña, Ans, Gombao, Caspar, and Gil Morlán successively.
+
+Before the High Altar the coronation took place, and the king, robed
+like a deacon, prostrated himself before the primate. On the gospel side
+is the wooden coffin which contains the ashes of Maria, daughter of
+_Jaime lo Conqueridor_, who died in 1267. At her side is the noble
+marble tomb of Archbishop Don Juan de Aragon, brother of Ferdinand the
+Catholic, with statues of the Mater Dolorosa, attended by Saints
+Jerome, Martin, and Francis. Here are also the tombs of Archbishop Don
+Alonso, natural son of Ferdinand the Catholic, and of his natural son,
+also Archbishop, Don Fernando. The first-named did not take orders till
+after the birth of his son and successor, and only celebrated one mass,
+deeming himself unworthy of the sacerdotal functions. Beneath a tablet
+is deposited the heart of the Infante Baltasar Carlos, eldest son of
+Philip IV., carried off by smallpox at the age of seventeen. His
+portrait is familiar to students of Velazquez.
+
+The choir occupies two of the five bays west of the crossing. It is in
+the Gothic style, and closed by a modern railing. In the centre is the
+tomb of Archbishop de Mede, from whose time the choir dates. The stalls
+are of Flemish oak. The fine lectern dates from 1413. The _trascoro_, or
+back of the choir, is a gorgeous plateresque affair in marble and
+stucco, the work of Tudelilla of Tarazona, who flourished about 1538.
+His are the statues of the martyrs Vincent and Laurence, the four
+reliefs illustrating their martyrdom, and that of San Valero, and the
+groups of cherubim. The tabernacle is in a not untasteful baroque style,
+and has side columns of black marble and a good crucifix. This figure
+of Christ is said to have addressed Canon Funes, afterwards Bishop of
+Albarracin, who is shown on his knees regarding it. The sides of the
+choir are adorned with statues of saints, including that of Pedro de
+Arbues, on the very spot where he was slain.
+
+Few of the chapels are of interest, and all but one have been disfigured
+with baroque portals. In the chapel of San Bernardo is the fine tomb and
+effigy by Morlánes of Archbishop Don Fernando de Aragon, above being a
+retablo representing the Betrayal and the Crucifixion. Close by lies
+Doña Ana de Gurrea, mother of the prelate (died 1527). The chapel of San
+Gabriel, founded by Gabriel de Zaporta, is notable for its fine bronze
+_reja_ and plateresque adornments. In the chapel of San Dominguito del
+Val are preserved ‘the remains of the third child crucified by the Jews
+in hatred of Christ towards the year 1250’; and the chapel of San Pedro
+de Arbues contains that worthy’s body, his kneeling effigy by José
+Ramirez, and paintings by Jimenez of Tarazona. In the chapel of Nuestra
+Señora de la Blanca are collected the tombs of sundry archbishops. The
+chapel of San Miguel owes its origin to a ghastly legend. Passing
+through the pine grove of Villaroya, the Archbishop Don Lope de Luna
+heard a voice calling him. He turned and saw that it proceeded from a
+severed head which came leaping towards him. The decapitated man had
+called on the Archangel at the moment the axe descended, and life was
+miraculously preserved in his head till he had made his confession, and
+was absolved by the primate. De Luna’s tomb is a triumph of Gothic art.
+He is shown with mitre and crozier, reclining on a sarcophagus which is
+sculptured with twenty-eight figures of friars in various attitudes. In
+niches in the wall surrounding the tomb are beautifully carved figures
+of ecclesiastics and grandees, full of vigour and expression. The name
+of the sculptor of this fine work is unhappily unknown.
+
+In the sacristy is to be seen the Gothic cross of gold and jewel-work,
+on which the kings of Aragon swore to observe the _fueros_. Some of the
+vestments are very fine. A casulla is said to have come from old St.
+Paul’s, London, at the time of the Reformation. There is a magnificent
+_custodia_, dating from 1537, and a fine silver reliquary, sent from
+Avignon in 1405 by Benedict XIII. (the anti-pope, De Luna). In the Sala
+Capitular are pictures attributed to Ribera and Zurbarán. The fine tiled
+pavement of this room is modern.
+
+The church of Santiago is mentioned as far back as 1121, and retains a
+few Romanesque features. Here the saint is said to have lived on his
+visit to Spain; and in the porch the magistrates of the city used to
+assemble and to administer justice.
+
+The most important church in Zaragoza after the Seo is, in Street’s
+estimation, that of San Pablo, built in 1259. The octagonal steeple is
+faced with tiles in much the same way as the part of the cathedral wall
+above described, and is certainly a later addition to the structure. The
+nave is of four bays and terminates in a five-sided apse. The aisle is
+continued all round the church, and communicates with the nave by
+pointed arches in an extraordinarily thick wall. In the left aisle are
+five early and highly interesting Gothic retablos. The elaborate reredos
+of the High Altar, with its reliefs of the Passion and of the Acts of
+St. Paul, is hardly worthy of the master--Damian Forment--to whom it has
+been hastily attributed. Ford suggests that it is the work of one of his
+pupils.
+
+The church of Santa Engracia, which figured prominently in the great
+siege, commemorates the massacre of a number of Christians of both sexes
+by the soldiery of Dacian. The bodies of the saints, Engracia and
+Lupercius, having been discovered here in 1389, the church already built
+on the spot was enlarged, and finally rebuilt with great splendour by
+Ferdinand the Catholic. A terrific explosion on August 13, 1808,
+completely wrecked the fabric, leaving little more than the plateresque
+portal, believed to have been designed by Morlánes. The entrance is
+through a round arch recessed within another, and surrounded by a
+retablo-like arrangement of niches containing groups. The outer arch is
+flanked by four statues of doctors of the Church in niches, and
+surmounted by statues of Ferdinand and Isabel.
+
+The existing church, clumsily restored by the Hermits of St. Jerome,
+contains some interesting tombs of the martyrs. They appear to date from
+the fifth century. One is decorated with reliefs in the rudest Byzantine
+style, the subjects being Adam and Eve and the Serpent, and the sixteen
+martyrs, whose relics are enclosed. The pillar is shown at which Santa
+Engracia was flogged by order of Dacian, and a well which is believed to
+contain the bones of innumerable martyrs.
+
+It is curious and painful how constantly the memorials of religious
+fanaticism confront one in this beautiful country. Here we are shown the
+spot where a Christian suffered for his faith; there where a Jew
+perished; there where a Moor died for conscience’ sake. Persecution
+naturally engenders a vindictive and intolerant temper in its victims,
+and these, become the masters, are hardened, not softened, by
+affliction. Religion, too, in Spain was almost always identified with
+race. The Moor, the Jew, and the Lutheran were not only infidels or
+heretics, but aliens--the political and racial enemies of the Spaniard.
+In fact, religious intolerance in the Peninsula cannot be said to have
+assumed such unnatural forms as in France and Germany, where men of the
+same blood and language cut each other’s throats, and vied with each
+other in doing the most harm to their native lands.
+
+To the dawn of the sixteenth century also belonged the famous leaning
+tower at Zaragoza, the Torre Nueva, now demolished; while the Lonja or
+Exchange commemorates the reign of Juana la Loca, or as the inscription
+states, of her and her son, Don Carlos, ‘conregnantes’ (1551). This is
+one of the many buildings scattered over Spain and Europe generally
+which were intended to accommodate brokers and business men, who
+resolutely refuse to swarm in the appointed spots--witness our own Royal
+Exchange, the Lonjas of Seville and Granada, etc. The exterior belongs
+to no recognised style. The round-headed door is flanked by two windows
+of similar shape; above runs a sort of imitation gallery, then two more
+rows of round-headed windows, finished off with a fine eaves-cornice.
+The soffits of the arches are elaborately carved. At each corner of the
+edifice is a little tower, roofed with white and green tiles. The
+interior is divided into a nave and aisles by twenty-four columns, of
+which seventeen are embedded in the walls. From their Ionic capitals
+spring seventeen arches, which at the points of intersection are studded
+with gilt bosses. The Lion of Zaragoza may be distinguished among the
+decorations, and over the door and on the walls the arms of Spain.
+O’Shea says that the ‘gigantones’--gigantic figures representing the
+four quarters of the globe, carried about in processions--are kept here.
+
+       *       *       *       *       *
+
+A great many of the fine old mansions (_solares_) of the aristocracy and
+merchants of Zaragoza disappeared in the siege, or to permit of modern
+improvements. Those which remain date mostly from the sixteenth century.
+The finest, on the whole, is the Casa de la Infanta, so-called as having
+been the residence of La Vallabriga, a lady banished from Madrid for
+marrying the Infante Don Luis. The house was built by a rich merchant
+named Gabriel Zaporta in the middle of the sixteenth century. A square
+entrance admits to a court, round which runs a gallery, upheld by
+columns on fluted pedestals, and formed of caryatide figures
+interlocked. On these rest the capitals, elaborately carved with masks,
+and on these again is borne the gallery, the arches and parapet of which
+are enriched with medallions, masks, grotesques, and foliage. The
+decoration is a fine specimen of the plateresque style. The staircase,
+in the same style, is worthy of note.
+
+The fine old Casa de Comercio, described in several guide-books of
+recent date, no longer exists. The noble mansion of the Counts of
+Sastago housed Philip III. in 1599; and the Audiencia occupies the site
+of the ancestral home of the De Luna family, to which belonged the
+anti-pope Benedict XIII. and the wicked Count in Verdi’s opera.
+
+We have left almost to the last that ambitious but meretricious memorial
+of the decadence, the new cathedral, or Iglesia del Pilar. The Apostle
+James (Santiago), according to tradition, visited the city forty years
+after the birth of Christ. He was favoured by a vision of the Blessed
+Virgin, poised on a pillar of jasper, and attended by angels. He built
+a modest chapel on the spot, which soon became a great resort of
+pilgrims. This was replaced in the thirteenth century by a large church,
+which was demolished to make room for the present building, erected in
+1686 by Don Francisco Herrera. The design, bad enough in itself, was
+made worse by Ventura Rodriguez seventy years later. The exterior hardly
+merits description, though the domes or cupolas with their brilliant
+green, yellow, and white tiling are not without a certain bizarre
+beauty.
+
+Spanish writers are as severe as others in their condemnation of this
+spacious edifice: ‘The baroque style’ (says Don J. M. Quadrado), ‘as
+timid and clumsy in the general proportion of the work as it was
+audacious and presumptuous in detail, gave space not repose to the
+Pilar--size without grandeur. The eye measures vainly this square of
+1500 feet, and observes the nave and aisles equal in dimensions; it
+rests on the twelve square piers--enormous masses which might serve for
+the bases of towers, recoils from the bare vault, from the thick
+cornice, from the ridiculous foliage of the capitals, the arches, etc.
+This disagreeable impression is intensified by the strange and confused
+disposition of the temple, which, divided into two by the Shrine and
+the High Altar, presents two centres of attraction, and obstructs the
+nave with objects masking each other.’
+
+The only objects of particular interest in this vast edifice are those
+just named, which stand back to back. The Shrine or Capilla Santa
+constitutes a chapel within a chapel, the exterior being rectangular,
+the interior elliptical. Overhead is an oval dome borne on four
+Corinthian columns, with capitals richly gilded, and over this again
+another cupola or lantern painted by a namesake (not a relative) of
+Velazquez. There are four smaller domes painted by Goya and Bayeu. The
+profusion of rich marbles, the elaboration of the architecture, the
+brilliancy of the frescoes, and the multitude of statues give this
+chapel a sumptuous and not inartistic appearance. Around are hung
+banners taken from the infidels. The Sacred Pillar is almost entirely
+concealed, but there is a hole in the casing through which the devout
+may kiss it. On each side of the chapel imposing staircases lead to the
+crypt, in which lie several archbishops and canons, and the heart of Don
+Juan José of Austria, brother of Carlos II.
+
+The High Altar of the cathedral is of alabaster and in the Gothic
+style, the work of one Damian Forment, an early sixteenth-century
+artist. The lower reliefs, separated by slender pilasters, represent the
+Espousals of the Virgin, the Annunciation, the Visitation, the Nativity,
+the Adoration of the Magi, the Crucifixion, and the Resurrection. Above,
+in canopied niches, are the Assumption, the Nativity, and the
+Presentation. The canopies are richly adorned with the figures of
+saints. At the sides are two large statues of St. James and St.
+Braulio--objects of special devotion--and at the apex of the
+altar-screen are two angels supporting Our Lady of the Pillar. The whole
+is undoubtedly the finest work of art in the cathedral.
+
+The choir stalls merit attention. They were designed by the Navarrese
+Estebán de Obray, and carved by the Florentine Giovanni Moreto and
+Nicolás de Jobato between 1542 and 1548. The infinite number and variety
+of the designs, the delicacy and intricacy of the work, suggest that it
+was accomplished in two or more generations rather than in six years.
+Equally admirable is the bronze _reja_ by Juan Tomás Celina (1574) on a
+marble base, sculptured by the Majorcan artist, Guillermo Salvá.
+
+The sacristy contains an immense variety of offerings to the shrine by
+pilgrims from all parts of the world. These had been accumulating for
+centuries, and the Chapter were able some years ago to raise a sum of
+£20,000 by disposing of only a portion of them. Without profanity we
+might perhaps say that the Virgen del Pilar is to Zaragoza what Diana
+was to the Ephesians. Hundreds make a living by selling pictures and
+models of the shrine, and a surprising number of silversmiths do a
+roaring trade in images and medals. Yet it is not quite wise or safe for
+the traveller to scoff at a devotion which largely inspired the heroic
+defence of 1808, and supplied the place of arms, strategy, and able
+leadership.
+
+Close by, the yellow Ebro is spanned by the seven arches of the Puente
+de Piedra. Its origin is of unknown antiquity. It was here in 1435, when
+one of the arches collapsed--presaging the destruction by the Genoese of
+the Aragonese fleet which sailed that day; and the inscription
+mentioning Alfonso V., and the date 1437, can only refer to its
+reconstruction. And across this bridge we pass into the stern, desert
+country of Aragon, and so on to the distant, gleaming Pyrenees.
+
+[Illustration: PLATE 1
+
+GENERAL VIEW OF VALLADOLID]
+
+[Illustration: PLATE 2
+
+GENERAL VIEW OF VALLADOLID]
+
+[Illustration: PLATE 3
+
+THE BRIDGE OF PIEDRA
+
+VALLADOLID]
+
+[Illustration: PLATE 4
+
+LA ACERA DE SAN FRANCISCO]
+
+[Illustration: PLATE 5
+
+THE TOWN HALL
+
+VALLADOLID]
+
+[Illustration: PLATE 6
+
+THE OLD PARISH CHURCH
+
+VALLADOLID]
+
+[Illustration: PLATE 7
+
+HOUSE IN WHICH CHRISTOPHER COLUMBUS DIED, 1506
+
+VALLADOLID]
+
+[Illustration: PLATE 8
+
+HOUSE WHERE KING PHILIP II. WAS BORN, 1527
+
+VALLADOLID]
+
+[Illustration: PLATE 9
+
+THE ROYAL PALACE OF PHILIP III.
+
+VALLADOLID]
+
+[Illustration: PLATE 10
+
+CHURCH OF SAN JUAN DE LETRAN
+
+VALLADOLID]
+
+[Illustration: PLATE 11
+
+COLLEGE OF THE ESCOCESES
+
+VALLADOLID]
+
+[Illustration: PLATE 12
+
+COLLEGE OF THE INGLESES
+
+VALLADOLID]
+
+[Illustration: PLATE 13
+
+INTERIOR VIEW OF THE LIBRARY
+
+VALLADOLID]
+
+[Illustration: PLATE 14
+
+INTERIOR OF THE MUSEUM
+
+VALLADOLID]
+
+[Illustration: PLATE 15
+
+FAÇADE OF THE MUSEUM
+
+VALLADOLID]
+
+[Illustration: PLATE 16
+
+MUSEUM. BACK OF A CHOIR STALL. BY BERRUGUETE
+
+VALLADOLID]
+
+[Illustration: PLATE 17
+
+MUSEUM. DETAIL OF THE CHOIR STALLS OF SAN BENITO
+
+VALLADOLID]
+
+[Illustration: PLATE 18
+
+MUSEUM. SEVERAL FRAGMENTS OF CHOIR STALLS BY BERRUGUETE
+
+VALLADOLID]
+
+[Illustration: PLATE 19
+
+MUSEUM. HEAD OF ST. PAUL. WOOD CARVING. COMMENCEMENT OF EIGHTEENTH
+CENTURY
+
+VALLADOLID]
+
+[Illustration: PLATE 20
+
+MUSEUM. CENTRE-PART OF A WOODEN ALTAR-PIECE END OF THE FIFTEENTH CENTURY
+
+VALLADOLID]
+
+[Illustration: PLATE 21
+
+MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE
+
+VALLADOLID]
+
+[Illustration: PLATE 22
+
+MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE
+
+VALLADOLID]
+
+[Illustration: PLATE 23
+
+MUSEUM. ALTAR-PIECE CARVED IN WOOD. END OF FIFTEENTH CENTURY
+
+VALLADOLID]
+
+[Illustration: PLATE 24
+
+MUSEUM. THE ASSUMPTION OF THE VIRGIN. BY RUBENS
+
+VALLADOLID]
+
+[Illustration: PLATE 25
+
+MUSEUM. ST. ANTHONY OF PADUA AND THE CHILD JESUS. BY RUBENS
+
+VALLADOLID]
+
+[Illustration: PLATE 26
+
+MUSEUM. THE ANNUNCIATION. BY JOSÉ MARTINEZ
+
+VALLADOLID]
+
+[Illustration: PLATE 27
+
+MUSEUM. THE HOLY FAMILY. BY RAPHAEL
+
+VALLADOLID]
+
+[Illustration: PLATE 28
+
+MUSEUM. ST. FRANCIS AND A LAY BROTHER BY RUBENS
+
+VALLADOLID]
+
+[Illustration: PLATE 29
+
+ST. JOACHIM AND THE VIRGIN AS A CHILD BY MURILLO
+
+VALLADOLID]
+
+[Illustration: PLATE 30
+
+PROVINCIAL MUSEUM. ST. BRUNO
+
+VALLADOLID]
+
+[Illustration: PLATE 31
+
+CENTRE OF THE FAÇADE OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 32
+
+DETAIL OF THE FAÇADE OF ST. GREGORIO (LEFT SIDE)
+
+VALLADOLID]
+
+[Illustration: PLATE 33
+
+DETAIL OF THE FAÇADE OF ST. GREGORIO (RIGHT SIDE)
+
+VALLADOLID]
+
+[Illustration: PLATE 34
+
+LEFT ANGLE IN THE COURT OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 35
+
+GALLERY IN THE COURT OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 36
+
+DETAIL OF THE COURT OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 37
+
+INTERIOR GATE OF ST. GREGORIO
+
+VALLADOLID]
+
+[Illustration: PLATE 36
+
+FAÇADE OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 39
+
+LOWER PART OF THE FAÇADE OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 40
+
+DETAIL OF THE PORTAL OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 41
+
+LOWER CENTRAL PART OF THE FAÇADE OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 42
+
+PORTAL OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 43
+
+DETAIL OF THE RIGHT-HAND SIDE OF THE PORCH OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 44
+
+DETAIL OF THE LEFT-HAND SIDE OF THE PORCH OF ST. PABLO
+
+VALLADOLID]
+
+[Illustration: PLATE 45
+
+GENERAL VIEW
+
+OVIEDO]
+
+[Illustration: PLATE 46
+
+TOWER OF THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 47
+
+PRINCIPAL ENTRANCE TO THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 48
+
+PRINCIPAL GATE OF THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 49
+
+CATHEDRAL. VIEW OF THE INTERIOR
+
+OVIEDO]
+
+[Illustration: PLATE 50
+
+CATHEDRAL. THE RETABLO
+
+OVIEDO]
+
+[Illustration: PLATE 51
+
+LA CAMARA SANTA; OR PRIMITIVE CHAPEL OF SAN MIGUEL WHERE ARE PRESERVED
+THE RELICS SAVED BY PELAYO FROM THE HANDS OF THE MOORS
+
+OVIEDO]
+
+[Illustration: PLATE 52
+
+COFFIN IN OVIEDO CATHEDRAL, AND DETAILS OF THE SEPULCHRE FROM COVADONGA
+
+OVIEDO]
+
+[Illustration: PLATE 53
+
+OLD TOWER OF THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 54
+
+CATHEDRAL. OAKEN ARK, OR CHEST CONTAINING HOLY RELICS, IN THE CAMARA
+SANTA
+
+OVIEDO]
+
+[Illustration: PLATE 55
+
+SECTION, PLAN, AND DETAILS OF THE CAMARA SANTA IN THE CATHEDRAL
+
+OVIEDO]
+
+[Illustration: PLATE 56
+
+CATHEDRAL. CROSS OF THE ANGELS, IN THE CAMARA SANTA
+
+OVIEDO]
+
+[Illustration: PLATE 57
+
+CROSSES AND CASKETS OF THE ASTURIAS
+
+OVIEDO]
+
+[Illustration: PLATE 58
+
+CATHEDRAL. CROSS OF VICTORY, OR OF PELAYO, IN THE CAMARA SANTA
+
+OVIEDO]
+
+[Illustration: PLATE 59
+
+CAPITAL, REPRESENTING THE DEATH OF FAVILA THE FATHER OF PELAYA
+
+OVIEDO]
+
+[Illustration: PLATE 60
+
+SANTA MARIA DE NARANCO
+
+OVIEDO]
+
+[Illustration: PLATE 61
+
+THE PARISH CHURCH OF SANTA MARIA DE NARANCO
+
+OVIEDO]
+
+[Illustration: PLATE 62
+
+CHURCH OF SAN MIGUEL DE LINEO
+
+OVIEDO]
+
+[Illustration: PLATE 63
+
+PARISH CHURCH OF SAN JUAN DE PRIORIO
+
+OVIEDO]
+
+[Illustration: PLATE 64
+
+CHURCH OF SAN JUAN DE PRIORIO
+
+OVIEDO]
+
+[Illustration: PLATE 65
+
+PORTALS, TOWER, AND DETAILS OF THE CHURCHES OF ST. CLARA, ST. JOHN, AND
+OUR LADY DE LA VEGA, THE LAST-NAMED FOUNDED IN THE TWELFTH CENTURY
+
+OVIEDO]
+
+[Illustration: PLATE 66
+
+DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 67
+
+PLAN AND DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 68
+
+PLAN, PRINCIPAL ENTRANCE, AND DETAILS OF THE CHURCH OF SAN JUAN DE
+AMANDI (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 69
+
+PLAN, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF SAN JUAN
+DE AMANDI (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 70
+
+PLAN, PORCH, AND DETAILS OF THE PARISH CHURCH OF VILLAVICIOSA (CONCEJO
+DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 71
+
+FRONT, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF
+VILLAVICIOSA (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 72
+
+PLAN AND SECTION OF CHURCH OF SAN SALVADOR DE VALDEDIOS (CONCEJO DE
+VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 73
+
+TRANSVERSE SECTION AND WINDOWS OF THE CHURCH OF SAN SALVADOR DE
+VALDEDIOS (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 74
+
+PLANS, SECTIONS, AND DETAILS OF THE PAROCHIAL CHURCHES OF PRIESCA AND
+FUENTES (CONCEJO DE VILLAVICIOSA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 75
+
+DETAILS OF CHURCH OF SANTA MARIA DE VILLAMAYOR (CONCEJO DEL INFIESTO)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 76
+
+DETAILS OF SANTA MARIA DE VILLAMAYOR (CONCEJO DE INFIESTO)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 77
+
+PLAN, SECTIONS, AND DETAILS OF SAN ADRIAN DE TUÑON (CONCEJO DE
+VILLANUEVA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 78
+
+DETAILS OF HERMITAGE OF SANTA CRISTINA (CONCEJO DE LA POLA DE LENA)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 79
+
+DETAILS OF SEPULCHRES IN THE CLOISTERS OF THE COLLEGIATE CHURCH OF
+COVADONGA (CONCEJO DE CANGAS DE ONIS)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 80
+
+DETAILS OF PARISH-CHURCH OF UJO (CONCEJO DE MIERES)
+
+PROVINCE OF OVIEDO]
+
+[Illustration: PLATE 81
+
+DETAILS OF PAROCHIAL CHURCH OF UJO (CONCEJO DE MIERES)
+
+OVIEDO]
+
+[Illustration: PLATE 82
+
+GENERAL VIEW OF SEGOVIA FROM THE NIEVAS
+
+SEGOVIA]
+
+[Illustration: PLATE 83
+
+GENERAL VIEW OF SEGOVIA]
+
+[Illustration: PLATE 84
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 85
+
+THE ALCAZAR AND CATHEDRAL FROM THE FUENCISLA
+
+SEGOVIA]
+
+[Illustration: PLATE 86
+
+GENERAL VIEW FROM THE NIEVAS
+
+SEGOVIA]
+
+[Illustration: PLATE 87
+
+OLD HOUSES IN THE PLAZA MAYOR
+
+SEGOVIA]
+
+[Illustration: PLATE 88
+
+VIEW OF THE WALLS
+
+SEGOVIA]
+
+[Illustration: PLATE 89
+
+AQUEDUCT OVER THE RIVER CASTILLA
+
+SEGOVIA]
+
+[Illustration: PLATE 90
+
+THE CATHEDRAL FROM THE HOYOS HILL
+
+SEGOVIA]
+
+[Illustration: PLATE 91
+
+VIEW OF THE CATHEDRAL FROM THE SQUARE
+
+SEGOVIA]
+
+[Illustration: PLATE 92
+
+VIEW OF THE CATHEDRAL FROM THE SQUARE
+
+SEGOVIA]
+
+[Illustration: PLATE 93
+
+CASA DE LOS PICOS
+
+SEGOVIA]
+
+[Illustration: PLATE 94
+
+CHURCH OF SANTA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 95
+
+PORCH OF THE CHURCH OF SANTA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 96
+
+CHURCH OF SANTA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 97
+
+VIEW OF THE MINT AND THE PARRAL
+
+SEGOVIA]
+
+[Illustration: PLATE 98
+
+FAÇADE OF THE PARRAL
+
+SEGOVIA]
+
+[Illustration: PLATE 99
+
+CLOISTERS OF THE PARRAL
+
+SEGOVIA]
+
+[Illustration: PLATE 100
+
+GENERAL VIEW OF TURÉGANO]
+
+[Illustration: PLATE 101
+
+TURÉGANO CASTLE
+
+PROVINCE OF SEGOVIA]
+
+[Illustration: PLATE 102
+
+GENERAL VIEW OF COCA CASTLE
+
+PROVINCE OF SEGOVIA]
+
+[Illustration: PLATE 103
+
+ANOTHER VIEW OF COCA CASTLE
+
+PROVINCE OF SEGOVIA]
+
+[Illustration: PLATE 104
+
+ST. ANDREW’S GATE
+
+SEGOVIA]
+
+[Illustration: PLATE 105
+
+THE ARCH OF THE FUENCISLA
+
+SEGOVIA]
+
+[Illustration: PLATE 106
+
+GATE OF SANTIAGO
+
+SEGOVIA]
+
+[Illustration: PLATE 107
+
+THE ALCAZAR BEFORE THE FIRE IN 1862
+
+SEGOVIA]
+
+[Illustration: PLATE 108
+
+THE ALCAZAR FROM THE HOYOS HILL
+
+SEGOVIA]
+
+[Illustration: PLATE 109
+
+VIEW OF THE ALCAZAR
+
+SEGOVIA]
+
+[Illustration: PLATE 110
+
+THE ALCAZAR FROM THE CAVES
+
+SEGOVIA]
+
+[Illustration: PLATE 111
+
+FAÇADE OF THE ALCAZAR BEFORE THE FIRE IN 1862
+
+SEGOVIA]
+
+[Illustration: PLATE 112
+
+SEPULCHRES OF THE FAMILY OF THE MARQUESES DE VILLENA IN THE CHURCH OF
+THE PARRAL
+
+SEGOVIA]
+
+[Illustration: PLATE 113
+
+CHURCH OF ST. NICHOLAS
+
+SEGOVIA]
+
+[Illustration: PLATE 114
+
+GENERAL VIEW OF THE CHURCH OF VERA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 115
+
+PORCH OF THE CHURCH OF VERA CRUZ
+
+SEGOVIA]
+
+[Illustration: PLATE 116
+
+COURTYARD OF THE MARQUIS OF ARCOS’ HOUSE
+
+SEGOVIA]
+
+[Illustration: PLATE 117
+
+FAÇADE OF ST. JOHN
+
+SEGOVIA]
+
+[Illustration: PLATE 118
+
+CHURCH OF ST. JOHN. SEGOVIA FROM THE EAST
+
+SEGOVIA]
+
+[Illustration: PLATE 119
+
+SAN JUAN DE LOS CABALLEROS
+
+SEGOVIA]
+
+[Illustration: PLATE 120
+
+CHURCH OF ST. MARTIN
+
+SEGOVIA]
+
+[Illustration: PLATE 121
+
+PORCH OF ST. MARTIN
+
+SEGOVIA]
+
+[Illustration: PLATE 122
+
+PARISH CHURCH OF ST. MARTIN
+
+SEGOVIA]
+
+[Illustration: PLATE 123
+
+ARCH OF THE PORTICO, CORNICE AND CAPITALS OF THE PORTICO OF THE PARISH
+CHURCH OF ST. MARTIN
+
+SEGOVIA]
+
+[Illustration: PLATE 124
+
+GENERAL VIEW OF ST. STEPHEN
+
+SEGOVIA]
+
+[Illustration: PLATE 125
+
+PORTICO OF ST. STEPHEN
+
+SEGOVIA]
+
+[Illustration: PLATE 126
+
+TOWER OF ST. STEPHEN AND EXTERIOR DETAILS
+
+SEGOVIA]
+
+[Illustration: PLATE 127
+
+CHURCH OF SAN LORENZO
+
+SEGOVIA]
+
+[Illustration: PLATE 128
+
+CHURCH OF SAN LORENZO
+
+SEGOVIA]
+
+[Illustration: PLATE 129
+
+LATERAL FAÇADE OF THE CHURCH OF SAN LORENZO
+
+SEGOVIA]
+
+[Illustration: PLATE 130
+
+THE CHURCH OF SAN LORENZO, WITH DETAILS OF CAPITALS
+
+SEGOVIA]
+
+[Illustration: PLATE 131
+
+DETAILS OF THE CHURCH OF SAN LORENZO
+
+SEGOVIA]
+
+[Illustration: PLATE 132
+
+INTERIOR OF SAN MILLÁN. THE EPISTLE SIDE
+
+SEGOVIA]
+
+[Illustration: PLATE 133
+
+INTERIOR OF SAN MILLÁN. THE GOSPEL SIDE
+
+SEGOVIA]
+
+[Illustration: PLATE 134
+
+ARCHES AND EAVES OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 135
+
+SECTIONAL ELEVATIONS OF THE PARISH CHURCH OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 136
+
+PLAN, AND DETAILS OF THE PARISH CHURCH OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 137
+
+DETAILS OF THE PARISH CHURCH OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 138
+
+DETAILS OF THE PARISH CHURCH OF SAN MILLÁN
+
+SEGOVIA]
+
+[Illustration: PLATE 139
+
+PLAN, AND DETAILS OF THE CHURCH OF THE CONVENT OF CORPUS CHRISTI
+
+SEGOVIA]
+
+[Illustration: PLATE 140
+
+INTERIOR OF THE CONVENT OF SANTO DOMINGO AND TOWERS
+
+SEGOVIA]
+
+[Illustration: PLATE 141
+
+PAINTED SOCLES IN THE INTERIOR OF THE TOWER OF SANTO DOMINGO, COMMONLY
+CALLED THE TOWER OF HERCULES
+
+SEGOVIA]
+
+[Illustration: PLATE 142
+
+FAÇADE OF THE CONVENT OF OUR LADY DE LA SIERRA
+
+SEGOVIA]
+
+[Illustration: PLATE 143
+
+RUINS OF THE CHAPEL OF THE CONVENT OF OUR LADY DE LA SIERRA
+
+SEGOVIA]
+
+[Illustration: PLATE 144
+
+INTERIOR OF THE RUINED CONVENT OF OUR LADY DE LA SIERRA
+
+SEGOVIA]
+
+[Illustration: PLATE 145
+
+PORCH OF THE CONVENT OF OUR LADY DE LA SIERRA
+
+SEGOVIA]
+
+[Illustration: PLATE 146
+
+GENERAL VIEW OF THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 147
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 148
+
+THE ROMAN AQUEDUCT]
+
+[Illustration: PLATE 149
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 150
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 151
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 152
+
+THE ROMAN AQUEDUCT
+
+SEGOVIA]
+
+[Illustration: PLATE 153
+
+A DANCE IN THE PLAZA DEL PUEBLO DE NIEVA, SEGOVIA. BY A. GARCIA MENCIA.
+(No. 181, EXHIBITION OF 1871)]
+
+[Illustration: PLATE 154
+
+ENRIQUE IV. CONDUCTING THE INFANTA ISABEL THROUGH THE STREETS OF
+SEGOVIA]
+
+[Illustration: PLATE 155
+
+GROUP OF PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 156
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 157
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 158
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 159
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 160
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 161
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 162
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 163
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 164
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 165
+
+PEASANTS OF THE PROVINCE
+
+SEGOVIA]
+
+[Illustration: PLATE 166
+
+VIEW OF ZAMORA]
+
+[Illustration: PLATE 167
+
+VIEW OF ZAMORA]
+
+[Illustration: PLATE 168
+
+WALLS AND POSTERN GATE WITH THE HOUSE OF DOÑA URRACA
+
+ZAMORA]
+
+[Illustration: PLATE 169
+
+STONE BRIDGE OVER THE DUERO
+
+ZAMORA]
+
+[Illustration: PLATE 170
+
+BRIDGE OVER THE DUERO
+
+ZAMORA]
+
+[Illustration: PLATE 171
+
+VIEW OF THE CATHEDRAL
+
+ZAMORA]
+
+[Illustration: PLATE 172
+
+FAÇADE OF THE CATHEDRAL
+
+ZAMORA]
+
+[Illustration: PLATE 173
+
+CATHEDRAL. GATE OF THE BISHOP
+
+ZAMORA]
+
+[Illustration: PLATE 174
+
+THE CATHEDRAL. EAST FRONT
+
+ZAMORA]
+
+[Illustration: PLATE 175
+
+CATHEDRAL. GATE OF THE BISHOP
+
+ZAMORA]
+
+[Illustration: PLATE 176
+
+CATHEDRAL. GATE OF THE BISHOP
+
+ZAMORA]
+
+[Illustration: PLATE 177
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 178
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 179
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+DETAIL OF THE INTERIOR
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 180
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA.
+
+DETAIL OF THE INTERIOR
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 181
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA. CHANCEL
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 182
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA: EXAMPLE OF THE VAULTING
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 183
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA. INTERIOR
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 184
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA. TRANSEPT AND NAVE
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 185
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+DETAIL OF A WINDOW DEEPLY RECESSED
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 186
+
+ANCIENT CISTERCIAN MONASTERY OF MORERUELA
+
+TRANSEPT PORCH
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 187
+
+SANTA MARIA LA NUEVA. DETAIL OF THE EXTERIOR
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 188
+
+SANTA MARIA LA NUEVA. DOORWAY IN THE WALL ON THE EPISTLE SIDE
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 189
+
+SANTA MARIA LA NUEVA. CAPITALS OF RECESSED WINDOWS
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 190
+
+CHURCH OF MAGDALEN]
+
+[Illustration: PLATE 191
+
+PRINCIPAL DOOR OF THE CHURCH OF THE MAGDALEN
+
+ZAMORA]
+
+[Illustration: PLATE 192
+
+PLAN AND SECTIONS OF THE PARISH CHURCH OF ST. PETER
+
+ZAMORA]
+
+[Illustration: PLATE 193
+
+DETAILS OF THE PARISH CHURCH OF ST. PETER (NAVE)
+
+ZAMORA]
+
+[Illustration: PLATE 194
+
+HOUSE OF THE CID]
+
+[Illustration: PLATE 195
+
+TAPESTRY OF THE BEGINNING OF THE FIFTEENTH CENTURY
+
+ZAMORA]
+
+[Illustration: PLATE 196
+
+DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 197
+
+PAINTING IN THE TOWN HALL BY RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 198
+
+PAINTING ON THE UPPER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 199
+
+PAINTING ON THE LOWER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 200
+
+THE ROYAL ESCUTCHEON. DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 201
+
+ST. FERDINAND AND KING JOHN II. DECORATIVE PAINTING IN THE TOWN HALL. BY
+RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 202
+
+THE ARMS OF THE TOWN. BY RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 203
+
+QUEEN URRACA AND ARIAS GONZALO. DECORATIVE PAINTING IN THE TOWN HALL. BY
+RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 204
+
+TROPHIES OF ARMS AND ARMOUR IN THE TOWN HALL BY RAMON PEDRO Y PEDRET
+
+ZAMORA]
+
+[Illustration: PLATE 205
+
+THE HOUSE OF THE MOMOS
+
+ZAMORA]
+
+[Illustration: PLATE 206
+
+BRIDGE OF ROCOBAYO OVER THE ESLA
+
+ZAMORA]
+
+[Illustration: PLATE 207
+
+STONE QUARRIES OF THE TOWN OF VALDEROJO
+
+ZAMORA]
+
+[Illustration: PLATE 207
+
+STONE QUARRIES OF THE TOWN OF VALDEROJO
+
+ZAMORA]
+
+[Illustration: PLATE 208
+
+EARTHWORKS OF THE ANCIENT CITY OF TORO]
+
+[Illustration: PLATE 209
+
+NORTH AND CENTRE GATES OF THE COLLEGIATE CHURCH OF TORO]
+
+[Illustration: PLATE 210
+
+PLAN, EXTERIOR VIEW, AND DETAILS OF THE COLLEGIATE CHURCH OF TORO]
+
+[Illustration: PLATE 211
+
+GROUP OF PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 212
+
+GROUP OF PEASANTS OF THE VILLAGE OF CARBAJALES
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 213
+
+PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO
+
+PROVINCE OF ZAMORA]
+
+[Illustration: PLATE 214
+
+GENERAL VIEW OF AVILA]
+
+[Illustration: PLATE 215
+
+GENERAL VIEW OF AVILA]
+
+[Illustration: PLATE 216
+
+VIEW OF AVILA]
+
+[Illustration: PLATE 217
+
+GATE OF THE ALCAZAR
+
+AVILA]
+
+[Illustration: PLATE 218
+
+GATE OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 219
+
+GATE OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 220
+
+GATE OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 221
+
+GATE OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 222
+
+A STREET IN AVILA]
+
+[Illustration: PLATE 223
+
+VIEW OF THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 224
+
+EXTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 225
+
+ENTRANCE TO THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 226
+
+PLAN OF CATHEDRAL]
+
+[Illustration: PLATE 227
+
+AVILA CATHEDRAL]
+
+[Illustration: PLATE 228
+
+SIDE DOOR OF THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 229
+
+CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK
+
+AVILA]
+
+[Illustration: PLATE 230
+
+CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK
+
+AVILA]
+
+[Illustration: PLATE 231
+
+CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK
+
+AVILA]
+
+[Illustration: PLATE 232
+
+INTERIOR OF THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 233
+
+CATHEDRAL. DETAIL OF THE INTERIOR
+
+AVILA]
+
+[Illustration: PLATE 234
+
+CATHEDRAL. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 235
+
+CATHEDRAL. THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 236
+
+CATHEDRAL. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 237
+
+CATHEDRAL. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 238
+
+CATHEDRAL. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 239
+
+CATHEDRAL. ALTAR OF SAN SEGUNDO
+
+AVILA]
+
+[Illustration: PLATE 240
+
+CATHEDRAL. ALTAR OF SANTA LUCIA
+
+AVILA]
+
+[Illustration: PLATE 241
+
+CATHEDRAL. SEPULCHRE OF DON JUAN D’AVILA
+
+AVILA]
+
+[Illustration: PLATE 242
+
+CATHEDRAL. TOMB OF EL TESTADO BISHOP OF AVILA IN 1449
+
+AVILA]
+
+[Illustration: PLATE 243
+
+CATHEDRAL. ALTAR BEHIND THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 244
+
+CATHEDRAL. SILVER MONSTRANCE OF JUAN DE ARFE. SIXTEENTH CENTURY
+
+AVILA]
+
+[Illustration: PLATE 245
+
+CONVENT OF SANTO TOMÁS SEPULCHRE OF THE INFANTE DON JUAN, SON OF
+FERDINAND AND ISABELLA THE MASTERPIECE OF MICER DOMENICO OF FLORENCE
+
+AVILA]
+
+[Illustration: PLATE 246
+
+SEPULCHRE OF THE HOLY MARTYRS VICENTE, SABINA AND CRISTINA
+
+AVILA]
+
+[Illustration: PLATE 247
+
+INTERIOR OF THE CHAPEL OF SAN BERNARDO BY P. GONZALVO
+
+AVILA]
+
+[Illustration: PLATE 248
+
+CHURCH OF ST. PETER
+
+AVILA]
+
+[Illustration: PLATE 249
+
+ENTRANCE TO THE CHURCH OF ST. PETER
+
+AVILA]
+
+[Illustration: PLATE 250
+
+PAROCHIAL CHURCH OF ST. PETER
+
+AVILA]
+
+[Illustration: PLATE 251
+
+LONGITUDINAL SECTION AND DETAILS OF THE PARISH CHURCH OF ST. PETER.
+AVILA]
+
+[Illustration: PLATE 252
+
+EXTERIOR OF THE CHURCH OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 253
+
+BASILICA OF SAN VICENTE BEFORE ITS RESTORATION
+
+AVILA]
+
+[Illustration: PLATE 254
+
+BASILICA OF SAN VICENTE BEFORE ITS RESTORATION
+
+AVILA]
+
+[Illustration: PLATE 255
+
+BASILICA OF SAN VICENTE. NORTH FAÇADE
+
+AVILA]
+
+[Illustration: PLATE 256
+
+BASILICA OF SAN VICENTE. PRINCIPAL FAÇADE
+
+AVILA]
+
+[Illustration: PLATE 257
+
+BASILICA OF SAN VICENTE. EASTERN FAÇADE, RESTORED
+
+AVILA]
+
+[Illustration: PLATE 258
+
+BASILICA OF SAN VICENTE. FAÇADE.
+
+AVILA]
+
+[Illustration: PLATE 259
+
+BASILICA OF SAN VICENTE. CENTRAL GATE, RESTORED
+
+AVILA]
+
+[Illustration: PLATE 260
+
+BASILICA OF SAN VICENTE. DETAIL OF THE MIDDLE CORNICE, RESTORED
+
+AVILA]
+
+[Illustration: PLATE 261
+
+PORTAL OF THE BASILICA OF SAN VICENTE, SANTAS SABINA AND CRISTINA
+
+AVILA]
+
+[Illustration: PLATE 262
+
+BASILICA OF SAN VICENTE. PRINCIPAL WEST ENTRANCE
+
+AVILA]
+
+[Illustration: PLATE 263
+
+BASILICA OF SAN VICENTE. PRINCIPAL WEST ENTRANCE
+
+AVILA]
+
+[Illustration: PLATE 264
+
+BASILICA OF SAN VICENTE. GENERAL VIEW OF THE INTERIOR
+
+AVILA]
+
+[Illustration: PLATE 265
+
+BASILICA OF SAN VICENTE. SEPULCHRE OF THE HOLY MARTYRS
+
+AVILA]
+
+[Illustration: PLATE 266
+
+DETAILS OF THE INTERIOR OF THE BASILICA OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 267
+
+PORCH OF THE CHURCH OF SAN VICENTE
+
+AVILA]
+
+[Illustration: PLATE 268
+
+PORCH OF THE CHURCH OF SAN VICENTE. CENTRAL PART
+
+AVILA]
+
+[Illustration: PLATE 269
+
+PORCH OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 270
+
+SECTION OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 271
+
+PLAN OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 272
+
+GATE OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 273
+
+DOOR OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 274
+
+INTERIOR OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 275
+
+THE COURT OF SILENCE, IN THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 276
+
+CONVENT OF SANTO TOMÁS. THE COURT OF SILENCE
+
+AVILA]
+
+[Illustration: PLATE 277
+
+CONVENT OF SANTO TOMÁS. COURT OF THE KINGS
+
+AVILA]
+
+[Illustration: PLATE 278
+
+CONVENT OF SANTO TOMÁS. COURTYARD OF THE INFIRMARY
+
+AVILA]
+
+[Illustration: PLATE 279
+
+CLOISTERS OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 280
+
+CLOISTERS OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 281
+
+CLOISTERS OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 282
+
+GATE OF THE CLOISTERS IN THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 283
+
+CHOIR OF THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 284
+
+CONVENT OF SANTO TOMÁS. DETAIL OF THE CHOIR
+
+AVILA]
+
+[Illustration: PLATE 285
+
+CHOIR STALLS IN THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 286
+
+CHOIR STALLS IN THE CONVENT OF SANTO TOMÁS
+
+AVILA]
+
+[Illustration: PLATE 287
+
+CHURCH OF SAN SEGUNDO. STATUE OF SAN SEGUNDO BY BERRUGUETE
+
+AVILA]
+
+[Illustration: PLATE 288
+
+CHURCH OF SANTO TOMÁS. SEPULCHRE OF THE INFANTE JUAN, ONLY SON OF
+FERDINAND AND ISABELLA. AVILA]
+
+[Illustration: PLATE 289
+
+SANTO TOMÁS. SEPULCHRE OF PRINCE JUAN, ONLY SON OF FERDINAND AND
+ISABELLA. AVILA]
+
+[Illustration: PLATE 290
+
+SANTO TOMÁS. SEPULCHRE OF PRINCE JUAN, ONLY SON OF FERDINAND AND
+ISABELLA. AVILA]
+
+[Illustration: PLATE 291
+
+GOTHIC GATE IN RUINS
+
+AVILA]
+
+[Illustration: PLATE 292
+
+DOOR OF A PRIVATE HOUSE OPPOSITE THE CATHEDRAL
+
+AVILA]
+
+[Illustration: PLATE 293
+
+CALLE DE PEDRO D’AVILA
+
+AVILA]
+
+[Illustration: PLATE 294
+
+CELEBRATED WINDOW IN THE HOUSE OF PEDRO D’AVILA
+
+AVILA]
+
+[Illustration: PLATE 295
+
+COURTYARD OF THE POLENTINOS’ PALACE
+
+AVILA]
+
+[Illustration: PLATE 296
+
+PORTICO OF THE POLENTINOS’ PALACE
+
+AVILA]
+
+[Illustration: PLATE 297
+
+CHURCH OF SAN ANDRES AND SAN SEGUNDO
+
+AVILA]
+
+[Illustration: PLATE 298
+
+HERMITAGE OF SAN ISIDRO
+
+AVILA]
+
+[Illustration: PLATE 299
+
+THE ACADEMY
+
+AVILA]
+
+[Illustration: PLATE 300
+
+CAMPOSAGRADO PALACE
+
+AVILA]
+
+[Illustration: PLATE 301
+
+CASA DE LA BARAGAÑAS
+
+AVILA]
+
+[Illustration: PLATE 302
+
+CASA DE LA TORRE]
+
+[Illustration: PLATE 303
+
+CHAPEL OF MOSEN RUBI
+
+AVILA]
+
+[Illustration: PLATE 304
+
+PALACE OF THE CONDE DE SUPERUNDA
+
+AVILA]
+
+[Illustration: PLATE 305
+
+MINIATURES FROM THE AVILA MISSAL, TWELFTH CENTURY (NATIONAL LIBRARY)]
+
+[Illustration: PLATE 306
+
+MINIATURES FROM THE AVILA MISSAL, TWELFTH CENTURY (NATIONAL LIBRARY)]
+
+[Illustration: PLATE 307
+
+DOOR OF SAN FRANCISCO
+
+AVILA]
+
+[Illustration: PLATE 308
+
+A ROMAN CAPITAL OF THE CHURCH OF SAN FRANCISCO
+
+AVILA]
+
+[Illustration: PLATE 309
+
+LATIN-BYZANTINE FRIEZE IN THE CHURCH OF SAN FRANCISCO
+
+AVILA]
+
+[Illustration: PLATE 310
+
+MONASTERY OF SAN PEDRO AT ARENAS
+
+AVILA]
+
+[Illustration: PLATE 311
+
+GENERAL VIEW FROM CABEZO-CORTADO
+
+ZARAGOZA]
+
+[Illustration: PLATE 312
+
+GENERAL VIEW FROM ALTABAS
+
+ZARAGOZA]
+
+[Illustration: PLATE 313
+
+GENERAL VIEW FROM ALTABAS
+
+ZARAGOZA]
+
+[Illustration: PLATE 314
+
+THE BRIDGE OVER THE EBRO, FROM THE RUINS OF SAN LAZARO
+
+ZARAGOZA]
+
+[Illustration: PLATE 315
+
+THE BRIDGE OVER THE EBRO, FROM EL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 316
+
+GENERAL VIEW OF ZARAGOZA]
+
+[Illustration: PLATE 317
+
+GENERAL VIEW OF ZARAGOZA]
+
+[Illustration: PLATE 318
+
+GENERAL VIEW OF ZARAGOZA]
+
+[Illustration: PLATE 319
+
+GENERAL VIEW FROM THE PORTILLA
+
+ZARAGOZA]
+
+[Illustration: PLATE 320
+
+VIEW OF ZARAGOZA]
+
+[Illustration: PLATE 321
+
+CALLE DEL MERCADO
+
+ZARAGOZA]
+
+[Illustration: PLATE 322
+
+PASEO DE SANTA ENGRACIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 323
+
+CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 324
+
+CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 325
+
+GLAZED TILES ON THE WALLS OF THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 326
+
+INTERIOR OF THE CATHEDRAL OF LA SEO, FROM A PAINTING BY R. GONZALVO
+
+ZARAGOZA]
+
+[Illustration: PLATE 327
+
+CATHEDRAL OF LA SEO. VIEW OF THE TRANSEPT
+
+ZARAGOZA]
+
+[Illustration: PLATE 328
+
+CATHEDRAL OF LA SEO. DETAIL OF TRANSEPT
+
+ZARAGOZA]
+
+[Illustration: PLATE 329
+
+CHAPEL OF ST. JOHN IN THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 330
+
+CHAPEL OF GABRIEL DE ZAPORTA IN THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 331
+
+CATHEDRAL OF LA SEO. REJA BRONZE REPOUSSÉ BEFORE THE CHAPEL OF ZAPORTA.
+ZARAGOZA]
+
+[Illustration: PLATE 332
+
+SEPULCHRE OF ARCHBISHOP DON LOPE DE LUNA IN THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 333
+
+CENTRAL DOME OF THE CATHEDRAL OF LA SEO
+
+ZARAGOZA]
+
+[Illustration: PLATE 334
+
+SILVER MONSTRANCE IN THE CATHEDRAL OF LA SEO, WEIGHT 200 KILOGRAMMES
+
+ZARAGOZA]
+
+[Illustration: PLATE 335
+
+CENSER GIVEN TO THE CATHEDRAL OF LA SEO BY MOSÉN JUAN DE TORRELLAS AT
+THE END OF THE FIFTEENTH CENTURY
+
+ZARAGOZA]
+
+[Illustration: PLATE 336
+
+CATHEDRAL OF EL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 337
+
+CATHEDRAL OF EL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 338
+
+INTERIOR OF OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 339
+
+VIEW OF THE SIDE-ALTAR IN OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 340
+
+OUR LADY DEL PILAR. VIEW OF THE CHOIR
+
+ZARAGOZA]
+
+[Illustration: PLATE 341
+
+OUR LADY DEL PILAR. ORGAN IN THE CHOIR
+
+ZARAGOZA]
+
+[Illustration: PLATE 342
+
+CHAPEL IN OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 343
+
+HIGH ALTAR OF THE CATHEDRAL OF OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 344
+
+PAINTINGS ON THE CUPOLA OF OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 345
+
+CATHEDRAL OF OUR LADY DEL PILAR. CHOIR STALLS
+
+ZARAGOZA]
+
+[Illustration: PLATE 346
+
+OUR LADY DEL PILAR. CHOIR STALLS
+
+ZARAGOZA]
+
+[Illustration: PLATE 347
+
+CATHEDRAL OF OUR LADY DEL PILAR. CHOIR STALLS
+
+ZARAGOZA]
+
+[Illustration: PLATE 348
+
+OUR LADY DEL PILAR, BY M. DE UNCETA
+
+ZARAGOZA]
+
+[Illustration: PLATE 349
+
+OUR LADY DEL PILAR
+
+ZARAGOZA]
+
+[Illustration: PLATE 350
+
+SILVER SALVER IN THE CATHEDRAL OF EL PILAR
+
+SIXTEENTH CENTURY
+
+ZARAGOZA]
+
+[Illustration: PLATE 351
+
+VASE IN THE CATHEDRAL OF EL PILAR
+
+FIFTEENTH CENTURY
+
+ZARAGOZA]
+
+[Illustration: PLATE 352
+
+CHURCH OF THE MAGDALEN
+
+ZARAGOZA]
+
+[Illustration: PLATE 353
+
+PLACE AND CHURCH OF ST. NICHOLAS
+
+ZARAGOZA]
+
+[Illustration: PLATE 354
+
+PORTAL OF THE CHURCH OF SAN MIGUEL
+
+ZARAGOZA]
+
+[Illustration: PLATE 355
+
+FAÇADE OF THE CHURCH OF SANTA ENGRACIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 356
+
+CHURCH OF ST. PAUL. PUERTA DEL CRISTO
+
+ZARAGOZA]
+
+[Illustration: PLATE 357
+
+THE NEW OR LEANING TOWER
+
+ZARAGOZA]
+
+[Illustration: PLATE 358
+
+TOWER OF THE CALLE DE ANTONIO PEREZ
+
+ZARAGOZA]
+
+[Illustration: PLATE 359
+
+TOWER OF SAN MIGUEL
+
+ZARAGOZA]
+
+[Illustration: PLATE 360
+
+TOWER OF SAN PABLO
+
+ZARAGOZA]
+
+[Illustration: PLATE 361
+
+TOWER OF THE TROVADOR
+
+ZARAGOZA]
+
+[Illustration: PLATE 362
+
+ANCIENT WALL AND BUILDINGS
+
+ZARAGOZA]
+
+[Illustration: PLATE 363
+
+STATUE OF PIGNATELLI
+
+ZARAGOZA]
+
+[Illustration: PLATE 364
+
+COURT-YARD IN THE HOUSE OF PARDO
+
+ZARAGOZA]
+
+[Illustration: PLATE 365
+
+DETAIL OF THE COURT-YARD IN THE HOUSE OF PARDO
+
+ZARAGOZA]
+
+[Illustration: PLATE 366
+
+ENTRANCE TO THE AUDIENCIA PALACE
+
+ZARAGOZA]
+
+[Illustration: PLATE 367
+
+PALACE OF THE PROVINCIAL DEPUTATION
+
+ZARAGOZA]
+
+[Illustration: PLATE 368
+
+COURTYARD IN THE COUNT OF ARGILLO’S HOUSE
+
+ZARAGOZA]
+
+[Illustration: PLATE 369
+
+EAVES ON THE HOUSE OF THE CONDE DE ARGILLO
+
+ZARAGOZA]
+
+[Illustration: PLATE 370
+
+COURTYARD IN THE COUNT OF ARGILLO’S HOUSE
+
+ZARAGOZA]
+
+[Illustration: PLATE 371
+
+HOUSE IN THE PLAZA DE SAN CARLOS
+
+ZARAGOZA]
+
+[Illustration: PLATE 372
+
+THE EXCHANGE
+
+ZARAGOZA]
+
+[Illustration: PLATE 373
+
+FAÇADE OF THE EXCHANGE
+
+ZARAGOZA]
+
+[Illustration: PLATE 374
+
+INTERIOR VIEW OF THE EXCHANGE
+
+ZARAGOZA]
+
+[Illustration: PLATE 375
+
+PORCH OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 376
+
+COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 377
+
+COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 378
+
+COURT-YARD OF THE HOUSE OF ZAPORTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 379
+
+COURT-YARD IN THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 380
+
+COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 381
+
+DETAIL OF THE COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA
+
+ZARAGOZA]
+
+[Illustration: PLATE 382
+
+COURT OF THE PROVINCIAL MUSEUM
+
+ZARAGOZA]
+
+[Illustration: PLATE 383
+
+GALLERY IN THE PROVINCIAL MUSEUM
+
+ZARAGOZA]
+
+[Illustration: PLATE 384
+
+THE ALJAFERIA OR CITADEL. WINDOW OF THE MAIN STAIRCASE
+
+ZARAGOZA]
+
+[Illustration: PLATE 385
+
+ALJAFERIA. INTERIOR OF THE (SO CALLED) MOSQUE
+
+ZARAGOZA]
+
+[Illustration: PLATE 386
+
+ALJAFERIA. ENTRANCE TO THE (SO CALLED) MOSQUE
+
+ZARAGOZA]
+
+[Illustration: PLATE 387
+
+ALJAFERIA. INTERIOR OF THE (SO CALLED) MOSQUE
+
+ZARAGOZA]
+
+[Illustration: PLATE 388
+
+ALJAFERIA. DETAILS OF THE INTERIOR
+
+ZARAGOZA]
+
+[Illustration: PLATE 389
+
+ALJAFERIA. DETAILS OF THE INTERIOR
+
+ZARAGOZA]
+
+[Illustration: PLATE 390
+
+DETAILS OF THE ALJAFERIA
+
+PROVINCIAL MUSEUM, ZARAGOZA]
+
+[Illustration: PLATE 391
+
+DETAIL OF THE ALJAFERIA
+
+PROVINCIAL MUSEUM, ZARAGOZA]
+
+[Illustration: PLATE 392
+
+ST. ISABEL AND HER HUSBAND. TAPESTRY IN THE UNIVERSITY
+
+ZARAGOZA]
+
+[Illustration: PLATE 393
+
+VIEW OF THE BARRACKS OF THE ALJAFERIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 394
+
+THE CASA DE LA INFANTA. “THE DEPARTURE FOR THE FIGHT” BY P. GONZALVO
+PEREZ.
+
+(No. 204 EXHIBITION OF 1871)
+
+ZARAGOZA]
+
+[Illustration: PLATE 395
+
+GATE OF OUR LADY DEL CARMEN, FAMOUS FOR THE DEFENCE MADE BY THE HEROINE
+OF ZARAGOZA DURING THE SIEGE OF 1808. ZARAGOZA]
+
+[Illustration: PLATE 396
+
+THE DEFENCE OF ZARAGOZA IN 1809, BY NICOLAS MEJIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 397
+
+THE FIRST SIEGE OF ZARAGOZA. BY A. FERRANT Y FISCHERMANS
+
+(No. 131, EXHIBITION OF 1871)
+
+ZARAGOZA]
+
+[Illustration: PLATE 398
+
+HEROIC DEFENCE OF THE TOWER OF ST. AUGUSTINE AT ZARAGOZA IN THE WAR OF
+INDEPENDENCE BY C. ALVAREZ DUMONT
+
+(NATIONAL EXHIBITION OF FINE ARTS, 1884)]
+
+[Illustration: PLATE 399
+
+HEROIC COMBAT IN THE PULPIT OF THE CHURCH OF SAN AUGUSTIN AT ZARAGOZA IN
+1809. BY C. ALVAREZ DUMONT]
+
+[Illustration: PLATE 400
+
+THE MAID OF ZARAGOZA. BY M. HIRALDEZ ACOSTA
+
+No. 213 EXHIBITION OF 1871]
+
+[Illustration: PLATE 401
+
+THE MAID OF ZARAGOZA. BY NAVARRO Y CANIZARES]
+
+[Illustration: PLATE 402
+
+ARCH FROM THE ALJAFERIA PALACE AT ZARAGOZA, NOW IN THE ARCHÆOLOGICAL
+MUSEUM]
+
+[Illustration: PLATE 403
+
+ARCH FROM THE ALJAFERIA PALACE AT ZARAGOZA. NOW IN THE ARCHÆOLOGICAL
+MUSEUM]
+
+[Illustration: PLATE 404
+
+DETAIL OF “THE MOSQUE” OF THE ALJAFERIA
+
+ZARAGOZA PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 405
+
+PROVINCIAL MUSEUM. CORBELS OF EAVES. GOTHIC STYLE, FROM THE OLD CUSTOM
+HOUSE. ZARAGOZA]
+
+[Illustration: PLATE 406
+
+PROVINCIAL MUSEUM. CORBELS OF EAVES
+
+ZARAGOZA]
+
+[Illustration: PLATE 407
+
+PROVINCIAL MUSEUM. CORBELS OF EAVES. GOTHIC STYLE
+
+ZARAGOZA]
+
+[Illustration: PLATE 408
+
+PROVINCIAL MUSEUM. CORBELS OF EAVES. POINTED STYLE
+
+ZARAGOZA]
+
+[Illustration: PLATE 409
+
+PROVINCIAL MUSEUM. ARAB CAPITALS OF THE ALJAFERIA CASTLE
+
+ZARAGOZA]
+
+[Illustration: PLATE 410
+
+PROVINCIAL MUSEUM. ARAB CAPITALS FROM THE ALJAFERIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 411
+
+PROVINCIAL MUSEUM. ARAB CAPITALS FROM THE ALJAFERIA
+
+ZARAGOZA]
+
+[Illustration: PLATE 412
+
+THE STORY OF LUCRETIA. A PLATE FROM THE WORK ENTITLED “MUJERES ILUSTRES”
+(FAMOUS WOMEN) BY BOCCACCIO. PRINTED AT ZARAGOZA BY PABLO HURUS IN 1495
+(NATIONAL LIBRARY)]
+
+[Illustration: PLATE 413
+
+A PAGE FROM THE WORK ENTITLED “EXAMPLE AGAINST THE DECEPTION AND PERILS
+OF THE WORLD” BY JUAN DE CAPUA. PRINTED IN ZARAGOZA BY PABLO HURUS IN
+1493 (NATIONAL LIBRARY)]
+
+*** END OF THE PROJECT GUTENBERG EBOOK VALLADOLID, OVIEDO, AVILA &
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+<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Valladolid, Oviedo, Avila &amp; Zaragoza, by Albert F. Calvert</div>
+
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
+at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
+are not located in the United States, you will have to check the laws of the
+country where you are located before using this eBook.
+</div>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Valladolid, Oviedo, Avila &amp; Zaragoza</div>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Albert F. Calvert</div>
+
+<div style='display:block; margin:1em 0'>Release Date: March 31, 2021 [eBook #64970]</div>
+
+<div style='display:block; margin:1em 0'>Language: English</div>
+
+<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
+
+<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Chuck Greif, Thiers Halliwell and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive)</div>
+
+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK VALLADOLID, OVIEDO, AVILA &amp; ZARAGOZA ***</div>
+<hr class="full" />
+
+<p class="figcenter">
+<a href="images/cover.jpg">
+<img src="images/cover.jpg"
+height="550" alt="[Image of
+the book's cover unavailable.]" /></a>
+</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><a href="#CONTENTS">Contents.</a></p>
+<p class="c"><a href="#ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span>&nbsp;</p>
+
+<p class="c">THE SPANISH SERIES<br /><br /><br />
+VALLADOLID, OVIEDO, SEGOVIA<br />
+ZAMORA, AVILA, AND ZARAGOZA</p>
+
+<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
+
+<p class="c">THE SPANISH SERIES</p>
+
+<div class="bxx">
+<p class="c">THE SPANISH SERIES<br /><br />
+<small><i>EDITED BY ALBERT F. CALVERT</i></small></p>
+
+<table summary="">
+<tr><td>
+<span class="smcap">Goya</span><br />
+<span class="smcap">Toledo</span><br />
+<span class="smcap">Seville</span><br />
+<span class="smcap">Murillo</span><br />
+<span class="smcap">Cordova</span><br />
+<span class="smcap">Velazquez</span><br />
+<span class="smcap">Cervantes</span><br />
+<span class="smcap">The Prado</span><br />
+<span class="smcap">The Escorial</span><br />
+<span class="smcap">Spanish Arms and Armour</span><br />
+<span class="smcap">Granada and the Alhambra</span><br />
+<span class="smcap">Leon, Burgos, and Salamanca</span><br />
+<span class="smcap">Valladolid, Oviedo, Segovia,<br />&nbsp; &nbsp;
+Zamora, Avila, and Zaragoza</span>
+</td></tr>
+<tr><td class="c"><i>In Preparation</i></td></tr>
+
+<tr><td>
+<span class="smcap">Madrid</span><br />
+<span class="smcap">Galicia</span><br />
+<span class="smcap">El Greco</span><br />
+<span class="smcap">Cities of Andalucia</span><br />
+<span class="smcap">Murcia and Valencia</span><br />
+<span class="smcap">Royal Palaces of Spain</span><br />
+<span class="smcap">Tapestries of the Royal Palace</span><br />
+<span class="smcap">Catalonia and Balearic Islands</span><br />
+<span class="smcap">Santander, Biscaya, and Navarre</span>
+</td></tr>
+</table>
+</div>
+
+<h1><span class="redd">VALLADOLID, OVIEDO<br />
+SEGOVIA,&nbsp; &nbsp;  &nbsp; ZAMORA<br />
+AVILA, &nbsp;&amp;&nbsp;  ZARAGOZA</span></h1>
+
+<div class="pt"><div class="ptt">
+AN HISTORICAL &amp; DESCRIPTIVE<br />
+ACCOUNT, &nbsp; BY &nbsp; ALBERT F. CAL-<br />VERT,
+WITH 413 ILLUSTRATIONS<br />
+</div></div>
+
+<p class="c"><span class="redd">
+LONDON: JOHN LANE, THE BODLEY HEAD</span><br />
+NEW YORK: JOHN LANE COMPANY MCMVIII<br />
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span><br />
+<br /><small>
+Edinburgh: T. and A. <span class="smcap">Constable</span>,
+Printers to His Majesty<br /></small>
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span></p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p class="nind"><span class="smcap">The</span> six cities of Spain which form the subject of the following pages
+are little known to English travellers. Yet no one who would understand
+the country can afford to pass them by. Not only are they compact of
+artistic and architectural treasures, but within their walls much of the
+history of the Spanish nation has been made. Oviedo&mdash;that little city
+between the mountains and the sea, so far off the beaten track&mdash;was the
+cradle of the monarchy, the residence and burial-place of its patriot
+kings. For all men of Spanish blood it is holy ground. In Zamora we have
+the typical city of the heroic age of Spain, the era of half-fabulous
+heroes, whose personalities are made known to us only by folklore and
+ballads.</p>
+
+<p>Segovia and Avila are towns of the Reconquest, wardens, one might say,
+against the redoubtable Moor. To the fancy their grass-grown streets
+still re-echo with the tramp of armed men, with the ring of spears and
+<span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span>the word of command. The shadowy warriors of Oviedo and Zamora here
+give place to the tall knight who stalks across the page of history,
+ready to do battle with pagan Moor or Christian tyrant. But Avila
+enshrines the holier memory of the sainted Theresa, greatest of Spanish
+women, revered not least in the lands for whose conversion to her faith
+she unceasingly prayed. And so we pass on, each town illustrating a
+different stage of a great nation’s development.</p>
+
+<p>In Valladolid, which preceded and subsequently nearly supplanted Madrid
+as the capital of Spain, we are again on holy ground; for Cervantes
+dwelt here, and here died the immortal Columbus. Zaragoza, the chief
+city of a kingdom that influenced the destinies of powerful European
+States when Castile was hardly known to the outside world, has ever been
+a noble and important capital, boasting a glory which has been brightest
+perhaps in its later days. To the citizens of Zaragoza was reserved the
+honour of rejecting the Inquisition, to which other towns reluctantly
+submitted, and just one hundred years ago she proved to an astonished
+Europe that within her crumbling walls dwelt the old brood of
+Numantia&mdash;that she was prolific still of heroes and heroines.</p>
+
+<p>The prowess of Augustina would not indeed have come as a surprise to
+those who knew her<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span> country well; nor could the most thoughtless of
+travellers, after a survey of the memorials of genius and vitality which
+these six cities contain, ever believe the greatness of the people to be
+exhausted. Already Valladolid and Zaragoza throb with life and commerce.
+But a few more years and the other cities, already stirring, will
+pulsate with the spirit of young Spain, and the Phœnix, born a thousand
+years ago at Oviedo, will renew its youth for the tenth time.</p>
+
+<p>To Señor J. Lacoste my thanks are due for his courtesy in permitting me
+to reproduce many of the photographs which find a place in this book,
+and I have also to acknowledge the assistance rendered me by Mr. E. B.
+d’Auvergne in the preparation of the text.</p>
+
+<p class="r">
+A. F. C.<br />
+</p>
+
+<p><span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span>&nbsp; </p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td><small>CHAP.</small></td><td>&nbsp;</td>
+<td><small>PAGE</small></td></tr>
+
+<tr valign="top"><td class="rt"><a href="#I">I.</a></td><td><a href="#I">VALLADOLID</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#II">II.</a></td><td><a href="#II">OVIEDO</a></td><td class="rt" valign="bottom"><a href="#page_38">38</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#III">III.</a></td><td><a href="#III">SEGOVIA</a></td><td class="rt" valign="bottom"><a href="#page_59">59</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#IV">IV.</a></td><td><a href="#IV">ZAMORA</a></td><td class="rt" valign="bottom"><a href="#page_86">86</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#V">V.</a></td><td><a href="#V">AVILA</a></td><td class="rt" valign="bottom"><a href="#page_103">103</a></td></tr>
+<tr valign="top"><td class="rt"><a href="#VI">VI.</a></td><td><a href="#VI">ZARAGOZA</a></td><td class="rt" valign="bottom"><a href="#page_135">135</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_x" id="page_x">{x}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span>&nbsp; </p>
+
+<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" summary=""
+style="margin:auto auto;max-width:85%;">
+<tr><th class="spc" colspan="2">VALLADOLID</th></tr>
+
+<tr><td><small>SUBJECT</small></td>
+<td><small>PLATE</small></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_001">General View of Valladolid,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_001">1</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_002">General View of Valladolid,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_002">2</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_003">The Bridge of Piedra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_003">3</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_004">La Acera de San Francisco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_004">4</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_005">The Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_005">5</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_006">The Old Parish Church,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_006">6</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_007">House in which Christopher Columbus died,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_007">7</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_008">House where King Philip <small>II.</small> was born,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_008">8</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_009">The Royal Palace of Philip <small>III.</small>,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_009">9</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_010">Church of San Juan de Letran,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_010">10</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_011">College of the Escoceses,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_011">11</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_012">College of the Ingleses,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_012">12</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_013">Interior view of the Library,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_013">13</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_014">Interior of the Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_014">14</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_015">Façade of the Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_015">15</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_016">Museum: Back of a Choir Stall, by Berruguete,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_016">16</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_017">Museum: Detail of the Choir Stalls of San Benito,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_017">17</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_018">Museum: Several Fragments of Choir Stalls, by Berruguete,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_018">18</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_019">Museum: Head of St. Paul,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_019">19</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_020">Museum: Centre part of a Wooden Altar-piece,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_020">20</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_021">Museum: Fragments of Choir Stalls, by Berruguete,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_021">21</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_022">Museum: Fragments of Choir Stalls, by Berruguete,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_022">22</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_023">Museum: Altar-piece carved in wood,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_023">23</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_024">Museum: The Assumption of the Virgin, by Rubens,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_024">24</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_025">Museum: St. Anthony of Padua and the Child Jesus, by Rubens,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_025">25</a><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_026">Museum: The Annunciation, by José Martinez,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_026">26</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_027">Museum: The Holy Family, by Raphael,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_027">27</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_028">Museum: St. Francis and a Lay Brother, by Rubens,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_028">28</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_029">St. Joachim and the Virgin as a Child, by Murillo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_029">29</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_030">Provincial Museum: San Bruno,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_030">30</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_031">Centre of the Façade of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_031">31</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_032">Detail of the Façade of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_032">32</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_033">Detail of the Façade of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_033">33</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_034">Left Angle in the Court of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_034">34</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_035">Gallery in the Court of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_035">35</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_036">Detail in the Court of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_036">36</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_037">Interior Gate of San Gregorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_037">37</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_038">Façade of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_038">38</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_039">Lower Part of the Façade of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_039">39</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_040">Detail of the Portal of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_040">40</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_041">Lower Central Part of the Façade of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_041">41</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_042">Portal of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_042">42</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_043">Detail of the Porch of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_043">43</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_044">Detail of the Porch of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_044">44</a></td></tr>
+
+<tr><th class="spc" colspan="2">OVIEDO</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_045">General View,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_045">45</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_046">Tower of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_046">46</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_047">Principal Entrance to the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_047">47</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_048">Principal Gate of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_048">48</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_049">Cathedral: View of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_049">49</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_050">Cathedral: The Retablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_050">50</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_051">La Camara Santa,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_051">51</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_052">Coffin in the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_052">52</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_053">Old Tower of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_053">53</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_054">Cathedral: Oaken Ark,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_054">54</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_055">Cathedral: Section, Plan, and Details of the Camara Santa,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_055">55</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_056">Cathedral: Cross of the Angels,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_056">56</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_057">Crosses and Caskets of the Asturias,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_057">57</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_058">Cathedral: Cross of Victory,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_058">58</a>
+<span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_059">A Capital,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_059">59</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_060">Santa Maria de Naranco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_060">60</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_061">Santa Maria de Naranco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_061">61</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_062">Church of San Miguel de Lineo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_062">62</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_063">Church of San Juan de Priorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_063">63</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_064">Church of San Juan de Priorio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_064">64</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_065">Details of the Churches of St. Clara, St. John, and Our Lady de la Vega,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_065">65</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_066">Details of Santa Maria de Valdedios,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_066">66</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_067">Details of Santa Maria de Valdedios,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_067">67</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_068">Details of San Juan de Amandi,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_068">68</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_069">Details of San Juan de Amandi,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_069">69</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_070">Details of the Church of Villaviciosa,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_070">70</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_071">Details of the Church of Villaviciosa,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_071">71</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_072">Plan and Section of San Salvador de Valdedios,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_072">72</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_073">Details of San Salvador de Valdedios,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_073">73</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_074">Details of the Churches of Priesca and Fuentes,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_074">74</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_075">Details of Santa Maria de Villamayor,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_075">75</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_076">Details of Santa Maria de Villamayor,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_076">76</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_077">Details of San Adrian de Tunon,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_077">77</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_078">Details of the Hermitage of Santa Cristina,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_078">78</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_079">Details of the Collegiate Church of Covadonga,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_079">79</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_080">Details of the Church of Ujo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_080">80</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_081">Details of the Church of Ujo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_081">81</a></td></tr>
+
+<tr><th class="spc" colspan="2">SEGOVIA</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_082">General View from the Nievas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_082">82</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_083">General View,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_083">83</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_084">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_084">84</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_085">The Alcazar and Cathedral from the Fuencisla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_085">85</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_086">General View from the Nievas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_086">86</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_087">Old Houses in the Plaza Mayor,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_087">87</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_088">View of the Walls,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_088">88</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_089">Aqueduct over the River Castilla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_089">89</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_090">The Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_090">90</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_091">View of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_091">91</a><span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_092">View of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_092">92</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_093">Casa de los Picos,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_093">93</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_094">Church of Santa Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_094">94</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_095">Porch of the Church of Santa Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_095">95</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_096">Church of Santa Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_096">96</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_097">View of the Mint and the Parral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_097">97</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_098">Façade of the Parral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_098">98</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_099">Cloisters of the Parral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_099">99</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_100">General View of Turégano,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_101">Turégano Castle,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_102">General View of Coca Castle,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_102">102</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_103">Another View of Coca Castle,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_103">103</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_104">St. Andrew’s Gate,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_104">104</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_105">The Arch of the Fuencisla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_106">Gate of Santiago,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_106">106</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_107">The Alcazar before the Fire of 1862,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_107">107</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_108">The Alcazar from the Hoyos Hill,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_108">108</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_109">View of the Alcazar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_109">109</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_110">The Alcazar from the Caves,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_110">110</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_111">Façade of the Alcazar before the Fire of 1862,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_111">111</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_112">Details of the Church of the Parral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_112">112</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_113">Church of St. Nicholas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_113">113</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_114">View of the Church of Vera Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_114">114</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_115">Porch of the Church of Vera Cruz,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_115">115</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_116">Courtyard of the Marquis of Arcos’ House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_116">116</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_117">Façade of St. John,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_117">117</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_118">Church of St. John,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_118">118</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_119">San Juan de los Caballeros,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_119">119</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_120">Church of St. Martin,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_120">120</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_121">Porch of St. Martin,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_121">121</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_122">Parish Church of St. Martin,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_122">122</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_123">Details of the Church of St. Martin,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_123">123</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_124">General View of St. Stephen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_124">124</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_125">Portico of St. Stephen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_125">125</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_126">Details of St. Stephen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_126">126</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_127">Church of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_127">127</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_128">Church of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_128">128</a><span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_129">Lateral Façade of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_129">129</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_130">The Church of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_130">130</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_131">Details of San Lorenzo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_131">131</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_132">Interior of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_132">132</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_133">Interior of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_133">133</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_134">Arches and Eaves of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_134">134</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_135">Sectional Elevations of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_135">135</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_136">Details of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_136">136</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_137">Details of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_137">137</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_138">Details of San Millán,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_138">138</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_139">Details of the Convent of Corpus Christi,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_139">139</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_140">Interior of the Convent of Santo Domingo and Towers,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_140">140</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_141">Painted Socles in the Tower of Santo Domingo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_141">141</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_142">Façade of the Convent of Our Lady de la Sierra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_142">142</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_143">Ruins of the Chapel of the Convent of Our Lady de la Sierra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_143">143</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_144">Interior of the Ruined Convent of Our Lady de la Sierra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_144">144</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_145">Porch of the Convent of Our Lady de la Sierra,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_145">145</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_146">General View of the Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_146">146</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_147">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_147">147</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_148">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_148">148</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_149">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_149">149</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_150">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_150">150</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_151">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_151">151</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_152">The Roman Aqueduct,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_152">152</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_153">A Dance in the Plaza del Pueblo de Nieva,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_153">153</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_154">Enrique <small>IV.</small> conducting the Infanta Isabel through the Streets of Segovia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_154">154</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_155">Group of Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_155">155</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_156">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_156">156</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_157">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_157">157</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_158">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_158">158</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_159">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_159">159</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_160">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_160">160</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_161">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_161">161</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_162">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_162">162</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_163">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_163">163</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_164">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_164">164</a><span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_165">Peasants of the Province,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_165">165</a></td></tr>
+
+<tr><th class="spc" colspan="2">ZAMORA</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_166">View of Zamora,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_166">166</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_167">View of Zamora,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_167">167</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_168">Walls and Postern Gate,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_168">168</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_169">Stone Bridge over the Duero,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_169">169</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_170">Bridge over the Duero,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_170">170</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_171">View of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_171">171</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_172">Façade of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_173">Cathedral: Gate of the Bishop,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_173">173</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_174">The Cathedral: East Front,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_174">174</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_175">Cathedral: Gate of the Bishop,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_175">175</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_176">Cathedral: Gate of the Bishop,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_176">176</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_177">Ancient Cistercian Monastery of Moreruela,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_177">177</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_178">Ancient Cistercian Monastery of Moreruela,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_178">178</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_179">Ancient Cistercian Monastery of Moreruela: Detail of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_179">179</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_180">Ancient Cistercian Monastery of Moreruela: Detail of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_180">180</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_181">Ancient Cistercian Monastery of Moreruela: Chancel,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_181">181</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_182">Ancient Cistercian Monastery of Moreruela: Example of the Vaulting,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_182">182</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_183">Ancient Cistercian Monastery of Moreruela: Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_184">Ancient Cistercian Monastery of Moreruela: Transept and Nave,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_184">184</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_185">Ancient Cistercian Monastery of Moreruela: Detail of a Window,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_185">185</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_186">Ancient Cistercian Monastery of Moreruela: Transept Porch,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_186">186</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_187">Santa Maria la Nueva: Detail of the Exterior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_187">187</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_188">Santa Maria la Nueva: Doorway,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_188">188</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_189">Santa Maria la Nueva: Capitals of Recessed Windows,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_189">189</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_190">Church of the Magdalen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_190">190</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_191">Principal Door of the Church of the Magdalen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_191">191</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_192">Plan and Sections of the Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_192">192</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_193">Details of the Church of St. Peter (Nave),</a></td>
+<td class="rt" valign="bottom"><a href="#plt_193">193</a><span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_194">House of The Cid,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_194">194</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_195">Tapestry of the Beginning of the Fifteenth Century,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_195">195</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_196">Painting in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_196">196</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_197">Painting in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_197">197</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_198">Painting in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_198">198</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_199">Painting in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_199">199</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_200">The Royal Escutcheon,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_201">St. Ferdinand and King John <small>II.</small>,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_201">201</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_202">The Arms of the Town,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_202">202</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_203">Queen Urraca and Aris Gonzalo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_203">203</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_204">Trophies of Arms and Armour in the Town Hall,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_204">204</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_205">The House of the Momos,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_205">205</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_206">Bridge of Rocobayo over the Esla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_206">206</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_207">Stone Quarries of the Town of Valderojo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_207">207</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_208">Earthworks of the ancient City of Toro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_208">208</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_209">North and Centre Gates of the Church of Toro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_209">209</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_210">Details of the Church of Toro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_210">210</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_211">Group of Peasants of the Village of Bermigo de Sayago,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_211">211</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_212">Group of Peasants of the Village of Carbajales,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_212">212</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_213">Peasants of the Village of Bermigo de Sayago,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_213">213</a></td></tr>
+
+<tr><th class="spc" colspan="2">AVILA</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_214">General View,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_214">214</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_215">General View,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_215">215</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_216">View of Avila,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_216">216</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_217">Gate of the Alcazar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_217">217</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_218">Gate of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_218">218</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_219">Gate of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_219">219</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_220">Gate of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_220">220</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_221">Gate of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_221">221</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_222">A Street,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_222">222</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_223">View of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_223">223</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_224">Exterior of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_224">224</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_225">Entrance to the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_225">225</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_226">Plan of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_226">226</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_227">The Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_227">227</a><span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_228">Side Door of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_228">228</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_229">Cathedral: Pulpit of Repoussé Iron Work,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_229">229</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_230">Cathedral: Pulpit of Repoussé Iron Work,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_230">230</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_231">Cathedral: Pulpit of Repoussé Iron Work,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_231">231</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_232">Interior of the Cathedral,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_232">232</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_233">Cathedral: Detail of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_233">233</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_234">Cathedral: Detail of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_234">234</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_235">Cathedral: The Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_235">235</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_236">Cathedral: Detail of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_236">236</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_237">Cathedral: Detail of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_238">Cathedral: Detail of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_238">238</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_239">Cathedral: Altar of San Segundo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_239">239</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_240">Cathedral: Altar of Santa Lucia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_240">240</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_241">Cathedral: Sepulchre of Don Juan d’Avila,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_241">241</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_242">Cathedral: Tomb of El Testado,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_242">242</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_243">Cathedral: Altar behind the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_244">Cathedral: Silver Monstrance of Juan de Arfe,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_244">244</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_245">Convent of Santo Tomas: Sepulchre of the Infante Don Juan,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_245">245</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_246">Sepulchre of the Holy Martyrs Vicente, Sabina, and Cristina,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_246">246</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_247">Interior of the Chapel of San Bernardo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_247">247</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_248">Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_248">248</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_249">Entrance to the Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_249">249</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_250">Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_250">250</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_251">Details of the Church of St. Peter,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_251">251</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_252">Exterior of the Church of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_252">252</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_253">Basilica of San Vicente before its restoration,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_253">253</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_254">Basilica of San Vicente before its restoration,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_254">254</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_255">Basilica of San Vicente: North Façade,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_255">255</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_256">Basilica of San Vicente: Principal Façade,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_256">256</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_257">Basilica of San Vicente: Eastern Façade, restored,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_257">257</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_258">Basilica of San Vicente: Façade,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_258">258</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_259">Basilica of San Vicente: Central Gate, restored,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_259">259</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_260">Basilica of San Vicente: Detail of the middle cornice, restored,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_260">260</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_261">Basilica of San Vicente: Portal,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_261">261</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_262">Basilica of San Vicente: Principal west entrance,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_262">262</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_263">Basilica of San Vicente: Principal west entrance,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_263">263</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_264">Basilica of San Vicente: General view of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_264">264</a><span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_265">Basilica of San Vicente: Sepulchre of the Holy Martyrs,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_265">265</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_266">Basilica of San Vicente: Detail of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_266">266</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_267">Porch of the Church of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_267">267</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_268">Porch of the Church of San Vicente,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_268">268</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_269">Porch of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_269">269</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_270">Section of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_270">270</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_271">Plan of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_271">271</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_272">Gate of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_272">272</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_273">Door of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_273">273</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_274">Interior of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_274">274</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_275">The Court of Silence in the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_275">275</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_276">Convent of Santo Tomas: The Court of Silence,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_276">276</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_277">Convent of Santo Tomas: The Court of the Kings,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_277">277</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_278">Convent of Santo Tomas: Courtyard of the Infirmary,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_278">278</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_279">Cloisters of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_279">279</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_280">Cloisters of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_280">280</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_281">Cloisters of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_281">281</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_282">Gate of the Cloisters in the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_282">282</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_283">Choir of the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_283">283</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_284">Convent of Santo Tomas: Details of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_284">284</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_285">Choir Stalls in the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_285">285</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_286">Choir Stalls in the Convent of Santo Tomas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_286">286</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_287">Church of San Segundo: Statue of San Segundo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_287">287</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_288">Church of Santo Tomas: Sepulchre of the Infante Don Juan,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_288">288</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_289">Church of Santo Tomas: Sepulchre of the Infante Don Juan,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_289">289</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_290">Church of Santo Tomas: Sepulchre of the Infante Don Juan,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_290">290</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_291">Gothic Gate in ruins,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_291">291</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_292">Door of a Private House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_292">292</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_293">Calle de Pedro d’Avila,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_293">293</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_294">Celebrated Window in the House of Pedro d’Avila,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_294">294</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_295">Courtyard of the Polentinos’ Palace,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_295">295</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_296">Portico of the Polentinos’ Palace,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_296">296</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_297">Church of San Andrés and San Segundo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_297">297</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_298">Hermitage of San Isidro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_298">298</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_299">The Academy,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_299">299</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_300">Camposagrado Palace,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_300">300</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_301">Casa de la Baraganas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_301">301</a><span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_302">Casa de la Torre,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_302">302</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_303">Chapel of Mosen Rubi,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_303">303</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_304">Palace of the Conde de Superunda,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_304">304</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_305">Miniatures from the Avila Missal,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_305">305</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_306">Miniatures from the Avila Missal,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_306">306</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_307">Door of San Francisco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_307">307</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_308">A Roman Capital of the Church of San Francisco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_308">308</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_309">Latin-Byzantine Frieze in the Church of San Francisco,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_309">309</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_310">Monastery of San Pedro at Arenas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_310">310</a></td></tr>
+
+<tr><th class="spc" colspan="2">ZARAGOZA</th></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_311">General View from Cabezo-Cortado,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_311">311</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_312">General View from Altabas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_312">312</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_313">General View from Altabas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_313">313</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_314">The Bridge over the Ebro, from the Ruins of San Lazaro,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_314">314</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_315">The Bridge over the Ebro, from El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_315">315</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_316">General View of Zaragoza,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_316">316</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_317">General View of Zaragoza,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_317">317</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_318">General View of Zaragoza,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_318">318</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_319">General View from the Portilla,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_319">319</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_320">View of Zaragoza,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_320">320</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_321">Calle del Mercado,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_321">321</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_322">Paseo de Santa Engracia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_322">322</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_323">Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_323">323</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_324">Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_324">324</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_325">Glazed Tiles on the Walls of the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_325">325</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_326">Interior of the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_326">326</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_327">Cathedral of La Seo: View of the Transept,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_327">327</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_328">Cathedral of La Seo: Detail of Transept,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_328">328</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_329">Chapel of St. John in the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_329">329</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_330">Chapel of Gabriel de Zaporta in the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_330">330</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_331">Cathedral of La Seo: Reja bronze repoussé,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_331">331</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_332">Sepulchre of Archbishop Don Lope de Luna in the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_332">332</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_333">Central Dome of the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_333">333</a><span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_334">Silver Monstrance in the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_334">334</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_335">Censer belonging to the Cathedral of La Seo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_335">335</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_336">Cathedral of El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_336">336</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_337">Cathedral of El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_337">337</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_338">Interior of Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_338">338</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_339">Side Altar in Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_339">339</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_340">Our Lady del Pilar: View of the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_340">340</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_341">Our Lady del Pilar: Organ in the Choir,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_341">341</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_342">Chapel in Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_342">342</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_343">High Altar in Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_343">343</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_344">Paintings on the Cupola of Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_344">344</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_345">Our Lady del Pilar : Choir Stalls,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_345">345</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_346">Our Lady del Pilar: Choir Stalls,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_346">346</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_347">Our Lady del Pilar: Choir Stalls,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_347">347</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_348">Our Lady del Pilar, by M. de Unceta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_348">348</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_349">Our Lady del Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_349">349</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_350">Silver Salver in the Cathedral of El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_350">350</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_351">Vase in the Cathedral of El Pilar,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_351">351</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_352">Church of the Magdalen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_352">352</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_353">Place and Church of St. Nicholas,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_353">353</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_354">Portal of the Church of San Miguel,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_354">354</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_355">Façade of the Church of Santa Engracia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_355">355</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_356">Church of St. Paul: Puerta del Cristo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_356">356</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_357">The New, or Leaning Tower,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_357">357</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_358">Tower of the Calle de Antonio Perez,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_358">358</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_359">Tower of San Miguel,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_359">359</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_360">Tower of San Pablo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_360">360</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_361">Tower of the Trovador,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_361">361</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_362">Ancient Wall and Buildings,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_362">362</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_363">Statue of Pignatelli,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_363">363</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_364">Courtyard in the House of Pardo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_364">364</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_365">Detail of the Courtyard in the House of Pardo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_365">365</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_366">Entrance to the Audiencia Palace,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_366">366</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_367">Palace of the Provincial Deputation,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_367">367</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_368">Courtyard in the Count of Argillo’s House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_368">368</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_369">Eaves on the House of the Conde de Argillo,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_369">369</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_370">Courtyard in the Count of Argillo’s House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_370">370</a><span class="pagenum"><a name="page_xxii" id="page_xxii">{xxii}</a></span></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_371">House in the Plaza de San Carlos,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_371">371</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_372">The Exchange,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_372">372</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_373">Façade of the Exchange,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_373">373</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_374">Interior of the Exchange,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_374">374</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_375">Porch of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_375">375</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_376">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_376">376</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_377">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_377">377</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_378">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_378">378</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_379">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_379">379</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_380">Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_380">380</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_381">Detail of the Courtyard of the House of Zaporta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_381">381</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_382">Court of the Provincial Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_382">382</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_383">Gallery in the Provincial Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_383">383</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_384">The Aljaferia or Citadel. Window of the Main Staircase,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_384">384</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_385">Aljaferia: Interior of the Mosque,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_385">385</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_386">Aljaferia: Interior of the Mosque,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_386">386</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_387">Aljaferia: Interior of the Mosque,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_387">387</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_388">Aljaferia: Details of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_388">388</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_389">Aljaferia: Details of the Interior,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_389">389</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_390">Details of the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_390">390</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_391">Details of the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_391">391</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_392">St. Isabel and her Husband. Tapestry in the University,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_392">392</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_393">View of the Barracks of the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_393">393</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_394">The Casa de la Infanta. ‘The Departure for the Fight,’ by P. Gonzalvo Perez,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_394">394</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_395">Gate of Our Lady del Carmen,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_395">395</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_396">The Defence of Zaragoza in 1809, by Nicolas Mejia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_396">396</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_397">The First Siege of Zaragoza, by A. Ferrant y Fischermans,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_397">397</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_398">Heroic Defence of the Tower of St. Augustine at Zaragoza in the War of Independence, by C. Alvarez Dumont,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_398">398</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_399">Heroic Combat in the Pulpit of the Church of San Augustin at Zaragoza in 1809, by C. Alvarez Dumont,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_399">399</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_400">The Maid of Zaragoza, by M. Hiraldez Acosta,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_400">400</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_401">The Maid of Zaragoza, by Navarro y Canizares,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_401">401</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_402">Arch from the Aljaferia Palace, now in the Archæological Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_402">402</a></td></tr>
+
+<tr valign="top" class="pdd"><td><a href="#plt_403">Arch from the Aljaferia Palace, now in the Archæological Museum,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_403">403</a><span class="pagenum"><a name="page_xxiii" id="page_xxiii">{xxiii}</a></span></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_404">Provincial Museum: Detail of ‘The Mosque’ of the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_404">404</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_405">Provincial Museum: Corbels of Eaves, Gothic style, from the old Custom House,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_405">405</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_406">Provincial Museum: Corbels of Eaves,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_406">406</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_407">Provincial Museum: Corbels of Eaves, Gothic style,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_407">407</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_408">Provincial Museum: Corbels of Eaves, Pointed style,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_408">408</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_409">Provincial Museum: Arab Capitals of the Aljaferia Castle,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_409">409</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_410">Provincial Museum: Arab Capitals from the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_410">410</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_411">Provincial Museum: Arab Capitals from the Aljaferia,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_411">411</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_412">The Story of Lucretia. A Plate from the work entitled ‘Mugeres Ilustres,’ translated from Boccaccio,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_412">412</a></td></tr>
+
+<tr valign="top"><td class="pdd"><a href="#plt_413">A Page from the work entitled ‘Example against the Deception and Perils of the World,’ by Juan de Capua,</a></td>
+<td class="rt" valign="bottom"><a href="#plt_413">413</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xxiv" id="page_xxiv">{xxiv}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<h1>Valladolid, Oviedo, Segovia, Zamora,<br /> Avila, and Zaragoza</h1>
+
+<h2><a name="I" id="I"></a>I<br /><br />
+<span class="spc">VALLADOLID</span><br /><br />
+<small>ITS STORY</small></h2>
+
+<p class="nind"><span class="smcap">Valladolid</span>, a thriving, bustling place, as Spanish cities go, stands on
+the rivers Pisuerga and Esgueva, a few miles above the confluence of
+their united streams with the Duero. All round spreads the vast, dreary
+plain of Castile, interrupted within sight of the town by a ring of low
+hills. Trains thunder past from north, south, and west, keeping
+Valladolid in close touch with Madrid, with France, with Portugal, and
+with the rest of the world. The natural centre, this, of the old kingdom
+of Leon and Castile, of which it was for a long time the political
+capital.</p>
+
+<p>The etymology of the name has perplexed historians not a little. The
+most probable deri<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span>vation is from the Arabic Belad-Walid, the valley of
+Walid, or (as likely) of the Wali or governor. In Latin documents the
+name is Vallisoletum, from which the poetical etymology, <i>vallis
+odoris</i>, was ingeniously manufactured. Though a great many of the towns
+in this part of Spain were founded on fresh sites on the resettlement of
+the country in the ninth and tenth centuries, Valladolid can, with some
+show of probability, claim a more remote origin. The contention of the
+old writers that this was the town called Pintia, described by Ptolemy
+as lying on the road from Caesaraugusta to Asturica, is to some extent
+borne out by numerous remains, attesting the existence at this spot of a
+Roman community of opulence and importance.</p>
+
+<p>The earliest mention of the place since the Christian era occurs in the
+Chronicle of Cardeña, where in the year 1072 it is referred to as one of
+the two towns (Rio Seco being the other) offered to Doña Urraca by her
+brother, Sancho, in exchange for Zamora. We may presume, therefore, that
+it was already a place of some consequence. In 1074 it was handed over
+by Alfonso <small>VI.</small> to Count Pedro Ansúrez, the companion of his exile at
+Toledo. This noble plays the same part in its history as Count Raymond<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span>
+does in that of Salamanca. The principal buildings, such as Santa Maria
+la Antigua and the bridge over the Pisuerga, are ascribed to him. He
+founded and generously endowed the collegiate church of Santa Maria la
+Mayor, with the adjacent abbey, of which, in after years, infantes and
+the sons of the most exalted persons were alone deemed worthy to be
+abbots. The famous Bernard, Archbishop of Toledo, came to bless the
+church, with the not less famous Alvar Fañez, who was Count Pedro’s
+son-in-law. When good King Alfonso passed away, Ansúrez took the oath of
+allegiance to his daughter, Queen Urraca, and to her husband, ‘The
+Battler of Aragon.’ When the royal twain came to blows, the count
+surrendered all the strongholds he held to the queen, and presented
+himself to the king, saying that ‘with the hands, the tongue, and the
+body which had paid him homage,’ he could do as he willed. Alfonso the
+Battler let him depart unmolested, and he was laid to rest in 1118,
+clothed in his armour, in the collegiate church he had endowed.</p>
+
+<p>The lordship of Valladolid now passed to Armengol, son of Count Pedro’s
+eldest daughter, by the Count of Urgel. Under his sway the city
+prospered exceedingly. King Alfonso <span class="pagenum"><a name="page_4" id="page_4">{4}</a></span><small>VII.</small> chose it for the place of his
+marriage with a Polish princess, and for several ecclesiastical
+councils. Two more counts of the same name continued the dynasty of
+Ansúrez till the year 1208; but of these the town saw little, for as
+Counts of Urgel they were vassals of Aragon, and spent most of their
+time in that kingdom. The last count left half of his Castilian
+dominions to the Pope, the other half to his daughter Aurembiax, who was
+believed to be the mistress of the King of Aragon. Alfonso <small>VIII.</small> of
+Castile can hardly, therefore, be blamed for setting aside a disposition
+which handed over the principal town in his kingdom to two foreign
+potentates. In the year 1208, accordingly, the city was incorporated
+with the monarchy. Soon after (1215) it became for the first time the
+royal residence&mdash;that of the Queen-Regent Berenguela and her youthful
+charge, Don Enrique <small>I.</small>; and in accordance with this precedent, two years
+later, Fernando <small>III.</small> was crowned here, in the Plaza Mayor. Thenceforward
+the town became the usual seat of the court, though an official capital
+in the modern sense Spain did not possess till Philip <small>II.</small>’s time. The
+last years of the thirteenth century saw the reins of government in the
+hands of a native of Valladolid, the Queen-Regent, Maria de<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> Molina,
+widow of Sancho el Bravo. Her predilection for her own birthplace
+practically extinguished the pretensions of Burgos to rank as capital,
+and during her stormy regency Valladolid stood by her loyally. She was
+not the least capable or intrepid of the many able women-rulers by whom
+Spain has been so well served.</p>
+
+<p>Though the seat of government, Valladolid was not wanting in the
+turbulent, independent spirit characteristic of the Castilian cities. In
+1328 a rumour spread abroad that the king’s Jewish treasurer, Joseph,
+was about to carry off the Infanta Leonor, and to marry her to the
+detested favourite, Nuñez Osorio. Sure enough the princess presently
+appeared, mounted and attended by an escort, as if proceeding on a
+journey. The citizens forced her to return to the palace, and clamoured
+for the head of the treasurer. Leonor promised to satisfy them if they
+would permit her to go to the Alcazar, or citadel, whither she contrived
+to convey the trembling Hebrew concealed among her retinue. Safe inside
+the fortress, Infanta and Jew set the mob at defiance, and sustained a
+siege till relieved by the king. Comically enough, Alfonso dismissed his
+favourite on the ground that he was the cause of these disturbances,
+while the<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> Infanta married the Prince of Portugal, whom she had been on
+her way to meet when forced back by the crowd.</p>
+
+<p>Women figure largely in the history of Valladolid. Here in the church of
+Santa Maria la Mayor, Peter the Cruel was married to the hapless Blanche
+de Bourbon, to leave her three days later. It was only by the entreaties
+of his mistress, Maria de Padilla, that he could be persuaded to return
+to his wife; but unable to overcome his repugnance to the poor princess,
+he again abandoned her a few days after, this time for ever.</p>
+
+<p>The convent of La Merced owes its origin to another case of erratic
+passion. Donha Leonor Telles de Meneses had been torn from the arms of
+her first husband, João Lourenço d’Acunha, by the King of Portugal, who
+raised her to the throne. D’Acunha retired to Valladolid, where he was
+buried in the church of Santa Maria la Antigua. In the course of time
+Leonor’s second husband also died, and she also came to Valladolid,
+possibly to see what had become of the first. Doubly a widow, she found
+consolation in the affection of a knight named Zoilo Iñiguez, by whom
+she had a daughter called Maria. Leonor’s experience of love and
+matrimony<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> led her at her death to charge her daughter’s guardian, one
+Laserna, to dedicate the girl to religion, and to found a convent for
+her special accommodation. Before this could be accomplished, Maria, who
+believed herself to be a relation of Laserna, fell in love with his
+nephew, and incontinently married him. On discovering the secret of her
+origin, she so far complied with her mother’s wish as to build a
+convent, in which Queen Leonor as the foundress was entombed.</p>
+
+<p>About the same time, by order of Juan <small>I.</small>, the old Alcazar, round which
+the town had been built, was demolished to make room for the existing
+convent of San Benito. The monastery of San Pablo became the residence
+of the court during the minority of Juan <small>II.</small> That king may be said to
+have lived here permanently, and to have confirmed Valladolid in its
+dignity as capital of the realm. As such it was the scene of much
+splendour and chivalrous display under the rule of the high-minded
+favourite, the great Constable Alvaro de Luna. And it was in the little
+Plaza del Ochavo, in the centre of the town, having run his course as a
+true knight and a wise statesman, that he met his fate with the dignity
+and composure which had distinguished him during his whole career.<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span></p>
+
+<p>The place of his execution was chosen by his enemies as precisely the
+scene of his greatest triumphs. He was confined during his last night in
+the house of his enemy, Zuñiga, where he passed the hours ‘in great
+contrition and affliction of spirit.’ ‘The melancholy 2nd of June 1453
+dawned,’ says Don Jose Quadrado, ‘and in the Plaza del Ochavo, which
+then formed the principal square of Valladolid, loomed a scaffold draped
+with black cloth, and above it a cross set with lighted tapers. On a
+post was fixed the spike destined to receive the severed head. The
+Constable was conducted to the spot by the streets of Francos,
+Cantarranas, and Plateria, mounted on a mule with black trappings, and
+preceded by a crier, whose violent denunciations drew from him only the
+humble words, <i>Más merezco</i> (“I deserve more”). Alighting on the side of
+the church of San Francisco, and mounting the scaffold with firmness,
+having knelt before the cross, he hesitated whether he should address
+the people, when he perceived among the crowd his faithful page Moreles,
+and Barrasa, esquire to Don Enrique. He told the latter to adjure his
+master not to follow the example of the king, his father, in the way of
+rewarding his servants; to the former<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> he gave his signet-ring, which
+the youth received weeping, not a few of the bystanders weeping loudly
+also. “With my body they may do as they please,” he said on perceiving
+the spike and divining its object; and baring his throat, and his hands
+being bound with his own girdle, he offered his head to the executioner,
+who a few seconds later held it up, dripping with blood, before the
+horror-stricken people. The body remained exposed three, and the head
+nine days, with a box beside it to receive alms. With these he was
+buried among malefactors in the hermitage of San Andrés outside the
+walls; but at the end of two months he was given a more decent sepulture
+in San Francisco, where he lay till the rehabilitation of his memory and
+his magnificent entombment thirty-one years later in the cathedral of
+Toledo.’</p>
+
+<p>The feeble and ungrateful king (Juan <small>II.</small>) survived his favourite little
+more than a year, and died at the convent of San Pablo, which had been
+his usual abode. Valladolid remained steadily loyal to his miserable
+successor, Enrique <small>IV.</small>, when scarcely another town in his dominions
+would harbour him. Yet, strangely enough, it was in this city, in the
+house of Juan Vivero (where the Audiencia now stands), that the kin<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span>g’s
+sister Isabel, in defiance of his wishes, celebrated in secret, but with
+great ceremony, her marriage with Ferdinand of Aragon. This was on
+October 18, 1469&mdash;an auspicious night for Spain. But the city was too
+full of Enrique’s partisans to afford a safe asylum to the newly-wedded
+pair, who immediately betook themselves to Dueñas.</p>
+
+<p>Valladolid, always on the side of authority, accepted ‘the Catholic
+Kings’ on the death of Enriqùe, to the exclusion of Juana, whom a modern
+writer inexplicably calls that monarch’s illegitimate daughter. She was
+barred from the succession on the ground that she was not his daughter
+at all. The vigorous but hardly beneficent rule of Ferdinand and Isabel
+was celebrated in 1489 by eighteen persons being burned alive in the
+Plaza Mayor, while a few years after the city was emptied of its Jewish
+inhabitants. A whole quarter left tenantless, deserted homes, and
+smoking human sacrifices marked the inauguration of the New Monarchy in
+Valladolid. Yet the city prospered, and was too busy to notice the
+worn-out adventurer, the Admiral of the Indies, the immortal Christopher
+Columbus, who died within its walls on May 20, 1506. But all their
+prosperity could not reconcile the sturdy citizens to the arbitrary
+government of<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> Charles <small>V.</small>’s regents. Valladolid threw in her lot with
+the Comunidad. Her sons bled in the cause of liberty beside Padilla on
+the fatal field of Villalar; and when the Flemish emperor proclaimed an
+amnesty on visiting the city in 1522, many of her townsmen found
+themselves among the three hundred specially excluded from its
+operation.</p>
+
+<p>Philip <small>II.</small> was born here on May 21, 1527; here he was married to his
+first and Portuguese wife; here also she died in giving birth to his
+luckless son Carlos. Yet it was this native of Valladolid who reduced it
+to the rank of a provincial city, and in the year 1560 definitely
+declared Madrid to be the <i>unica corte</i>, the official capital of Spain.
+This measure has been variously criticised, but it is certainly
+difficult to perceive the advantages which the new capital possessed
+over the old, or over Toledo or Zaragoza. This loss of dignity was
+followed by a more dreadful catastrophe. Valladolid was devastated by a
+fire in the night of September 21, 1561, four hundred and forty houses
+being destroyed, though only three persons lost their lives. The
+silversmiths, for whom the city was renowned, saved their wares by
+throwing them into the wells. The conflagration was caused<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> by the
+sparks blown from a fire lit by some beggars in the shadow of a wall.
+Possibly the citizens were reminded of those other flames so frequently
+kindled in their midst by the abominable Inquisition, when men and women
+were roasted to death in the presence and with the approval of His
+Catholic Majesty Philip <small>II.</small> The furious element was less destructive
+than the Holy Office.</p>
+
+<p>The city was practically rebuilt by order of the despot, and as a mark
+of his favour he persuaded the Pope to erect it into a diocese in the
+last years of the sixteenth century. His successor, with a judgment of
+which he rarely gave proof, reinstated Valladolid in its rank of capital
+of the monarchy, and resided here in the palace facing San Pablo (now
+the Audiencia). Here Anne of Austria and Philip <small>IV.</small> were born. Cervantes
+lived here in one of the houses in the Rastro behind the Campo Grande,
+where he finished the first part of <i>Don Quixote</i>. His experience of the
+city was unfortunate. He was, together with his family, imprisoned on
+the charge of being implicated in a night brawl, wherein as a matter of
+fact he had simply played the part of Good Samaritan. His brother wits
+and the literati unceasingly assailed<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> Valladolid as unworthy the
+residence of the court, and after five years Philip <small>III.</small> was obliged,
+professedly because the city was unhealthy, to restore Madrid to its
+pre-eminence. The abandoned capital was hit very hard. Industry and
+commerce languished, nothing but the religious vocation flourished. The
+project of rendering the Duero and Pisuerga navigable for large vessels
+was given up, and, to crown all, the Moriscos to the number of one
+thousand were expelled, taking the silk industry with them. Inundations
+and all sorts of calamities followed in quick succession. Whatever money
+men earned in moribund Castile, they used to build churches and
+convents. The city’s attachment to the Bourbon cause in the War of the
+Spanish Succession disposed Philip <small>V.</small> to transfer the court hither a
+second time; but the pre-eminence of Madrid was too firmly established
+to permit this. The French invaders, a hundred years ago, found the
+place ruined and stagnant. Since then Valladolid has awakened from her
+sleep. The opening of the North of Spain Railway, and the establishment
+here of the company’s loco-motive works, gave a great impetus to her
+progress, and she is now an important commercial town, the centre of the
+corn trade of<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> Castile. No Spanish city north of the Guadarrama gives
+such promise as Valladolid.</p>
+
+<h3>THE CITY</h3>
+
+<p>A city which was so long the capital of the monarchy&mdash;the city where
+Columbus died and Cervantes lived&mdash;whose streets are haunted by the
+immortal creature of Le Sage’s genius&mdash;can be no unworthy goal for a
+pilgrimage. It has memories far more stirring than Madrid, which in
+physiognomy it rather resembles. A cold, formal town it seems at first
+sight, with modern-looking squares, straight streets, and severe,
+imposing buildings; but behind these you find the old city of Juan <small>II.</small>
+and Enrique <small>IV.</small>, a labyrinth of tortuous lanes, gloomy palaces, and
+ruinous monastic houses.</p>
+
+<p>The handsome Accra de Recoletos, which looks across the spacious Campo
+Grande&mdash;the city’s principal park&mdash;leads from the triumphal Puerta del
+Carmen, commemorating the reign of Charles <small>III.</small>, to the majestic Arch of
+Santiago. We pass through, and presently reach the Plaza Mayor, now
+called the Plaza de la Constitucion, the focus of the city’s life.</p>
+
+<p>A minor Puerta del Sol, Ford calls this regular, symmetrically planned
+open space, designed after<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> the great fire of 1561 by Francisco
+Salamanca. The houses enclosing it are of uniform architecture, with
+three tiers of balconies in the three Grecian orders, capable, it is
+said, of accommodating 24,000 spectators. The portico is supported by
+massive granite columns of a bluish tinge, each a monolith. On the north
+side is the ungraceful Ayuntamiento (Town Hall), with weather-vanes on
+its towers and martial trophies surmounting the town clock. The space is
+as lively and gay as any in Spain. The sun shines brightly, the birds
+fly as freely overhead as across the innocent plains; here there is no
+deeper shadow than elsewhere, no abiding gloom or ghostly chill. Yet if
+ever a spot deserved to be called accursed it is this. Let us project
+ourselves back into the past, to a bright morning in May in the year
+1559. The balconies have not yet been built, but stands and tiers of
+seats have been constructed round the Plaza. There is a grand display of
+bunting, and the richest draperies are hung from the crowded
+windows&mdash;silks and cloth of gold and silver, damasks and brocades. On a
+daïs are seen the little prince, Don Carlos, and his aunt the Infanta
+Juana. The civic dignitaries of the town are here, the craftsmen in
+their liveries; but making<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> the bravest show of all are the bishop and
+the clergy, arrayed in full canonicals, as befits the solemn Act of
+Faith at which they are about to assist. The square is packed with a
+vast multitude&mdash;men have come from far and near to see this thing&mdash;and
+people are pouring down the narrow streets, an unceasing stream. All
+eyes are fixed on the platform in the centre of the Plaza, whereon
+faggots and brushwood are neatly piled round fourteen pillars, and busy
+varlets are bestirring themselves. A subdued murmur betokens the
+approach of the procession. For the alguazils who clear the way, for the
+horribly clad familiars of the Holy Office who stalk before, the
+spectators have no eyes: the gaze of those thousands is levelled on the
+fourteen men and women walking slowly to their awful doom. Were ever
+creatures so shockingly grotesque? They wear a perfectly ridiculous
+headgear, like an elongated nightcap, or a hat such as our grenadiers
+wore in days gone by; a sort of smock covers their bodies, an ugly
+flame-coloured garment, painted with figures of dancing and grimacing
+devils. You can hardly restrain a smile. I’ll wager those gallants
+yonder are cracking some clever jokes at their expense, for the Latin is
+by nature a wag. We all know who they are, these wretches.<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> Not long
+before Valladolid was thrilled by the rumour that a Lutheran conventicle
+had been discovered here in the heart of His Most Catholic Majesty’s
+capital. A holy woman, suspicious of her husband’s orthodoxy, had
+followed him one day, found him in the midst of this heretical assembly,
+and denounced him to the Holy Office. That is the man, Juan Garcia, a
+goldsmith whom all the townsmen have known and dealt with this many a
+year. Where’s his wife? somewhere in the crowd, doubtless, praying for
+his soul. Virtue like hers is worthy of heroines or devils. Most notable
+of the heretical crew is the Doctor Cazalla, one of the king’s most
+notable preachers; but the Holy Inquisitors are no respecters of
+persons. They would drag you from behind the throne. The priest with the
+Doctor is his brother Francisco. The woman is his sister, Doña Beatriz.
+Burn a woman? Ay, surely. There are four more, one of them a
+serving-wench. That black-avised fellow is a mere Jew from Lisbon&mdash;there
+is little sympathy for him. Then there are four gentlemen,
+and&mdash;hold!&mdash;one has a gag in his mouth. It is the Bachelor, Antonio
+Herrerruelo, an obstinate fellow, who will not recede one hair’s-breadth
+from his heretical opinions or concede one iota. The sixteen that
+follow<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> interest us less. They have been reconciled with Mother Church,
+and for them no worse fate is reserved than the confiscation of all
+their goods and solitary confinement for life. Ha! one of them has
+fainted. It is the youthful daughter of the Marqués de Alcañias, Doña
+Ana Enriques. They say that one of this batch is an Englishman. Perhaps
+he has seen Catholics hanged, drawn, and quartered in his own land, and
+can forgive the Spaniard.</p>
+
+<p>The learned Dominican in the pulpit reads the sentences of the Holy
+Tribunal of the Inquisition, and we may be sure his voice shakes with
+paternal tenderness when <i>he absolves</i> those who are passing into the
+shadow of perpetual imprisonment. As for those fourteen others&mdash;the
+Church has done with them, and in sorrow, not in anger, she hands them
+over to the secular arm.</p>
+
+<p>Now who will face the flames? for even the secular arm is merciful at
+the eleventh hour. Thousands of eyes are strained towards the scaffold.
+What is passing? Cazalla is making a farewell speech. Is he obdurate?
+No; from mouth to mouth the rumour runs that he professes penitence,
+that he abjures his errors. His brothers, the women&mdash;look at their
+blanched<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> faces!&mdash;mutter some such words. Their necks are encircled by
+the collars of the garrote&mdash;they stand on the well-laid pyre. But it is
+not lighted yet. Swiftly the executioner steps from one post to the
+other. A quiet turn of the screw, and the souls of the heretics have
+fled, and the flames may have their corpses.</p>
+
+<p>But he with the gag, Herrerruelo? We watch him breathlessly. At all
+admonitions he simply shakes his head. The executioner even hesitates to
+fire the pile. He has his hand on the spring of the garrote. A word from
+the heretic, and he will be dead, unscorched, instantaneously. It is
+useless. Herrerruelo will not speak that word. The fire is lighted. The
+logs crackle and blaze. We can hardly see the victim’s form. No groan
+nor sigh escapes him. But on his face, says one close to him, is stamped
+the extremest sadness that ever human being knew. Is it for yourself,
+Castilian of the old Roman mould? Nay, rather, I think, for your country
+which you see perishing beside you slowly but inevitably on the pyre of
+fanaticism and superstition.</p>
+
+<p>It is over. The integrity of the faith of Spain has been vindicated. But
+the heroism of Herrerruelo soon finds imitators. His wife follows him to
+the flames a few years later.<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> Philip <small>II.</small> himself comes to assist at a
+superb act of faith which demands another holocaust. He solemnly swears
+to defend the faith and to enforce the decrees of its tribunal. ‘And you
+leave me to burn?’ is the bitter reproach a Veronese gentleman among the
+doomed men dares to address to the king. ‘Ay,’ says Philip, ‘I would
+bring the wood myself to burn my own son were he a heretic.’ There was
+thus something of the Roman spirit on both sides. The brave Italian’s
+fortitude so inspires a fellow-sufferer that he leaps gaily into the
+flames, calling for wood, more wood.</p>
+
+<p>The shame of the Inquisition rests not on the Spanish people. The
+citizens of Valladolid were kept in check on these dreadful occasions
+only by large bodies of troops. Torquemada, the Grand Inquisitor, dared
+not go forth without an armed escort of two hundred and fifty men. The
+Spaniards of to-day, with few exceptions, refer to the institution with
+expressions of abhorrence, startling even to Protestant ears. But it
+must be admitted that some writers more or less half-heartedly attempt a
+defence. Don J. M. Quadrado observes that the Holy Office saved the
+country from the horrors of religious wars, to which the obvious
+rejoinder is that the wars<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> of religion, judged by their results, proved
+less disastrous to France, Germany, and Switzerland, than the policy of
+repression proved to Spain, and that the religious unity of other
+countries, such as Italy and Austria, has been preserved with
+comparatively little physical suasion.</p>
+
+<p>We will leave the Plaza Mayor, this bright place with such gloomy
+memories, and see what monuments Faith has raised of a more honourable
+and durable kind. We cross the prettily named Place of the Golden
+Fountain, and the Plaza del Ochavo, where Alvaro de Luna died, and a
+little farther on find the Cathedral of Valladolid.</p>
+
+<p>This church was begun in 1585, by order of Philip <small>II.</small>, and replaced the
+old Iglesia Mayor founded by Pedro Ansúrez. The work was intrusted to
+Herrera, the architect of the Escorial, but his plans were never fully
+carried out, and the cathedral remains to-day unfinished, and also
+unfortunately marred by Churriguera and his disciples. The style of
+Herrera very eloquently expressed the temper and spirit, if not of the
+Spain of his day, certainly of his sovereign. The model of the church is
+to be seen in the muniment room. It is cruciform, the nave and transept
+to be flanked with aisles and chapels, the crossing to be surmounted<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> by
+a dome, and a tower to be at each of the four corners. Only one of the
+towers was ever finished, and that collapsed in 1841; it is now being
+rebuilt. Street, who is very severe on all non-Gothic buildings in
+Spain, says that ‘nothing could ever cure the hideous unsightliness of
+the exterior. Herrera’s west front was revised by Churriguera in the
+eighteenth century, and cannot therefore be fairly criticised; but the
+side elevation remains as Herrera designed it, and is really valuable as
+a warning. Flying buttresses were, of course, an abomination; so in
+their place he erected enormous solid buttresses above the aisles to
+resist the thrust of the nave vault. They are shapeless blocks of
+masonry, projecting about forty feet from the clerestory wall, and
+finished with a horrid concave line at the top.’</p>
+
+<p>The interior is not wanting in majesty and massiveness. Only the nave,
+with its aisles and chapels, has been completed. The huge piers carry
+bold arches, separated by a broad cornice from a plastered and panelled
+groined ceiling. The walls are destitute of ornament, but over the
+arched entrances to the chapels runs an open gallery with balustrades.
+The aisles have been obstructed by ‘provisional chapels,’ which<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> Herrera
+would have indignantly swept away; and the choir, which he intended to
+place behind the High Altar, is now placed so as to block the best view
+of the nave. The Capilla Mayor, placed in the crossing, is in bad taste,
+with innumerable doors and tribunes piercing its walls. One cannot but
+agree with the Spanish writer who says that nothing is wanting to
+destroy the impression of ‘a grand whole,’ which Herrera was especially
+anxious to create.</p>
+
+<p>The choir stalls, mostly from the convent of San Pablo, were designed by
+the architect, and display some fine inlay work. The remainder are in
+the Gothic style, and come from the old church. The chapels contain
+nothing worthy of note, except a picture by Lucas Jordaens, and the tomb
+of Count Pedro Ansúrez, whose remains were brought here from the church
+he founded. A very poor effigy represents the hero, whose merits are set
+forth in rhymed verse.</p>
+
+<p>In the sacristy is one of the finest specimens of the metal-work for
+which Spain has always been renowned. The solid silver monstrance, by
+Juan de Arfe, is 6½ feet high, and weighs upwards of 150 lbs. It is in
+the shape of a temple in four stories, two of which are octagonal, and
+two circular. Statuettes of Adam and Eve, and a<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> relief of the mystery
+of the Conception, adorn this exquisite work, for which the artificer
+received 44,000 reals.</p>
+
+<p>Adjacent to the cathedral are some remains of the Iglesia Mayor, founded
+by Pedro Ansúrez, and rebuilt in the reign of St. Ferdinand. A doorway,
+still standing, and the various scattered pillars are in the Romanesque
+style, but there are also traces of Gothic work. A cloister existing at
+the end of the sixteenth century is described as one of the finest in
+Spain, containing many sculptures, all coloured, and tombs of notable
+people. Part of this cloister has gone to form a room called the
+Library, but that it still contains books I was unable to ascertain.</p>
+
+<p>The Iglesia Mayor is said to have been built at the same time as the
+church of Santa Maria la Antigua, on the other side of the square, and
+both by Count Ansúrez. Comparing conflicting testimony, and the opinions
+of various architects, the conclusion would appear to be that the church
+was founded before the Count’s time (for it is mentioned in documents as
+far back as 1088, and was in his day called the Ancient), and that the
+existing fabric dates mainly from the reign of Alfonso <small>IX.</small>
+(1230-44)&mdash;not from the<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> time of the alleged restorer, Alfonso <small>XI.</small> Santa
+Maria is, beyond doubt, the most interesting church in the city. Its
+lofty steeple, with tiled roof and semicircular windows in all its four
+stages, is one of the few prominent landmarks of the wayfarer to
+Valladolid. The side apses are Romanesque, but the nave terminates in an
+apse, Gothic in style, and pierced with lancet windows. The buttresses
+taper off into graceful finials, with crockets and gargoyles. The main
+apse and transept are both pierced near the roof with an elegant
+openwork balustrade. The steeple is thoroughly Lombard in character.</p>
+
+<p>The interior exhibits an interesting blending of the Romanesque and
+Gothic styles. On the outer door, defaced by a modern portico, formerly
+hung the knockers wrenched off the gates of the Mezquita at Cordova by
+the first Count Armengol. The mouldings of the arch are Romanesque, but
+Gothic is the beautiful groining of the interior. At the west end of the
+church is a gallery for the choir, with stalls and organ. In the days
+when this was built churches were built for the laity, and the clergy
+did not insist on taking up the greater part of the nave, as they did in
+after years. The chapel of the Counts of Cancelada contains some good
+paintings. The most valu<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span>able accessory is, however, the reredos by the
+celebrated Juan de Juni, begun in 1551 and finished in 1557. The work
+betrays an extraordinary degree of skill and vigour, but it is
+over-elaborate and in parts fantastic.</p>
+
+<p>On the north this venerable church is flanked by a very beautiful
+Romanesque cloister of fourteen semicircular arches in three bays. The
+shafts, says Street, are moulded and wrought in imitation of the coupled
+columns of early Italian artists. This cloister, together with the
+steeple, makes up the most picturesque group of buildings in Valladolid,
+and is well worth careful preservation, if not restoration.</p>
+
+<p>We will visit the University on the south side of the square another
+time, and will now thread our way northwards to the Plaza de San Pablo,
+a very interesting site. At the corner of the Calles de las Angustias
+and San Martin is the house where the Andalusian painter Alonso Cano is
+said to have killed his wife. He fled (so we are told) in consequence to
+his native city of Granada, where he became a prebendary of the
+cathedral, and executed his finest work. The church of San Martin is a
+very ordinary seventeenth-century structure; but it was founded soon
+after the resettlement of the city, and pre<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span>serves its steeple, in the
+same style as that of Santa Maria la Antigua, and dating from about
+1200. There was a baseless story that this was originally a Moorish
+watch-tower.</p>
+
+<p>The Dominican monastery of San Pablo was founded in 1276 by Queen
+Violante, the rebellious consort of Alfonso <small>XI.</small> Maria de Molina showered
+favours on the community, whose friendly rivals, the Franciscans, were
+established in the Plaza Mayor. Later on, as we have said, Juan <small>II.</small> made
+the building his home, and died here in 1454&mdash;near to, if not in, the
+odour of sanctity. Here, too, the Cortes often used to sit. The present
+building may be considered the creation of Cardinal Juan de Torquemada
+(not the notorious Inquisitor), whose death took place in 1468. The
+façade was constructed in the latter part of the fifteenth century, and
+restored in the seventeenth and nineteenth centuries; it is a debased
+late-Gothic style, the main object of the architects being evidently to
+multiply evidences of their skill. In this they succeeded, for no one
+can question the merit of the execution. The riotous exuberance of the
+decoration renders a description difficult. The doorway is placed within
+an arch of a curious waved line. On either side are shown saints of the
+order, standing on pedestals,<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> with pinnacle-like canopies above them.
+Above the arch is an indifferent relief of the Coronation of the Blessed
+Virgin, attended by Cardinal Torquemada with his patron saints, the
+Baptist and the Evangelist. All this part of the decoration is enclosed
+within an ugly flattened arch. Above is the figure of Christ Enthroned,
+and on each side of Him a trefoil arch containing the figures of the
+Four Evangelists. These arches frame windows with exquisite traceries,
+such as fill the circular window above the Christ. The upper part of the
+façade is in three stages, each filled with figures of saints and
+heraldic devices. ‘Every vacant space,’ says Street, ‘seems to have a
+couple of angels holding coats-of-arms, so that it is impossible not to
+feel that the sculptor and the founder must have had some idea of heaven
+as peopled by none with less than a proper number of quarterings on
+their shields, or without claim to the possession of <i>Sangre Azul</i>.’ The
+arms displayed on the lower part of the façade are not, however, those
+of Torquemada, but of the Duke of Lerma, the favourite of Philip <small>III.</small>,
+by whom the church was restored. Here he celebrated his first Mass in
+the year 1618, having sought refuge in the church from the cares of
+state, or the disappointments of a courtier’s life;<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> and here, too, he
+was ultimately buried. The church was plundered and dismantled by the
+French during the Peninsular War, and the interior is now inaccessible
+to visitors.</p>
+
+<p>On the other side of the Plazuela is the palace built by Lerma on the
+site of the house where Don Carlos was born, and sold by him to Philip
+<small>III.</small> for thirty-seven million maravedis. The façade is simple, not
+undignified, and adorned with the royal arms over the doorway. The
+patio, or inner quadrangle, is decorated with busts of the Roman
+emperors and the arms of the old provinces of Spain. Here, says Ford,
+Napoleon took up his quarters on that memorable visit to Spain which at
+once altered the complexion of affairs. The building is now the
+Audiencia, or Law Court.</p>
+
+<p>Philip <small>II.</small> was born in the house at the corner of the square and the
+Calle Cadesa de San Gregorio, and baptized in the church of San Pablo.
+Except for its associations, the house is uninteresting.</p>
+
+<p>Next to San Pablo is the Colegio San Gregorio, built by Alonso de
+Burgos, Isabel the Catholic’s Confessor, in remembrance of his student
+days at the former establishment. The work, elaborate as it is, occupied
+only eight years&mdash;1488 to 1496.<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> The architect, Matias Carpintero, for
+some unknown reason committed suicide before its completion in 1490. The
+façade of the main entrance resembles that of the older foundation. The
+design displays more originality, but the execution is by no means as
+good. The lintel and jambs of the square doorway are decorated by a
+relieved pattern of fleur-de-lys, and enclosed within an arched canopy
+of fanciful outline. On either side of the doorway are statues of wild
+men&mdash;possibly an allusion to the discovery of America&mdash;and over the
+lintel a relief represents the founder kneeling before the patron saint.
+From the canopy, twisted tapering pillars soar upwards and divide the
+upper stage into three parts. The middle one is occupied by the relief
+of a pomegranate tree springing from a basin, and sheltering children
+and birds among its branches; it supports the coat-of-arms of Ferdinand
+and Isabel. The lateral divisions contain figures supporting
+escutcheons, the whole being ‘even more extremely heraldic in its
+decorations’ than San Pablo. The open-work, cusping at the top, looks as
+if made of coarse wicker-work, and is happily fast disappearing under
+the corrosive effects of frost and rain. The interior of San Gregorio
+wearies the eye with its excess of<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> heraldic decoration. The inner
+court, notwithstanding, is noble and spacious, with a double gallery of
+six arches on each side springing from spirally-fluted columns. The
+fleur-de-lys appear on the arms of the founder; the yoke and sheaf of
+arrows are the well-known devices of the Catholic kings. The chapel was
+stripped by the French of all of value that it contained, including the
+sepulchral effigy of Alonso de Burgos. The college is now one of the
+municipal buildings.</p>
+
+<p>The secularised church and convent of San Benito on the west side of the
+town were founded by Juan <small>I.</small> on the site of the old Alcazar, in
+reparation for a Benedictine house destroyed by his father. The actual
+fabric was commenced in 1453, and hardly completed three centuries
+later. The plan of the church reminds one of Santa Maria la Antigua. The
+interior is lofty and impressive. There are two choirs&mdash;one in the
+western gallery, and the other, as usual in Spain, in the middle of the
+church, and enclosed by brick walls. The church was very strongly built,
+and is, appropriately enough, occupied by the military.</p>
+
+<p>In the church of La Magdalena is buried Bishop Pedro de la Gasca, who
+recovered Peru for the monarchy from the clutches of Pizarro.<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> His tomb
+in the centre of the transept was chiselled by Esteban Jordán in 1577.</p>
+
+<p>The other churches of Valladolid hardly repay a visit. We may now turn
+our attention to the University, close to the Antigua Church. Founded in
+the eleventh century, this institution rose into importance only on the
+decline of the University of Salamanca. The statues of its
+patrons&mdash;Alfonso <small>VIII.</small>, Alfonso <small>XI.</small>, Juan <small>I.</small>, and Enrique <small>III.</small>&mdash;surmount
+the grotesque and extravagant façade, which is in the worst baroque or
+Churrigueresque style. Older and more interesting are the English and
+Scots Colleges. The former was founded by Sir Francis Englefield in 1590
+or thereabouts, for the education of young Englishmen for the Catholic
+priesthood. The Scots College is an analogous institution, founded by
+Colonel Sempill at Madrid in 1627, and transferred hither in 1771. The
+Irish College is at Salamanca. Both seminaries are still resorted to, to
+some extent, by youths from the United Kingdom, though a novitiate in
+Valladolid might not seem an adequate training for parochial work in
+English cities or Highland glens.</p>
+
+<p>Sculpture is the art that has been least cultivated in Spain.
+Exceptional interest attaches,<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> therefore, to the Museum of Valladolid,
+which contains a valuable collection of the works of native sculptors,
+or rather carvers. The building itself is the old College of Santa Cruz,
+built in 1486 by the famous Enrique de Egas, and intended by the
+founder, Cardinal Mendoza (<i>el tercer Rey</i>) to harbour impoverished
+genius. The exterior is surmounted by a balustrade, and strengthened
+with buttresses tapering into pinnacles. The principal façade is a fine
+example of Plateresque work, with much that is Gothic about the detail.
+The coats-of-arms of the Catholic kings and of the founder appear, of
+course, in the decoration, and the cardinal is shown adoring the cross
+upheld by St. Helen. The inner court is surrounded by a triple tier of
+galleries, with semicircular arches, octagonal pillars, and elegant
+balustrades.</p>
+
+<p>Within these walls have been collected treasures from the demolished,
+dismantled, and disused churches, convents, and palaces of the city,
+many of the objects now here having been removed from their original
+positions by the French and left behind them in the hurry of flight.
+Here we find the retablo executed between 1526 and 1532 for the church
+of San Benito by Alonso Berruguete. Street, who disliked all the<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> works
+of the Renaissance, denounced this altarpiece in unmeasured terms; but
+no impartial critic can deny the beauty of certain of the figures,
+notably those of Abraham and St. Sebastian. In the museum may also be
+seen the choir stalls from the same church, carved by the master in
+1528&mdash;ten years before he designed the <i>silleria</i> of Toledo. The work
+displays marvellous imagination and great delicacy in the execution.</p>
+
+<p>The genius of Juan de Juni, who was living at Valladolid in 1570, is
+best represented by his wooden statue of the Dead Christ, from the
+convent of San Francisco. So ghastly is the realism of this figure, that
+looking at the rigid limbs&mdash;more like those of a gladiator than of the
+Crucified&mdash;we feel that corruption is about to take place, and avert our
+eyes in horror. One is tempted to hold one’s nose, as Murillo is said to
+have done while contemplating a canvas by Valdes Leal. Not less vigorous
+and infinitely more attractive is the noble statue of St. Bruno by the
+same sculptor.</p>
+
+<p>Gregorio Hernandez was the last of the trio of carver-sculptors who
+lived and worked at Valladolid. He was an indefatigable and prolific
+worker, and never doubted that the sole mission of art was to serve the
+purposes of religion. He<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> died in 1636, in Juni’s old house, at No. 37
+Calle de San Luis. He is well represented in this museum. St. Teresa is
+perhaps his best work, but shows his want of vigour as compared with his
+two predecessors. It was Hernandez who unfortunately set the example of
+draping statues with nets and fabrics, since followed with such unhappy
+results.</p>
+
+<p>Few artists on canvas, or in stone or wood, have so well expressed the
+evil passions of the mob as the unknown sculptor of Christ bearing the
+Cross. The multitude is composed, of course, of local types&mdash;of those
+ferocious bravos and audacious picaros who abounded in Spain at that
+time, and whose ugliest characteristics are here caught and rendered
+with astonishing realism. A different genius is exemplified by the
+beautiful statues in bronze gilt of the Duke and Duchess of Lerma, which
+once decorated their tombs at San Pablo. They were begun by an Italian,
+Pompeio Leoni, but completed, it is believed, by another hand.</p>
+
+<p>The pictures in the museum are not of great importance. The Assumption
+and two other works by Rubens are in bad condition, and almost surpassed
+in interest by some pleasing productions of the modern Spanish school.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
+
+<p>Not far from the museum is the house where Columbus died (No. 7
+Cristobal Colon). He came hither on his return from his last voyage in
+1504, and languished here, absolutely neglected by the cold-hearted
+Ferdinand, for eighteen months. From Philip and Joanna he hoped to
+obtain a fuller recognition of his services, and upon their landing in
+Spain he sent them the assurance of his homage and respect. Philip
+acknowledged this in a generous and kindly spirit&mdash;an act which,
+together with his oft-expressed disapprobation of the Inquisition,
+should be remembered to the handsome Burgundian’s credit. But on the
+21st May 1506, Columbus went on a longer voyage than any he had made to
+the Indies&mdash;to the undiscovered country whence no traveller returns. He
+left two sons&mdash;Hernando, who, like his father, lies in the cathedral of
+Seville, and Diego, the ancestor of the present Duke of Veragua.</p>
+
+<p>The house of Cervantes, of which I have already spoken in the historical
+chapter, is in the Calle de Miguel Iscar, leading from the Acero de
+Recoletos to the Mercado.</p>
+
+<p>Interesting old houses are not uncommon in Valladolid. Besides those
+already mentioned are the Casas del Cordon and de los Duendes, built<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> in
+part in the reign of Juan <small>II.</small>; the palace of Fabio Neli, the great
+patron of art and letters in Valladolid, with its classical doorway; the
+archiepiscopal palace, once the residence of the Marquises of
+Villasante; and the house of the unfortunate Calderon, minister of
+Philip <small>III.</small>, in the Calle de Teresa Gil. Berruguete’s workshop may be
+seen near the convent (now barracks) of San Benito.</p>
+
+<p>These memorials of the city’s golden age having been inspected, you may
+ruminate on its past and future (for Valladolid <i>has</i> a future) in the
+beautiful shaded promenades by the Pisuerga or beneath the trees of the
+Magdalena park; and thus refreshed may possibly be ready to investigate
+the archives of the kingdom at Simancas, seven miles away. Considerable
+time and patience will, however, be required, since the collection
+consists of upwards of thirty-three millions of documents, arranged in
+eighty thousand bundles.<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p>
+
+<h2><a name="II" id="II"></a>II<br /><br />
+<span class="spc">OVIEDO</span></h2>
+
+<p class="nind"><span class="smcap">The</span> province of Asturias is, for all men of Spanish blood, holy ground.
+Its fastnesses sheltered the last little remnant of the nation which
+refused to bow before the foreign yoke, its mountains proved an
+impregnable bulwark against the invader. At Covadonga, Spain, beaten to
+her knees, with broken sword and buckler, struck back wildly,
+despairingly. Her adversary recoiled; in that instant she recovered her
+breath, and, rising to her feet, pressed him steadily, stealthily,
+irresistibly backwards. Asturias was not the cradle, but the asylum of
+the Spanish nation. Here, to use familiar expressions, she found
+salvation in the last ditch; she was saved at the eleventh hour.</p>
+
+<p>How dreadful was the peril of the nation we may understand when we read
+that the coast of Asturias itself was overrun by the Moors, and that a
+Muslim governor ruled at Gijon. Only a few glens in the wild Cantabrian
+moun<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span>tains can boast a soil never profaned by the tread of the infidel.
+Oviedo can claim no such distinction. The ground on which she stands
+was, beyond all doubt, within the Moorish dominions. And she was not, as
+it is a very common error to suppose, the first capital of the reborn
+monarchy. It was at Cangas de Onis that Pelayo held his primitive court,
+and to Pravia, nearer the ocean, that Silo transferred the seat of
+government. Not till the reign of Alfonso the Chaste (791-842) did
+Oviedo become the capital of the infant monarchy.</p>
+
+<p>The town was younger even than the kingdom. It sprang up round a
+monastery founded by King Froila <small>I.</small> on the spot where in 760 the Abbot
+Fromistano had dedicated a humble church to St. Vincent. Before the
+monastery was built, the first stones were laid of the famous basilicas
+of the Salvador and of Saints Julian and Basilissa. Alfonso was born
+here, and partly out of affection for his native place, partly perhaps
+from an aversion to the capital of his enemy, Mauregato, he established
+his court here, beside the churches he loved. He girded the town with
+walls, and raised the bishop to the rank of primate of his dominions.
+Sovereign of two of the smaller provinces of Spain, he is said to<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> have
+been emulous of the splendour of his contemporary Charlemagne. He
+endeavoured to restore the state of the old Gothic court. He revived the
+laws, the customs, and the ritual of his ancestors, and imported
+precious woods and marbles from afar for the embellishment of his little
+capital. His successors imitated not only the ceremonial and luxury of
+the Byzantine Emperors, but also their intriguing and methods of
+punishment. Putting out the eyes was as popular a means of ridding
+oneself of an opponent at Oviedo as at Constantinople. Alfonso el Magno
+avenged himself in this way on his four brothers, Veremundo, Nuño,
+Odoario, and Froila, whom he detected conspiring against him. Veremundo,
+notwithstanding, escaped to Astorga, where the inhabitants espoused his
+cause and defended him against his brother. Another conspiracy proved
+more successful, and Alfonso was driven from the throne by his own son.
+One day the dethroned sovereign presented himself before his successor
+and craved a boon. It was to lead the Asturian hosts once more against
+the infidels. The request was granted, and victory, as it had always
+done, attended the old king’s banners. And he had no sooner laid aside
+his arms, than, crowned with laurels in place of a<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> diadem, he passed
+away at Zamora, December 20, 910.</p>
+
+<p>The dominions of Alfonso were dismembered at his abdication, and Oviedo
+for the brief space of twenty years remained the capital of the kingdom
+of Asturias alone. Ramiro <small>II.</small> reunited the monarchy, and at the same
+time transferred the capital to Leon. Oviedo became again the temporary
+seat of government, when Al Mansûr’s ever-victorious host swept over
+Spain, submerging all the Christian conquests, and breaking only against
+the impenetrable barrier of the Asturias. Leon was not restored to its
+rank till the reign of Alfonso <small>V.</small> (999-1027). This second period of
+residence of the kings at Oviedo was marked by the miraculous
+intervention of Heaven on behalf of an innocent man&mdash;if the chroniclers
+may be credited. Ataulfo, Bishop of Santiago, was accused of enormous
+crimes, and, having been summoned to the court, was condemned on
+insufficient evidence by Veremundo <small>II.</small> to be exposed to the fury of a
+wild bull. The prelate, strong in the knowledge of his innocence,
+celebrated Mass, and presented himself in the arena clad in his
+pontifical vestments. The furious animal entered, and lo! at once
+prostrated himself before the devoted man, offering his head<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> and horns
+to be caressed. Nay, more, he threatened the spectators with his fury.
+Amid the plaudits of all, the holy bishop withdrew, and retired to a
+church in the valley of the Pravia, where he died in the odour of
+sanctity. Oviedo was known as the city of the bishops, as it was the
+residence of a great many prelates whose Sees were <i>in partibus
+infidelium</i>&mdash;that is to say, had passed under the control of the Moors.</p>
+
+<p>The history of the city, and indeed of the province, from the tenth
+century onwards, is of scant interest. Asturias was erected by Alfonso
+<small>VII.</small> in 1153 for a brief space into an independent kingdom in favour of
+the Infanta Urraca, his natural daughter by a lady of the province; but
+on her death it was reunited to the monarchy of Castile and Leon. Oviedo
+was too remote from the scene of the long campaign against the Muslims
+and from the later seats of government to take any prominent part in the
+nation’s affairs. But it did not escape the assaults of the French in
+the Peninsular War. The town was remorselessly sacked by General Bonnet,
+in spite of a resistance not unworthy of the posterity of Pelayo’s
+unconquerable warriors.</p>
+
+<p>A quiet, clean city, swept unceasingly by wind<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> and rain, Oviedo at
+first sight recalls but faintly its glorious past. Yet when we look
+carefully about us, we find that time has been kind to those early
+sanctuaries which were the cause of the town’s existence, and which have
+merited for it the title of ‘the holy.’ Approaching more as a pilgrim
+than a critic, in no sceptical frame of mind, you will find few places
+in Spain more deeply interesting. And though it is neither the oldest
+nor the most interesting architecturally of the local monuments, your
+steps will turn at once to the Cámara Santa, attached to the
+cathedral&mdash;the Palladium of Spain.</p>
+
+<p>In the seventh century (so runs the legend) when the hosts of Khosru
+threatened the Holy Land, an ark or coffer, worked by the disciples of
+the Apostles and full of relics of ineffable sanctity, was conveyed by
+pious hands to Egypt. Thence it was transported to Cartagena, thence to
+Toledo; and when that city in its turn was menaced by the ever-advancing
+Saracen, it was taken by King Pelayo to the cave of Monsagro, ten miles
+from Oviedo. When the chaste king and his architect, Tioda, re-erected
+the basilica of San Salvador, founded by Froila, in the year 802, a
+chapel dedicated to San Miguel, and now called the Cámara Santa,<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> was
+built expressly to receive this venerated reliquary.</p>
+
+<p>This sanctuary is now approached from the south side of the cathedral by
+a flight of twenty-two steps, built in the sixteenth century. We reach
+first the chapel, or ante-cámara, restored if not entirely constructed
+in the reign of Alfonso <small>VI.</small> (1072-1109), and representing the highest
+pitch of development reached at that time by Romanesque art in Spain.
+The roof is groined, and supported on each side by six columns built
+into the wall. Each column consists of two pilasters, rising from high
+pedestal bases, and supporting the statues of two Apostles. These
+figures are expressive, though rude, and the draperies are graceful and
+natural. At their feet are fantastic animals. The capitals of the
+columns are richly and beautifully carved with foliage, and with
+compositions representing scenes from the life of the Saviour and
+combats between men and lions. The capitals of the small pillars at the
+corners of the pedestals are also curious and delicately carved. Over
+the door are three heads in relief, of Christ, the Virgin, and St. John,
+early Romanesque work once painted and then disfigured by whitewash. The
+pavement of hard <i>argamasa</i>, or tessellated work, resembles, as Ford<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>
+remarks, Norman-Byzantine works in Sicily. Beneath is a crypt, or lower
+chapel, dedicated to St. Leocadia.</p>
+
+<p>At the far end of the Ante-cámara is the Relicario, the sanctuary
+actually constructed by Alfonso the Chaste. It measures about 19½ by 17
+feet, and consists of a single low vault with traces of paintings, and
+lighted by a little window in the arch spanning the entrance.</p>
+
+<p>Enclosed within a railing is the <i>Arca</i>, a chest of oak, 7½ feet long by
+3¾ broad, and thinly plated with silver. A Latin inscription of four
+lines on the lid goes to prove that this was the work, not of Alfonso
+the Chaste, but of Alfonso <small>VI.</small>, a conclusion warranted also by the
+Arabic inscription in Kufic characters, in praise of the Most High,
+running round the chest&mdash;a form of decoration not introduced into
+Christian work till after the fall of Toledo. On one face of the ark are
+reliefs of the Twelve Apostles within niches, with the Four Evangelists
+at the angles, and the figure of Christ, supported by angels, in the
+middle. On one side are reliefs of the Nativity, Adoration of the
+Shepherds, and the Flight into Egypt; on the other the Revolt of Satan,
+the Ascension, and the Apostles. The subject of the reliefs on the cover
+is the Crucifixion.<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p>
+
+<p>What this ark contains is a matter for pious speculation. It is reckoned
+rash and impious to attempt to solve the mystery; and it is related that
+when Bishop Sandoval y Rojas, after much prayer and fasting, placed the
+key in the lock, he experienced such horror that his hair rose erect and
+knocked off his mitre! It is extraordinary that Bonnet’s soldiers did
+not attempt to solve the mystery.</p>
+
+<p>On the cover of the Arca are placed smaller reliquaries, beautiful
+specimens of silversmith’s work, which some may think of more interest
+than their contents. These, according to tradition, are the following:
+two thorns from Christ’s crown, and one of the deniers for which he was
+sold; a piece of St. Bartholomew’s skin; some drops of blood which
+exuded from a crucifix profaned by the Jews; a fragment of the rod of
+Moses; one of St. Peter’s sandals; a fragment of the True Cross; and
+certain ivory tablets dated 1162.</p>
+
+<p>Other precious relics are exhibited in the chamber, among them the
+winding-sheet of the Saviour, in a superb box of gold and blue enamel.
+The Cruz de la Victoria was carved of plain oak and carried as a
+standard by Pelayo at Covadonga; it is now encrusted with gold and<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span>
+brilliant enamels&mdash;work executed, as the inscription records, at Gauzon,
+near Oviedo, in the year 908. Another cross, styled the Cruz de los
+Angeles, dates from the times of Alfonso the Chaste, for whom it was
+made, it is said, by two angels disguised as goldsmiths. This precious
+relic is in the shape of a Maltese cross, is set with gems <i>en
+cabochon</i>, and encrusted with gilt filigree-work. In the centre is set a
+precious ruby. On the arms is inscribed the date of the making (808
+<small>A.D.</small>) and an anathema on whomsoever should steal it. It is certainly
+remarkable that this inscription should contain nothing about the
+supernatural workmanship of the cross!</p>
+
+<p>&nbsp; </p>
+
+<p>The cathedral built by Tioda by order of Alfonso the Chaste was pulled
+down in the twelfth century. The foundation of the existing edifice may
+be attributed to Bishop Gutierre de Toledo, who flourished about 1390.
+The work was continued zealously by his successors, but was not
+altogether completed till the sixteenth century was half gone. The west
+front is flanked by towers, only one of which, as so often happens in
+Spain, has been raised above the general roof-level. The southern tower
+is of singular dignity and beauty. It rises to the height of 224 feet,<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span>
+and is divided into five stages, of which three are above the level of
+the aisles. The massive piers on which the structure rests are continued
+upwards in the form of buttresses along the corners, and are fluted,
+moulded, and enriched with canopies, crockets, and ornaments of the most
+elaborate and at the same time tasteful character. The windows are of
+three lights, with good traceries, above the archivolts appearing a kind
+of trefoil ornament. The third stage is girt by a beautiful parapet. The
+fourth stage is rather Renaissance than Gothic in treatment. It is
+flanked by tapering finials, and constitutes the belfry. Here is hung
+the bell named after King Vamba, which dates from 1219. On the topmost
+stage rises the graceful steeple, thickly encrusted with crockets, and
+flanked by pinnacles which seem to be a reproduction of it in miniature.
+No more beautiful church steeple than this is to be seen in Spain, or
+indeed in Europe. Repeated restorations, notably in 1521 and 1728, have
+fortunately left its fairy-like symmetry unimpaired.</p>
+
+<p>The tower, however, unquestionably dwarfs the rest of the front, which
+is composed of a fine portico of three arches, the middle one being the
+highest. This central porch is flanked<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> by statues of Alfonso the Chaste
+and King Froila. Despite these, and the canopied niches in the
+buttresses, the whole front presents a bare and forbidding aspect, not
+devoid, it must be conceded, of majesty. The portico was evidently only
+intended to be the base of the towers, of which, as we have seen, one
+only has been erected.</p>
+
+<p>The interior is harmonious and pleasing. The nave is about twice the
+height of the aisles, with which it communicates through pointed arches.
+The piers are lightly fluted and encircled by simple fillets of foliage.
+Above the arches runs a gallery with a graceful balustrade, and pointed
+openings divided by mullions and containing good traceries. The
+clerestory windows are tall and of six lights, the mullions being bent
+so as to form tracery. On the south side they are filled with good
+stained glass; the northern windows are filled up. The transepts are
+spacious and lighted by wheel windows. There is no lantern over the
+crossing.</p>
+
+<p>The chancel occupies a pentagonal apse at the east end of the nave, lit
+with five stained-glass windows. The retablo, dating from 1440, but
+since restored, is indifferent. The subjects of the reliefs are taken
+from the life of Christ.<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> Near the High Altar are the tombs of various
+bishops, and a fine kneeling effigy of Bishop del Villar, who is buried
+at Segovia. The pulpits are of gilt iron. In the Renaissance chapels
+behind the chancel is the tomb of Bishop Gutierre.</p>
+
+<p>In the transept is a rudely sculptured figure of Christ, believed to
+date from the twelfth century. The shells sculptured on the capital of
+the pillar, against which it stands, refer to the pilgrims who
+frequented this famous shrine.</p>
+
+<p>The choir stalls are richly carved with caprices and scenes, ‘ill
+according,’ remarks a Spanish writer, ‘with the sanctity of the place.’
+But the backs of the lower seats bear representations of Biblical
+characters, which, like the canopies above, are exquisitely carved. The
+organs are Churrigueresque, and the gorgeous Gothic trascoro is in
+hardly better taste. The chapels date mostly from the seventeenth and
+eighteenth centuries, and contain nothing of interest, except the
+alleged body of St. Eulalia of Merida.</p>
+
+<p>Communicating with the north transept is the Capilla del Rey Casto. This
+chapel, founded by Alfonso the Chaste, was entirely rebuilt in the
+eighteenth century by a bishop named Melaz in the worst baroque style.
+This was the pantheon of the early kings of Asturias, and some tombs,<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span>
+probably containing their remains, are certainly here; but the
+inscriptions are merely the result of guess-work. Only one sarcophagus
+can be identified, and that, it appears from the inscription, is the
+resting-place of one Ithacus. Who this personage was, and what he had
+done to merit sepulture in the royal vault, are riddles to which history
+supplies no answer.</p>
+
+<p>The cloister, begun in the fourteenth and finished in the fifteenth
+century, is in good Gothic style. The pointed arches looking on the
+court are divided by four or five slender shafts, which support elegant
+tracery. Among the statues that of Alfonso <small>XI.</small> Is the best preserved.
+The capitals and corbels are curiously and richly carved with such
+subjects as King Favila hunting the bear, the duel of Froila, and what
+Mr. O’Shea very rightly calls ‘a series of comical pictorial reviews of
+the times.’ There are many tombs in the cloister, belonging to various
+epochs, mostly earlier than the fourteenth century. They are of all
+styles, but Don J. M. Quadrado points out that the epitaphs are almost
+uniform in style. The famous Bishop Pelayo’s tomb (died 1153) is here.</p>
+
+<p>The chapter-house is a fine specimen of thirteenth-century architecture.
+The archives<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> adjoining contain some documents and codices of the
+greatest value. Here is preserved the <i>Libro Gotico</i> of the twelfth
+century, a beautifully illuminated manuscript, throwing light on the
+costumes and customs of that day.</p>
+
+<p>The other churches founded by Alfonso the Chaste and his predecessors in
+the town itself have either been demolished or so often restored,
+rebuilt, and renovated, that they cannot be considered worth a visit.
+The earliest foundation of all, San Vicente, was modernised in 1592, and
+is interesting as containing the bones of the Abbot Feijoo, a man
+greatly esteemed by his contemporaries for his learning and sanctity
+(died 1764).</p>
+
+<p>The Gothic church of San Francisco, now attached to a hospital, was
+founded by Fray Pedro, a companion of the great Francis of Assisi
+himself. This is the burying-place of the great family of Quirós, which
+claimed, in a not very reverent distich, to rank in point of dignity and
+antiquity next to the Divinity (‘Después de Dios, la casa de Quirós’).
+In the chancel lies Gonzalo Bernaldo de Quirós the Older, the youthful
+friend of Enrique of Trastamara, who died, wearing the religious habit,
+in 1575. Within a sepulchre upheld by lions which<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> bear escutcheons
+crossed by the bar sinister, are the ashes of another Gonzalo Bernaldo,
+a distinguished illegitimate scion of the house. He is shown clad in
+armour, and at his feet a dog&mdash;symbolical, possibly, of the fidelity and
+tenacity with which he watched over the interests of his family during
+the minority of its chiefs. Close by is the vault of the house of
+Valdecarzana; a modern inscription informs us that during the interment
+of one of that family, a live cow must be present in the church&mdash;why or
+wherefore not being stated.</p>
+
+<p>The church of Santa Maria de la Vega, outside the town, was the chapel
+of a Benedictine nunnery founded by Gontroda, mistress of Alfonso VII.,
+who took the veil here in 1154. She was joined in her retirement, it is
+believed, by her daughter Urraca, sometime Queen of Navarre, and
+afterwards of Asturias. A century later another interesting penitent
+sought an asylum here: Doña Sancha Alvarez, mistress of the greatest
+noble in Spain, Rodrigo Alvarez de Asturias. The two ladies’ tombs lie
+close together. The sarcophagus of Gontroda is adorned with Romanesque
+reliefs of birds, and of hounds chasing deer, in curiously crude and
+conventional attitudes; Sancha’s tomb shows Gothic influence,<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> and is
+sculptured in low relief. The epitaphs extol the virtues and amiability
+of the departed ladies.</p>
+
+<p>&nbsp; </p>
+
+<p>The two most interesting monuments in the district are the ancient
+churches of Santa Maria de Naranco and San Miguel de Lino, both outside
+the walls. The former was rebuilt by Ramiro <small>I.</small>, and is, therefore, well
+over a thousand years old. Attached to it were a palace and baths, every
+trace of which has long since disappeared. The architecture presents
+curious local peculiarities. The church is situated on a slope, and is
+composed of a single nave resting on a crypt or substructure. The only
+entrance is by a porch on the north side, which is on the level of the
+nave and approached by steps. The whole exterior is severe and simple,
+strong buttresses running up the walls to the sloping roof. In the west
+front three stages may be distinguished: the lowest is formed by the
+substructure entered in the middle by a round arch; above this the nave
+terminates in a portico of three round arches, which spring from four
+palm-like pillars with Corinthian capitals; in the middle of the third
+stage is a window of three lights, also round arched. The interior has<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span>
+remained practically unchanged since Ramiro’s day. The chancel and choir
+occupy opposite ends of the nave, and are raised by one and three steps
+respectively above the level of the flooring. Both are shut off by three
+round arches, the middle one being higher than the others; and an arcade
+of closed arches runs along the side-walls of the nave. These arches are
+rudely constructed, and rest upon, rather than spring from, octagonal
+capitals, quaintly carved with figures of priests and lions. The columns
+are composed each of four engaged shafts, of the same pattern as those
+of the western portico. The ribs of the waggon-vaulted ceiling spring
+from corbels, beneath which are reliefs representing the two orders of
+society in Asturias in the ninth century&mdash;knights engaged in combat, and
+toilers carrying loads. Under these again are circular medallions,
+filled with conventional foliage, and having in the centre reliefs of
+lions and birds. The church was probably intended to be open at both
+ends, as it is now, that the congregation assembled on the hillside
+might be able to assist in divine worship. It is one of the most
+valuable architectural monuments of Spain.</p>
+
+<p>The little basilica of San Miguel de Lino was<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> built near Santa Maria by
+King Ramiro about the year 850. The name was originally <i>de ligno</i>,
+<i>i.e.</i> of the wood, and was derived quite possibly from a fragment of
+the True Cross preserved here. Here we have a cruciform church in
+miniature, with transepts, lantern, and apsidal chapels, of a height
+which seems out of proportion to their other reduced dimensions. The
+apsidal chapels formed a semicircle at the foundation, but have been
+squared off since. The roofs are tiled and pitched. The buttresses
+resemble those of the Naranco church. The walls are pierced, here and
+there, with windows of three lights, with round arches, columns spirally
+fluted, and columns cut into leaves; above these is an elaborate
+geometrical tracery, suggestive of Moorish influence. The jambs of the
+round-arched western porch are rudely carved with curious groups. One of
+these is irresistibly grotesque. A man is shown balancing himself with
+his hands on the top of a pole and his legs in the air, exactly like the
+familiar monkey on a stick of our childhood; with head downwards, he
+grins into the jaws of a lion, which stands on its hind legs agape with
+surprise or indignation. Behind the gymnast another man appears to be
+indulging in some sort of<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> dumb-bell exercise. This amazing composition
+is averred by some authorities to represent the martyrdom of a saint!
+The floral designs which border it are skilfully, even delicately,
+executed.</p>
+
+<p>The chancel is on a lower level than the nave, which is reached on each
+side by a flight of steps, in a chapel projecting from the transept. The
+lantern has one of the earliest attempts at a domed roof, now
+unfortunately concealed by a later flat ceiling. The columns and arches
+are Byzantine in style, and the capitals carved with rosettes in
+medallions and strapwork. The nave is waggon vaulted and lower than the
+transept.</p>
+
+<p>&nbsp; </p>
+
+<p>The modern buildings of Oviedo present few features of interest. The old
+walls have almost entirely disappeared, and few of the palaces or
+noblemen’s houses date further back than the seventeenth century. The
+University, founded in 1608 by the executors of Archbishop de Valdés, is
+a dignified building in the classical style&mdash;such as one might see in
+any fair-sized town in southern Europe. The Ayuntamiento, uninteresting
+in itself, contains a charter granted by the sixth and confirmed by the
+seventh<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> Alfonso. Those who have had the opportunity of studying it say
+that it illustrates the transition from Latin to Spanish&mdash;just as the
+history of Oviedo illustrates the development of the Goth into the
+Spaniard.<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
+
+<h2><a name="III" id="III"></a>III<br /><br />
+<span class="spc">SEGOVIA</span></h2>
+
+<p class="nind"><span class="smcap">The</span> ancient and beautiful city of Segovia occupies one of those sites
+which men would have chosen for the building of towns as soon as towns
+ever came to be built. We may therefore be sure that the roots of the
+city’s life lie very far back in the past&mdash;an assurance confirmed by the
+name, which bespeaks an Iberian origin. Mediæval writers mentioned this
+as among the towns built by the fabulous King Hispan, whose name, with
+those of his relatives, Iberia and Pyrrhus, is always introduced to
+explain a mystery or to adorn a tale. To the Romans the place was known
+as Segobriga; and that it was a flourishing and important colony the
+great aqueduct, the most famous of its monuments, remains to this day to
+attest. We may assume the town under the Roman yoke was happy, for it
+had no history&mdash;at least, nothing of it has reached us. There were
+bishops on these barren heights in early times, for they are referred to
+by name as<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> attending councils at Toledo in the sixth and seventh
+centuries. At the time of the Mohammedan conquest, a hermit called Fruto
+rallied the Christians in the fastnesses of the mountains and kept alive
+in them the Christian faith and traditions. This holy person was the
+brother of the martyrs Valentin and Engracia, whom the Moors put to
+death. This the hardened infidels did, the chroniclers assure us, in
+spite of miracles which might have converted Mohammed himself; for the
+Segovian saints cleft mountains asunder with the stroke of a knife, and
+produced fountains from the solid rock with the touch of a wand; while a
+mare, to whom the Eucharist had been offered as food, dropped on her
+knees in adoration. It is clear that in after years the Christians of
+Segovia enjoyed the liberty of worship that the Muslims of Spain
+everywhere conceded to their subjects; for we hear of a bishop, Ildered,
+governing his flock here in the year 940. In the following century it
+was included within the dominions of the Amir of Toledo, and on the
+downfall of that monarchy was annexed to the growing kingdom of Castile.</p>
+
+<p>Like Salamanca and Avila, Segovia was repeopled at the instance of Count
+Raymond of Burgundy, chiefly by Gallegos from the north-<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span>west. It
+received its first charter from Alfonso <small>VI.</small> in 1108. Thereafter its
+citizens were always to be found in the fighting line. Tradition avers
+that Madrid was recovered from the Moors by the Segovians; and their
+chiefs on that glorious occasion were Dia Sanz and Fernán Garcia, whose
+descendants for many years after divided the government of the city
+between them. But the chronicles register a very black stain on the
+city’s fame: the assassination by the townsfolk of Alvar Fañez, the
+illustrious brother-in-arms of Alfonso <small>VI.</small>, at Easter, 1114. Four years
+later, the Segovians took the side of Alfonso <small>VII.</small> against his mother,
+Queen Urraca, and were rewarded by the reconstitution of their town into
+a bishopric.</p>
+
+<p>The history of Segovia differs little from that of other Castilian
+towns. Its citizens shared the glories and the hardships of the
+ceaseless campaigns against the Moors, and did not hold aloof from the
+equally numerous civil wars that distracted the kingdom. In 1295 they
+refused submission to the young king, Fernando <small>IV.</small>, and his mother,
+Maria de Molina. The brave queen forced her way into the town, and found
+the gates shut behind her. Undismayed, she harangued the stubborn
+townsmen. ‘Open your gates,’ she cried, ‘and I will go with my son to<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span>
+more grateful and obedient towns; where vassals are less easily deceived
+by intriguers, and where mother and son are not separated!’ The people
+were moved by her reproaches, and, admitting the king, escorted both in
+triumph to the Alcazar.</p>
+
+<p>The minority of Alfonso <small>XI.</small> (1320) was attended by sanguinary disorders
+in the streets of Segovia. Every church and house became a fortress, and
+the rival factions stormed and laid siege to each other’s strongholds
+within the narrow compass of the city walls. In 1368 the nobility held
+the Alcazar for Enrique of Trastamara, whilst the commons held the town
+for Pedro the Cruel; but the Gracious King, after the death of his
+half-brother at Montiel, visited Segovia and won all hearts. A hundred
+years later the town was distinguished by its loyalty to the wretched
+Enrique IV., who here betrayed his own daughter, Juana, by a
+reconciliation with his sister, Isabel. Not content with this, he
+appeared in the streets, leading by the bridle the palfrey of the woman
+who denied his own child’s legitimacy.</p>
+
+<p>The townsfolk, at the beginning of the reign of Charles <small>V.</small>, threw in
+their lot with the Comuneros; but the Alcazar throughout the rising was
+held by the royal forces. The<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> King-Emperor and his successor, like
+their predecessors, frequently sojourned in the old palace-fortress.
+Later on, it was often used as a state prison. The famous Ripperdá, the
+Dutch adventurer, passed a portion of his captivity here; and the
+Marquis of Ayamonte was confined here prior to his execution in 1648.
+The establishment of the court permanently at Madrid, and the building
+of La Granja by Philip <small>V.</small> in 1721, diminished the importance of Segovia
+as a royal residence. In few countries have the larger provincial towns
+loomed more conspicuously in the past than in Spain, and in few are they
+nowadays more decayed and bloodless. Segovia remains, as Antonio
+Gallenga described it, ‘an unmatched picture of the Middle Ages. You
+read its history on the old city walls with their eighty-three towers;
+in the domes and belfries of its churches; in the bare and blank ruins
+of its deserted monasteries; in the battlemented towers of its noble
+mansions.’</p>
+
+<p>The town stands high and bravely on the mountains, its flanks washed by
+two clear streams, Eresma and Clamores. The towers and domes rise
+sharply against the clear sky, high above the surrounding hills; an
+island of<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> the air Segovia seems as you catch sight of her from the
+dusty plains of Old Castile. Even as clouds in their fantastic
+formations take the semblance of far-away cities, so at certain hours
+from afar off you might take this to be just such a cloud-town. And when
+you draw nearer you find the valleys are cool and green, and that the
+tall trees flourish here and do not wither as in the plains round Burgos
+and Valladolid.</p>
+
+<p>&nbsp; </p>
+
+<p>Coming from La Granja, the first you see of Segovia’s wonders is
+fittingly by far the oldest. The aqueduct dates, it is believed, from
+Trajan’s reign, and is the most considerable of the Roman remains of
+Spain. In the Middle Ages, like most other classical works, it was
+attributed to diabolical agency, and is still often called El Puente del
+Diablo. Beginning at the Fuente Fria in the Sierra Guadarrama, ten miles
+away, with many zigzags it passes over hill and dale, and at last spans
+the deep valley before the city, and is carried across the streets to
+the Alcazar. It is built of granite with black veins, hewn in great
+blocks, which are pieced together without mortar or clamps. Every block
+is visible on one side or another. For the distance of nine hundred
+yards the aqueduct is carried on one hundred and<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> nineteen arches,
+varying in height from twenty-three to ninety-four feet. For a third of
+this length the arches are in two tiers. The work is devoid of
+ornamentation, except for the remains of a cornice. All is not Roman
+work. The aqueduct was partially demolished in the eleventh century
+during a siege by the Moors, and when Queen Isabel the Catholic
+determined to restore it, thirty-six arches between the convents of La
+Concepcion and San Francisco had fallen in. The restoration of these was
+intrusted, on the recommendation of the Prior of El Parral, to a young
+monk of that house, named Fray Juan Escovedo, who performed his
+difficult task with remarkable skill. Indeed, it is not easy to
+distinguish the Spaniard’s work from the Roman’s. Escovedo died in 1489.
+The only reward he received for his labours was the timber of the
+scaffoldings.</p>
+
+<p>Some of the arches have been for centuries embedded in the city walls.
+The work, though severe and imposing, is not perhaps equal to the Pont
+de Gard, or even to certain other Roman remains in Spain. Yet nothing
+could be more curious, or, in a sense, more picturesque, than the views
+of the quaint old houses framed by its arches, or grander than these as
+seen from San Juan,<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> or towering above the Plaza Mayor. Their height is,
+of course, magnified by the hovels clustering at their bases, in
+comparison with which the aqueduct appears rather the work of Cyclopes
+than of men. And through these arches, as through a gate of triumph, we
+pass into the mediæval city.</p>
+
+<p>Yet this is not the only monument of classical antiquity in Segovia. The
+rude figure of Hercules about to slay the Erymanthine Boar was
+discovered in the interior of the tower of Santo Domingo el Real, which
+became the property of the Dominican nuns in 1513. The demigod, to whom
+the foundation of so many Spanish cities has been ascribed, was no doubt
+worshipped here.</p>
+
+<p>&nbsp; </p>
+
+<p>This ancient town of warlike people is surrounded by high walls, reared
+by the settlers of Count Raymond in the eleventh century, though the
+Alcazar, the ‘Casa de Segovia’ (adjoining the fine old Puerta de San
+Juan), and the ‘Tower of Hercules’ just mentioned, all forming part of
+the enceinte, may have been in the first instance of Roman origin. The
+wall is strengthened by bastions and towers of various shapes&mdash;square,
+round, and polygonal&mdash;some with brick<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> archings and ornamental courses
+of brick and plaster. The wall and towers preserve their battlements.
+The ‘allure,’ or rampart walk, is in parts so narrow as hardly to permit
+of safe walking. Among the most picturesque gates is that of San Andrés.
+It lies between two towers, one square, the other larger and polygonal,
+and crowning the very edge of the declivity; from one to the other runs
+a gallery, supported by a semicircular arch. This gate was restored by
+Ferdinand and Isabel, and at one time afforded ingress to the Jewry of
+Segovia. The masonry of the adjoining wall resembles that of the
+aqueduct close by, and may possibly be a fragment of the Roman
+fortifications.</p>
+
+<p>Segovia, we are often reminded, looks like a ship in full sail towards
+the west; and the Alcazar is at the prow. Whether or not it occupies the
+site of a Saracen or Roman work, there can be no doubt that the present
+structure was founded by the conqueror of Toledo, Alfonso <small>VI.</small>, at the
+end of the eleventh century, and was remodelled and enlarged by Juan <small>II.</small>
+in the fifteenth. Much of it is now entirely modern, the interior of the
+fabric having been completely restored after the fire of 1862. For all
+that, this citadel of Segovia remains a fine typical castle<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span> of Castile,
+the castle-land. The massive Torre de Juan Segundo forms the east part
+of the building. Its four sides are furnished with the bartizans
+characteristic of Spanish castles, which spring out of the wall at about
+half its height, and rise considerably above the battlements. Between
+them runs a machicolation carried on corbels. The windows in this
+magnificent tower are sheltered by quaint stone canopies; and the whole
+façade is covered with plaster, on which Gothic tracery has been stamped
+with a mould as at the Alhambra. The interior is vaulted, and has three
+floors.</p>
+
+<p>Around the inner court were disposed the royal apartments, which indeed
+still exist, though the fire and consequent restoration have shorn them
+of most of their beauties. Don J. M. Quadrado, who saw them before the
+catastrophe, declares they were of magical splendour. A curious story is
+associated with the Sala del Cordon. In 1258 the learned king, Alfonso
+<small>X.</small>, discoursing at the Alcazar as was his wont with a party of sages,
+remarked, like Lafontaine’s Garo, that if the Creator had consulted him
+he would have turned out a better world; others have it that he declared
+his belief that the earth revolved round the sun, and not the sun round<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span>
+the earth. Whatever he said, he was rebuked for his profanity by Brother
+Antonio, a Franciscan. But the king hardened his heart. That very night,
+as he lay in bed, a thunderbolt came crashing through the ceiling, and
+sent him quaking and beseeching absolution to the feet of the friar. In
+memory of this event he decorated the walls of this apartment with the
+cord or girdle of St. Francis, which perhaps as a member of the lay
+‘Third Order’ he was entitled to wear.</p>
+
+<p>Passing through the handsome Sala del Trono, we reach the Sala de los
+Reyes, adorned before the conflagration with an ancient and valuable
+series of effigies of the early kings of Leon and Castile. From one of
+the windows Pedro, a son of Enrique <small>II.</small>, fell out of the arms of his
+nurse, and was dashed to pieces on the rocks below. The woman, rather
+than face the king’s anger, threw herself after her charge and met the
+same fate.</p>
+
+<p>The part of rock at the western extremity of town and citadel is
+defended by the strong Torre de Homenage, which was held for Isabel the
+Catholic by Andrés de Cabrera in 1476 when the rest of the fortress had
+been seized by the partisans of Juana. In 1507, on the contrary, it
+offered a vigorous resistance to the same Cabrera,<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> to whom, however,
+the garrison surrendered on May 15. The tower is surmounted and
+strengthened by seven turrets. The irregular disposition of these
+<i>cubos</i> and <i>torreones</i> (round towers and bartizans) round the four
+sides of a keep is a peculiarity of Spanish military architecture. Here
+they used to be crowned with peaked roofs of slate, probably like those
+that lend such a bizarre appearance to the palace at Cintra. This
+feature, like the plaster-work on the façade, shows distinct Moorish
+influence, and encourages the belief that the castle was modelled on
+that of the Muslim lords of Toledo.</p>
+
+<p>We have seen how important was the part played in the history of the
+kingdom by this grand old citadel. I must not forget to mention that Le
+Sage places here the scene of the confinement of Gil Blas before his
+marriage; but as is well known, the author of the most famous of
+picaresque romances never set foot south of the Pyrenees.</p>
+
+<p>&nbsp; </p>
+
+<p>The space to the east of the Alcazar was formerly occupied by the old
+cathedral, built in the twelfth century, and totally destroyed by the
+Comuneros in 1520. It was determined to erect the new cathedral on a
+more convenient site, and<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> on the 8th June 1522 the Bishop, going in
+procession, laid the foundation-stone of the existing building on the
+west side of the Plaza Mayor. The plans were drawn by Juan Gil de
+Hontañon, and are very similar to those of the new cathedral at
+Salamanca, of which Hontañon was architect, though he is said to have
+used another’s designs. Street thinks (and few will disagree with him)
+that this is the finer cathedral of the two, chiefly because its eastern
+end is semicircular and not square. It is one of the very latest Gothic
+cathedrals, and is on the whole a beautiful building in fine warm-hued
+stone. The plan is that of an oblong, rounded at the eastern end; or, to
+be more precise, it includes a nave with aisles, into which on both
+sides open chapels placed between flying buttresses, and a chevet with
+seven polygonal chapels. The choir occupies the customary position in
+the middle of the nave. A cupola, 220 feet high, rises over the
+crossing. The length of the church is given as 330 feet, the breadth as
+158 feet, the nave being 44 feet across, the aisles 30 feet.</p>
+
+<p>The west front is divided by buttresses into five compartments,
+corresponding to the nave, aisles, and rows of chapels, both in width
+and in elevation. The three entrances are enclosed<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> within pointed
+arches. The ornamentation is restrained and pure. At the southern corner
+the front is flanked by a square tower 345 feet high and 35 feet in
+area, with six rows of windows enclosed within arcades and all blinded
+except those of the belfry. The angles of the platform are adorned with
+pinnacles, and the tower is surmounted by an octagonal clock-story.
+Higher than the Giralda of Seville and broader than the Tower at Toledo,
+this structure is a matter of legitimate pride to the Segovians.</p>
+
+<p>The rest of the exterior closely resembles that of Salamanca&mdash;‘the same
+concealment of the roofs and roof-lines everywhere,’ laments Street. The
+outside of the chevet exhibits an excess of ornamental work; it is, in
+fact, a forest of pinnacles. On the south side the façade is partly
+hidden by the cloister and sacristies.</p>
+
+<p>The interior is bright and altogether pleasing. The columns are massive
+and gracefully moulded, and the arches lofty. The nave and aisles are
+lighted by windows filled with beautifully-coloured glass. There is no
+triforium, but instead a balustrade in the flamboyant style in front of
+the clerestory of the nave.</p>
+
+<p>The lantern or cupola over the crossing, and the gorgeous reredos behind
+the High Altar, are<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> quite out of keeping with the general aspect of the
+church. The chancel is enclosed by three very fine iron screens, quite
+Plateresque in character, though executed in 1733. The majority of the
+stalls in the choir were designed for the old cathedral, half a century
+at least before its destruction. The organ on the Epistle side, now
+enclosed in an eighteenth-century case, also came from the old church,
+and was the gift of Enrique <small>III.</small> The rich marble retablo at the west end
+of the choir was given by Carlos <small>III.</small>, and enshrines in a silver
+reliquary the ashes of the local martyrs, Fruto and his brethren.</p>
+
+<p>The chapels are not specially interesting. Those in the chevet are
+exactly alike, and furnished like those in the aisles, for the most
+part, with seventeenth-century retablos. In one (Nuestra Señora del
+Rosario) is buried Doña Maria Quintana, who ended a dissipated life in
+the odour of sanctity on August 16, 1734. Her epitaph runs: ‘Hic vespere
+et mane et meridie laudes Deo reddidit, et vitandi crimina zelo preces
+et lacrymas Juges effudit; hic quam intra chorum psallere secum
+prohibuit, extra chorum fructuose psallere Spiritus docuit; hic tertio
+ab obitu die nondum rigida membra, à juncturis suis jamdiu separata
+quiescunt ossa.<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> An forsan post mortem etiam prophetabunt?’ The chapel
+of St. Hierotio was dedicated to that saint by Bishop Escalzo under the
+false impression that he was the founder of the see. The Capilla de la
+Piedad (fifth in the left aisle) is remarkable for a fine Descent from
+the Cross, a retablo with colossal and expressionful figures, painted by
+Juan de Juni in 1571. In the same chapel is a painting by Alonso Sánchez
+Coello, the Apparition of Christ to St. Thomas, spoilt by injudicious
+re-touching.</p>
+
+<p>On the south side of the cathedral is the cloister, which belonged to
+the old church, and was reconstructed here in beautiful flamboyant style
+by Juan Campero in 1524. It is entered by a fine Gothic doorway, in the
+Consuelo chapel (wherein is the noble tomb of Bishop de Covarrubias). On
+the cross-vaulting of the cloister may be seen the arms of Bishop Arias
+Dávila. We notice the monuments of three of the architects&mdash;Rodrigo Gil
+de Hontañon (died 1577), and his successors, Campo Agüero and Viadero.
+In the chapel of Santa Catalina at the foot of the West Tower are
+contained the remains of little Prince Pedro, with his painted and
+gilded effigy. The superb monstrance preserved in this chapel was
+designed in 1656 by Rafael González. At<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> the northern aisle of the
+cloister may be read this inscription: ‘Aquí está sepultada la devota
+Mari Saltos con quién Dios obré este milagro en la Fonzisla. Fizo su
+vida en la otra iglesia, acabó sus dias como Católica Cristiana, Año de
+1237.’ (Here is buried the devout Maria Saltos, with whom God performed
+a miracle at Foncisla. She passed her life in the other church, and
+finished her days as a Catholic Christian in the year 1237.) ‘The other
+church’ was of the Hebrew persuasion, to which Maria belonged. Accused
+of adultery, and condemned to die by the elders of her community&mdash;which
+was a self-governing body in Spain within certain limits&mdash;she was cast
+from the Peña Grajera, the Tarpeian Rock of Segovia. At the supreme
+moment she was heard to invoke the Virgin of the Christians, and reached
+the ground unharmed. She was baptized, and died, as the epitaph
+testifies, a devout Catholic. The incident may be ranked with the
+remarkable, if not miraculous, escape of the Catholic secretaries at
+Prague, known as the Fensterstürz.</p>
+
+<p>The chapter-house, adjacent to the Western Tower, is a very splendid
+apartment, paved with marble, upholstered with crimson velvet, and
+containing some good engravings, mostly<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> Flemish. An elegant staircase
+leads to the library above.</p>
+
+<p>&nbsp; </p>
+
+<p>At the back of the cathedral is the Plaza Mayor, one of the most
+picturesque squares in Spain. The Ayuntamiento with its Doric columns
+looks strangely out of place, surrounded as it is by old houses with
+projecting upper stories and wooden loggias of a Gothic, almost German
+character. The church of San Miguel may be attributed to Hontañon or one
+of his assistants. It replaces an earlier structure, in the porch of
+which the town council used to meet. In the north transept is an
+interesting triptych, where St. Michael is represented weighing souls.
+Hard by, at the corner of the Calle Ancha and Calle de los Huertos, is
+the old mansion of the Arias Dávila family, with a tall square turreted
+tower, adorned in its lower stages with diapered plaster. Near the
+church of San Martin are another fine tower belonging to the Marquis de
+Lozoya, and the house (now a book-shop) of Juan Bravo, one of the three
+leaders of the Comuneros.</p>
+
+<p>The church of San Martin is approached by a flight of steps, and
+encircled on three sides by a cloister or portico, which was used in the
+twelfth<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> century, at all events, as a burial-ground. The west porch is
+bold and original, with statuary in the jambs of the doorway, and
+capitals carved with birds in couples. The church was originally
+apsidal, but has been frequently restored. The Bravos and Rios, two
+prominent families of Segovia, are buried here; and the tomb of Gonzalo
+de Herrera and his wife in alabaster is in a chapel on the left-hand
+side. The church is surmounted by a modern cupola over the crossing, and
+by an ancient tower placed, oddly enough, over the middle of the nave.</p>
+
+<p>Near the Puerta de San Martin is the Casa de los Picos, which was
+acquired and rebuilt in the fourteenth century by the family of Hoz. It
+seems once to have been known as the Jews’ House, till in the sixteenth
+century its façade was rebuilt with the extraordinary facetted stones
+from which it derives its present name. While in this neighbourhood, the
+few poor remains of the palace of Enrique <small>III.</small> should be inquired for.</p>
+
+<p>Where the Calle Real opens into the Plaza Mayor is situated one of the
+most interesting churches in Segovia. Corpus Christi Church was till the
+year 1410 a Jewish synagogue. In that year a rabbi obtained from the
+sacristan of San Facundo a consecrated Host as a security, it is<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> said,
+for a loan. The street where this impious transaction took place is
+still known as Mal Consejo. The Jews attempted to profane the Sacred
+Wafer in their synagogue, but were scared by awful portents, and
+confessed their crime. Their place of worship was forfeited, apparently
+at the suggestion of St. Vincent Ferrer, and consecrated as a Catholic
+church. It bears a strong likeness to Santa Maria la Blanca at Toledo.
+The nave and aisles are separated by horseshoe arches springing from
+fir-cone capitals, above which runs a series of blind windows. The
+ceiling is of wood. The transept and dome have been added since the
+adaptation to the purposes of Christian worship. The sacristan will
+point out the crack in the wall which occurred at the moment of the
+attempted sacrilege.</p>
+
+<p>Santa Trinidad, on the north side of the Plaza Mayor, is a Romanesque
+church of the San Martin type. It is adjoined like the latter by a
+portico, also used once as a place of sepulture. The apse is lit by
+three windows, below which are others now only to be seen from the
+interior. A lane leads from this church to San Nicolás, close to the
+walls. Here the two apses are each lit by a single window, and over the
+smaller of the two is raised a low tower with two round-<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span>arched belfry
+windows. The secularised church of San Facundo exhibits similar
+characteristics. It contains a not very valuable museum.</p>
+
+<p>Segovia is a Paradise for the ecclesiologist, but so many of the
+churches differ only in the smallest particulars from the San Martin and
+San Millán type that a description of each would be tedious. An
+exception must be made as regards San Esteban, opposite the Episcopal
+Palace, famous for its Romanesque tower, the finest work of the kind in
+Spain. The base of the tower is as high as the nave; the remaining five
+stages are adorned on each side with graceful arcaded windows. The
+angles are splayed off, and up the middle runs a shaft. The tower is
+surmounted by a pinnacle, evidently a later addition, and in very bad
+style. The external cloister of San Esteban is the most beautiful in the
+town.</p>
+
+<p>In the disused church of San Juan de los Caballeros are buried the
+founders of the two great houses of Segovia, Fernán Garcia and Dia Sanz,
+averred by tradition to have been the conquerors of Madrid.</p>
+
+<p>The finest specimen of these early Romanesque churches is to be seen
+outside the south wall. San Millán is said to have been founded by the<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span>
+Counts of Castile in the tenth century, but the present fabric dates
+from the twelfth. The church consists of a nave, aisles, and external
+cloisters on each side, all ending in eastern apses. There is a low,
+square lantern over the crossing, and a modern square tower at the east
+end of the north cloister. The west front is very simple and pierced
+with a round-arched door and four windows. The arches of the cloister
+spring from finely sculptured capitals on double shafts. Street calls
+attention to a local peculiarity in the design of the north and south
+doors. ‘Their jambs consist of shafts set within very bold, square
+recesses; and the number of orders in the arch is double that of those
+in the jamb, they being alternately carried on the capitals of the
+shafts, and upon the square order of the jambs. The effect is good....’
+The interior is well preserved, but daubed all over with whitewash and
+plaster. The church is barrel-vaulted, but may once have had a flat
+timber roof. The capitals of the massive columns are carved with very
+large and striking figures of men and animals. The corbels are adorned
+with masks and caprices, very skilfully chiselled.</p>
+
+<p>&nbsp; </p>
+
+<p>Two other exceedingly interesting churches<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> are also outside the city
+wall, in the valley of the Eresma. Descending by a very steep path from
+the Alcazar to the junction of the two streams, and passing an arch in
+the baroque style, we reach Fuencisla&mdash;the bubbling rock, from which
+water filters. Here a cypress marks the spot where Maria del Salto
+alighted uninjured from the crag above. The neighbouring church, built
+in 1613, contains the shrine of the wonder-working Virgin of the
+Fuencisla. It possesses a fine reredos and iron pulpit. In the convent
+of the Discalced Carmelites are preserved the head and body of the
+famous St. John of the Cross, the spiritual guide of St. Teresa, and one
+of the world’s greatest mystics. You may also see the pictured Christ
+which, it is alleged, spoke to the saint, bidding him ask a favour; John
+asked, as a devout Spaniard of that time might have been expected to do,
+for more suffering and humiliation. The cave in which he retired to pray
+may also be visited.</p>
+
+<p>Proceeding up the valley of the Eresma, we notice the old Casa de
+Moneda, or Mint, built in 1586, which down to 1730 coined all the money
+of Spain. Above it lies the curious little church of Vera Cruz, built in
+1204 by the Knights Templars, more or less on the model of the<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> church
+of the Holy Sepulchre at Jerusalem. It would be difficult to convey a
+clearer idea of the peculiar conformation of this structure than by
+Street’s description: ‘The nave is dodecagonal, and has a small central
+chamber enclosed with solid walls, round which the vaulted nave forms a
+kind of aisle. This central chamber is of two stories in height, the
+lower entered by archways in the cardinal sides, and the upper by a
+double flight of steps leading to a door in its western side. The upper
+room is vaulted with a domical roof which has below it four ribs, two
+parallel north and south, and two parallel east and west, and it retains
+the original stone altar arcaded on its sides with a delicately wrought
+chevron enrichment and chevroned shafts. The upper chapel is lighted by
+seven little windows opening into the aisle around it. A slab indicates
+the position of the supposed sepulchre. The room below the chapel has
+also a dome, with ribs on its under side. On the east side of the
+building are the chancel and two chapels, forming parallel apses, to the
+south of which is a low steeple, the bottom stage of which is also
+converted into a chapel. The chapel in the centre of the nave is carried
+up and finished externally with a pointed roof, whilst the aisle is<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>
+roofed with a lean-to abutting against its walls. There are pilasters at
+the angles outside, small windows high up in the walls, and a fine
+round-arched doorway on the western side.’ The sepulchre is placed on
+the upper story, as at Jerusalem, where the hill of Calvary has been
+included within the church. Note the red crosses recalling the original
+owners, and the fast disappearing paintings on the retablo in the
+chancel. The portion of the True Cross formerly preserved here was
+removed to Zamarramala in 1663, when the old Templars’ Church was
+abandoned so far as religious rites were concerned.</p>
+
+<p>Not far off, in a desolate spot once described as a terrestrial
+paradise, stands the church of El Parral, the chapel of a suppressed
+monastery of the Hermits of St. Jerome. It was founded in 1447 by the
+famous Juan Pacheco, Marquis of Villena, on the ground where he had
+defeated three antagonists in a protracted duel. The architects were
+Juan Gallego and the brothers Guas of Toledo. The plan of the church is
+unusual. The transept is very broad from east to west, and projects but
+little beyond the nave. The chancel is shallow, and its lateral walls
+run slant-wise to the eastern angles of the transept. Most churches of
+the Order of St. Jerome, accord<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span>ing to a Spanish writer, were built this
+way. The effect is good. The nave is practically covered by a western
+gallery, and has but few windows; whereas the transept and chancel are
+flooded with light through six tall lancet windows with statues of the
+Twelve Apostles in their jambs. The contrast of light and shadow is very
+striking and beautiful. The choir or western gallery is carried on
+graceful arches and is handsomely panelled. Over the north-western
+chapel of the transept is the organ loft. The reredos behind the High
+Altar, in five stages separated by columns, was painted in 1553 by Diego
+de Urbina. The tombs of the founder and his wife lie on either side of
+the chancel. Their kneeling effigies, though sadly damaged and defaced,
+remain among the most beautiful examples of Spanish sculpture. Equally
+deserving of praise is the tomb of the Marquis’s natural daughter, the
+Countess de Medellin, in the south transept. The exterior of this church
+is not remarkable. The west front is pierced by a good double door, and
+‘adorned’ with two huge square coats-of-arms; it is flanked by a square
+tower pierced by rounded windows in the belfry story.</p>
+
+<p>Near to a cave where St. Dominic was accustomed to mortify the flesh,
+the Catholic Sovereigns<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> built the church and convent of Santa Cruz, on
+the site of the first monastery of the order. The church has been truly
+described as a debased copy of El Parral. The western doorway is
+elaborate. Over the door, enclosed within a trefoil arch, is a
+Deposition from the Cross, with Ferdinand and Isabel kneeling on either
+side. Above, their escutcheons are displayed on either side of the
+crucifix. The retablo by Herrera, with which Philip <small>II.</small> endowed the
+church, was burnt in 1809, the fire irretrievably damaging the whole
+interior. Santa Cruz has now been converted into a charitable asylum.</p>
+
+<p>Following the line of the city wall, we pass the church of San
+Lorenzo&mdash;a good example of the local style&mdash;once surrounded by thriving
+looms, and re-enter the town by the Plaza del Azoguejo, a picturesque
+space where the citizens love to forgather in the shadow of the mighty
+aqueduct.<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p>
+
+<h2><a name="IV" id="IV"></a>IV<br /><br />
+<span class="spc">ZAMORA</span></h2>
+
+<p class="nind"><span class="smcap">Zamora</span> on the Duero is one of the most picturesque towns in Spain, and
+one of the most celebrated in its annals. It is not well known to
+foreigners, probably on account of it being so difficult of approach.
+Few places bring back so vividly the stirring past of Castile.</p>
+
+<p>The town stands above the Duero on a rocky ridge, the castle and
+cathedral occupying the western extremity. The river is spanned by a
+bridge of seventeen arches, defended near either end by a high
+gate-tower. If the approach is quaint and mediæval, the view from this
+point is even more so. Towards sundown, the spirit of the Middle Ages
+seems to inform the town&mdash;all is sombre, fierce, strong, and venerable.
+The country round seems little better than a desert. From the walls
+above eyes seem to be scanning the horizon for the first gleam of
+hostile lances. Zamora belongs to the days when towns, like men, always
+wore armour. To-day<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> she is broken and war-worn and old; but if her
+sword is rusted and her shield broken, she may well boast it was in the
+service of Spain.</p>
+
+<p>As we jolt over the old bridge, above the weirs of the Duero, and climb
+the steep street that leads into the town, we need no consultation of
+the records to tell us that we are here in the old Castile of the
+knightly days, that we shall find few memories of artists and poets, few
+of statesmen and great rulers, but many of hard fighters and holy
+priests. Zamora is constantly mentioned in the <i>Romancero</i>. We can
+imagine that it was a town towards which Don Quixote would have been
+drawn, but he only spoke of it as famous for bagpipes. Like Burgos and
+Valladolid and Salamanca, it was the creation of the mediæval time, and
+we hear first of it in the ninth century. Alfonso <small>I.</small>, or his son Froila,
+took the town from the Moors. Thereafter, for many years, it continued
+to change hands. The Day of Zamora, famous in Spanish song and story
+(July 9, 901), when nearly seventy thousand Moors were slain or
+captured, assured the possession of the town to the Christians. In this
+terrific engagement Bernardo del Carpio is supposed to have won his
+spurs, though (if he ever existed, or<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> the battle really took place) he
+must have been a hundred years old at the time! Soon after this victory
+the citizens clamoured for a spiritual shepherd, and a hermit named
+Atilanus was given them as bishop. Certain episodes of his youth began
+to trouble the prelate’s mind, and at the end of ten years he laid aside
+the pastoral staff, and declared himself unworthy of his office. He went
+on a pilgrimage, having thrown his episcopal ring into the Duero,
+proclaiming that he would not return till it was restored to him as a
+sign that God had pardoned him. All in the least familiar with folklore
+will, of course, know what happened next. Like the ring of Polycrates,
+like the ring in the arms of Glasgow, the bishop’s amulet was found in
+the body of a fish served up to him at supper. The relief of the good
+man at this unmistakable evidence of the Divine forgiveness, his return
+to his See, and the rejoicings of the inhabitants may be inferred and
+imagined. Atilanus was canonised by Urban <small>II.</small> in the eleventh century.</p>
+
+<p>Of another tremendous victory said to have been won before the walls of
+Zamora in 939 over the pertinacious Moors we need not speak further, for
+it is more than probable that the fight never occurred here at all, but
+at Simancas. There<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> can, however, be no doubt that the place fell before
+the irresistible Al Mansûr in 981, in spite of the brave resistance of
+the commandant, Domingo Sarracino. The Moors repeopled the town, which
+was governed by one Abu-l-Was el Tojibita. It was labour wasted so far
+as they were concerned, for Zamora was soon, and finally, recovered by
+the Spaniards. And now we come to the episode which has secured the town
+so prominent a place in the annals and legendary lore of the country.</p>
+
+<p>Fernando <small>I.</small>, King of Leon and Castile, in response to the importunities
+of his children, on his deathbed divided his dominions between them. To
+his eldest daughter, Urraca, he gave Zamora, to her sister, Toro. The
+disposition of his estates made, the dying king invoked the vengeance of
+Heaven on whomsoever should disturb it; and all present, except his
+eldest son Sancho, responded, Amen. It was not long before this prince
+(now King of Leon and Castile) showed his dissatisfaction with what
+Ford, with a touching faith in the sanctity of primogeniture, calls this
+unjust division. Toro was soon surrendered by Doña Elvira, and, very
+shortly after, the stout-hearted Urraca beheld from these walls the
+hosts of Castile beleaguering<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> her little principality. With Sancho’s
+army was the Cid. With him, the chroniclers assure us, the Infanta was
+in love. If so, these tender sentiments were not allowed to interfere
+with the vigour of the attack and defence, which were both conducted
+with ferocious determination. The siege had lasted seven months when a
+personage called Bellido Dolfos, the son, delightfully enough, of Dolfos
+Bellido, sought an audience of the king. He had fled from Zamora, he
+said, to escape the vengeance of Urraca’s minister, Arias Gonzalo; and
+he would show the king the secret postern in the walls by which he had
+escaped, and by means of which the town could be taken. This audience
+appears to have taken place very close to the walls, for we are told
+that the citizens cried out to Sancho, adjuring him to have nothing to
+do with Dolfos, who had committed four acts of treason already. These
+well-meant hints, naturally enough, confirmed Sancho’s confidence in the
+stranger. On the morning of the 7th October 1072 the two went forth to
+reconnoitre the walls. Dolfos took advantage of the king in an unguarded
+moment, and stabbed him in the back. He then promptly ran towards the
+postern. The Cid, seeing him run, suspected something amiss, and
+mounting Babieca gave chase; but<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span> alas! he had forgotten his spurs, and
+the assassin made good his escape. Sancho was carried back to the camp,
+and before he expired attributed his destruction to his father’s curse.
+The siege was prosecuted with greater vigour than ever by his captains.
+Don Diego Ordoñez denounced the citizens, without exception of persons,
+as felon knaves. Arias Gonzalo and his four sons took it upon themselves
+to vindicate the honour of the town in five successive duels with the
+Castilian. Three of the Zamoran champions were slain by Ordoñez, but he
+was jerked out of his saddle by his dead adversary’s wounded horse, and
+the combat was declared by the judges to be at an end. The venerable
+Arias Gonzalo thus preserved one of his sons, and Castile her champion.
+The accession of Alfonso <small>VI.</small> to his murdered brother’s throne restored
+peace to the distracted kingdom, and left the Infanta in enjoyment of
+her little state.</p>
+
+<p>Zamora is still encircled with massive walls, strengthened with numerous
+round towers. The name of Urraca’s Palace is given to a house, old
+enough to all seeming, close to one of the gates opening near the
+northern end of the Paseo de Valorio; this gateway is flanked by two
+bastions, and above it may be seen the<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> bust of Princess Urraca, with
+the inscription much defaced&mdash;</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">‘Afuera, afuera Rodrigo<br /></span>
+<span class="i0">El soberbio castellano!<br /></span>
+<span class="i0">Acordórsete debiera<br /></span>
+<span class="i0">De aquel buen tiempo pasado,’ etc.<br /></span>
+</div></div>
+</div>
+
+<p>These verses from the <i>Romancero</i> are supposed to have been addressed by
+the Princess to the Cid, and allude, presumably, to the love-passages
+between them. The postern through which Dolfos escaped may be seen in
+the wall farther towards the west. The site of the Cid’s house is also
+pointed out. The tiny hermitage of Santiago in the Vega marks the spot
+of the assassination, and a battered cross on a pillar some distance
+outside the town commemorates Sancho’s exclamation that he would never
+be king till he was lord of Zamora.</p>
+
+<p>The castle from which perhaps Urraca and Arias Gonzalo looked across at
+Sancho’s camp is at the western extremity of the town. During the civil
+wars that disturbed the reign of Alfonso el Sabio, it was held for the
+king by Doña Teresa Gomez, wife of Garci Perez Chirino. Her youngest
+child was captured by the rebels, and to save his life she surrendered
+the fortress. At the time of the disputed succession following the<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span>
+demise of Enrique <small>IV.</small>, the castle was held by the Portuguese in the
+interests of Juana ‘la Beltraneja,’ who held her court here for a brief
+season. The garrison resisted many determined assaults, and capitulated
+on honourable terms only after the battle of Toro, February 1476. In
+after years, and especially during the Peninsular War, the stronghold
+was adapted to the requirements of modern warfare, and has lost, in
+consequence, much of its mediæval character.</p>
+
+<p>Hard by is the cathedral, far away from the centre of the town. When the
+See was restored by Alfonso <small>VI.</small>, Gerónimo, the Cid’s confessor, was
+appointed to it; but he was soon translated to Salamanca (or else Zamora
+was carved out of that See), and was succeeded by another Frenchman,
+Bernard, a namesake and countryman of Bernard, Archbishop of Toledo.
+These foreigners introduced the Romanesque style, of which Zamora must,
+in its primitive state, have been a noble example. The building was
+completed in 1174. To that period belongs the grand square tower at the
+west end of the north aisle&mdash;the most conspicuous landmark of the
+vicinity&mdash;with its three upper stories pierced on each side with one,
+two, and three windows respectively. The tower was designed for defence
+as well as<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> ornament. Over the crossing rises a dome of beautiful
+construction, very Oriental in character, with turrets surmounted by
+smaller cupolas and pierced with rounded windows at its angles. Seen
+from within, this dome is of the ‘half-orange’ type, the ribbing of the
+vault giving it very much the appearance of the sections of the fruit.
+In the sharp fringe of ornament at the angles, Street saw the very
+earliest kind of suggestion of a crocket, and was of opinion that ‘we
+have in England no monument of the middle ages which is one whit more
+precious.’</p>
+
+<p>The cathedral has no west front, and its exterior is, it must be
+confessed, a veritable patchwork of different styles. The Puerta del
+Obispo, facing the Episcopal Palace, in the south transept probably
+dates from the twelfth century. The main entrance is through a
+four-ordered arch with three shafts in each jamb. The capitals are
+roughly moulded and have abaci. Over the lateral doorways (now closed
+up) are rudely-carved reliefs, with dragons and floral devices
+introduced into the decoration. The two odd-looking rosette-like
+ornaments above seem to be models of the interior of the dome. Above the
+three doors runs a gallery of five recessed arches, and over this again
+a blocked-up window.<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p>
+
+<p>The northern entrance, surmounted by a modern clock-tower, is,
+incongruously enough, in the classical style, with a rounded arch. The
+interior of this interesting little cathedral is impressive. We are at
+once struck with the width of the piers (seven feet across) as compared
+with that of the nave, which is only twenty-three feet. The arches here
+are in the Pointed style. The aisles are lower than the nave, and
+supported by broad massive buttresses. There being no western portal,
+that end of the church is occupied by chapels, which give a very
+singular effect to the building.</p>
+
+<p>The High Altar and chancel are in the Gothic style, and owe their
+construction to the absentee bishop Diego Meléndez Valdés, who ruled the
+See between 1496 and 1506. His arms, five fleurs-de-lys, may be seen on
+the railings. The retablo, with its jasper columns and gilded capitals,
+is modern. The subject is the Transfiguration. In the precinct of the
+High Altar is buried Count Ponce de Cabrera, one of the Emperor
+Alfonso’s most distinguished lieutenants. The Altar is in the late
+Gothic style, and must have been erected three centuries after the
+Count’s death. There are good wrought-iron pulpits on each side of the
+chancel.<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p>
+
+<p>The choir was also the work of Bishop Valdés. It occupies the bays west
+of the crossing as usual in Spanish churches, but the bad effect of that
+position is here greatly relieved by the piercing of the western screen
+or <i>trascoro</i> with two elliptical doorways, between which is a painting
+representing Christ surrounded by the Blessed. The fittings of the choir
+are very interesting, and of the same age as the screens. The backs of
+the lower range of stalls are carved with low reliefs of thirty-eight
+personages of the Old Dispensation, from Abel to Nebuchadnezzar,
+Caiaphas, and the Centurion. In their hands are scrolls containing
+texts, very cleverly chosen, of which a list is given in Neal’s
+<i>Ecclesiologist</i>, and reprinted in Street’s <i>Gothic Architecture in
+Spain</i>. The execution is rude, but expressive and painstaking. The upper
+stalls are adorned with full-length reliefs of saints, confessors, and
+martyrs of the New Dispensation, which are more delicately designed and
+finished. Above runs a canopy, sculptured with animal forms. The
+enormous metal lectern and the Bishop’s Throne, with its tapering spire,
+are fine examples of Gothic work.</p>
+
+<p>The chapels are not of special interest. That on the middle of the
+western wall is dedicated<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span> to San Ildefonso, but is more generally known
+as the Capilla del Cardenal, after its founder, Don Juan de Mella, who
+died in 1467. This prelate’s brother, Alonso de Mella, was the founder
+of a sect which seems to have resembled the Anabaptists of Westphalia;
+he was expelled from Castile, and took refuge at Granada, where he was
+put to death by the Moors. The retablo, by Gallegos, is in six
+divisions, the subjects being: San Ildefonso receiving at Toledo the
+chasuble from the hands of the Blessed Virgin, the Discovery of the
+Relics of St. Leocadia, the Veneration of the Relics, and (above) the
+Crucifixion, the Baptism of Christ, and the death of John the Baptist.
+This chapel contains the tombs of the Romero family. In the adjoining
+sacristy are some interesting battle-scenes from Old Testament history.</p>
+
+<p>The chapel of San Juan Evangelista was built with funds bequeathed by
+Canon Juan de Grado (1507), whose fine alabaster tomb is surmounted by
+his recumbent effigy, accompanied by a priest and an angel. Above the
+canopy is an exquisitely chiselled composition representing the
+Crucifixion, with expressive statues of the Apostles Peter and Paul;
+within is a curious but admirable genealogy of the Blessed Virgin,<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span> at
+the base of which is the recumbent figure of an old man, wearing a
+crown, and representing possibly one of the early patriarchs. The
+Capilla de San Miguel is of less interest. It contains the
+sixteenth-century tombs of the canons de Balbas. Of the side-chapels,
+the most notable is that of San Bernardo, rebuilt in the sixteenth
+century.</p>
+
+<p>In the sacristy is preserved a remarkable silver monstrance, six feet
+high, attributed by Ford to Enrique de Arfe. The stand is of later
+construction, and dates from 1598. On the upper part the local saint,
+Atilanus, may be seen, seated with the Saviour and the Virgin.</p>
+
+<p>The original cloisters were burnt in 1591, and rebuilt in the present
+Doric style in 1621 by Juan de Mora.</p>
+
+<p>Under the town walls, close to the cathedral, is the little Romanesque
+church of San Isidoro, noticeable for its extremely narrow windows, some
+mere slits in the masonry.</p>
+
+<p>We pass down the long lane-like street which leads into the town, and
+which in the sixteenth century was the scene of desperate conflicts
+between the Mazariegos and Monsalves, the Montagues and Capulets of
+Zamora. The first church passed is that of San Pedro, rebuilt by<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> Bishop
+Meléndez Valdés, and containing the revered ashes of St. Ildefonso,
+which were discovered here under miraculous circumstances in the year
+1260. The relics of St. Atilanus are also preserved here. Nothing
+remains of the primitive Romanesque structure, except a little apse on
+the Epistle side, and a closed-up doorway in the left wall. The
+originally-distinct nave and aisles were thrown into one at the
+restoration, and form overhead one immense span. The sacristy contains
+some interesting objects&mdash;sacred vessels and altarpieces of the
+sixteenth and seventeenth centuries.</p>
+
+<p>Presently we reach the second most interesting church in the town, La
+Magdalena, a small Romanesque work, said on rather doubtful authority to
+have been built by the Templars about 1312. The southern doorway is very
+large in comparison with the edifice. It is deeply recessed between
+massive buttresses, and formed by a rounded arch with shafts curiously
+moulded and twisted. Street speaks of this as a very grand example of
+the latest and most ornate Romanesque work. The carving on the arches is
+very rich. Above is a large rose window, resembling those in our own
+Temple church. The interior of the church is architecturally but<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> not
+æsthetically more interesting than the exterior. The nave has a flat
+wooden ceiling. The apse is groined, and the chancel has a waggon-vault.
+The stone pulpit against the north wall is a notable piece of work, but
+attention at once becomes riveted on the large canopied tombs at the
+entrance to the chancel. Both are square-topped, with round arches and
+capitals very purely and vigorously carved. They are generally asserted
+to date from the thirteenth century, but an inscription over one
+describes it as the sepulchre of one Acuña and his wife, who died in the
+fifteenth century. ‘The effect of this monument,’ says Street, ‘filling
+in as it does the angle at the end of the nave, is extremely good; its
+rather large detail and general proportions giving it the effect of
+being an integral part of the fabric rather than, as monuments usually
+are, a subsequent addition.’</p>
+
+<p>Another canopied tomb against the north wall undoubtedly dates from the
+earlier period. The capitals of the three twisted shafts are carved with
+the forms of wyverns fighting. The tomb is closed by a stone on which is
+a large cross. The occupant&mdash;believed by some to have been a Templar&mdash;is
+shown on his deathbed, while above him his soul&mdash;represented by a winged
+head&mdash;is<span class="pagenum"><a name="page_101" id="page_101">{101}</a></span> borne away by angels. This interesting work may be attributed
+to a native sculptor acquainted with the art of France and Italy.</p>
+
+<p>Santa Maria la Horta (or de la Huerta), near the river, was modelled,
+like the Magdalena, on the cathedral. Apart from its architectural
+peculiarities&mdash;the western tower, narrow windows, waggon-vaulting of the
+chancel, etc.&mdash;it is of interest on account of the retablos and
+paintings in its chapels. Here, as at the very similar church of San
+Leonardo, the roofing of the nave is not flat but arched, which goes to
+support Don J. M. Quadrado’s belief (opposed to Street’s) that the flat
+roof of La Magdalena is an innovation.</p>
+
+<p>The church of San Juan in the Plaza Mayor is in the Flamboyant style.
+Its most curious feature is a Christ Crucified near the west door,
+surrounded by human skulls built up in the form of a cross. Hard by is
+the early Gothic church of San Vicente, with a noble square tower in
+three stages, and a fine west front.</p>
+
+<p>In a town like Zamora only two kinds of buildings were
+esteemed&mdash;churches and fortresses. Time has spared few important civil
+monuments. The only ancient house of note<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> is that styled the Casa de
+los Momos, of which I give an illustration. The heavy stones forming the
+arch suggest a Castilian architect. The building dates from the
+sixteenth century, as the enormous coat-of-arms over the entrance might
+have prepared us to expect. The Ayuntamiento, or Town Hall, in itself
+devoid of interest, contains some good paintings by Ramon Pedro y
+Pedret, illustrating the history of the city. It will be seen that
+Zamora, like almost every other Spanish town, is entitled ‘most noble
+and loyal’ (<i>muy noble y leal</i>). It is a sombre, fascinating place,
+where the past is more easily recoverable by the fancy than in many
+cities more richly endowed with ancient monuments.<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p>
+
+<h2><a name="V" id="V"></a>V<br /><br />
+<span class="spc">AVILA</span></h2>
+
+<p class="nind"><span class="smcap">Like</span> Stratford-on-Avon, like Assisi, this sombre city in the mountains
+of Castile is the shrine of a single pre-eminent personality. To the
+Spaniard Avila is essentially the city of the great saint&mdash;of Santa
+Teresa, the greatest, perhaps, of Spain’s many great women. And the fame
+of the saint and, therefore, of the city, has spread far beyond the
+limits of the country in which she was born, and indeed outside of the
+church to which her every faculty was devoted. To those (and they are in
+the large majority) who approach Avila as pilgrims, it may seem idle to
+tell anything of its story unconnected with her. At Assisi you wish to
+hear only of Francis, and who cares aught for the Stratford of an
+earlier day than Shakespeare’s?</p>
+
+<p>But Teresa was the product of Avila, and to the making of her character
+all the experience and emotion of her ancestors had contributed. Those
+who would rightly understand<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> her must know something of the breed from
+which she sprang.</p>
+
+<p>The city is one of the forty-three said to have been founded by
+Hercules. It is mentioned, indeed, by Ptolemy, but we know nothing of
+its history previous to the reconquest of this part of Castile by
+Alfonso <small>VI.</small> Avila, like Salamanca and Segovia, arose from the ashes of
+the Moorish empire, and was repeopled and probably rebuilt by the Count
+Raymond of Burgundy. To him we owe those venerable walls, stern yet
+beautiful in their ruddy granite, that girdle the city round. But these
+served, at a very early date, to keep out other than the infidels. The
+annalists tell us that the knights of Avila, returning one day from a
+foray, found that the Moors had ravaged the neighbouring country and
+carried off a multitude of prisoners and much booty. Without hesitation
+the enraged gentlemen gave chase, and though the enemy were in vastly
+superior numbers, they overtook and routed them at Barbacedo, recovering
+most of the spoil and a good deal of additional treasure. But, on their
+return to Avila, the ungrateful commons closed the gates against them,
+and refused admittance to the deliverers of their own wives and children
+unless they were<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> given a large share of the booty. The indignant
+knights refused to surrender the guerdon of their swords, and entrenched
+themselves in the suburbs. Peace was restored only on the intervention
+of Count Raymond, who expelled the churlish townsmen and intrusted the
+government of the city to the knights. During the whole of the twelfth
+century the bitterest animosity continued to prevail between the
+descendants of these antagonists.</p>
+
+<p>Heroines are common in Spanish history. When the town was unexpectedly
+besieged by the Almoravides in the absence of nearly the whole male
+population, the women garrisoned the walls wearing the men’s helmets,
+and compelled the enemy to withdraw. The leader of these Amazons was
+Jimena Blásquez, wife of the governor, Fernán Lopez. Her female
+descendants were privileged, in remembrance of this event, to speak and
+to vote at the council board in the same way as men.</p>
+
+<p>Jimena’s kinsman, Nalvillos, was as unfortunate in love as he was
+fortunate in war. One day he saw Ayesha Galiana, the beautiful daughter
+of the late Moorish king of Toledo. Desperately enamoured, he forgot his
+own betrothal to Galinda Arias, and that the fair infidel had been<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span>
+promised to her countryman, Jenina Yahya. With the favour of the king he
+overcame all these obstacles, and made Ayesha his wife. But she could
+forget neither her old faith nor her old love. Nalvillos’ deeds of
+prowess failed to win her heart; and one day he returned to Avila from a
+victorious expedition to find that the bird had flown. She had returned
+to her first love, Yahya, who had raised the standard of revolt at
+Talavera. The furious Castilian stormed the town, slew the Moor, and
+penetrated to his faithless wife’s bower, only to find her expiring from
+a self-inflicted wound. Nalvillos lived many years after, and fought and
+won many battles. He rose to great distinction in the service of his
+sovereign, but we never hear of his marrying again.</p>
+
+<p>It was in this town, that styles itself <i>del rey</i>, <i>de los leales</i>, <i>de
+los caballeros</i>, that the boy king Alfonso <small>VIII.</small> was placed by the
+Regent, Don Manrique de Lara, to protect him from his uncle, Fernando of
+Leon. But the class rancour of Avila was not unknown to Fernando, who
+stirred up the people of the suburbs against the <i>serranos</i>, or
+aristocratic townsfolk, promising them a share in his new town of Ciudad
+Rodrigo. The knights were victorious, and do not seem<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> to have conducted
+themselves with great generosity towards the vanquished.</p>
+
+<p>The inveterate hostility of the commons did not tend, as it might be
+expected to have done, to unite the threatened ranks of the patricians.
+These prosecuted bitter feuds among themselves, different families
+striving desperately for the mastery. One faction, on being expelled
+from the town, took refuge in a neighbouring castle, where they were
+surprised and cut to pieces by the Moors.</p>
+
+<p>The place was regarded, notwithstanding, as the safest asylum for the
+boy-kings who so often appear in the pages of Castilian history. During
+his minority, Alfonso <small>XI.</small> remained in the custody of the bishop till the
+pretenders to the regency had adjusted their claims to his lordship’s
+satisfaction. In the Civil War of 1367 Avila was on the right side&mdash;that
+of Enrique <small>II.</small>&mdash;and suffered severely in consequence at the hands of the
+Black Prince’s marauding hordes. Here at the Puerta del Alcazar took
+place, at the instance of Carrillo, Archbishop of Toledo, the mock
+deposition and degradation of Enrique <small>IV.</small>, represented by an effigy, and
+the proclamation of his eleven-year-old son as king. Yet in 1474 the
+fickle city displayed<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> every sign of grief and remorse on the
+unfortunate monarch’s death.</p>
+
+<p>In the disputed succession that ensued Avila sided with Queen Isabel.
+Possibly as an expression of royal gratitude, the convent of Santo Tomás
+was chosen for the first seat of the Tribunal of the Inquisition; and in
+1491 three Jews, professing the faith of their fathers to the last, were
+roasted to death in the Mercado Grande.</p>
+
+<p>Avila was the seat of the Supreme Junta of the Comunidad from July to
+September 1520. The rebellious temper of her citizens found expression
+in Philip <small>II.</small>’s reign in some anonymous placards, posted in the streets,
+reflecting on the king’s policy. The royal vengeance was indiscriminate
+and drastic. The Vicar of Santo Tomás was stripped of his sacerdotal
+functions, Don Enrique Davila was imprisoned for life in the castle of
+Turegano, and Don Diego Bracamonte perished on the scaffold. This king’s
+successor inflicted the <i>coup de grâce</i> on the luckless town by
+expelling its large and industrious Morisco population. Avila never
+recovered her prosperity. She remains an example of the wholly
+destructive policy of the Spanish Hapsburgs. Not only was the country<span class="pagenum"><a name="page_109" id="page_109">{109}</a></span>
+ruined by the expulsion of the Jews and Moriscos, but these exiles were
+not able to transplant their industry to some other clime. With their
+expulsion so much productive and industrial power was absolutely lost to
+the world. The wealth acquired by the Inquisition at the expense of its
+victims, or rather what was left of it, ultimately found its way into
+the State coffers on the establishment of the new order of things a
+century ago.</p>
+
+<p>Avila ‘of the Knights’ was, before all else, a fortress. When the walls
+were built, churches and suburbs were left outside the enclosure, that
+the military advantages of the height on which the old town stands might
+not be lost. These walls of dark-red granite girdle Avila to-day,
+unbroken, formidable, intact. They rise so high that they shut out from
+view all that they enclose, except the towers of the cathedral. Near San
+Vicente the masonry is fourteen feet thick, and forty-two feet in
+height. Flanking defence is provided by eighty-six elliptical
+towers&mdash;thirty on the north, twelve on the west, twenty-five on the
+south, twenty-one on the east. These rise above the crenellated parapet
+at places by eighteen feet. The ten gateways are formed by two towers
+being brought together and con<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span>nected with arches. The most impressive
+gates are the Puertas del Mercado and de San Vicente, the former
+admitting to the scanty remains of the old Alcazar, the latter facing
+the church of San Vicente. In both cases the flanking towers are
+connected at the level of their platforms by a high, arched and
+crenellated gallery. The actual gateway is defended by a portcullis, and
+the usual apertures for thrusting out lances, beams, etc. One of the
+gates, now walled up, was known as the Puerta de la Mala Ventura, in
+memory of a baseless tradition that it was the scene of the massacre by
+Alfonso el Batallador of certain Avilese nobles who had been given him
+as hostages for the little King Alfonso <small>VII.</small> of Castile. Nearly all the
+gates open on to squares or places of arms. A leisurely walk round these
+grand old walls is one of the most agreeable experiences of a journey in
+Spain, and carries the mind back to the days when knighthood was in
+flower. From their strength it is easy to see how the town could have
+been held by a limited number of Caballeros against the commoners of the
+suburb outside. There seems no reason to doubt that the walls were, as
+tradition avers, built by Raymond of Burgundy in the last decade of the
+eleventh century. Eight<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> hundred men were employed upon them daily
+during nine years, under the direction of a Roman, Cassandro, and a
+Frenchman, Florin de Ponthieu.</p>
+
+<p>&nbsp; </p>
+
+<p>Built into the city wall at its eastern end is the noble cathedral of
+San Salvador, founded according to some by Fernán Gonzalez, Count of
+Castile, and begun a second time in 1091 by Alvár Garcia of Estella in
+Navarra. It is, perhaps, the finest example extant of the
+fortress-church of the Middle Ages. The oldest part is the apse, which
+makes a pronounced bastion or projection in the city wall. The external
+walls probably date from Alvár Garcia’s time, but the rest of the church
+must be from one to two centuries later.</p>
+
+<p>The church consists of a nave, aisles, projecting transepts and a
+chevet, which has semicircular chapels built into the town wall and
+double aisle. The chevet is, architecturally, perhaps the most
+interesting part of the structure. Nothing at all is to be seen without
+of the chapels, over which is carried the ordinary rampart walk or
+allure; behind this rises a second battlemented wall, from which we look
+down on to the aisle roof of the chevet and clerestory of the central
+apse. This end of the cathedral appears from the<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> exterior simply as an
+unusually massive round tower projecting from the wall. The west front
+is flanked by two towers, only one of which&mdash;the northern&mdash;is completed.
+This is a notable and fortresslike structure, recalling similar work in
+England. The strongly-defined buttresses finish in pinnacles, and are
+outlined at the angles with a ball enrichment, which is also to be seen
+on the pointed arches over the belfry windows. The windows themselves
+are round-arched, as are also those now filled up in a lower stage of
+the tower. The entrance is comparatively modern. On either side is the
+figure of a wild man with shield and mace&mdash;strange guardians of a
+church! On the spandrils of the arch are the figures of Saints Peter and
+Paul. The middle stage of this front is occupied by a curious
+retablo-like composition. In the various compartments are the figures of
+Christ and different saints, sheltered by ugly canopies; and surmounting
+this work is an extravagant and tasteless acroterium, displaying the
+arms of the Chapter. Behind and above this is the older and infinitely
+more graceful west window within an elliptical arch, and with delicate
+though elaborate traceries.</p>
+
+<p>Very much finer is the north porch, admitting not to the transept but to
+the nave. The elliptical<span class="pagenum"><a name="page_113" id="page_113">{113}</a></span> arch has on each side six jambs, each of which
+is adorned with the figure of an apostle resting on the capital of a
+pilaster and sheltered beneath a canopy. The five orders of the arch are
+sculptured with reliefs of angels and prophets, alternating with
+wreaths. In the centre of the tympanum is the seated figure of Christ;
+and around Him, arranged in four horizontal divisions, are compositions
+representing the Betrayal and Last Supper, the Coronation of the Virgin,
+and the Angelic Choir. Street recognises in this doorway the work of the
+architect of the portals of the cathedrals of Leon and Burgos. Before it
+are two lions couchant on pedestals, chained to the walls. The porch
+dates from the fourteenth century. Above it is a canopy begun in 1566,
+and intended to form a kind of triumphal arch. Crowning all is seen the
+figure of the Redeemer.</p>
+
+<p>The north transept is pierced by a fine wheel-window of sixteen
+divisions. The windows of the clerestory are very large, and placed
+between great double flying buttresses. Since 1772 the upper and lower
+traceries have been blocked up, for a reason not apparent to the modern
+observer. The windows of the transept escaped this treatment, and are
+filled with good stained glass.</p>
+
+<p>The nave is 130 feet long and 28 feet broad.<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> The arches are supported
+by piers of four pilasters, the capitals of which show Romanesque
+influence. The aisles are only about half the height of the nave, and
+are 24 feet wide. Their pitched roof formerly admitted light into the
+nave through the triforium, now blocked up.</p>
+
+<p>The outer walls of the chevet, as we have seen, are the most ancient
+part of the fabric, but the seven chapels formed within the thickness of
+the wall are of later date. The extraordinary beauty of this part of the
+church is due to the division of the ambulatory into two by a series of
+tall, slender columns carrying some excellent groining. The outer or
+recessed aisle is narrower than the inner, an inequality corrected very
+skilfully at the opening into the south transept by an imperceptible
+deviation in the line of columns. Very little light penetrates through
+the narrow slits in the chapel walls into this sombre, beautiful arcade.</p>
+
+<p>Behind the reredos of the High Altar sleeps the learned bishop, Don
+Alonso Fernández de Madrigal, surnamed el Tostado and el Abulense, who
+died in 1455. The prelate, who was one of the most prolific writers that
+ever lived, is shown in alabaster writing at a desk. The framework of
+the tomb is adorned with reliefs of the Adora<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span>tion of the Magi and
+Shepherds, of the Divine and Cardinal Virtues, and of the Eternal
+Father. This noble work has been variously ascribed to Berruguete and to
+Domenico Fancelli, whose more famous performance we shall see in the
+church of Santo Tomás.</p>
+
+<p>In the chapel of Santa Ana is buried Don Sancho Davila, Bishop of
+Plasencia, who died in 1625. Most of the tombs in the chapels of the
+chevet belong, however, to the thirteenth century, though the dates on
+most of them are merely conjectural, and were inscribed in the sixteenth
+century by a prebendary of the cathedral.</p>
+
+<p>The High Altar is backed by an elaborate retablo of the age of the
+Catholic Kings. It is divided into three stages, and was painted by
+Pedro Berruguete (father of the more famous Alonso), Santos Cruz, and
+Juan de Borgoña (father of Felipe). To the two first-named may be
+attributed the ten panels of the lowest stage, representing Saints Peter
+and Paul, the Four Evangelists, and Four Doctors of the Church, and the
+Transfiguration, Annunciation, Nativity, Adoration of the Magi, and
+Presentation in the Temple, in the second stage. To Borgoña we may
+ascribe the Agony in the Garden, the Scourging, Crucifixion, Descent
+into Hell, and<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span> Resurrection, in the third stage. To the right and left
+of the church are two beautiful Renaissance retablos in alabaster,
+illustrating the lives of Saints Secundus and Catharine, and two
+tasteful gilt iron pulpits. The light reaches the High Altar through two
+rows of thirteen windows, the lower ‘round-arched, of two
+horseshoe-headed lights divided by a shafted monial,’ and the upper
+‘round-headed, broadish windows, with jamb-shafts and richly-chevroned
+arches.’ The fine stained glass is the work of Albert of Holland
+(1520-1525).</p>
+
+<p>The choir was placed in the easternmost bay of the nave in 1531. The
+<i>trascoro</i> or back of the choir is adorned with reliefs of the Adoration
+of the Magi, the Massacre of the Innocents, and the Presentation;
+smaller panels represent other scenes from the history of Christ and the
+Blessed Virgin. The frieze with its fourteen figures of prophets is the
+finest part of the work. The choir stalls were begun in 1527 by Juan
+Rodrigo, and completed by Cornelius of Holland in 1536. The carving is
+of varying merit. The upper panels appear to portray the martyrdoms of
+different saints, episodes in whose lives are shown on the panels below.
+The ornamentation of the columns and friezes is profuse and delicately
+done.<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p>
+
+<p>In the south transept is the fine tomb of Don Sancho Davila, Bishop of
+Sigüenza, who died in 1534, and near him that of a namesake, whose
+effigy is clad in armour. This knight died before the walls of Alhama in
+a combat so furious that his scattered limbs had afterwards to be
+collected and pieced together by his friends. A curious tomb is to be
+seen near by: the figures of a knight in armour and an ecclesiastic
+repose on black coffins, the sides of which are sculptured with
+escutcheons upheld by woolly-haired savages; a monkey is seen pulling
+the negroes’ hair. In the chapel of San Miguel, at the north-west end of
+the nave, is an interesting tomb of the thirteenth century, representing
+a funeral, whereat the anguish of the mourners contrasts strikingly with
+the stoical indifference of the clergy.</p>
+
+<p>The gorgeous chapel of San Segundo at the south-east of the apse,
+outside the town wall, was founded in 1595 by Bishop Manrique, on the
+model, it is said, of the Escorial. Magnificence, rather than good
+taste, characterises this chapel and its furniture. Frescoes by
+Francisco Llamas illustrate the life of the saint, whose ashes are
+contained in a Churrigueresque tabernacle. On the opposite side of the
+apse, but within the wall,<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> is another excrescence, the Velada chapel,
+completed in the eighteenth century.</p>
+
+<p>The sacristy is an ornate Renaissance structure, richly gilded and
+painted. The alabaster retablo over the altar of St. Barnabas is the
+work of a genius whose name unfortunately has not been handed down. The
+chamber also contains some curious fifteenth-century paintings relating
+to the life of St. Peter. Here may be seen the superb monstrance of Juan
+de Arfe, dated 1574, and therefore among his earliest works.</p>
+
+<p>The cloister on the south side of the cathedral was built in the early
+sixteenth century on the site of an earlier one. There was an attempt
+made at the same time to restore, more or less at haphazard, all the
+tombs and epitaphs left from earlier times. At the angles are chapels,
+one of which, the Piedad, contains some good stained glass and
+iron-work. East of the cloister is the spacious apartment called the
+Cardinal’s Chapel, after Cardinal Davila y Mujica, whose tomb it
+contains. Here met the Junta of the Comuneros. The fine stained glass in
+the windows shows the skill of Juan de Santillana and Juan de
+Valdevieso, two famous glass-workers of Burgos.<span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<p>In some respects more interesting than the cathedral, and probably more
+ancient, taken as a whole, is the Romanesque church of San Vicente,
+outside the walls, near the Segovia gate. It marks the site of the
+martyrdom of Vicente and his sisters, Sabina and Cristeta, who had taken
+refuge here to escape the persecution of Dacian, at the beginning of the
+fourth century. Their religion having been discovered, they were again
+apprehended, and put to death by their skulls being battered against the
+rocks. Their bodies were left unburied, but a great serpent came out of
+a hole near by and protected them from insult. A Jew approached the
+spot, led by spiteful curiosity, and was seized by the monster, which
+wound its coils about him. The terrified Hebrew invoked the name of
+Christ and was released. He was baptized, and secretly gave the martyrs
+honourable burial, subsequently raising a church over the scene of their
+martyrdom. So runs the tradition. These dissenters from the state
+religion of the Roman Empire are remembered and revered to this day, and
+magnificent fanes are rightly raised over their graves. Their ashes are
+preserved in reliquaries more costly than royal thrones, and kings kneel
+before their shrines. But no monuments are erected, no reverence paid
+to<span class="pagenum"><a name="page_120" id="page_120">{120}</a></span> the equally high-minded and courageous dissenters from the state
+religion of the Spanish monarchy, who perished in the flames kindled by
+the Inquisition. The very city which delighted to honour Vicente and his
+sisters, and recorded its detestation of the lawful authority that put
+them to death, was the seat of the dreadful tribunal of Torquemada and
+the scene of cruelties worse than any perpetrated by the Romans.</p>
+
+<p>The basilica raised by the converted Jew was swept away by the Moors,
+and the relics of the martyrs seem to have been transported elsewhere.
+They were recovered, at least in part, at the time of the resettlement
+of the city, and the present church was built by St. Ferdinand in 1252
+to contain them; though parts of the fabric certainly seem, despite the
+absence of documentary evidence, to date from a century earlier. The
+church is built on sloping ground, the difficulties of the site being
+admirably overcome. The plan is cruciform, the nave and aisles
+terminating in apses. The crossing is surmounted by a square lantern,
+and the western front flanked by steeples. An open cloister runs along
+the outside of the south aisle.</p>
+
+<p>The western front is very beautiful. The southern tower or steeple wants
+a third or upper<span class="pagenum"><a name="page_121" id="page_121">{121}</a></span> story, which was added to the north tower only in the
+fifteenth century. The second stories are arcaded, and splayed at their
+angles. On the third gable-like story of the north steeple are hung the
+bells, one of which bears the date 1158. These towers open only into the
+westernmost bay of the nave, which forms the porch of the church,
+opening on the outside with a high-pointed arch, and into the interior
+through a superb double doorway. Street speaks of this porch as follows:
+‘The whole effect is fine, and the light and shade admirable and well
+contrasted; but the charm of the whole work seemed to me to lie very
+much in the contrast between the noble simplicity and solid massiveness
+of the architecture generally, and the marvellous beauty and delicacy of
+the enrichments of the western doorway, which is certainly one of the
+very finest transitional works I have ever seen.’ The shaft dividing the
+doors is sculptured with a figure of Christ seated on a pedestal.
+Statues of the twelve Apostles occupy the jambs. Over each door a round
+arch springs from luxuriantly carved capitals, flanked by the heads of
+bulls and lions. The tympana are occupied with representations of Dives
+and Lazarus, and the Release of a Blessed Spirit.<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span> The round arch which
+encloses the whole portal exhibits a marvellous profusion of delicate
+and rich ornamentation. A Spanish writer truly observes that the foliage
+looks as if the faintest breeze would stir it; the beasts seem ready to
+spring, and the birds as if, with the least effort, they might
+disentangle themselves and fly from the branches. Over the arch is a
+parapet and string-course, and a round-arched window opening into the
+nave.</p>
+
+<p>The church is usually entered by the south door opening into the aisle
+beside the transept. The seven orders of the archivolt are almost devoid
+of ornament, but the capitals are carved with curious figures of wild
+beasts fighting. The monogram of Christ on the keystone of the innermost
+arch is rare in Castilian churches, and the rude sculptured figures on
+the capitals are very primitive and unsymmetrical. On one of the jambs
+the Virgin and the Angel Gabriel are sculptured; on another a curious
+mitred personage representing, it is believed, one of the ancestors of
+the Messiah.</p>
+
+<p>This porch is older by two centuries than the cloister running along the
+south side of the church. It is in twelve semicircular arches, with a
+buttress between every three. Made of<span class="pagenum"><a name="page_123" id="page_123">{123}</a></span> purple granite, it contrasts
+strikingly with the sandstone of the main edifice.</p>
+
+<p>The north front is very plain and severe. The massive buttresses excited
+the enthusiasm of Street. The north door is of corresponding simplicity.
+Beside it, as at the side of the south door, are a couple of tombs,
+which seem to prove that the space round the church was at one time used
+as a burial-ground.</p>
+
+<p>The eastern end is the most interesting part of the building. The
+central apse is larger and loftier than the adjoining apses. All three
+are divided perpendicularly by slender engaged shafts, terminating in
+capitals under the eaves; and horizontally by carved or moulded
+string-courses. The central apse has three round-headed windows; the
+lateral apses, two each. The capitals and corbels are everywhere very
+finely carved. There are few better examples of Romanesque work in the
+Peninsula. The square lantern is pierced on each side with a three-light
+window of Gothic design. At its angles it is surmounted by stone
+crosses.</p>
+
+<p>The interior is impressive and thoroughly Romanesque. The piers are
+square, and rest on round bases. The capitals are carved with oak
+leaves. The arches are semicircular, and<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> the vaulting pointed. Between
+two string-courses runs a triforium of round-arched openings, the
+windows of the clerestory being likewise rounded and of one light. The
+windows of the aisles have been closed up. The church is undergoing
+extensive repairs. The piers of the lantern seem to be of later date
+than the foundation of the church, and seem to indicate that the
+original lantern had at one time fallen in. The interior is octagonal,
+and pierced with four lancet stained-glass windows. On the chancel side
+is a fine fourteenth-century painting of the Crucifixion, with the
+Virgin and Disciples.</p>
+
+<p>The interior of the central apse is occupied by the High Altar, with an
+ugly baroque retablo which unfortunately conceals the graceful windows.</p>
+
+<p>The shrine of San Vicente and his brethren is placed on the south side
+of the crossing. In the ages of faith this was an object of
+extraordinary sanctity. Men were sworn on the tomb, and it was
+universally believed that the arms of those who bore false witness
+thereon withered away. The practice was forbidden by law under Ferdinand
+and Isabel. Notwithstanding, grave doubts existed as to the actual
+whereabouts of the martyrs’ bodies. To set the<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span> matter at rest, the
+Bishop Martin de Vilches, in the reign of Enrique <small>III.</small>, decided on a
+thorough examination of the tomb. Having celebrated Mass, he caused the
+sarcophagus to be opened. Dense vapour immediately issued forth, and the
+bishop thrust in his hand, to withdraw it a second later, convulsed with
+a violent pain, and covered with blood. He proceeded no further with the
+investigation, and ordered the tomb to be closed, satisfied that it
+contained the holy relics. The imprint of his blood-stained hand was
+left on a tablet placed inside the arches on which the sarcophagus
+rests. This appears to date from the thirteenth century, and is carved
+with interesting reliefs. The baldachino covering it is carried on four
+bold columns, and was added by Bishop de Vilches, whose arms it bears.
+The figure at the apex appears to represent San Vicente.</p>
+
+<p>In the south transept is a tablet with an inscription declaring that
+there lie the remains of the Jew who gave the martyrs decent burial.
+Close by is the shrine, executed by Francisco de Mora, of San Pedro del
+Barco, a saint of absolutely unknown antecedents, and mentioned as far
+back as 1302.</p>
+
+<p>The crypt has been modernised. On it may<span class="pagenum"><a name="page_126" id="page_126">{126}</a></span> be seen the rock on which the
+tutelary saints suffered martyrdom, and a miraculous image, called
+Nuestra Señora de la Sotteraña, which is obviously far from possessing
+the antiquity its devotees claim for it.</p>
+
+<p>&nbsp; </p>
+
+<p>Characteristics very similar to San Vicente are exhibited by the church
+of San Pedro in the picturesque Mercado Grande. Dating from the latter
+part of the twelfth century, we find here also the apsidal east end, the
+square lantern, and the entrances at the west end and beside the
+transepts. The western porch is very fine, and above it is a very
+beautiful wheel-window. The north doorway is more richly sculptured, and
+is later than the rest of the fabric. There are a few points of
+difference between this church and that previously described. There is
+no triforium, and the clerestory windows are of a single light, and much
+larger than those of the nave. As at San Vicente, the apsidal chapels
+have been spoilt by injudicious painting. In the transept are the tombs
+of the rival families of Blasco Jimeno and Esteban Domingo,
+distinguished by shields of six and thirteen bezants respectively. The
+church is in every respect a noble edifice, but loses interest after you
+have visited the almost identical<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> basilica of San Vicente. Nor will
+your attention be long engaged by the modern monument to the illustrious
+natives of Avila in the centre of the market-place, crowned by the
+statue of Santa Teresa. Here took place in 1491 the <i>auto da fé</i> of the
+Jew, Benito Garcia, found guilty of murdering a Christian child, and
+stealing a consecrated Host for the purpose of sacrilegious rites. It
+should be added that no particular child could be put forward by the
+prosecution as having been murdered, and the suppositious victim went
+down to posterity simply as the Niño de la Guardia&mdash;la Guardia being the
+village where the crime was supposed to have taken place. The body was
+conveniently assumed to have been taken up to heaven. Its disappearance
+did not benefit the luckless Hebrews, two of whom, before the execution
+of Garcia, were torn to pieces by red-hot pincers.</p>
+
+<p>&nbsp; </p>
+
+<p>The town proper having always been regarded as an acropolis, the greater
+number of churches are situated outside the walls. Several of these,
+like those already described, are of considerable interest. The doughty
+Nalvillos is said to lie beneath the flags of the church of Santiago.
+San Andrés is an interesting Romanesque structure,<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span> spoilt, however, by
+the addition of an incongruous sacristy. To the north-west of the town,
+near the river (Adaja), is the curious little sanctuary of San Segundo,
+with a wooden roof, and rather suggestive of Norman architecture. It
+marks the spot whereon fell an unfortunate Saracen, who was pushed over
+the turret above by the sainted Secundus. Some of the ashes of that
+muscular Christian are preserved here, beneath the fine alabaster statue
+which represents him kneeling with an open book before him. The
+sanctuary is believed to occupy the site of the earliest Christian
+church of Avila. The actual edifice is not nearly so old as the ruined
+and abandoned church of San Isidore, now fast crumbling away.</p>
+
+<p>&nbsp; </p>
+
+<p>One of the most important monuments of the city is the church of the
+Dominican monastery of Santo Tomás (now used as a missionary college).
+It was founded in 1478 by Doña Maria Davila, wife of a Viceroy of
+Sicily, and completed in 1493. Torquemada, the Grand Inquisitor,
+interested the Catholic sovereigns in the work, and the cost was met by
+the confiscated property of Jews and heretics. The cloisters and
+conventual buildings are devoid of interest. The west front is in a poor
+late Gothic style, and distinguished<span class="pagenum"><a name="page_129" id="page_129">{129}</a></span> by richness rather than beauty.
+The two massive flanking buttresses are outlined with a ball ornament,
+and end in eaves, corbel tables, and paltry pinnacles. Beneath the gable
+is a huge escutcheon, and beneath this again a round window. The doorway
+is within a deep porch; the archivolt is pointed and elaborately fluted
+and carved; on either side of the doorway are statues of saints of the
+Dominican order beneath canopies. The interior is more interesting. The
+chancel is almost square, the transept short; and, curious to relate,
+not only is the choir placed in a gallery in the western nave, but the
+altar is correspondingly elevated at the eastern end. Street thought the
+effect of this arrangement very fine, an opinion which all are not
+likely to share. The reredos is tastefully carved and painted. The choir
+stalls are good, as usual in Spain, particularly the royal chairs, which
+have splendid canopies, and bear the device of the yoke and sheaf of
+arrows.</p>
+
+<p>Interest here, however, centres mainly in the superb Renaissance
+monument to the Infante Juan, eldest son of Ferdinand and Isabel, who
+died at Salamanca in 1497, aged nineteen. Ferdinand, to soften the blow,
+caused his wife to be informed that he and not the prince had perished;
+and such, in Isabel’s temperament, was<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> the excess of conjugal over
+maternal affection, that her relief when the real state of things was
+revealed to her enabled her to bear the loss of her son with comparative
+composure. The tomb was the work of Domenico Alessandro the Florentine,
+specimens of whose skill we have seen in the cathedral. At the corners
+of the sarcophagus are eagles; the sides are covered with reliefs of the
+Virgin and the Baptist, and of the Cardinal and Theological Virtues. On
+the edge of the upper slab are carved escutcheons, angels, trophies, and
+garlands. The recumbent effigy of the prince, crowned, and with sword
+and mantle, is marvellously well done. The sculptor has expressed
+adolescence in stone. This rightly ranks among the finest works of art
+in Spain. Hardly inferior is the tomb of Juan Davila and his wife, Joana
+Velazquez de la Torre, the prince’s attendants, also by the Florentine.
+Don Juan is shown clad in somewhat fantastic armour; a page kneeling at
+his feet holds his helmet. Sphynxes are placed at the corners of the
+sarcophagus, the sides of which bear medallions representing St. James
+destroying infidels, and St. John the Divine in a cauldron of boiling
+oil.</p>
+
+<p>In the sacristy is a tomb more impressive than<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span> either of these, but in
+a very different sense. A plain slab covers the body of Tomás de
+Torquemada, Grand Inquisitor of Spain. He lies here in the temple reared
+on the fortunes of the men and women he had plundered and burned. There
+is no inscription to tell us who rests here; but Torquemada is as little
+likely to be forgotten as Attila or Nero. Few things in Avila create a
+deeper, sadder impression than the tomb of this strange, sinister
+priest.</p>
+
+<p>&nbsp; </p>
+
+<p>His was one phase of the religious temperament, not perhaps more
+difficult of comprehension to us modern northerners than Teresa’s. We
+execrate the one and revere the other, and understand neither. Still, we
+know enough to see that the Inquisitor and the Nun stand respectively
+for what is worst and best in the Spanish character. And, happily, the
+woman’s fame has far outshone the man’s.</p>
+
+<p>We may assume that no one who visits Avila is ignorant of the leading
+events in her career, or needs to be told what manner of woman she was.
+What we have to do is to follow her footsteps through her native city.
+The house in which she was born on March 28, 1515, has been converted
+into an ugly church (Nuestra Seráfica<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span> Madre Santa Teresa de Jesus). The
+exterior is in the baroque style. The room in which she first saw the
+light is now a chapel in the worst taste, and contains her rosary,
+sandals, and even one of her fingers. It was from this house that she
+stole away with her brother Lorenzo, determined to seek martyrdom at the
+hands of the Moors. Here she indulged in those ‘worldly conversations’
+and that light reading which to her carefully polished conscience in
+after years appeared fraught with such dire peril. Here her vocation was
+born; and to this house she returned from the cloister in after years to
+watch by the deathbed of her father, Alonso de Cepeda.</p>
+
+<p>It was in the Carmelite convent of the Incarnation, north of the city,
+that Teresa took the veil on All Souls’ Day 1533. Nothing remains of the
+structure as it was in her day. More interesting is the convent of ‘Las
+Madres,’ which occupies the site of the first foundation of the reformed
+order. The poor chapel of St. Joseph gave way in 1608 to the present
+handsome church designed by Francisco de Mora, who spared the tomb and
+chapel of Teresa’s brother, Lorenzo. Other fine monuments are those of
+Bishop Alvaro de Mendoza, and of Francisco Velazquez and his wife. In
+the garden of the<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span> convent is shown an apple-tree planted by the saint.
+Her body does not rest here, but at Alba de Tormes, where she expired on
+October 15, 1582.</p>
+
+<p>You may also visit, for her sake, the church of San Juan in the Mercado
+Chico, where she was baptized on April 7, 1515.</p>
+
+<p>Attached to the Dominican convent is the sumptuous chapel of Mosén Rubio
+de Bracamonte, which was founded by Doña Maria de Herrera in 1516. The
+architecture represents the transition from late Gothic to Renaissance.
+The interior is richly adorned with marbles, the semicircular windows
+with stained glass. The tomb of the patron (Mosén Rubio, lord of Fuente
+del Sol) and his wife is in keeping with the splendour of the edifice,
+which is further enriched by two ancient paintings of Saints Jerome and
+Anthony of Padua. The reredos dates from the early seventeenth century.</p>
+
+<p>The dark granite of which the houses of Avila are built gives them a
+spurious air of antiquity. Very few date from before the age of Charles
+<small>V.</small> Near the cathedral is the mansion of the Marquis de Velada, whose
+ancestor, Gomez Velada, entertained the Emperor here in 1534. Opposite
+is an interesting doorway, with the figure of an<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span> armed knight,
+surrounded by escutcheons and enclosed within a trefoil arch. A
+magnificent doorway, likewise sculptured with armed figures and overhung
+by a kind of bartizan, leads into the fine courtyard of the palace of
+the Condes de Polentinos. An interesting house is that of the Davilas of
+Villafranca. The escutcheon with thirteen bezants between two chained
+slaves, supported by mounted heralds, was won by the family in an
+expedition to Ronda. At the side is a picturesque window with a grating,
+above which is the inscription <i>Petrus Davila et Maria Cordubensis uxor
+<span class="smcap">MDXLI.</span></i>, and beneath, in Spanish, ‘Where one door shuts another opens.’
+The houses of the Bracamontes and of the Counts of Superunda deserve
+notice.<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<h2><a name="VI" id="VI"></a>VI<br /><br />
+<span class="spc">ZARAGOZA</span></h2>
+
+<p class="nind"><span class="smcap">While</span> certain cities may lay claim to having been at one time or another
+the capital of the united kingdom of Leon and Castile, and while, in
+fact, two often held the rank at the same time, Zaragoza, from its
+reconquest by the Christians to the unification of the Spanish monarchy,
+was the undisputed capital of the kingdom of Aragon. We must not expect
+on that account to find that it was any more amenable to the royal
+authority, or any less turbulent than the cities of the sister state. On
+the contrary, nowhere in the Peninsula was liberty more highly prized or
+more strenuously vindicated, than in the chief city of Aragon. And it
+holds what out of Spain, at any rate, will be considered the honourable
+distinction of having offered the most determined resistance to the
+establishment of the Inquisition. Many cities in the dominions of His
+Catholic Majesty are entitled to style themselves ‘most heroic.’ None
+assuredly deserve<span class="pagenum"><a name="page_136" id="page_136">{136}</a></span> the description better than this, the Numantia of
+modern Spain.</p>
+
+<p>An Iberian town seems to have existed here from the remotest times, and
+to have been known as Salduba. On its annexation by the Romans, it was
+rechristened Caesaraugusta, and under that name is referred to by
+Pompeius Mela as the most famous of the inland cities of Tarraconensis.
+Christianity took root here at an early date. Bishops of Caesaraugusta
+are mentioned by St. Cyprian, and the local martyrology includes the
+names of Saints Valerus, Vincent, and Engracia. When, in the year 542,
+Zaragoza was besieged by the Franks under Childebert, the exposition of
+the relics of these martyrs is said to have sufficed to propitiate the
+enemy and to preserve the town from destruction.</p>
+
+<p>In the year 713 the city opened its gates to Muza, the Moorish invader,
+without, as Don Francisco Codera believes, striking a blow. The Crescent
+reigned over Zaragoza for four centuries. During that time there were
+many changes of rulers. The blood of martyrs again watered the soil
+under the cruel Wali, Othman Aben Nasr, though generally throughout the
+period of Muslim domination the Christians enjoyed the same freedom as
+their co-religionists, under the same<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span> yoke, in other parts of Spain.
+Their principal church having been converted into a mosque, San Pablo
+was, during this period, their place of worship.</p>
+
+<p>In the year 778 occurred the famous expedition of Charlemagne, around
+which an almost impenetrable veil of poetry and legend was woven through
+the Middle Ages. Hoseya al Arabi having been superseded in the
+government of the city by order of the Khalifa, Abd-ur-Rahman, appealed
+for assistance to the great Emperor of the West, who, for motives which
+remain obscure, entered Spain with a considerable force. On reaching
+Zaragoza, he found that Al Arabi had already regained possession of the
+city; and either on that account, or because his late ally refused to
+open the gates, he retraced his steps towards the north. In the pass of
+Roncesvalles his rearguard was attacked and cut up by the
+mountaineers&mdash;a reverse which has been immortalised as the occasion of
+the death of the Paladin Roland, and commemorated in the legendary lore
+of nearly every European tongue.</p>
+
+<p>At the latter end of the ninth century Zaragoza (or Sarakusta, as it was
+called by the Moors), shook off the yoke of the Khalifas, and under the
+sway of the renowned Hafsûn became for a short<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span> time an independent
+state. More lasting was the monarchy set up at the close of the eleventh
+century, on the break-up of the Spanish Khalifate, by the vigorous
+Almundhir Ben Hud, whose power extended from Lerida to Guadalajara, from
+the mountains of Biscay to the Mediterranean. His son and successor,
+Suleyman, made the mistake of dividing his dominions among his four
+sons, Sarakusta being assigned to the eldest, Ahmed Almuktader. But,
+united or disunited, the Moors of north-eastern Spain were incapable of
+offering an effective resistance to the ever-growing power of the
+Christian kingdom of Aragon. In the spring of 1118, Alfonso el
+Batallador appeared before the walls of Zaragoza with a formidable host.
+The city held out till the garrison witnessed the total defeat of an
+army sent to their relief by the Almoravides. All hope being then gone,
+the gates were opened on December 18, 1118, and Zaragoza became the
+capital of the kingdom of Aragon.</p>
+
+<p>As such, it was endowed with a very liberal charter&mdash;the <i>fuero</i>, of
+which we read so often in Aragonese history. The defence of these
+liberties was intrusted to twenty magistrates, who were invested with
+authority to deal in the most summary and drastic fashion with
+evildoers, what<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span>ever might be their station. Nor did they hesitate, in
+after years, to raze the castles of any barons who threatened the peace
+of the city. Domestic affairs were regulated by twelve jurates,
+representing the twelve parishes. Pedro <small>II.</small> amplified these privileges,
+and decreed that the municipality should not be responsible for its acts
+even to the sovereign.</p>
+
+<p>The history of Zaragoza during the twelfth, thirteenth, and fourteenth
+centuries is full of instances of civil strife, of faction fights, and
+of struggles with the royal authority. The citizens refused to recognise
+Alfonso <small>III.</small> as king till he had been crowned within their walls. They
+paid dearly for their arrogance under Pedro <small>IV.</small>, who hanged thirty of
+their number at the Toledo gate, and burnt the articles of the Union&mdash;a
+pact extorted from one of his predecessors&mdash;in a public assembly.</p>
+
+<p>Under Fernando <small>I.</small> the city’s privileges were further curtailed. But as
+licence and disorder showed no signs of abating, a kind of vigilance
+committee was formed in 1454, headed by Jimeno Gordo. This worthy put
+down all disturbances with iron hand, and waged war on the neighbouring
+barons. His career was cut short in 1474 by Ferdinand the Catholic, who
+caused him to be<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> publicly executed. All the disorderly elements of the
+city rejoiced at his death.</p>
+
+<p>The introduction of the Inquisition met with much opposition in several
+Spanish towns, but nowhere more than at Zaragoza. Deputations were sent
+from the states of Aragon to wait on the king at Valladolid, to urge
+upon him the withdrawal of the obnoxious tribunal, without avail. Such
+contemptuous indifference to the laws and wishes of the people of Aragon
+roused the Zaragozans to a dangerous pitch of exasperation. About
+midnight, September 14, 1485, a party of six men entered the cathedral,
+and found the Inquisitor, Pedro de Arbues of Epila, in prayer before the
+altar. They at once transfixed him with their swords and knives, but
+only a few of the blows struck home, thanks to the shirt of mail which
+the victim, like most of the Inquisitors, wore beneath his cassock. The
+deed, of course, only riveted the chains of the Holy Office more firmly
+upon the Aragonese.</p>
+
+<p>Most of the assassins were captured, and perished in the flames. De
+Arbues was canonised in 1664. There can be no question that the
+Inquisition was established contrary to the laws of the country, and
+that the man met his death through presuming to discharge unlawful
+func<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span>tions. He died for having broken the law, his executioners for
+having vindicated it.</p>
+
+<p>The persistent encroachments of the Crown upon their constitutional
+rights during the next century met with strenuous resistance from the
+people of Aragon. The long-impending storm burst in 1590. Antonio Pérez,
+having incurred the anger of Philip <small>II.</small>, fled to Zaragoza, and invoked
+the protection of the states. According to the <i>fueros</i>, he was then
+confined in the prison of the Manifestacion pending his trial. But the
+Holy Office impudently removed him from the custody of the law, and
+threw him into their prison of the Aljaferia. A popular tumult followed.
+Pérez was released and taken back to his first prison. The Viceroy, the
+Marqués de Almenara, died of chagrin, it is said, at the insults he had
+received from the crowd. Four months later a fresh riot broke out, and
+enabled Pérez to make good his escape to France.</p>
+
+<p>Philip now sent an army of 14,000 men into Aragon to re-establish his
+authority on the ruins of the constitution. The Justiciary, Juan de
+Lanuza, summoned the people to defend their country. But the Castilians
+dispersed this hastily collected force at the first encounter, and
+entered Zaragoza unopposed on December 12. Juan<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> de Lanuza and many
+other persons of note were judicially murdered; the leaders of the
+aristocracy were imprisoned, and the city sacked from end to end.</p>
+
+<p>Never again did Zaragoza raise its head in defiance of the King of
+Spain. The <i>fueros</i> continued nominally in force till 1707, when they
+were formally abrogated by Philip <small>V.</small> in revenge perhaps for the defeat
+sustained before the walls at the hands of Stanhope and Stahremberg. But
+the spirit of the people was far from being crushed. They might bow
+before their own king, but they would not bend the knee to a foreigner.
+Zaragoza’s defence in 1808 is one of the most glorious episodes in the
+history of the nation. When the revolution broke out at Madrid on May 2,
+the citizens expelled the Governor, Guillelmi, and elected as leader Don
+Jose Palafox, a young noble of great personal courage and charm. He was
+assisted by a priest named Santiago Sas, his secretary Boggiero, who is
+said to have penned all his proclamations, and by three peasant leaders,
+‘Tio’ Jorge, ‘Tio’ Marin, and Mariano Cerezo. All their equipment for
+war consisted at the outset of 220 men, a few muskets, and sixteen guns;
+yet when Lefebvre Desnouettes arrived before the<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span> place on June 15, he
+met with so stubborn a resistance that he was compelled to proceed
+cautiously. He reduced the city indeed to a heap of ruins, but he had
+not taken it when Dupont’s surrender at Bailen obliged him, on August
+15, to raise the siege.</p>
+
+<p>The French reappeared in December 1808, to the number of 18,000 men,
+under the command of Marshals Lannes, Moncey, Mortier, and Junot. The
+city was attacked on two sides at once, but more especially from the
+Jesuit convent on the left bank of the Ebro, which the Spaniards had
+neglected to secure. What followed may be read in the pages of Napier.
+The besiegers breached the wall near the convent of Santa Engracia, and
+the combat was continued day after day in the streets of the town. Every
+house was held as a fortress, every few yards of street was defended by
+a barricade. In answer to the summons to surrender rang Palafox’s
+defiant ‘War to the knife and to the last ditch!’ The women in many
+cases fought beside the men. When Maria Agustin saw her sweetheart fall
+at his post, she took the linstock from his hand and fired the gun
+herself. The fame of this ‘Maid of Saragossa’ has penetrated every
+<span class="pagenum"><a name="page_144" id="page_144">{144}</a></span>land. For twenty-one days the fighting continued in the streets.
+Finally, on February 21, 1809, the defenders capitulated on honourable
+terms. The town was a smoking heap of ruins and of dead. Zaragoza had
+shown an astonished world that the spirit of Saguntum and Numantia yet
+lived in Spaniards. And, we doubt not, it still lives.</p>
+
+<p>The city soon arose from the ashes. It rapidly recovered its prosperity,
+which took a fresh impetus on the opening of the four railways, east,
+west, north, and south. Here you see both the Old and the New Spain&mdash;the
+one with its heroic, glorious memories, the other with its promise of
+things as great and happier.</p>
+
+<h3>THE CITY</h3>
+
+<p>Zaragoza stands on the right bank of the Ebro in an oasis in the desert
+of Aragon. Nothing could be more attractive than the immediate environs,
+or more desolate than the country a few miles farther out. Such a
+situation was familiar to the Berber conquerors, who made themselves at
+home here and left their mark on the architecture of the city long after
+the last ‘Tagarin’ Moor had been expelled. Not, of course, that Zaragoza
+is to be compared as<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> regards Musulman architecture with Seville,
+Cordova, Granada, and Toledo; but the Moor has left behind him
+unmistakable evidences of his presence, and an interesting monument
+called the Aljaferia, which endures, though oft and oft restored, to
+this day.</p>
+
+<p>The name seems to be derived from Jaffir, a not uncommon name among the
+Moors, and borne perhaps by one of the Beni Hud dynasty, for whom the
+building served as a palace. At the conquest in 1118 it was allotted by
+Alfonso the Battler to the Benedictine order. In the fourteenth century
+it again became the residence of royalty, and doubtless was entirely
+transformed and repaired. It was the scene of great splendour at the
+coronation of King Martin, and of several of his successors. To-day it
+presents a sad and dilapidated appearance. The imposing staircase,
+decorated with fine stucco work, is the creation of the Catholic
+sovereigns, who seem to have had some idea of reconstituting the past
+glories of the palace in true Moorish style. The ceilings of some of the
+chambers are in the artesonado style&mdash;the work of fifteenth-century
+artificers. The most beautiful is to be seen in the Salon de la Alcoba,
+where was born in 1271 the sainted Princess Isabel, afterwards Queen of
+Portugal,<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> and persistently confounded by English writers with St.
+Elizabeth of Hungary. Everywhere among the decorations appear the
+devices and mottoes of Ferdinand and Isabel.</p>
+
+<p>Genuine Moorish work is to be seen in a little octagonal chamber opening
+off the patio. Of the eight arches, two are in horseshoe shape, and the
+others formed by irregular and capricious curves. The columns are almost
+hidden in the walls. The ceiling is modern, and unfortunately cuts off
+the view of the elegant <i>ajimeces</i> and arabesques of the upper stage.
+The ornamentation recalls that of the Alhambra. This chamber&mdash;said by
+some, on no particular authority, to have been a mosque&mdash;was the seat of
+the Inquisition down to 1706. The guide points out a cell called La
+Torreta, in which&mdash;according to Verdi’s opera <i>Il Trovatore</i>&mdash;Manrico
+was confined. The opera is founded on a legend of Zaragoza, and the
+libretto was written by Garcia Gutierrez, a native of the city.</p>
+
+<p>Some may enjoy the beautiful view of the Pyrenees obtained from the
+Aljaferia more than the building itself.</p>
+
+<p>&nbsp; </p>
+
+<p>Probably only a few fragments of this old palace are older than the
+Cathedral of La Seo.<span class="pagenum"><a name="page_147" id="page_147">{147}</a></span> This is the name commonly given in Aragon to the
+cathedral church, and comes, of course, from the Latin <i>sedes</i>, like our
+own word ‘See.’ Zaragoza became the metropolitan city of Aragon in 1318,
+and the archiepiscopal dignity was reserved as far as possible to the
+illegitimate sons of the kings. The city has now two cathedrals, which
+are used for alternating periods of six months. The Seo is the older of
+these, and occupies the site of the Moorish mosque&mdash;some say, even of an
+earlier Christian temple dating from Roman times. The church was, at all
+events, entirely rebuilt between 1188 and 1432, several Moorish names
+being mentioned among the architects. It can hardly be said to have been
+completed till the year 1550. Here were crowned the Kings of Aragon, and
+here, as we have related, was slain the Inquisitor, Pedro de Arbues.</p>
+
+<p>The west front was completed as late as 1685 by Julian Garza and Juan
+Bautista Contini. It is in the classical style of that period, and is in
+two stages separated by a broad entablature. The lower stage is adorned
+with massive Corinthian columns, and pierced with three doorways; the
+upper story is decorated with three statues of Christ and the Apostles
+Peter and Paul, by Giral, placed in niches; above is a<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> pediment
+finished with an ugly finial. This front is flanked by an octagonal
+tower of four stages, each smaller than the lower one, and is therefore
+not inaptly compared by Ford to a telescope. This structure is in the
+same style and reveals the same want of taste as the adjoining façade.
+The third stage contains the belfry. The whole is surmounted by a
+weather-vane and steeple, perched on a Moorish-looking dome. The statues
+of the Apostles on the belfry are by Acali. There is no other façade
+worthy of notice; but the Puerta de la Pavostria is in the better and
+earlier classic style of the sixteenth century. It derives its name from
+a functionary known as the Pavorde, who here distributed alms.</p>
+
+<p>Street, who did not consider this cathedral in general interesting, has
+much to say about a portion of brickwork at the north-east angle, inlaid
+with small tiles in diapers, red, blue, green, white, and buff on white.
+The eminent architect sees in this an interesting specimen of Moorish
+work, and praises the grave quiet of the whole decoration (<i>Gothic
+Architecture in Spain</i>, xvii. 372).</p>
+
+<p>The church is of unusual breadth, there being two aisles and a row of
+chapels on each side of the nave. ‘The nave and aisles,’ says the<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span>
+authority we have just quoted, ‘are all roofed at the same level, the
+vaulting springing from the capitals of the main columns, and the whole
+of the light is admitted by windows in the end walls, and high up in the
+outer walls of the aisles. In this respect Spanish churches of late date
+almost always exhibit an attention to the requirements of the climate,
+which is scarcely ever seen in the thirteenth and fourteenth centuries;
+and this church owes almost all its good effect to this circumstance,
+for it is in light and shade only, and neither in general detail nor in
+design that it is a success.’</p>
+
+<p>The vaultings are adorned with gilded pendants and bosses, very much in
+the Moorish style. The light red marble pavement, with rays diverging
+from the yellow marble bases of the columns, appears to have been
+intended to suggest a reflection of the roof with its ogive vaultings
+above. The decoration is tasteful and not elaborate. The capitals are
+sculptured with <i>putti</i> upholding escutcheons with animals and foliage.</p>
+
+<p>Over the chancel is the lantern, octagonal in plan, which replaced an
+earlier one in the first quarter of the sixteenth century. The work was
+undertaken by Enrique de Egas, only at the<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> express command of the king.
+The lower part is adorned with statues in niches, and with the canting
+arms (the half-moon) of the family of Archbishop de Luna.</p>
+
+<p>The reredos of the High Altar is of alabaster and in the Gothic style.
+It was executed at the order of (and not by, as we have seen erroneously
+stated) Archbishop Dalmacio de Mur (1430-1456). The seven compartments
+are filled with compositions representing the martyrdom of St. Lawrence,
+the burial of St. Vincent, and episodes in the history of St. Valerus;
+with statues of the two latter saints, angels, and New Testament scenes.
+In all, the expressions and the draperies are exquisitely rendered. Don
+J. M. Quadrado is of opinion that this superb work was executed by Pedro
+Johán of Cataluña, Ans, Gombao, Caspar, and Gil Morlán successively.</p>
+
+<p>Before the High Altar the coronation took place, and the king, robed
+like a deacon, prostrated himself before the primate. On the gospel side
+is the wooden coffin which contains the ashes of Maria, daughter of
+<i>Jaime lo Conqueridor</i>, who died in 1267. At her side is the noble
+marble tomb of Archbishop Don Juan de Aragon, brother of Ferdinand the
+Catholic, with<span class="pagenum"><a name="page_151" id="page_151">{151}</a></span> statues of the Mater Dolorosa, attended by Saints
+Jerome, Martin, and Francis. Here are also the tombs of Archbishop Don
+Alonso, natural son of Ferdinand the Catholic, and of his natural son,
+also Archbishop, Don Fernando. The first-named did not take orders till
+after the birth of his son and successor, and only celebrated one mass,
+deeming himself unworthy of the sacerdotal functions. Beneath a tablet
+is deposited the heart of the Infante Baltasar Carlos, eldest son of
+Philip <small>IV.</small>, carried off by smallpox at the age of seventeen. His
+portrait is familiar to students of Velazquez.</p>
+
+<p>The choir occupies two of the five bays west of the crossing. It is in
+the Gothic style, and closed by a modern railing. In the centre is the
+tomb of Archbishop de Mede, from whose time the choir dates. The stalls
+are of Flemish oak. The fine lectern dates from 1413. The <i>trascoro</i>, or
+back of the choir, is a gorgeous plateresque affair in marble and
+stucco, the work of Tudelilla of Tarazona, who flourished about 1538.
+His are the statues of the martyrs Vincent and Laurence, the four
+reliefs illustrating their martyrdom, and that of San Valero, and the
+groups of cherubim. The tabernacle is in a not untasteful baroque style,
+and has side columns of black marble and<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> a good crucifix. This figure
+of Christ is said to have addressed Canon Funes, afterwards Bishop of
+Albarracin, who is shown on his knees regarding it. The sides of the
+choir are adorned with statues of saints, including that of Pedro de
+Arbues, on the very spot where he was slain.</p>
+
+<p>Few of the chapels are of interest, and all but one have been disfigured
+with baroque portals. In the chapel of San Bernardo is the fine tomb and
+effigy by Morlánes of Archbishop Don Fernando de Aragon, above being a
+retablo representing the Betrayal and the Crucifixion. Close by lies
+Doña Ana de Gurrea, mother of the prelate (died 1527). The chapel of San
+Gabriel, founded by Gabriel de Zaporta, is notable for its fine bronze
+<i>reja</i> and plateresque adornments. In the chapel of San Dominguito del
+Val are preserved ‘the remains of the third child crucified by the Jews
+in hatred of Christ towards the year 1250’; and the chapel of San Pedro
+de Arbues contains that worthy’s body, his kneeling effigy by José
+Ramirez, and paintings by Jimenez of Tarazona. In the chapel of Nuestra
+Señora de la Blanca are collected the tombs of sundry archbishops. The
+chapel of San Miguel owes its origin to a ghastly legend. Passing
+through the pine grove of Villaroya, the Archbishop Don<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span> Lope de Luna
+heard a voice calling him. He turned and saw that it proceeded from a
+severed head which came leaping towards him. The decapitated man had
+called on the Archangel at the moment the axe descended, and life was
+miraculously preserved in his head till he had made his confession, and
+was absolved by the primate. De Luna’s tomb is a triumph of Gothic art.
+He is shown with mitre and crozier, reclining on a sarcophagus which is
+sculptured with twenty-eight figures of friars in various attitudes. In
+niches in the wall surrounding the tomb are beautifully carved figures
+of ecclesiastics and grandees, full of vigour and expression. The name
+of the sculptor of this fine work is unhappily unknown.</p>
+
+<p>In the sacristy is to be seen the Gothic cross of gold and jewel-work,
+on which the kings of Aragon swore to observe the <i>fueros</i>. Some of the
+vestments are very fine. A casulla is said to have come from old St.
+Paul’s, London, at the time of the Reformation. There is a magnificent
+<i>custodia</i>, dating from 1537, and a fine silver reliquary, sent from
+Avignon in 1405 by Benedict <small>XIII.</small> (the anti-pope, De Luna). In the Sala
+Capitular are pictures attributed to Ribera and Zurbarán. The fine tiled
+pavement of this room is modern.<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span></p>
+
+<p>The church of Santiago is mentioned as far back as 1121, and retains a
+few Romanesque features. Here the saint is said to have lived on his
+visit to Spain; and in the porch the magistrates of the city used to
+assemble and to administer justice.</p>
+
+<p>The most important church in Zaragoza after the Seo is, in Street’s
+estimation, that of San Pablo, built in 1259. The octagonal steeple is
+faced with tiles in much the same way as the part of the cathedral wall
+above described, and is certainly a later addition to the structure. The
+nave is of four bays and terminates in a five-sided apse. The aisle is
+continued all round the church, and communicates with the nave by
+pointed arches in an extraordinarily thick wall. In the left aisle are
+five early and highly interesting Gothic retablos. The elaborate reredos
+of the High Altar, with its reliefs of the Passion and of the Acts of
+St. Paul, is hardly worthy of the master&mdash;Damian Forment&mdash;to whom it has
+been hastily attributed. Ford suggests that it is the work of one of his
+pupils.</p>
+
+<p>The church of Santa Engracia, which figured prominently in the great
+siege, commemorates the massacre of a number of Christians of both sexes
+by the soldiery of Dacian. The bodies of<span class="pagenum"><a name="page_155" id="page_155">{155}</a></span> the saints, Engracia and
+Lupercius, having been discovered here in 1389, the church already built
+on the spot was enlarged, and finally rebuilt with great splendour by
+Ferdinand the Catholic. A terrific explosion on August 13, 1808,
+completely wrecked the fabric, leaving little more than the plateresque
+portal, believed to have been designed by Morlánes. The entrance is
+through a round arch recessed within another, and surrounded by a
+retablo-like arrangement of niches containing groups. The outer arch is
+flanked by four statues of doctors of the Church in niches, and
+surmounted by statues of Ferdinand and Isabel.</p>
+
+<p>The existing church, clumsily restored by the Hermits of St. Jerome,
+contains some interesting tombs of the martyrs. They appear to date from
+the fifth century. One is decorated with reliefs in the rudest Byzantine
+style, the subjects being Adam and Eve and the Serpent, and the sixteen
+martyrs, whose relics are enclosed. The pillar is shown at which Santa
+Engracia was flogged by order of Dacian, and a well which is believed to
+contain the bones of innumerable martyrs.</p>
+
+<p>It is curious and painful how constantly the memorials of religious
+fanaticism confront one in this beautiful country. Here we are shown the
+spot where a Christian suffered for his faith;<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span> there where a Jew
+perished; there where a Moor died for conscience’ sake. Persecution
+naturally engenders a vindictive and intolerant temper in its victims,
+and these, become the masters, are hardened, not softened, by
+affliction. Religion, too, in Spain was almost always identified with
+race. The Moor, the Jew, and the Lutheran were not only infidels or
+heretics, but aliens&mdash;the political and racial enemies of the Spaniard.
+In fact, religious intolerance in the Peninsula cannot be said to have
+assumed such unnatural forms as in France and Germany, where men of the
+same blood and language cut each other’s throats, and vied with each
+other in doing the most harm to their native lands.</p>
+
+<p>To the dawn of the sixteenth century also belonged the famous leaning
+tower at Zaragoza, the Torre Nueva, now demolished; while the Lonja or
+Exchange commemorates the reign of Juana la Loca, or as the inscription
+states, of her and her son, Don Carlos, ‘conregnantes’ (1551). This is
+one of the many buildings scattered over Spain and Europe generally
+which were intended to accommodate brokers and business men, who
+resolutely refuse to swarm in the appointed spots&mdash;witness our own Royal
+Exchange, the Lonjas of Seville and Granada, etc. The exterior belongs<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span>
+to no recognised style. The round-headed door is flanked by two windows
+of similar shape; above runs a sort of imitation gallery, then two more
+rows of round-headed windows, finished off with a fine eaves-cornice.
+The soffits of the arches are elaborately carved. At each corner of the
+edifice is a little tower, roofed with white and green tiles. The
+interior is divided into a nave and aisles by twenty-four columns, of
+which seventeen are embedded in the walls. From their Ionic capitals
+spring seventeen arches, which at the points of intersection are studded
+with gilt bosses. The Lion of Zaragoza may be distinguished among the
+decorations, and over the door and on the walls the arms of Spain.
+O’Shea says that the ‘gigantones’&mdash;gigantic figures representing the
+four quarters of the globe, carried about in processions&mdash;are kept here.</p>
+
+<p>&nbsp; </p>
+
+<p>A great many of the fine old mansions (<i>solares</i>) of the aristocracy and
+merchants of Zaragoza disappeared in the siege, or to permit of modern
+improvements. Those which remain date mostly from the sixteenth century.
+The finest, on the whole, is the Casa de la Infanta, so-called as having
+been the residence of La Vallabriga, a lady banished from Madrid for
+marrying the<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span> Infante Don Luis. The house was built by a rich merchant
+named Gabriel Zaporta in the middle of the sixteenth century. A square
+entrance admits to a court, round which runs a gallery, upheld by
+columns on fluted pedestals, and formed of caryatide figures
+interlocked. On these rest the capitals, elaborately carved with masks,
+and on these again is borne the gallery, the arches and parapet of which
+are enriched with medallions, masks, grotesques, and foliage. The
+decoration is a fine specimen of the plateresque style. The staircase,
+in the same style, is worthy of note.</p>
+
+<p>The fine old Casa de Comercio, described in several guide-books of
+recent date, no longer exists. The noble mansion of the Counts of
+Sastago housed Philip <small>III.</small> in 1599; and the Audiencia occupies the site
+of the ancestral home of the De Luna family, to which belonged the
+anti-pope Benedict <small>XIII.</small> and the wicked Count in Verdi’s opera.</p>
+
+<p>We have left almost to the last that ambitious but meretricious memorial
+of the decadence, the new cathedral, or Iglesia del Pilar. The Apostle
+James (Santiago), according to tradition, visited the city forty years
+after the birth of Christ. He was favoured by a vision of the Blessed
+Virgin,<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span> poised on a pillar of jasper, and attended by angels. He built
+a modest chapel on the spot, which soon became a great resort of
+pilgrims. This was replaced in the thirteenth century by a large church,
+which was demolished to make room for the present building, erected in
+1686 by Don Francisco Herrera. The design, bad enough in itself, was
+made worse by Ventura Rodriguez seventy years later. The exterior hardly
+merits description, though the domes or cupolas with their brilliant
+green, yellow, and white tiling are not without a certain bizarre
+beauty.</p>
+
+<p>Spanish writers are as severe as others in their condemnation of this
+spacious edifice: ‘The baroque style’ (says Don J. M. Quadrado), ‘as
+timid and clumsy in the general proportion of the work as it was
+audacious and presumptuous in detail, gave space not repose to the
+Pilar&mdash;size without grandeur. The eye measures vainly this square of
+1500 feet, and observes the nave and aisles equal in dimensions; it
+rests on the twelve square piers&mdash;enormous masses which might serve for
+the bases of towers, recoils from the bare vault, from the thick
+cornice, from the ridiculous foliage of the capitals, the arches, etc.
+This disagreeable impression is intensified by the strange and confused
+disposition of the<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span> temple, which, divided into two by the Shrine and
+the High Altar, presents two centres of attraction, and obstructs the
+nave with objects masking each other.’</p>
+
+<p>The only objects of particular interest in this vast edifice are those
+just named, which stand back to back. The Shrine or Capilla Santa
+constitutes a chapel within a chapel, the exterior being rectangular,
+the interior elliptical. Overhead is an oval dome borne on four
+Corinthian columns, with capitals richly gilded, and over this again
+another cupola or lantern painted by a namesake (not a relative) of
+Velazquez. There are four smaller domes painted by Goya and Bayeu. The
+profusion of rich marbles, the elaboration of the architecture, the
+brilliancy of the frescoes, and the multitude of statues give this
+chapel a sumptuous and not inartistic appearance. Around are hung
+banners taken from the infidels. The Sacred Pillar is almost entirely
+concealed, but there is a hole in the casing through which the devout
+may kiss it. On each side of the chapel imposing staircases lead to the
+crypt, in which lie several archbishops and canons, and the heart of Don
+Juan José of Austria, brother of Carlos <small>II.</small></p>
+
+<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p><p>The High Altar of the cathedral is of alabaster and in the Gothic
+style, the work of one Damian Forment, an early sixteenth-century
+artist. The lower reliefs, separated by slender pilasters, represent the
+Espousals of the Virgin, the Annunciation, the Visitation, the Nativity,
+the Adoration of the Magi, the Crucifixion, and the Resurrection. Above,
+in canopied niches, are the Assumption, the Nativity, and the
+Presentation. The canopies are richly adorned with the figures of
+saints. At the sides are two large statues of St. James and St.
+Braulio&mdash;objects of special devotion&mdash;and at the apex of the
+altar-screen are two angels supporting Our Lady of the Pillar. The whole
+is undoubtedly the finest work of art in the cathedral.</p>
+
+<p>The choir stalls merit attention. They were designed by the Navarrese
+Estebán de Obray, and carved by the Florentine Giovanni Moreto and
+Nicolás de Jobato between 1542 and 1548. The infinite number and variety
+of the designs, the delicacy and intricacy of the work, suggest that it
+was accomplished in two or more generations rather than in six years.
+Equally admirable is the bronze <i>reja</i> by Juan Tomás Celina (1574) on a
+marble base, sculptured by the Majorcan artist, Guillermo Salvá.</p>
+
+<p>The sacristy contains an immense variety of<span class="pagenum"><a name="page_162" id="page_162">{162}</a></span> offerings to the shrine by
+pilgrims from all parts of the world. These had been accumulating for
+centuries, and the Chapter were able some years ago to raise a sum of
+£20,000 by disposing of only a portion of them. Without profanity we
+might perhaps say that the Virgen del Pilar is to Zaragoza what Diana
+was to the Ephesians. Hundreds make a living by selling pictures and
+models of the shrine, and a surprising number of silversmiths do a
+roaring trade in images and medals. Yet it is not quite wise or safe for
+the traveller to scoff at a devotion which largely inspired the heroic
+defence of 1808, and supplied the place of arms, strategy, and able
+leadership.</p>
+
+<p>Close by, the yellow Ebro is spanned by the seven arches of the Puente
+de Piedra. Its origin is of unknown antiquity. It was here in 1435, when
+one of the arches collapsed&mdash;presaging the destruction by the Genoese of
+the Aragonese fleet which sailed that day; and the inscription
+mentioning Alfonso <small>V.</small>, and the date 1437, can only refer to its
+reconstruction. And across this bridge we pass into the stern, desert
+country of Aragon, and so on to the distant, gleaming Pyrenees.<span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<div class="figcenter" id="plt_001">
+<p class="plt">Plate 1</p>
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p>
+
+<div class="figcenter" id="plt_002">
+<p class="plt">Plate 2</p>
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
+
+<div class="figcenter" id="plt_003">
+<p class="plt">Plate 3</p>
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE BRIDGE OF PIEDRA</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p>
+
+<div class="figcenter" id="plt_004">
+<p class="plt">Plate 4</p>
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LA ACERA DE SAN FRANCISCO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span></p>
+
+<div class="figcenter" id="plt_005">
+<p class="plt">Plate 5</p>
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE TOWN HALL</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span></p>
+
+<div class="figcenter" id="plt_006">
+<p class="plt">Plate 6</p>
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE OLD PARISH CHURCH</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span></p>
+
+<div class="figcenter" id="plt_007">
+<p class="plt">Plate 7</p>
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE IN WHICH CHRISTOPHER COLUMBUS DIED, 1506</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span></p>
+
+<div class="figcenter" id="plt_008">
+<p class="plt">Plate 8</p>
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE WHERE KING PHILIP II. WAS BORN, 1527</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span></p>
+
+<div class="figcenter" id="plt_009">
+<p class="plt">Plate 9</p>
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROYAL PALACE OF PHILIP III.</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
+
+<div class="figcenter" id="plt_010">
+<p class="plt">Plate 10</p>
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN JUAN DE LETRAN</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
+
+<div class="figcenter" id="plt_011">
+<p class="plt">Plate 11</p>
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COLLEGE OF THE ESCOCESES</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<div class="figcenter" id="plt_012">
+<p class="plt">Plate 12</p>
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COLLEGE OF THE INGLESES</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<div class="figcenter" id="plt_013">
+<p class="plt">Plate 13</p>
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR VIEW OF THE LIBRARY</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p>
+
+<div class="figcenter" id="plt_014">
+<p class="plt">Plate 14</p>
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE MUSEUM</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
+
+<div class="figcenter" id="plt_015">
+<p class="plt">Plate 15</p>
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE MUSEUM</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p>
+
+<div class="figcenter" id="plt_016">
+<p class="plt">Plate 16</p>
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. BACK OF A CHOIR STALL. BY BERRUGUETE</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p>
+
+<div class="figcenter" id="plt_017">
+<p class="plt">Plate 17</p>
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. DETAIL OF THE CHOIR STALLS OF SAN BENITO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p>
+
+<div class="figcenter" id="plt_018">
+<p class="plt">Plate 18</p>
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. SEVERAL FRAGMENTS OF CHOIR STALLS BY BERRUGUETE</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p>
+
+<div class="figcenter" id="plt_019">
+<p class="plt">Plate 19</p>
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. HEAD OF ST. PAUL. WOOD CARVING. COMMENCEMENT OF EIGHTEENTH
+CENTURY</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<div class="figcenter" id="plt_020">
+<p class="plt">Plate 20</p>
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. CENTRE-PART OF A WOODEN ALTAR-PIECE END OF THE FIFTEENTH CENTURY</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<div class="figcenter" id="plt_021">
+<p class="plt">Plate 21</p>
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p>
+
+<div class="figcenter" id="plt_022">
+<p class="plt">Plate 22</p>
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<div class="figcenter" id="plt_023">
+<p class="plt">Plate 23</p>
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. ALTAR-PIECE CARVED IN WOOD. END OF FIFTEENTH CENTURY</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<div class="figcenter" id="plt_024">
+<p class="plt">Plate 24</p>
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. THE ASSUMPTION OF THE VIRGIN. BY RUBENS</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figcenter" id="plt_025">
+<p class="plt">Plate 25</p>
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. ST. ANTHONY OF PADUA AND THE CHILD JESUS. BY RUBENS</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p>
+
+<div class="figcenter" id="plt_026">
+<p class="plt">Plate 26</p>
+<a href="images/plt_026.jpg">
+<img src="images/plt_026.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. THE ANNUNCIATION. BY JOSÉ MARTINEZ</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p>
+
+<div class="figcenter" id="plt_027">
+<p class="plt">Plate 27</p>
+<a href="images/plt_027.jpg">
+<img src="images/plt_027.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. THE HOLY FAMILY. BY RAPHAEL</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p>
+
+<div class="figcenter" id="plt_028">
+<p class="plt">Plate 28</p>
+<a href="images/plt_028.jpg">
+<img src="images/plt_028.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MUSEUM. ST. FRANCIS AND A LAY BROTHER BY RUBENS</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<div class="figcenter" id="plt_029">
+<p class="plt">Plate 29</p>
+<a href="images/plt_029.jpg">
+<img src="images/plt_029.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JOACHIM AND THE VIRGIN AS A CHILD BY MURILLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<div class="figcenter" id="plt_030">
+<p class="plt">Plate 30</p>
+<a href="images/plt_030.jpg">
+<img src="images/plt_030.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. ST. BRUNO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<div class="figcenter" id="plt_031">
+<p class="plt">Plate 31</p>
+<a href="images/plt_031.jpg">
+<img src="images/plt_031.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CENTRE OF THE FAÇADE OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
+
+<div class="figcenter" id="plt_032">
+<p class="plt">Plate 32</p>
+<a href="images/plt_032.jpg">
+<img src="images/plt_032.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE FAÇADE OF ST. GREGORIO (LEFT SIDE)</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p>
+
+<div class="figcenter" id="plt_033">
+<p class="plt">Plate 33</p>
+<a href="images/plt_033.jpg">
+<img src="images/plt_033.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE FAÇADE OF ST. GREGORIO (RIGHT SIDE)</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p>
+
+<div class="figcenter" id="plt_034">
+<p class="plt">Plate 34</p>
+<a href="images/plt_034.jpg">
+<img src="images/plt_034.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LEFT ANGLE IN THE COURT OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p>
+
+<div class="figcenter" id="plt_035">
+<p class="plt">Plate 35</p>
+<a href="images/plt_035.jpg">
+<img src="images/plt_035.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY IN THE COURT OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p>
+
+<div class="figcenter" id="plt_036">
+<p class="plt">Plate 36</p>
+<a href="images/plt_036.jpg">
+<img src="images/plt_036.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE COURT OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p>
+
+<div class="figcenter" id="plt_037">
+<p class="plt">Plate 37</p>
+<a href="images/plt_037.jpg">
+<img src="images/plt_037.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR GATE OF ST. GREGORIO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
+
+<div class="figcenter" id="plt_038">
+<p class="plt">Plate 38</p>
+<a href="images/plt_038.jpg">
+<img src="images/plt_038.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<div class="figcenter" id="plt_039">
+<p class="plt">Plate 39</p>
+<a href="images/plt_039.jpg">
+<img src="images/plt_039.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LOWER PART OF THE FAÇADE OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p>
+
+<div class="figcenter" id="plt_040">
+<p class="plt">Plate 40</p>
+<a href="images/plt_040.jpg">
+<img src="images/plt_040.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE PORTAL OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
+
+<div class="figcenter" id="plt_041">
+<p class="plt">Plate 41</p>
+<a href="images/plt_041.jpg">
+<img src="images/plt_041.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LOWER CENTRAL PART OF THE FAÇADE OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<div class="figcenter" id="plt_042">
+<p class="plt">Plate 42</p>
+<a href="images/plt_042.jpg">
+<img src="images/plt_042.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
+
+<div class="figcenter" id="plt_043">
+<p class="plt">Plate 43</p>
+<a href="images/plt_043.jpg">
+<img src="images/plt_043.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE RIGHT-HAND SIDE OF THE PORCH OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
+
+<div class="figcenter" id="plt_044">
+<p class="plt">Plate 44</p>
+<a href="images/plt_044.jpg">
+<img src="images/plt_044.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE LEFT-HAND SIDE OF THE PORCH OF ST. PABLO</p>
+
+<p>VALLADOLID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<div class="figcenter" id="plt_045">
+<p class="plt">Plate 45</p>
+<a href="images/plt_045.jpg">
+<img src="images/plt_045.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<div class="figcenter" id="plt_046">
+<p class="plt">Plate 46</p>
+<a href="images/plt_046.jpg">
+<img src="images/plt_046.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<div class="figcenter" id="plt_047">
+<p class="plt">Plate 47</p>
+<a href="images/plt_047.jpg">
+<img src="images/plt_047.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL ENTRANCE TO THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p>
+
+<div class="figcenter" id="plt_048">
+<p class="plt">Plate 48</p>
+<a href="images/plt_048.jpg">
+<img src="images/plt_048.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL GATE OF THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<div class="figcenter" id="plt_049">
+<p class="plt">Plate 49</p>
+<a href="images/plt_049.jpg">
+<img src="images/plt_049.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. VIEW OF THE INTERIOR</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" id="plt_050">
+<p class="plt">Plate 50</p>
+<a href="images/plt_050.jpg">
+<img src="images/plt_050.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. THE RETABLO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
+
+<div class="figcenter" id="plt_051">
+<p class="plt">Plate 51</p>
+<a href="images/plt_051.jpg">
+<img src="images/plt_051.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LA CAMARA SANTA; OR PRIMITIVE CHAPEL OF SAN MIGUEL WHERE ARE PRESERVED
+THE RELICS SAVED BY PELAYO FROM THE HANDS OF THE MOORS</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<div class="figcenter" id="plt_052">
+<p class="plt">Plate 52</p>
+<a href="images/plt_052.jpg">
+<img src="images/plt_052.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COFFIN IN OVIEDO CATHEDRAL, AND DETAILS OF THE SEPULCHRE FROM COVADONGA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<div class="figcenter" id="plt_053">
+<p class="plt">Plate 53</p>
+<a href="images/plt_053.jpg">
+<img src="images/plt_053.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OLD TOWER OF THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p>
+
+<div class="figcenter" id="plt_054">
+<p class="plt">Plate 54</p>
+<a href="images/plt_054.jpg">
+<img src="images/plt_054.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. OAKEN ARK, OR CHEST CONTAINING HOLY RELICS, IN THE CAMARA
+SANTA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<div class="figcenter" id="plt_055">
+<p class="plt">Plate 55</p>
+<a href="images/plt_055.jpg">
+<img src="images/plt_055.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SECTION, PLAN, AND DETAILS OF THE CAMARA SANTA IN THE CATHEDRAL</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
+
+<div class="figcenter" id="plt_056">
+<p class="plt">Plate 56</p>
+<a href="images/plt_056.jpg">
+<img src="images/plt_056.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. CROSS OF THE ANGELS, IN THE CAMARA SANTA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p>
+
+<div class="figcenter" id="plt_057">
+<p class="plt">Plate 57</p>
+<a href="images/plt_057.jpg">
+<img src="images/plt_057.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CROSSES AND CASKETS OF THE ASTURIAS</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
+
+<div class="figcenter" id="plt_058">
+<p class="plt">Plate 58</p>
+<a href="images/plt_058.jpg">
+<img src="images/plt_058.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. CROSS OF VICTORY, OR OF PELAYO, IN THE CAMARA SANTA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<div class="figcenter" id="plt_059">
+<p class="plt">Plate 59</p>
+<a href="images/plt_059.jpg">
+<img src="images/plt_059.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITAL, REPRESENTING THE DEATH OF FAVILA THE FATHER OF PELAYA</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<div class="figcenter" id="plt_060">
+<p class="plt">Plate 60</p>
+<a href="images/plt_060.jpg">
+<img src="images/plt_060.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA MARIA DE NARANCO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<div class="figcenter" id="plt_061">
+<p class="plt">Plate 61</p>
+<a href="images/plt_061.jpg">
+<img src="images/plt_061.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE PARISH CHURCH OF SANTA MARIA DE NARANCO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p>
+
+<div class="figcenter" id="plt_062">
+<p class="plt">Plate 62</p>
+<a href="images/plt_062.jpg">
+<img src="images/plt_062.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN MIGUEL DE LINEO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
+
+<div class="figcenter" id="plt_063">
+<p class="plt">Plate 63</p>
+<a href="images/plt_063.jpg">
+<img src="images/plt_063.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PARISH CHURCH OF SAN JUAN DE PRIORIO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<div class="figcenter" id="plt_064">
+<p class="plt">Plate 64</p>
+<a href="images/plt_064.jpg">
+<img src="images/plt_064.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN JUAN DE PRIORIO</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<div class="figcenter" id="plt_065">
+<p class="plt">Plate 65</p>
+<a href="images/plt_065.jpg">
+<img src="images/plt_065.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTALS, TOWER, AND DETAILS OF THE CHURCHES OF ST. CLARA, ST. JOHN, AND
+OUR LADY DE LA VEGA, THE LAST-NAMED FOUNDED IN THE TWELFTH CENTURY</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
+
+<div class="figcenter" id="plt_066">
+<p class="plt">Plate 66</p>
+<a href="images/plt_066.jpg">
+<img src="images/plt_066.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
+
+<div class="figcenter" id="plt_067">
+<p class="plt">Plate 67</p>
+<a href="images/plt_067.jpg">
+<img src="images/plt_067.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN AND DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p>
+
+<div class="figcenter" id="plt_068">
+<p class="plt">Plate 68</p>
+<a href="images/plt_068.jpg">
+<img src="images/plt_068.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, PRINCIPAL ENTRANCE, AND DETAILS OF THE CHURCH OF SAN JUAN DE
+AMANDI (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p>
+
+<div class="figcenter" id="plt_069">
+<p class="plt">Plate 69</p>
+<a href="images/plt_069.jpg">
+<img src="images/plt_069.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF SAN JUAN
+DE AMANDI (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<div class="figcenter" id="plt_070">
+<p class="plt">Plate 70</p>
+<a href="images/plt_070.jpg">
+<img src="images/plt_070.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, PORCH, AND DETAILS OF THE PARISH CHURCH OF VILLAVICIOSA (CONCEJO
+DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<div class="figcenter" id="plt_071">
+<p class="plt">Plate 71</p>
+<a href="images/plt_071.jpg">
+<img src="images/plt_071.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FRONT, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF
+VILLAVICIOSA (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" id="plt_072">
+<p class="plt">Plate 72</p>
+<a href="images/plt_072.jpg">
+<img src="images/plt_072.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN AND SECTION OF CHURCH OF SAN SALVADOR DE VALDEDIOS (CONCEJO DE
+VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<div class="figcenter" id="plt_073">
+<p class="plt">Plate 73</p>
+<a href="images/plt_073.jpg">
+<img src="images/plt_073.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TRANSVERSE SECTION AND WINDOWS OF THE CHURCH OF SAN SALVADOR DE
+VALDEDIOS (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span></p>
+
+<div class="figcenter" id="plt_074">
+<p class="plt">Plate 74</p>
+<a href="images/plt_074.jpg">
+<img src="images/plt_074.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLANS, SECTIONS, AND DETAILS OF THE PAROCHIAL CHURCHES OF PRIESCA AND
+FUENTES (CONCEJO DE VILLAVICIOSA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span></p>
+
+<div class="figcenter" id="plt_075">
+<p class="plt">Plate 75</p>
+<a href="images/plt_075.jpg">
+<img src="images/plt_075.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF CHURCH OF SANTA MARIA DE VILLAMAYOR (CONCEJO DEL INFIESTO)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span></p>
+
+<div class="figcenter" id="plt_076">
+<p class="plt">Plate 76</p>
+<a href="images/plt_076.jpg">
+<img src="images/plt_076.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SANTA MARIA DE VILLAMAYOR (CONCEJO DE INFIESTO)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p>
+
+<div class="figcenter" id="plt_077">
+<p class="plt">Plate 77</p>
+<a href="images/plt_077.jpg">
+<img src="images/plt_077.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, SECTIONS, AND DETAILS OF SAN ADRIAN DE TUÑON (CONCEJO DE
+VILLANUEVA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span></p>
+
+<div class="figcenter" id="plt_078">
+<p class="plt">Plate 78</p>
+<a href="images/plt_078.jpg">
+<img src="images/plt_078.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF HERMITAGE OF SANTA CRISTINA (CONCEJO DE LA POLA DE LENA)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
+
+<div class="figcenter" id="plt_079">
+<p class="plt">Plate 79</p>
+<a href="images/plt_079.jpg">
+<img src="images/plt_079.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SEPULCHRES IN THE CLOISTERS OF THE COLLEGIATE CHURCH OF
+COVADONGA (CONCEJO DE CANGAS DE ONIS)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" id="plt_080">
+<p class="plt">Plate 80</p>
+<a href="images/plt_080.jpg">
+<img src="images/plt_080.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF PARISH-CHURCH OF UJO (CONCEJO DE MIERES)</p>
+
+<p>PROVINCE OF OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" id="plt_081">
+<p class="plt">Plate 81</p>
+<a href="images/plt_081.jpg">
+<img src="images/plt_081.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF PAROCHIAL CHURCH OF UJO (CONCEJO DE MIERES)</p>
+
+<p>OVIEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" id="plt_082">
+<p class="plt">Plate 82</p>
+<a href="images/plt_082.jpg">
+<img src="images/plt_082.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF SEGOVIA FROM THE NIEVAS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<div class="figcenter" id="plt_083">
+<p class="plt">Plate 83</p>
+<a href="images/plt_083.jpg">
+<img src="images/plt_083.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<div class="figcenter" id="plt_084">
+<p class="plt">Plate 84</p>
+<a href="images/plt_084.jpg">
+<img src="images/plt_084.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p>
+
+<div class="figcenter" id="plt_085">
+<p class="plt">Plate 85</p>
+<a href="images/plt_085.jpg">
+<img src="images/plt_085.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR AND CATHEDRAL FROM THE FUENCISLA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
+
+<div class="figcenter" id="plt_086">
+<p class="plt">Plate 86</p>
+<a href="images/plt_086.jpg">
+<img src="images/plt_086.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM THE NIEVAS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p>
+
+<div class="figcenter" id="plt_087">
+<p class="plt">Plate 87</p>
+<a href="images/plt_087.jpg">
+<img src="images/plt_087.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OLD HOUSES IN THE PLAZA MAYOR</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span></p>
+
+<div class="figcenter" id="plt_088">
+<p class="plt">Plate 88</p>
+<a href="images/plt_088.jpg">
+<img src="images/plt_088.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE WALLS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span></p>
+
+<div class="figcenter" id="plt_089">
+<p class="plt">Plate 89</p>
+<a href="images/plt_089.jpg">
+<img src="images/plt_089.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>AQUEDUCT OVER THE RIVER CASTILLA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<div class="figcenter" id="plt_090">
+<p class="plt">Plate 90</p>
+<a href="images/plt_090.jpg">
+<img src="images/plt_090.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL FROM THE HOYOS HILL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<div class="figcenter" id="plt_091">
+<p class="plt">Plate 91</p>
+<a href="images/plt_091.jpg">
+<img src="images/plt_091.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE CATHEDRAL FROM THE SQUARE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<div class="figcenter" id="plt_092">
+<p class="plt">Plate 92</p>
+<a href="images/plt_092.jpg">
+<img src="images/plt_092.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE CATHEDRAL FROM THE SQUARE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p>
+
+<div class="figcenter" id="plt_093">
+<p class="plt">Plate 93</p>
+<a href="images/plt_093.jpg">
+<img src="images/plt_093.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CASA DE LOS PICOS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span></p>
+
+<div class="figcenter" id="plt_094">
+<p class="plt">Plate 94</p>
+<a href="images/plt_094.jpg">
+<img src="images/plt_094.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SANTA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<div class="figcenter" id="plt_095">
+<p class="plt">Plate 95</p>
+<a href="images/plt_095.jpg">
+<img src="images/plt_095.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH OF SANTA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p>
+
+<div class="figcenter" id="plt_096">
+<p class="plt">Plate 96</p>
+<a href="images/plt_096.jpg">
+<img src="images/plt_096.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SANTA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p>
+
+<div class="figcenter" id="plt_097">
+<p class="plt">Plate 97</p>
+<a href="images/plt_097.jpg">
+<img src="images/plt_097.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE MINT AND THE PARRAL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p>
+
+<div class="figcenter" id="plt_098">
+<p class="plt">Plate 98</p>
+<a href="images/plt_098.jpg">
+<img src="images/plt_098.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE PARRAL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p>
+
+<div class="figcenter" id="plt_099">
+<p class="plt">Plate 99</p>
+<a href="images/plt_099.jpg">
+<img src="images/plt_099.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF THE PARRAL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<div class="figcenter" id="plt_100">
+<p class="plt">Plate 100</p>
+<a href="images/plt_100.jpg">
+<img src="images/plt_100.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TURÉGANO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<div class="figcenter" id="plt_101">
+<p class="plt">Plate 101</p>
+<a href="images/plt_101.jpg">
+<img src="images/plt_101.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TURÉGANO CASTLE</p>
+
+<p>PROVINCE OF SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" id="plt_102">
+<p class="plt">Plate 102</p>
+<a href="images/plt_102.jpg">
+<img src="images/plt_102.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF COCA CASTLE</p>
+
+<p>PROVINCE OF SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<div class="figcenter" id="plt_103">
+<p class="plt">Plate 103</p>
+<a href="images/plt_103.jpg">
+<img src="images/plt_103.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANOTHER VIEW OF COCA CASTLE</p>
+
+<p>PROVINCE OF SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span></p>
+
+<div class="figcenter" id="plt_104">
+<p class="plt">Plate 104</p>
+<a href="images/plt_104.jpg">
+<img src="images/plt_104.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ST. ANDREW’S GATE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<div class="figcenter" id="plt_105">
+<p class="plt">Plate 105</p>
+<a href="images/plt_105.jpg">
+<img src="images/plt_105.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ARCH OF THE FUENCISLA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<div class="figcenter" id="plt_106">
+<p class="plt">Plate 106</p>
+<a href="images/plt_106.jpg">
+<img src="images/plt_106.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SANTIAGO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<div class="figcenter" id="plt_107">
+<p class="plt">Plate 107</p>
+<a href="images/plt_107.jpg">
+<img src="images/plt_107.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR BEFORE THE FIRE IN 1862</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p>
+
+<div class="figcenter" id="plt_108">
+<p class="plt">Plate 108</p>
+<a href="images/plt_108.jpg">
+<img src="images/plt_108.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR FROM THE HOYOS HILL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p>
+
+<div class="figcenter" id="plt_109">
+<p class="plt">Plate 109</p>
+<a href="images/plt_109.jpg">
+<img src="images/plt_109.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE ALCAZAR</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p>
+
+<div class="figcenter" id="plt_110">
+<p class="plt">Plate 110</p>
+<a href="images/plt_110.jpg">
+<img src="images/plt_110.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR FROM THE CAVES</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p>
+
+<div class="figcenter" id="plt_111">
+<p class="plt">Plate 111</p>
+<a href="images/plt_111.jpg">
+<img src="images/plt_111.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE ALCAZAR BEFORE THE FIRE IN 1862</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<div class="figcenter" id="plt_112">
+<p class="plt">Plate 112</p>
+<a href="images/plt_112.jpg">
+<img src="images/plt_112.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRES OF THE FAMILY OF THE MARQUESES DE VILLENA IN THE CHURCH OF
+THE PARRAL</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<div class="figcenter" id="plt_113">
+<p class="plt">Plate 113</p>
+<a href="images/plt_113.jpg">
+<img src="images/plt_113.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. NICHOLAS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p>
+
+<div class="figcenter" id="plt_114">
+<p class="plt">Plate 114</p>
+<a href="images/plt_114.jpg">
+<img src="images/plt_114.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF THE CHURCH OF VERA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<div class="figcenter" id="plt_115">
+<p class="plt">Plate 115</p>
+<a href="images/plt_115.jpg">
+<img src="images/plt_115.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH OF VERA CRUZ</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p>
+
+<div class="figcenter" id="plt_116">
+<p class="plt">Plate 116</p>
+<a href="images/plt_116.jpg">
+<img src="images/plt_116.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD OF THE MARQUIS OF ARCOS’ HOUSE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
+
+<div class="figcenter" id="plt_117">
+<p class="plt">Plate 117</p>
+<a href="images/plt_117.jpg">
+<img src="images/plt_117.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF ST. JOHN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<div class="figcenter" id="plt_118">
+<p class="plt">Plate 118</p>
+<a href="images/plt_118.jpg">
+<img src="images/plt_118.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. JOHN. SEGOVIA FROM THE EAST</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<div class="figcenter" id="plt_119">
+<p class="plt">Plate 119</p>
+<a href="images/plt_119.jpg">
+<img src="images/plt_119.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS CABALLEROS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p>
+
+<div class="figcenter" id="plt_120">
+<p class="plt">Plate 120</p>
+<a href="images/plt_120.jpg">
+<img src="images/plt_120.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. MARTIN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<div class="figcenter" id="plt_121">
+<p class="plt">Plate 121</p>
+<a href="images/plt_121.jpg">
+<img src="images/plt_121.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF ST. MARTIN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
+
+<div class="figcenter" id="plt_122">
+<p class="plt">Plate 122</p>
+<a href="images/plt_122.jpg">
+<img src="images/plt_122.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PARISH CHURCH OF ST. MARTIN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figcenter" id="plt_123">
+<p class="plt">Plate 123</p>
+<a href="images/plt_123.jpg">
+<img src="images/plt_123.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH OF THE PORTICO, CORNICE AND CAPITALS OF THE PORTICO OF THE PARISH
+CHURCH OF ST. MARTIN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<div class="figcenter" id="plt_124">
+<p class="plt">Plate 124</p>
+<a href="images/plt_124.jpg">
+<img src="images/plt_124.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF ST. STEPHEN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" id="plt_125">
+<p class="plt">Plate 125</p>
+<a href="images/plt_125.jpg">
+<img src="images/plt_125.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTICO OF ST. STEPHEN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<div class="figcenter" id="plt_126">
+<p class="plt">Plate 126</p>
+<a href="images/plt_126.jpg">
+<img src="images/plt_126.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF ST. STEPHEN AND EXTERIOR DETAILS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<div class="figcenter" id="plt_127">
+<p class="plt">Plate 127</p>
+<a href="images/plt_127.jpg">
+<img src="images/plt_127.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN LORENZO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<div class="figcenter" id="plt_128">
+<p class="plt">Plate 128</p>
+<a href="images/plt_128.jpg">
+<img src="images/plt_128.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN LORENZO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p>
+
+<div class="figcenter" id="plt_129">
+<p class="plt">Plate 129</p>
+<a href="images/plt_129.jpg">
+<img src="images/plt_129.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LATERAL FAÇADE OF THE CHURCH OF SAN LORENZO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<div class="figcenter" id="plt_130">
+<p class="plt">Plate 130</p>
+<a href="images/plt_130.jpg">
+<img src="images/plt_130.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CHURCH OF SAN LORENZO, WITH DETAILS OF CAPITALS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<div class="figcenter" id="plt_131">
+<p class="plt">Plate 131</p>
+<a href="images/plt_131.jpg">
+<img src="images/plt_131.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CHURCH OF SAN LORENZO</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" id="plt_132">
+<p class="plt">Plate 132</p>
+<a href="images/plt_132.jpg">
+<img src="images/plt_132.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN MILLÁN. THE EPISTLE SIDE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" id="plt_133">
+<p class="plt">Plate 133</p>
+<a href="images/plt_133.jpg">
+<img src="images/plt_133.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN MILLÁN. THE GOSPEL SIDE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" id="plt_134">
+<p class="plt">Plate 134</p>
+<a href="images/plt_134.jpg">
+<img src="images/plt_134.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHES AND EAVES OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<div class="figcenter" id="plt_135">
+<p class="plt">Plate 135</p>
+<a href="images/plt_135.jpg">
+<img src="images/plt_135.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SECTIONAL ELEVATIONS OF THE PARISH CHURCH OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p>
+
+<div class="figcenter" id="plt_136">
+<p class="plt">Plate 136</p>
+<a href="images/plt_136.jpg">
+<img src="images/plt_136.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, AND DETAILS OF THE PARISH CHURCH OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<div class="figcenter" id="plt_137">
+<p class="plt">Plate 137</p>
+<a href="images/plt_137.jpg">
+<img src="images/plt_137.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PARISH CHURCH OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<div class="figcenter" id="plt_138">
+<p class="plt">Plate 138</p>
+<a href="images/plt_138.jpg">
+<img src="images/plt_138.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PARISH CHURCH OF SAN MILLÁN</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<div class="figcenter" id="plt_139">
+<p class="plt">Plate 139</p>
+<a href="images/plt_139.jpg">
+<img src="images/plt_139.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, AND DETAILS OF THE CHURCH OF THE CONVENT OF CORPUS CHRISTI</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<div class="figcenter" id="plt_140">
+<p class="plt">Plate 140</p>
+<a href="images/plt_140.jpg">
+<img src="images/plt_140.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CONVENT OF SANTO DOMINGO AND TOWERS</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<div class="figcenter" id="plt_141">
+<p class="plt">Plate 141</p>
+<a href="images/plt_141.jpg">
+<img src="images/plt_141.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTED SOCLES IN THE INTERIOR OF THE TOWER OF SANTO DOMINGO, COMMONLY
+CALLED THE TOWER OF HERCULES</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p>
+
+<div class="figcenter" id="plt_142">
+<p class="plt">Plate 142</p>
+<a href="images/plt_142.jpg">
+<img src="images/plt_142.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE CONVENT OF OUR LADY DE LA SIERRA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p>
+
+<div class="figcenter" id="plt_143">
+<p class="plt">Plate 143</p>
+<a href="images/plt_143.jpg">
+<img src="images/plt_143.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>RUINS OF THE CHAPEL OF THE CONVENT OF OUR LADY DE LA SIERRA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" id="plt_144">
+<p class="plt">Plate 144</p>
+<a href="images/plt_144.jpg">
+<img src="images/plt_144.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE RUINED CONVENT OF OUR LADY DE LA SIERRA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<div class="figcenter" id="plt_145">
+<p class="plt">Plate 145</p>
+<a href="images/plt_145.jpg">
+<img src="images/plt_145.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CONVENT OF OUR LADY DE LA SIERRA</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<div class="figcenter" id="plt_146">
+<p class="plt">Plate 146</p>
+<a href="images/plt_146.jpg">
+<img src="images/plt_146.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" id="plt_147">
+<p class="plt">Plate 147</p>
+<a href="images/plt_147.jpg">
+<img src="images/plt_147.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" id="plt_148">
+<p class="plt">Plate 148</p>
+<a href="images/plt_148.jpg">
+<img src="images/plt_148.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<div class="figcenter" id="plt_149">
+<p class="plt">Plate 149</p>
+<a href="images/plt_149.jpg">
+<img src="images/plt_149.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p>
+
+<div class="figcenter" id="plt_150">
+<p class="plt">Plate 150</p>
+<a href="images/plt_150.jpg">
+<img src="images/plt_150.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<div class="figcenter" id="plt_151">
+<p class="plt">Plate 151</p>
+<a href="images/plt_151.jpg">
+<img src="images/plt_151.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<div class="figcenter" id="plt_152">
+<p class="plt">Plate 152</p>
+<a href="images/plt_152.jpg">
+<img src="images/plt_152.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROMAN AQUEDUCT</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
+
+<div class="figcenter" id="plt_153">
+<p class="plt">Plate 153</p>
+<a href="images/plt_153.jpg">
+<img src="images/plt_153.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>A DANCE IN THE PLAZA DEL PUEBLO DE NIEVA, SEGOVIA. BY A. GARCIA MENCIA.
+(No. 181, EXHIBITION OF 1871)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
+
+<div class="figcenter" id="plt_154">
+<p class="plt">Plate 154</p>
+<a href="images/plt_154.jpg">
+<img src="images/plt_154.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ENRIQUE IV. CONDUCTING THE INFANTA ISABEL THROUGH THE STREETS OF
+SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
+
+<div class="figcenter" id="plt_155">
+<p class="plt">Plate 155</p>
+<a href="images/plt_155.jpg">
+<img src="images/plt_155.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GROUP OF PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p>
+
+<div class="figcenter" id="plt_156">
+<p class="plt">Plate 156</p>
+<a href="images/plt_156.jpg">
+<img src="images/plt_156.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<div class="figcenter" id="plt_157">
+<p class="plt">Plate 157</p>
+<a href="images/plt_157.jpg">
+<img src="images/plt_157.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<div class="figcenter" id="plt_158">
+<p class="plt">Plate 158</p>
+<a href="images/plt_158.jpg">
+<img src="images/plt_158.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p>
+
+<div class="figcenter" id="plt_159">
+<p class="plt">Plate 159</p>
+<a href="images/plt_159.jpg">
+<img src="images/plt_159.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p>
+
+<div class="figcenter" id="plt_160">
+<p class="plt">Plate 160</p>
+<a href="images/plt_160.jpg">
+<img src="images/plt_160.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p>
+
+<div class="figcenter" id="plt_161">
+<p class="plt">Plate 161</p>
+<a href="images/plt_161.jpg">
+<img src="images/plt_161.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p>
+
+<div class="figcenter" id="plt_162">
+<p class="plt">Plate 162</p>
+<a href="images/plt_162.jpg">
+<img src="images/plt_162.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" id="plt_163">
+<p class="plt">Plate 163</p>
+<a href="images/plt_163.jpg">
+<img src="images/plt_163.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<div class="figcenter" id="plt_164">
+<p class="plt">Plate 164</p>
+<a href="images/plt_164.jpg">
+<img src="images/plt_164.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p>
+
+<div class="figcenter" id="plt_165">
+<p class="plt">Plate 165</p>
+<a href="images/plt_165.jpg">
+<img src="images/plt_165.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE PROVINCE</p>
+
+<p>SEGOVIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<div class="figcenter" id="plt_166">
+<p class="plt">Plate 166</p>
+<a href="images/plt_166.jpg">
+<img src="images/plt_166.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
+
+<div class="figcenter" id="plt_167">
+<p class="plt">Plate 167</p>
+<a href="images/plt_167.jpg">
+<img src="images/plt_167.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p>
+
+<div class="figcenter" id="plt_168">
+<p class="plt">Plate 168</p>
+<a href="images/plt_168.jpg">
+<img src="images/plt_168.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>WALLS AND POSTERN GATE WITH THE HOUSE OF DOÑA URRACA</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<div class="figcenter" id="plt_169">
+<p class="plt">Plate 169</p>
+<a href="images/plt_169.jpg">
+<img src="images/plt_169.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>STONE BRIDGE OVER THE DUERO</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<div class="figcenter" id="plt_170">
+<p class="plt">Plate 170</p>
+<a href="images/plt_170.jpg">
+<img src="images/plt_170.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BRIDGE OVER THE DUERO</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p>
+
+<div class="figcenter" id="plt_171">
+<p class="plt">Plate 171</p>
+<a href="images/plt_171.jpg">
+<img src="images/plt_171.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE CATHEDRAL</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
+
+<div class="figcenter" id="plt_172">
+<p class="plt">Plate 172</p>
+<a href="images/plt_172.jpg">
+<img src="images/plt_172.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE CATHEDRAL</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p>
+
+<div class="figcenter" id="plt_173">
+<p class="plt">Plate 173</p>
+<a href="images/plt_173.jpg">
+<img src="images/plt_173.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. GATE OF THE BISHOP</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<div class="figcenter" id="plt_174">
+<p class="plt">Plate 174</p>
+<a href="images/plt_174.jpg">
+<img src="images/plt_174.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EAST FRONT</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<div class="figcenter" id="plt_175">
+<p class="plt">Plate 175</p>
+<a href="images/plt_175.jpg">
+<img src="images/plt_175.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. GATE OF THE BISHOP</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<div class="figcenter" id="plt_176">
+<p class="plt">Plate 176</p>
+<a href="images/plt_176.jpg">
+<img src="images/plt_176.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. GATE OF THE BISHOP</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<div class="figcenter" id="plt_177">
+<p class="plt">Plate 177</p>
+<a href="images/plt_177.jpg">
+<img src="images/plt_177.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p>
+
+<div class="figcenter" id="plt_178">
+<p class="plt">Plate 178</p>
+<a href="images/plt_178.jpg">
+<img src="images/plt_178.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<div class="figcenter" id="plt_179">
+<p class="plt">Plate 179</p>
+<a href="images/plt_179.jpg">
+<img src="images/plt_179.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>DETAIL OF THE INTERIOR</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p>
+
+<div class="figcenter" id="plt_180">
+<p class="plt">Plate 180</p>
+<a href="images/plt_180.jpg">
+<img src="images/plt_180.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA.</p>
+
+<p>DETAIL OF THE INTERIOR</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" id="plt_181">
+<p class="plt">Plate 181</p>
+<a href="images/plt_181.jpg">
+<img src="images/plt_181.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA. CHANCEL</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<div class="figcenter" id="plt_182">
+<p class="plt">Plate 182</p>
+<a href="images/plt_182.jpg">
+<img src="images/plt_182.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA: EXAMPLE OF THE VAULTING</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p>
+
+<div class="figcenter" id="plt_183">
+<p class="plt">Plate 183</p>
+<a href="images/plt_183.jpg">
+<img src="images/plt_183.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA. INTERIOR</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" id="plt_184">
+<p class="plt">Plate 184</p>
+<a href="images/plt_184.jpg">
+<img src="images/plt_184.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA. TRANSEPT AND NAVE</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<div class="figcenter" id="plt_185">
+<p class="plt">Plate 185</p>
+<a href="images/plt_185.jpg">
+<img src="images/plt_185.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>DETAIL OF A WINDOW DEEPLY RECESSED</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_348" id="page_348">{348}</a></span></p>
+
+<div class="figcenter" id="plt_186">
+<p class="plt">Plate 186</p>
+<a href="images/plt_186.jpg">
+<img src="images/plt_186.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT CISTERCIAN MONASTERY OF MORERUELA</p>
+
+<p>TRANSEPT PORCH</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p>
+
+<div class="figcenter" id="plt_187">
+<p class="plt">Plate 187</p>
+<a href="images/plt_187.jpg">
+<img src="images/plt_187.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA MARIA LA NUEVA. DETAIL OF THE EXTERIOR</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></p>
+
+<div class="figcenter" id="plt_188">
+<p class="plt">Plate 188</p>
+<a href="images/plt_188.jpg">
+<img src="images/plt_188.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA MARIA LA NUEVA. DOORWAY IN THE WALL ON THE EPISTLE SIDE</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span></p>
+
+<div class="figcenter" id="plt_189">
+<p class="plt">Plate 189</p>
+<a href="images/plt_189.jpg">
+<img src="images/plt_189.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA MARIA LA NUEVA. CAPITALS OF RECESSED WINDOWS</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p>
+
+<div class="figcenter" id="plt_190">
+<p class="plt">Plate 190</p>
+<a href="images/plt_190.jpg">
+<img src="images/plt_190.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF MAGDALEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<div class="figcenter" id="plt_191">
+<p class="plt">Plate 191</p>
+<a href="images/plt_191.jpg">
+<img src="images/plt_191.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL DOOR OF THE CHURCH OF THE MAGDALEN</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<div class="figcenter" id="plt_192">
+<p class="plt">Plate 192</p>
+<a href="images/plt_192.jpg">
+<img src="images/plt_192.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN AND SECTIONS OF THE PARISH CHURCH OF ST. PETER</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p>
+
+<div class="figcenter" id="plt_193">
+<p class="plt">Plate 193</p>
+<a href="images/plt_193.jpg">
+<img src="images/plt_193.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PARISH CHURCH OF ST. PETER (NAVE)</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span></p>
+
+<div class="figcenter" id="plt_194">
+<p class="plt">Plate 194</p>
+<a href="images/plt_194.jpg">
+<img src="images/plt_194.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE OF THE CID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p>
+
+<div class="figcenter" id="plt_195">
+<p class="plt">Plate 195</p>
+<a href="images/plt_195.jpg">
+<img src="images/plt_195.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TAPESTRY OF THE BEGINNING OF THE FIFTEENTH CENTURY</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span></p>
+
+<div class="figcenter" id="plt_196">
+<p class="plt">Plate 196</p>
+<a href="images/plt_196.jpg">
+<img src="images/plt_196.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span></p>
+
+<div class="figcenter" id="plt_197">
+<p class="plt">Plate 197</p>
+<a href="images/plt_197.jpg">
+<img src="images/plt_197.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTING IN THE TOWN HALL BY RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p>
+
+<div class="figcenter" id="plt_198">
+<p class="plt">Plate 198</p>
+<a href="images/plt_198.jpg">
+<img src="images/plt_198.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTING ON THE UPPER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<div class="figcenter" id="plt_199">
+<p class="plt">Plate 199</p>
+<a href="images/plt_199.jpg">
+<img src="images/plt_199.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTING ON THE LOWER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" id="plt_200">
+<p class="plt">Plate 200</p>
+<a href="images/plt_200.jpg">
+<img src="images/plt_200.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ROYAL ESCUTCHEON. DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON
+PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" id="plt_201">
+<p class="plt">Plate 201</p>
+<a href="images/plt_201.jpg">
+<img src="images/plt_201.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ST. FERDINAND AND KING JOHN II. DECORATIVE PAINTING IN THE TOWN HALL. BY
+RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<div class="figcenter" id="plt_202">
+<p class="plt">Plate 202</p>
+<a href="images/plt_202.jpg">
+<img src="images/plt_202.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ARMS OF THE TOWN. BY RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p>
+
+<div class="figcenter" id="plt_203">
+<p class="plt">Plate 203</p>
+<a href="images/plt_203.jpg">
+<img src="images/plt_203.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>QUEEN URRACA AND ARIAS GONZALO. DECORATIVE PAINTING IN THE TOWN HALL. BY
+RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p>
+
+<div class="figcenter" id="plt_204">
+<p class="plt">Plate 204</p>
+<a href="images/plt_204.jpg">
+<img src="images/plt_204.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TROPHIES OF ARMS AND ARMOUR IN THE TOWN HALL BY RAMON PEDRO Y PEDRET</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></p>
+
+<div class="figcenter" id="plt_205">
+<p class="plt">Plate 205</p>
+<a href="images/plt_205.jpg">
+<img src="images/plt_205.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE HOUSE OF THE MOMOS</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p>
+
+<div class="figcenter" id="plt_206">
+<p class="plt">Plate 206</p>
+<a href="images/plt_206.jpg">
+<img src="images/plt_206.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BRIDGE OF ROCOBAYO OVER THE ESLA</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p>
+
+<div class="figcenter" id="plt_207">
+<p class="plt">Plate 207</p>
+<a href="images/plt_207.jpg">
+<img src="images/plt_207.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>STONE QUARRIES OF THE TOWN OF VALDEROJO</p>
+
+<p>ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_370" id="page_370">{370}</a></span>&nbsp; </p>
+
+
+<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span>&nbsp; </p>
+
+<div class="figcenter" id="plt_208">
+<p class="plt">Plate 208</p>
+<a href="images/plt_208.jpg">
+<img src="images/plt_208.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>EARTHWORKS OF THE ANCIENT CITY OF TORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p>
+
+<div class="figcenter" id="plt_209">
+<p class="plt">Plate 209</p>
+<a href="images/plt_209.jpg">
+<img src="images/plt_209.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>NORTH AND CENTRE GATES OF THE COLLEGIATE CHURCH OF TORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p>
+
+<div class="figcenter" id="plt_210">
+<p class="plt">Plate 210</p>
+<a href="images/plt_210.jpg">
+<img src="images/plt_210.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN, EXTERIOR VIEW, AND DETAILS OF THE COLLEGIATE CHURCH OF TORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_374" id="page_374">{374}</a></span></p>
+
+<div class="figcenter" id="plt_211">
+<p class="plt">Plate 211</p>
+<a href="images/plt_211.jpg">
+<img src="images/plt_211.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GROUP OF PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p>
+
+<div class="figcenter" id="plt_212">
+<p class="plt">Plate 212</p>
+<a href="images/plt_212.jpg">
+<img src="images/plt_212.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GROUP OF PEASANTS OF THE VILLAGE OF CARBAJALES</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_376" id="page_376">{376}</a></span></p>
+
+<div class="figcenter" id="plt_213">
+<p class="plt">Plate 213</p>
+<a href="images/plt_213.jpg">
+<img src="images/plt_213.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO</p>
+
+<p>PROVINCE OF ZAMORA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_377" id="page_377">{377}</a></span></p>
+
+<div class="figcenter" id="plt_214">
+<p class="plt">Plate 214</p>
+<a href="images/plt_214.jpg">
+<img src="images/plt_214.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_378" id="page_378">{378}</a></span></p>
+
+<div class="figcenter" id="plt_215">
+<p class="plt">Plate 215</p>
+<a href="images/plt_215.jpg">
+<img src="images/plt_215.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_379" id="page_379">{379}</a></span></p>
+
+<div class="figcenter" id="plt_216">
+<p class="plt">Plate 216</p>
+<a href="images/plt_216.jpg">
+<img src="images/plt_216.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_380" id="page_380">{380}</a></span></p>
+
+<div class="figcenter" id="plt_217">
+<p class="plt">Plate 217</p>
+<a href="images/plt_217.jpg">
+<img src="images/plt_217.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF THE ALCAZAR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p>
+
+<div class="figcenter" id="plt_218">
+<p class="plt">Plate 218</p>
+<a href="images/plt_218.jpg">
+<img src="images/plt_218.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p>
+
+<div class="figcenter" id="plt_219">
+<p class="plt">Plate 219</p>
+<a href="images/plt_219.jpg">
+<img src="images/plt_219.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
+
+<div class="figcenter" id="plt_220">
+<p class="plt">Plate 220</p>
+<a href="images/plt_220.jpg">
+<img src="images/plt_220.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_384" id="page_384">{384}</a></span></p>
+
+<div class="figcenter" id="plt_221">
+<p class="plt">Plate 221</p>
+<a href="images/plt_221.jpg">
+<img src="images/plt_221.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_385" id="page_385">{385}</a></span></p>
+
+<div class="figcenter" id="plt_222">
+<p class="plt">Plate 222</p>
+<a href="images/plt_222.jpg">
+<img src="images/plt_222.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_386" id="page_386">{386}</a></span></p>
+
+<div class="figcenter" id="plt_223">
+<p class="plt">Plate 223</p>
+<a href="images/plt_223.jpg">
+<img src="images/plt_223.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p>
+
+<div class="figcenter" id="plt_224">
+<p class="plt">Plate 224</p>
+<a href="images/plt_224.jpg">
+<img src="images/plt_224.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_388" id="page_388">{388}</a></span></p>
+
+<div class="figcenter" id="plt_225">
+<p class="plt">Plate 225</p>
+<a href="images/plt_225.jpg">
+<img src="images/plt_225.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE TO THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p>
+
+<div class="figcenter" id="plt_226">
+<p class="plt">Plate 226</p>
+<a href="images/plt_226.jpg">
+<img src="images/plt_226.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN OF CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_390" id="page_390">{390}</a></span></p>
+
+<div class="figcenter" id="plt_227">
+<p class="plt">Plate 227</p>
+<a href="images/plt_227.jpg">
+<img src="images/plt_227.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>AVILA CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_391" id="page_391">{391}</a></span></p>
+
+<div class="figcenter" id="plt_228">
+<p class="plt">Plate 228</p>
+<a href="images/plt_228.jpg">
+<img src="images/plt_228.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SIDE DOOR OF THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_392" id="page_392">{392}</a></span></p>
+
+<div class="figcenter" id="plt_229">
+<p class="plt">Plate 229</p>
+<a href="images/plt_229.jpg">
+<img src="images/plt_229.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_393" id="page_393">{393}</a></span></p>
+
+<div class="figcenter" id="plt_230">
+<p class="plt">Plate 230</p>
+<a href="images/plt_230.jpg">
+<img src="images/plt_230.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_394" id="page_394">{394}</a></span></p>
+
+<div class="figcenter" id="plt_231">
+<p class="plt">Plate 231</p>
+<a href="images/plt_231.jpg">
+<img src="images/plt_231.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_395" id="page_395">{395}</a></span></p>
+
+<div class="figcenter" id="plt_232">
+<p class="plt">Plate 232</p>
+<a href="images/plt_232.jpg">
+<img src="images/plt_232.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
+
+<div class="figcenter" id="plt_233">
+<p class="plt">Plate 233</p>
+<a href="images/plt_233.jpg">
+<img src="images/plt_233.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE INTERIOR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p>
+
+<div class="figcenter" id="plt_234">
+<p class="plt">Plate 234</p>
+<a href="images/plt_234.jpg">
+<img src="images/plt_234.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p>
+
+<div class="figcenter" id="plt_235">
+<p class="plt">Plate 235</p>
+<a href="images/plt_235.jpg">
+<img src="images/plt_235.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p>
+
+<div class="figcenter" id="plt_236">
+<p class="plt">Plate 236</p>
+<a href="images/plt_236.jpg">
+<img src="images/plt_236.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p>
+
+<div class="figcenter" id="plt_237">
+<p class="plt">Plate 237</p>
+<a href="images/plt_237.jpg">
+<img src="images/plt_237.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p>
+
+<div class="figcenter" id="plt_238">
+<p class="plt">Plate 238</p>
+<a href="images/plt_238.jpg">
+<img src="images/plt_238.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p>
+
+<div class="figcenter" id="plt_239">
+<p class="plt">Plate 239</p>
+<a href="images/plt_239.jpg">
+<img src="images/plt_239.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. ALTAR OF SAN SEGUNDO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p>
+
+<div class="figcenter" id="plt_240">
+<p class="plt">Plate 240</p>
+<a href="images/plt_240.jpg">
+<img src="images/plt_240.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. ALTAR OF SANTA LUCIA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p>
+
+<div class="figcenter" id="plt_241">
+<p class="plt">Plate 241</p>
+<a href="images/plt_241.jpg">
+<img src="images/plt_241.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. SEPULCHRE OF DON JUAN D’AVILA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_405" id="page_405">{405}</a></span></p>
+
+<div class="figcenter" id="plt_242">
+<p class="plt">Plate 242</p>
+<a href="images/plt_242.jpg">
+<img src="images/plt_242.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. TOMB OF EL TESTADO BISHOP OF AVILA IN 1449</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_406" id="page_406">{406}</a></span></p>
+
+<div class="figcenter" id="plt_243">
+<p class="plt">Plate 243</p>
+<a href="images/plt_243.jpg">
+<img src="images/plt_243.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. ALTAR BEHIND THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_407" id="page_407">{407}</a></span></p>
+
+<div class="figcenter" id="plt_244">
+<p class="plt">Plate 244</p>
+<a href="images/plt_244.jpg">
+<img src="images/plt_244.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. SILVER MONSTRANCE OF JUAN DE ARFE. SIXTEENTH CENTURY</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_408" id="page_408">{408}</a></span></p>
+
+<div class="figcenter" id="plt_245">
+<p class="plt">Plate 245</p>
+<a href="images/plt_245.jpg">
+<img src="images/plt_245.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS SEPULCHRE OF THE INFANTE DON JUAN, SON OF
+FERDINAND AND ISABELLA THE MASTERPIECE OF MICER DOMENICO OF FLORENCE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p>
+
+<div class="figcenter" id="plt_246">
+<p class="plt">Plate 246</p>
+<a href="images/plt_246.jpg">
+<img src="images/plt_246.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRE OF THE HOLY MARTYRS VICENTE, SABINA AND CRISTINA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_410" id="page_410">{410}</a></span></p>
+
+<div class="figcenter" id="plt_247">
+<p class="plt">Plate 247</p>
+<a href="images/plt_247.jpg">
+<img src="images/plt_247.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CHAPEL OF SAN BERNARDO BY P. GONZALVO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p>
+
+<div class="figcenter" id="plt_248">
+<p class="plt">Plate 248</p>
+<a href="images/plt_248.jpg">
+<img src="images/plt_248.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. PETER</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_412" id="page_412">{412}</a></span></p>
+
+<div class="figcenter" id="plt_249">
+<p class="plt">Plate 249</p>
+<a href="images/plt_249.jpg">
+<img src="images/plt_249.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE TO THE CHURCH OF ST. PETER</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_413" id="page_413">{413}</a></span></p>
+
+<div class="figcenter" id="plt_250">
+<p class="plt">Plate 250</p>
+<a href="images/plt_250.jpg">
+<img src="images/plt_250.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAROCHIAL CHURCH OF ST. PETER</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_414" id="page_414">{414}</a></span></p>
+
+<div class="figcenter" id="plt_251">
+<p class="plt">Plate 251</p>
+<a href="images/plt_251.jpg">
+<img src="images/plt_251.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LONGITUDINAL SECTION AND DETAILS OF THE PARISH CHURCH OF ST. PETER.
+AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_415" id="page_415">{415}</a></span></p>
+
+<div class="figcenter" id="plt_252">
+<p class="plt">Plate 252</p>
+<a href="images/plt_252.jpg">
+<img src="images/plt_252.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE CHURCH OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_416" id="page_416">{416}</a></span></p>
+
+<div class="figcenter" id="plt_253">
+<p class="plt">Plate 253</p>
+<a href="images/plt_253.jpg">
+<img src="images/plt_253.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE BEFORE ITS RESTORATION</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_417" id="page_417">{417}</a></span></p>
+
+<div class="figcenter" id="plt_254">
+<p class="plt">Plate 254</p>
+<a href="images/plt_254.jpg">
+<img src="images/plt_254.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE BEFORE ITS RESTORATION</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p>
+
+<div class="figcenter" id="plt_255">
+<p class="plt">Plate 255</p>
+<a href="images/plt_255.jpg">
+<img src="images/plt_255.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. NORTH FAÇADE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_419" id="page_419">{419}</a></span></p>
+
+<div class="figcenter" id="plt_256">
+<p class="plt">Plate 256</p>
+<a href="images/plt_256.jpg">
+<img src="images/plt_256.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. PRINCIPAL FAÇADE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_420" id="page_420">{420}</a></span></p>
+
+<div class="figcenter" id="plt_257">
+<p class="plt">Plate 257</p>
+<a href="images/plt_257.jpg">
+<img src="images/plt_257.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. EASTERN FAÇADE, RESTORED</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_421" id="page_421">{421}</a></span></p>
+
+<div class="figcenter" id="plt_258">
+<p class="plt">Plate 258</p>
+<a href="images/plt_258.jpg">
+<img src="images/plt_258.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. FAÇADE.</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_422" id="page_422">{422}</a></span></p>
+
+<div class="figcenter" id="plt_259">
+<p class="plt">Plate 259</p>
+<a href="images/plt_259.jpg">
+<img src="images/plt_259.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. CENTRAL GATE, RESTORED</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
+
+<div class="figcenter" id="plt_260">
+<p class="plt">Plate 260</p>
+<a href="images/plt_260.jpg">
+<img src="images/plt_260.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. DETAIL OF THE MIDDLE CORNICE, RESTORED</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_424" id="page_424">{424}</a></span></p>
+
+<div class="figcenter" id="plt_261">
+<p class="plt">Plate 261</p>
+<a href="images/plt_261.jpg">
+<img src="images/plt_261.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF THE BASILICA OF SAN VICENTE, SANTAS SABINA AND CRISTINA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_425" id="page_425">{425}</a></span></p>
+
+<div class="figcenter" id="plt_262">
+<p class="plt">Plate 262</p>
+<a href="images/plt_262.jpg">
+<img src="images/plt_262.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. PRINCIPAL WEST ENTRANCE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_426" id="page_426">{426}</a></span></p>
+
+<div class="figcenter" id="plt_263">
+<p class="plt">Plate 263</p>
+<a href="images/plt_263.jpg">
+<img src="images/plt_263.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. PRINCIPAL WEST ENTRANCE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_427" id="page_427">{427}</a></span></p>
+
+<div class="figcenter" id="plt_264">
+<p class="plt">Plate 264</p>
+<a href="images/plt_264.jpg">
+<img src="images/plt_264.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. GENERAL VIEW OF THE INTERIOR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p>
+
+<div class="figcenter" id="plt_265">
+<p class="plt">Plate 265</p>
+<a href="images/plt_265.jpg">
+<img src="images/plt_265.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>BASILICA OF SAN VICENTE. SEPULCHRE OF THE HOLY MARTYRS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_429" id="page_429">{429}</a></span></p>
+
+<div class="figcenter" id="plt_266">
+<p class="plt">Plate 266</p>
+<a href="images/plt_266.jpg">
+<img src="images/plt_266.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE INTERIOR OF THE BASILICA OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_430" id="page_430">{430}</a></span></p>
+
+<div class="figcenter" id="plt_267">
+<p class="plt">Plate 267</p>
+<a href="images/plt_267.jpg">
+<img src="images/plt_267.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH OF SAN VICENTE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p>
+
+<div class="figcenter" id="plt_268">
+<p class="plt">Plate 268</p>
+<a href="images/plt_268.jpg">
+<img src="images/plt_268.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH OF SAN VICENTE. CENTRAL PART</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_432" id="page_432">{432}</a></span></p>
+
+<div class="figcenter" id="plt_269">
+<p class="plt">Plate 269</p>
+<a href="images/plt_269.jpg">
+<img src="images/plt_269.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_433" id="page_433">{433}</a></span></p>
+
+<div class="figcenter" id="plt_270">
+<p class="plt">Plate 270</p>
+<a href="images/plt_270.jpg">
+<img src="images/plt_270.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SECTION OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_434" id="page_434">{434}</a></span></p>
+
+<div class="figcenter" id="plt_271">
+<p class="plt">Plate 271</p>
+<a href="images/plt_271.jpg">
+<img src="images/plt_271.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_435" id="page_435">{435}</a></span></p>
+
+<div class="figcenter" id="plt_272">
+<p class="plt">Plate 272</p>
+<a href="images/plt_272.jpg">
+<img src="images/plt_272.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p>
+
+<div class="figcenter" id="plt_273">
+<p class="plt">Plate 273</p>
+<a href="images/plt_273.jpg">
+<img src="images/plt_273.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_437" id="page_437">{437}</a></span></p>
+
+<div class="figcenter" id="plt_274">
+<p class="plt">Plate 274</p>
+<a href="images/plt_274.jpg">
+<img src="images/plt_274.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_438" id="page_438">{438}</a></span></p>
+
+<div class="figcenter" id="plt_275">
+<p class="plt">Plate 275</p>
+<a href="images/plt_275.jpg">
+<img src="images/plt_275.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE COURT OF SILENCE, IN THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_439" id="page_439">{439}</a></span></p>
+
+<div class="figcenter" id="plt_276">
+<p class="plt">Plate 276</p>
+<a href="images/plt_276.jpg">
+<img src="images/plt_276.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS. THE COURT OF SILENCE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_440" id="page_440">{440}</a></span></p>
+
+<div class="figcenter" id="plt_277">
+<p class="plt">Plate 277</p>
+<a href="images/plt_277.jpg">
+<img src="images/plt_277.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS. COURT OF THE KINGS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_441" id="page_441">{441}</a></span></p>
+
+<div class="figcenter" id="plt_278">
+<p class="plt">Plate 278</p>
+<a href="images/plt_278.jpg">
+<img src="images/plt_278.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS. COURTYARD OF THE INFIRMARY</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p>
+
+<div class="figcenter" id="plt_279">
+<p class="plt">Plate 279</p>
+<a href="images/plt_279.jpg">
+<img src="images/plt_279.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_443" id="page_443">{443}</a></span></p>
+
+<div class="figcenter" id="plt_280">
+<p class="plt">Plate 280</p>
+<a href="images/plt_280.jpg">
+<img src="images/plt_280.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_444" id="page_444">{444}</a></span></p>
+
+<div class="figcenter" id="plt_281">
+<p class="plt">Plate 281</p>
+<a href="images/plt_281.jpg">
+<img src="images/plt_281.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_445" id="page_445">{445}</a></span></p>
+
+<div class="figcenter" id="plt_282">
+<p class="plt">Plate 282</p>
+<a href="images/plt_282.jpg">
+<img src="images/plt_282.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF THE CLOISTERS IN THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_446" id="page_446">{446}</a></span></p>
+
+<div class="figcenter" id="plt_283">
+<p class="plt">Plate 283</p>
+<a href="images/plt_283.jpg">
+<img src="images/plt_283.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHOIR OF THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_447" id="page_447">{447}</a></span></p>
+
+<div class="figcenter" id="plt_284">
+<p class="plt">Plate 284</p>
+<a href="images/plt_284.jpg">
+<img src="images/plt_284.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO TOMÁS. DETAIL OF THE CHOIR</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_448" id="page_448">{448}</a></span></p>
+
+<div class="figcenter" id="plt_285">
+<p class="plt">Plate 285</p>
+<a href="images/plt_285.jpg">
+<img src="images/plt_285.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHOIR STALLS IN THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p>
+
+<div class="figcenter" id="plt_286">
+<p class="plt">Plate 286</p>
+<a href="images/plt_286.jpg">
+<img src="images/plt_286.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHOIR STALLS IN THE CONVENT OF SANTO TOMÁS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_450" id="page_450">{450}</a></span></p>
+
+<div class="figcenter" id="plt_287">
+<p class="plt">Plate 287</p>
+<a href="images/plt_287.jpg">
+<img src="images/plt_287.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN SEGUNDO. STATUE OF SAN SEGUNDO BY BERRUGUETE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p>
+
+<div class="figcenter" id="plt_288">
+<p class="plt">Plate 288</p>
+<a href="images/plt_288.jpg">
+<img src="images/plt_288.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SANTO TOMÁS. SEPULCHRE OF THE INFANTE JUAN, ONLY SON OF
+FERDINAND AND ISABELLA. AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_452" id="page_452">{452}</a></span></p>
+
+<div class="figcenter" id="plt_289">
+<p class="plt">Plate 289</p>
+<a href="images/plt_289.jpg">
+<img src="images/plt_289.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTO TOMÁS. SEPULCHRE OF PRINCE JUAN, ONLY SON OF FERDINAND AND
+ISABELLA. AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_453" id="page_453">{453}</a></span></p>
+
+<div class="figcenter" id="plt_290">
+<p class="plt">Plate 290</p>
+<a href="images/plt_290.jpg">
+<img src="images/plt_290.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTO TOMÁS. SEPULCHRE OF PRINCE JUAN, ONLY SON OF FERDINAND AND
+ISABELLA. AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_454" id="page_454">{454}</a></span></p>
+
+<div class="figcenter" id="plt_291">
+<p class="plt">Plate 291</p>
+<a href="images/plt_291.jpg">
+<img src="images/plt_291.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GOTHIC GATE IN RUINS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_455" id="page_455">{455}</a></span></p>
+
+<div class="figcenter" id="plt_292">
+<p class="plt">Plate 292</p>
+<a href="images/plt_292.jpg">
+<img src="images/plt_292.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF A PRIVATE HOUSE OPPOSITE THE CATHEDRAL</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p>
+
+<div class="figcenter" id="plt_293">
+<p class="plt">Plate 293</p>
+<a href="images/plt_293.jpg">
+<img src="images/plt_293.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CALLE DE PEDRO D’AVILA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p>
+
+<div class="figcenter" id="plt_294">
+<p class="plt">Plate 294</p>
+<a href="images/plt_294.jpg">
+<img src="images/plt_294.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CELEBRATED WINDOW IN THE HOUSE OF PEDRO D’AVILA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p>
+
+<div class="figcenter" id="plt_295">
+<p class="plt">Plate 295</p>
+<a href="images/plt_295.jpg">
+<img src="images/plt_295.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD OF THE POLENTINOS’ PALACE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_459" id="page_459">{459}</a></span></p>
+
+<div class="figcenter" id="plt_296">
+<p class="plt">Plate 296</p>
+<a href="images/plt_296.jpg">
+<img src="images/plt_296.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTICO OF THE POLENTINOS’ PALACE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p>
+
+<div class="figcenter" id="plt_297">
+<p class="plt">Plate 297</p>
+<a href="images/plt_297.jpg">
+<img src="images/plt_297.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN ANDRES AND SAN SEGUNDO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_461" id="page_461">{461}</a></span></p>
+
+<div class="figcenter" id="plt_298">
+<p class="plt">Plate 298</p>
+<a href="images/plt_298.jpg">
+<img src="images/plt_298.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HERMITAGE OF SAN ISIDRO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_462" id="page_462">{462}</a></span></p>
+
+<div class="figcenter" id="plt_299">
+<p class="plt">Plate 299</p>
+<a href="images/plt_299.jpg">
+<img src="images/plt_299.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ACADEMY</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p>
+
+<div class="figcenter" id="plt_300">
+<p class="plt">Plate 300</p>
+<a href="images/plt_300.jpg">
+<img src="images/plt_300.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CAMPOSAGRADO PALACE</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p>
+
+<div class="figcenter" id="plt_301">
+<p class="plt">Plate 301</p>
+<a href="images/plt_301.jpg">
+<img src="images/plt_301.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CASA DE LA BARAGAÑAS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p>
+
+<div class="figcenter" id="plt_302">
+<p class="plt">Plate 302</p>
+<a href="images/plt_302.jpg">
+<img src="images/plt_302.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CASA DE LA TORRE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_466" id="page_466">{466}</a></span></p>
+
+<div class="figcenter" id="plt_303">
+<p class="plt">Plate 303</p>
+<a href="images/plt_303.jpg">
+<img src="images/plt_303.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL OF MOSEN RUBI</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_467" id="page_467">{467}</a></span></p>
+
+<div class="figcenter" id="plt_304">
+<p class="plt">Plate 304</p>
+<a href="images/plt_304.jpg">
+<img src="images/plt_304.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PALACE OF THE CONDE DE SUPERUNDA</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_468" id="page_468">{468}</a></span></p>
+
+<div class="figcenter" id="plt_305">
+<p class="plt">Plate 305</p>
+<a href="images/plt_305.jpg">
+<img src="images/plt_305.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MINIATURES FROM THE AVILA MISSAL, TWELFTH CENTURY (NATIONAL LIBRARY)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p>
+
+<div class="figcenter" id="plt_306">
+<p class="plt">Plate 306</p>
+<a href="images/plt_306.jpg">
+<img src="images/plt_306.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MINIATURES FROM THE AVILA MISSAL, TWELFTH CENTURY (NATIONAL LIBRARY)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p>
+
+<div class="figcenter" id="plt_307">
+<p class="plt">Plate 307</p>
+<a href="images/plt_307.jpg">
+<img src="images/plt_307.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF SAN FRANCISCO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p>
+
+<div class="figcenter" id="plt_308">
+<p class="plt">Plate 308</p>
+<a href="images/plt_308.jpg">
+<img src="images/plt_308.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>A ROMAN CAPITAL OF THE CHURCH OF SAN FRANCISCO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_472" id="page_472">{472}</a></span></p>
+
+<div class="figcenter" id="plt_309">
+<p class="plt">Plate 309</p>
+<a href="images/plt_309.jpg">
+<img src="images/plt_309.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>LATIN-BYZANTINE FRIEZE IN THE CHURCH OF SAN FRANCISCO</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_473" id="page_473">{473}</a></span></p>
+
+<div class="figcenter" id="plt_310">
+<p class="plt">Plate 310</p>
+<a href="images/plt_310.jpg">
+<img src="images/plt_310.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>MONASTERY OF SAN PEDRO AT ARENAS</p>
+
+<p>AVILA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_474" id="page_474">{474}</a></span></p>
+
+<div class="figcenter" id="plt_311">
+<p class="plt">Plate 311</p>
+<a href="images/plt_311.jpg">
+<img src="images/plt_311.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM CABEZO-CORTADO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_475" id="page_475">{475}</a></span></p>
+
+<div class="figcenter" id="plt_312">
+<p class="plt">Plate 312</p>
+<a href="images/plt_312.jpg">
+<img src="images/plt_312.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM ALTABAS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p>
+
+<div class="figcenter" id="plt_313">
+<p class="plt">Plate 313</p>
+<a href="images/plt_313.jpg">
+<img src="images/plt_313.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM ALTABAS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p>
+
+<div class="figcenter" id="plt_314">
+<p class="plt">Plate 314</p>
+<a href="images/plt_314.jpg">
+<img src="images/plt_314.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE BRIDGE OVER THE EBRO, FROM THE RUINS OF SAN LAZARO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_478" id="page_478">{478}</a></span></p>
+
+<div class="figcenter" id="plt_315">
+<p class="plt">Plate 315</p>
+<a href="images/plt_315.jpg">
+<img src="images/plt_315.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE BRIDGE OVER THE EBRO, FROM EL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_479" id="page_479">{479}</a></span></p>
+
+<div class="figcenter" id="plt_316">
+<p class="plt">Plate 316</p>
+<a href="images/plt_316.jpg">
+<img src="images/plt_316.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p><p>GENERAL VIEW OF ZARAGOZA</p>
+</div>
+
+<div class="figcenter" id="plt_317">
+<p class="plt">Plate 317</p>
+<a href="images/plt_317.jpg">
+<img src="images/plt_317.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p>
+
+<div class="figcenter" id="plt_318">
+<p class="plt">Plate 318</p>
+<a href="images/plt_318.jpg">
+<img src="images/plt_318.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_482" id="page_482">{482}</a></span></p>
+
+<div class="figcenter" id="plt_319">
+<p class="plt">Plate 319</p>
+<a href="images/plt_319.jpg">
+<img src="images/plt_319.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW FROM THE PORTILLA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_483" id="page_483">{483}</a></span></p>
+
+<div class="figcenter" id="plt_320">
+<p class="plt">Plate 320</p>
+<a href="images/plt_320.jpg">
+<img src="images/plt_320.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_484" id="page_484">{484}</a></span></p>
+
+<div class="figcenter" id="plt_321">
+<p class="plt">Plate 321</p>
+<a href="images/plt_321.jpg">
+<img src="images/plt_321.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CALLE DEL MERCADO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_485" id="page_485">{485}</a></span></p>
+
+<div class="figcenter" id="plt_322">
+<p class="plt">Plate 322</p>
+<a href="images/plt_322.jpg">
+<img src="images/plt_322.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PASEO DE SANTA ENGRACIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p>
+
+<div class="figcenter" id="plt_323">
+<p class="plt">Plate 323</p>
+<a href="images/plt_323.jpg">
+<img src="images/plt_323.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p>
+
+<div class="figcenter" id="plt_324">
+<p class="plt">Plate 324</p>
+<a href="images/plt_324.jpg">
+<img src="images/plt_324.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p>
+
+<div class="figcenter" id="plt_325">
+<p class="plt">Plate 325</p>
+<a href="images/plt_325.jpg">
+<img src="images/plt_325.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GLAZED TILES ON THE WALLS OF THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_489" id="page_489">{489}</a></span></p>
+
+<div class="figcenter" id="plt_326">
+<p class="plt">Plate 326</p>
+<a href="images/plt_326.jpg">
+<img src="images/plt_326.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CATHEDRAL OF LA SEO, FROM A PAINTING BY R. GONZALVO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_490" id="page_490">{490}</a></span></p>
+
+<div class="figcenter" id="plt_327">
+<p class="plt">Plate 327</p>
+<a href="images/plt_327.jpg">
+<img src="images/plt_327.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO. VIEW OF THE TRANSEPT</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_491" id="page_491">{491}</a></span></p>
+
+<div class="figcenter" id="plt_328">
+<p class="plt">Plate 328</p>
+<a href="images/plt_328.jpg">
+<img src="images/plt_328.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO. DETAIL OF TRANSEPT</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p>
+
+<div class="figcenter" id="plt_329">
+<p class="plt">Plate 329</p>
+<a href="images/plt_329.jpg">
+<img src="images/plt_329.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL OF ST. JOHN IN THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p>
+
+<div class="figcenter" id="plt_330">
+<p class="plt">Plate 330</p>
+<a href="images/plt_330.jpg">
+<img src="images/plt_330.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL OF GABRIEL DE ZAPORTA IN THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p>
+
+<div class="figcenter" id="plt_331">
+<p class="plt">Plate 331</p>
+<a href="images/plt_331.jpg">
+<img src="images/plt_331.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF LA SEO. REJA BRONZE REPOUSSÉ BEFORE THE CHAPEL OF ZAPORTA.
+ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_495" id="page_495">{495}</a></span></p>
+
+<div class="figcenter" id="plt_332">
+<p class="plt">Plate 332</p>
+<a href="images/plt_332.jpg">
+<img src="images/plt_332.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRE OF ARCHBISHOP DON LOPE DE LUNA IN THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_496" id="page_496">{496}</a></span></p>
+
+<div class="figcenter" id="plt_333">
+<p class="plt">Plate 333</p>
+<a href="images/plt_333.jpg">
+<img src="images/plt_333.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CENTRAL DOME OF THE CATHEDRAL OF LA SEO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p>
+
+<div class="figcenter" id="plt_334">
+<p class="plt">Plate 334</p>
+<a href="images/plt_334.jpg">
+<img src="images/plt_334.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SILVER MONSTRANCE IN THE CATHEDRAL OF LA SEO, WEIGHT 200 KILOGRAMMES</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_498" id="page_498">{498}</a></span></p>
+
+<div class="figcenter" id="plt_335">
+<p class="plt">Plate 335</p>
+<a href="images/plt_335.jpg">
+<img src="images/plt_335.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CENSER GIVEN TO THE CATHEDRAL OF LA SEO BY MOSÉN JUAN DE TORRELLAS AT
+THE END OF THE FIFTEENTH CENTURY</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_499" id="page_499">{499}</a></span></p>
+
+<div class="figcenter" id="plt_336">
+<p class="plt">Plate 336</p>
+<a href="images/plt_336.jpg">
+<img src="images/plt_336.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF EL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_500" id="page_500">{500}</a></span></p>
+
+<div class="figcenter" id="plt_337">
+<p class="plt">Plate 337</p>
+<a href="images/plt_337.jpg">
+<img src="images/plt_337.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF EL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p>
+
+<div class="figcenter" id="plt_338">
+<p class="plt">Plate 338</p>
+<a href="images/plt_338.jpg">
+<img src="images/plt_338.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_502" id="page_502">{502}</a></span></p>
+
+<div class="figcenter" id="plt_339">
+<p class="plt">Plate 339</p>
+<a href="images/plt_339.jpg">
+<img src="images/plt_339.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE SIDE-ALTAR IN OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_503" id="page_503">{503}</a></span></p>
+
+<div class="figcenter" id="plt_340">
+<p class="plt">Plate 340</p>
+<a href="images/plt_340.jpg">
+<img src="images/plt_340.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR. VIEW OF THE CHOIR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_504" id="page_504">{504}</a></span></p>
+
+<div class="figcenter" id="plt_341">
+<p class="plt">Plate 341</p>
+<a href="images/plt_341.jpg">
+<img src="images/plt_341.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR. ORGAN IN THE CHOIR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_505" id="page_505">{505}</a></span></p>
+
+<div class="figcenter" id="plt_342">
+<p class="plt">Plate 342</p>
+<a href="images/plt_342.jpg">
+<img src="images/plt_342.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL IN OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_506" id="page_506">{506}</a></span></p>
+
+<div class="figcenter" id="plt_343">
+<p class="plt">Plate 343</p>
+<a href="images/plt_343.jpg">
+<img src="images/plt_343.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HIGH ALTAR OF THE CATHEDRAL OF OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_507" id="page_507">{507}</a></span></p>
+
+<div class="figcenter" id="plt_344">
+<p class="plt">Plate 344</p>
+<a href="images/plt_344.jpg">
+<img src="images/plt_344.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PAINTINGS ON THE CUPOLA OF OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_508" id="page_508">{508}</a></span></p>
+
+<div class="figcenter" id="plt_345">
+<p class="plt">Plate 345</p>
+<a href="images/plt_345.jpg">
+<img src="images/plt_345.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF OUR LADY DEL PILAR. CHOIR STALLS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_509" id="page_509">{509}</a></span></p>
+
+<div class="figcenter" id="plt_346">
+<p class="plt">Plate 346</p>
+<a href="images/plt_346.jpg">
+<img src="images/plt_346.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR. CHOIR STALLS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_510" id="page_510">{510}</a></span></p>
+
+<div class="figcenter" id="plt_347">
+<p class="plt">Plate 347</p>
+<a href="images/plt_347.jpg">
+<img src="images/plt_347.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL OF OUR LADY DEL PILAR. CHOIR STALLS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_511" id="page_511">{511}</a></span></p>
+
+<div class="figcenter" id="plt_348">
+<p class="plt">Plate 348</p>
+<a href="images/plt_348.jpg">
+<img src="images/plt_348.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR, BY M. DE UNCETA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_512" id="page_512">{512}</a></span></p>
+
+<div class="figcenter" id="plt_349">
+<p class="plt">Plate 349</p>
+<a href="images/plt_349.jpg">
+<img src="images/plt_349.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY DEL PILAR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_513" id="page_513">{513}</a></span></p>
+
+<div class="figcenter" id="plt_350">
+<p class="plt">Plate 350</p>
+<a href="images/plt_350.jpg">
+<img src="images/plt_350.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>SILVER SALVER IN THE CATHEDRAL OF EL PILAR</p>
+
+<p>SIXTEENTH CENTURY</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_514" id="page_514">{514}</a></span></p>
+
+<div class="figcenter" id="plt_351">
+<p class="plt">Plate 351</p>
+<a href="images/plt_351.jpg">
+<img src="images/plt_351.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VASE IN THE CATHEDRAL OF EL PILAR</p>
+
+<p>FIFTEENTH CENTURY</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_515" id="page_515">{515}</a></span></p>
+
+<div class="figcenter" id="plt_352">
+<p class="plt">Plate 352</p>
+<a href="images/plt_352.jpg">
+<img src="images/plt_352.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF THE MAGDALEN</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_516" id="page_516">{516}</a></span></p>
+
+<div class="figcenter" id="plt_353">
+<p class="plt">Plate 353</p>
+<a href="images/plt_353.jpg">
+<img src="images/plt_353.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PLACE AND CHURCH OF ST. NICHOLAS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_517" id="page_517">{517}</a></span></p>
+
+<div class="figcenter" id="plt_354">
+<p class="plt">Plate 354</p>
+<a href="images/plt_354.jpg">
+<img src="images/plt_354.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF THE CHURCH OF SAN MIGUEL</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_518" id="page_518">{518}</a></span></p>
+
+<div class="figcenter" id="plt_355">
+<p class="plt">Plate 355</p>
+<a href="images/plt_355.jpg">
+<img src="images/plt_355.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE CHURCH OF SANTA ENGRACIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_519" id="page_519">{519}</a></span></p>
+
+<div class="figcenter" id="plt_356">
+<p class="plt">Plate 356</p>
+<a href="images/plt_356.jpg">
+<img src="images/plt_356.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. PAUL. PUERTA DEL CRISTO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_520" id="page_520">{520}</a></span></p>
+
+<div class="figcenter" id="plt_357">
+<p class="plt">Plate 357</p>
+<a href="images/plt_357.jpg">
+<img src="images/plt_357.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE NEW OR LEANING TOWER</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_521" id="page_521">{521}</a></span></p>
+
+<div class="figcenter" id="plt_358">
+<p class="plt">Plate 358</p>
+<a href="images/plt_358.jpg">
+<img src="images/plt_358.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF THE CALLE DE ANTONIO PEREZ</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_522" id="page_522">{522}</a></span></p>
+
+<div class="figcenter" id="plt_359">
+<p class="plt">Plate 359</p>
+<a href="images/plt_359.jpg">
+<img src="images/plt_359.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF SAN MIGUEL</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_523" id="page_523">{523}</a></span></p>
+
+<div class="figcenter" id="plt_360">
+<p class="plt">Plate 360</p>
+<a href="images/plt_360.jpg">
+<img src="images/plt_360.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF SAN PABLO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_524" id="page_524">{524}</a></span></p>
+
+<div class="figcenter" id="plt_361">
+<p class="plt">Plate 361</p>
+<a href="images/plt_361.jpg">
+<img src="images/plt_361.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER OF THE TROVADOR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_525" id="page_525">{525}</a></span></p>
+
+<div class="figcenter" id="plt_362">
+<p class="plt">Plate 362</p>
+<a href="images/plt_362.jpg">
+<img src="images/plt_362.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT WALL AND BUILDINGS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_526" id="page_526">{526}</a></span></p>
+
+<div class="figcenter" id="plt_363">
+<p class="plt">Plate 363</p>
+<a href="images/plt_363.jpg">
+<img src="images/plt_363.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>STATUE OF PIGNATELLI</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_527" id="page_527">{527}</a></span></p>
+
+<div class="figcenter" id="plt_364">
+<p class="plt">Plate 364</p>
+<a href="images/plt_364.jpg">
+<img src="images/plt_364.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD IN THE HOUSE OF PARDO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_528" id="page_528">{528}</a></span></p>
+
+<div class="figcenter" id="plt_365">
+<p class="plt">Plate 365</p>
+<a href="images/plt_365.jpg">
+<img src="images/plt_365.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE COURT-YARD IN THE HOUSE OF PARDO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_529" id="page_529">{529}</a></span></p>
+
+<div class="figcenter" id="plt_366">
+<p class="plt">Plate 366</p>
+<a href="images/plt_366.jpg">
+<img src="images/plt_366.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE TO THE AUDIENCIA PALACE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_530" id="page_530">{530}</a></span></p>
+
+<div class="figcenter" id="plt_367">
+<p class="plt">Plate 367</p>
+<a href="images/plt_367.jpg">
+<img src="images/plt_367.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PALACE OF THE PROVINCIAL DEPUTATION</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_531" id="page_531">{531}</a></span></p>
+
+<div class="figcenter" id="plt_368">
+<p class="plt">Plate 368</p>
+<a href="images/plt_368.jpg">
+<img src="images/plt_368.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD IN THE COUNT OF ARGILLO’S HOUSE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_532" id="page_532">{532}</a></span></p>
+
+<div class="figcenter" id="plt_369">
+<p class="plt">Plate 369</p>
+<a href="images/plt_369.jpg">
+<img src="images/plt_369.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>EAVES ON THE HOUSE OF THE CONDE DE ARGILLO</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_533" id="page_533">{533}</a></span></p>
+
+<div class="figcenter" id="plt_370">
+<p class="plt">Plate 370</p>
+<a href="images/plt_370.jpg">
+<img src="images/plt_370.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD IN THE COUNT OF ARGILLO’S HOUSE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_534" id="page_534">{534}</a></span></p>
+
+<div class="figcenter" id="plt_371">
+<p class="plt">Plate 371</p>
+<a href="images/plt_371.jpg">
+<img src="images/plt_371.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE IN THE PLAZA DE SAN CARLOS</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_535" id="page_535">{535}</a></span></p>
+
+<div class="figcenter" id="plt_372">
+<p class="plt">Plate 372</p>
+<a href="images/plt_372.jpg">
+<img src="images/plt_372.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE EXCHANGE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_536" id="page_536">{536}</a></span></p>
+
+<div class="figcenter" id="plt_373">
+<p class="plt">Plate 373</p>
+<a href="images/plt_373.jpg">
+<img src="images/plt_373.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE EXCHANGE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_537" id="page_537">{537}</a></span></p>
+
+<div class="figcenter" id="plt_374">
+<p class="plt">Plate 374</p>
+<a href="images/plt_374.jpg">
+<img src="images/plt_374.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR VIEW OF THE EXCHANGE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_538" id="page_538">{538}</a></span></p>
+
+<div class="figcenter" id="plt_375">
+<p class="plt">Plate 375</p>
+<a href="images/plt_375.jpg">
+<img src="images/plt_375.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_539" id="page_539">{539}</a></span></p>
+
+<div class="figcenter" id="plt_376">
+<p class="plt">Plate 376</p>
+<a href="images/plt_376.jpg">
+<img src="images/plt_376.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_540" id="page_540">{540}</a></span></p>
+
+<div class="figcenter" id="plt_377">
+<p class="plt">Plate 377</p>
+<a href="images/plt_377.jpg">
+<img src="images/plt_377.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_541" id="page_541">{541}</a></span></p>
+
+<div class="figcenter" id="plt_378">
+<p class="plt">Plate 378</p>
+<a href="images/plt_378.jpg">
+<img src="images/plt_378.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD OF THE HOUSE OF ZAPORTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_542" id="page_542">{542}</a></span></p>
+
+<div class="figcenter" id="plt_379">
+<p class="plt">Plate 379</p>
+<a href="images/plt_379.jpg">
+<img src="images/plt_379.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD IN THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_543" id="page_543">{543}</a></span></p>
+
+<div class="figcenter" id="plt_380">
+<p class="plt">Plate 380</p>
+<a href="images/plt_380.jpg">
+<img src="images/plt_380.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_544" id="page_544">{544}</a></span></p>
+
+<div class="figcenter" id="plt_381">
+<p class="plt">Plate 381</p>
+<a href="images/plt_381.jpg">
+<img src="images/plt_381.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE COURT-YARD OF THE HOUSE OF ZAPORTA; OR, OF THE INFANTA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_545" id="page_545">{545}</a></span></p>
+
+<div class="figcenter" id="plt_382">
+<p class="plt">Plate 382</p>
+<a href="images/plt_382.jpg">
+<img src="images/plt_382.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF THE PROVINCIAL MUSEUM</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_546" id="page_546">{546}</a></span></p>
+
+<div class="figcenter" id="plt_383">
+<p class="plt">Plate 383</p>
+<a href="images/plt_383.jpg">
+<img src="images/plt_383.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY IN THE PROVINCIAL MUSEUM</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_547" id="page_547">{547}</a></span></p>
+
+<div class="figcenter" id="plt_384">
+<p class="plt">Plate 384</p>
+<a href="images/plt_384.jpg">
+<img src="images/plt_384.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALJAFERIA OR CITADEL. WINDOW OF THE MAIN STAIRCASE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_548" id="page_548">{548}</a></span></p>
+
+<div class="figcenter" id="plt_385">
+<p class="plt">Plate 385</p>
+<a href="images/plt_385.jpg">
+<img src="images/plt_385.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. INTERIOR OF THE (SO CALLED) MOSQUE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_549" id="page_549">{549}</a></span></p>
+
+<div class="figcenter" id="plt_386">
+<p class="plt">Plate 386</p>
+<a href="images/plt_386.jpg">
+<img src="images/plt_386.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. ENTRANCE TO THE (SO CALLED) MOSQUE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_550" id="page_550">{550}</a></span></p>
+
+<div class="figcenter" id="plt_387">
+<p class="plt">Plate 387</p>
+<a href="images/plt_387.jpg">
+<img src="images/plt_387.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. INTERIOR OF THE (SO CALLED) MOSQUE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_551" id="page_551">{551}</a></span></p>
+
+<div class="figcenter" id="plt_388">
+<p class="plt">Plate 388</p>
+<a href="images/plt_388.jpg">
+<img src="images/plt_388.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. DETAILS OF THE INTERIOR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_552" id="page_552">{552}</a></span></p>
+
+<div class="figcenter" id="plt_389">
+<p class="plt">Plate 389</p>
+<a href="images/plt_389.jpg">
+<img src="images/plt_389.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ALJAFERIA. DETAILS OF THE INTERIOR</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_553" id="page_553">{553}</a></span></p>
+
+<div class="figcenter" id="plt_390">
+<p class="plt">Plate 390</p>
+<a href="images/plt_390.jpg">
+<img src="images/plt_390.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE ALJAFERIA</p>
+
+<p>PROVINCIAL MUSEUM, ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_554" id="page_554">{554}</a></span></p>
+
+<div class="figcenter" id="plt_391">
+<p class="plt">Plate 391</p>
+<a href="images/plt_391.jpg">
+<img src="images/plt_391.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE ALJAFERIA</p>
+
+<p>PROVINCIAL MUSEUM, ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_555" id="page_555">{555}</a></span></p>
+
+<div class="figcenter" id="plt_392">
+<p class="plt">Plate 392</p>
+<a href="images/plt_392.jpg">
+<img src="images/plt_392.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ST. ISABEL AND HER HUSBAND. TAPESTRY IN THE UNIVERSITY</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_556" id="page_556">{556}</a></span></p>
+
+<div class="figcenter" id="plt_393">
+<p class="plt">Plate 393</p>
+<a href="images/plt_393.jpg">
+<img src="images/plt_393.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE BARRACKS OF THE ALJAFERIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_557" id="page_557">{557}</a></span></p>
+
+<div class="figcenter" id="plt_394">
+<p class="plt">Plate 394</p>
+<a href="images/plt_394.jpg">
+<img src="images/plt_394.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CASA DE LA INFANTA. “THE DEPARTURE FOR THE FIGHT” BY P. GONZALVO
+PEREZ.</p>
+
+<p>(No. 204 EXHIBITION OF 1871)</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_558" id="page_558">{558}</a></span></p>
+
+<div class="figcenter" id="plt_395">
+<p class="plt">Plate 395</p>
+<a href="images/plt_395.jpg">
+<img src="images/plt_395.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF OUR LADY DEL CARMEN, FAMOUS FOR THE DEFENCE MADE BY THE HEROINE
+OF ZARAGOZA DURING THE SIEGE OF 1808. ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_559" id="page_559">{559}</a></span></p>
+
+<div class="figcenter" id="plt_396">
+<p class="plt">Plate 396</p>
+<a href="images/plt_396.jpg">
+<img src="images/plt_396.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE DEFENCE OF ZARAGOZA IN 1809, BY NICOLAS MEJIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_560" id="page_560">{560}</a></span></p>
+
+<div class="figcenter" id="plt_397">
+<p class="plt">Plate 397</p>
+<a href="images/plt_397.jpg">
+<img src="images/plt_397.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE FIRST SIEGE OF ZARAGOZA. BY A. FERRANT Y FISCHERMANS</p>
+
+<p>(No. 131, EXHIBITION OF 1871)</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_561" id="page_561">{561}</a></span></p>
+
+<div class="figcenter" id="plt_398">
+<p class="plt">Plate 398</p>
+<a href="images/plt_398.jpg">
+<img src="images/plt_398.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HEROIC DEFENCE OF THE TOWER OF ST. AUGUSTINE AT ZARAGOZA IN THE WAR OF
+INDEPENDENCE BY C. ALVAREZ DUMONT</p>
+
+<p>(NATIONAL EXHIBITION OF FINE ARTS, 1884)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_562" id="page_562">{562}</a></span></p>
+
+<div class="figcenter" id="plt_399">
+<p class="plt">Plate 399</p>
+<a href="images/plt_399.jpg">
+<img src="images/plt_399.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>HEROIC COMBAT IN THE PULPIT OF THE CHURCH OF SAN AUGUSTIN AT ZARAGOZA IN
+1809. BY C. ALVAREZ DUMONT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_563" id="page_563">{563}</a></span></p>
+
+<div class="figcenter" id="plt_400">
+<p class="plt">Plate 400</p>
+<a href="images/plt_400.jpg">
+<img src="images/plt_400.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE MAID OF ZARAGOZA. BY M. HIRALDEZ ACOSTA</p>
+
+<p>No. 213 EXHIBITION OF 1871</p>
+</div>
+
+<p><span class="pagenum"><a name="page_564" id="page_564">{564}</a></span></p>
+
+<div class="figcenter" id="plt_401">
+<p class="plt">Plate 401</p>
+<a href="images/plt_401.jpg">
+<img src="images/plt_401.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE MAID OF ZARAGOZA. BY NAVARRO Y CANIZARES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_565" id="page_565">{565}</a></span></p>
+
+<div class="figcenter" id="plt_402">
+<p class="plt">Plate 402</p>
+<a href="images/plt_402.jpg">
+<img src="images/plt_402.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH FROM THE ALJAFERIA PALACE AT ZARAGOZA, NOW IN THE ARCHÆOLOGICAL
+MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_566" id="page_566">{566}</a></span></p>
+
+<div class="figcenter" id="plt_403">
+<p class="plt">Plate 403</p>
+<a href="images/plt_403.jpg">
+<img src="images/plt_403.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH FROM THE ALJAFERIA PALACE AT ZARAGOZA. NOW IN THE ARCHÆOLOGICAL
+MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_567" id="page_567">{567}</a></span></p>
+
+<div class="figcenter" id="plt_404">
+<p class="plt">Plate 404</p>
+<a href="images/plt_404.jpg">
+<img src="images/plt_404.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF “THE MOSQUE” OF THE ALJAFERIA</p>
+
+<p>ZARAGOZA PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_568" id="page_568">{568}</a></span></p>
+
+<div class="figcenter" id="plt_405">
+<p class="plt">Plate 405</p>
+<a href="images/plt_405.jpg">
+<img src="images/plt_405.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CORBELS OF EAVES. GOTHIC STYLE, FROM THE OLD CUSTOM
+HOUSE. ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_569" id="page_569">{569}</a></span></p>
+
+<div class="figcenter" id="plt_406">
+<p class="plt">Plate 406</p>
+<a href="images/plt_406.jpg">
+<img src="images/plt_406.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CORBELS OF EAVES</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_570" id="page_570">{570}</a></span></p>
+
+<div class="figcenter" id="plt_407">
+<p class="plt">Plate 407</p>
+<a href="images/plt_407.jpg">
+<img src="images/plt_407.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CORBELS OF EAVES. GOTHIC STYLE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_571" id="page_571">{571}</a></span></p>
+
+<div class="figcenter" id="plt_408">
+<p class="plt">Plate 408</p>
+<a href="images/plt_408.jpg">
+<img src="images/plt_408.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CORBELS OF EAVES. POINTED STYLE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_572" id="page_572">{572}</a></span></p>
+
+<div class="figcenter" id="plt_409">
+<p class="plt">Plate 409</p>
+<a href="images/plt_409.jpg">
+<img src="images/plt_409.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. ARAB CAPITALS OF THE ALJAFERIA CASTLE</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_573" id="page_573">{573}</a></span></p>
+
+<div class="figcenter" id="plt_410">
+<p class="plt">Plate 410</p>
+<a href="images/plt_410.jpg">
+<img src="images/plt_410.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. ARAB CAPITALS FROM THE ALJAFERIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_574" id="page_574">{574}</a></span></p>
+
+<div class="figcenter" id="plt_411">
+<p class="plt">Plate 411</p>
+<a href="images/plt_411.jpg">
+<img src="images/plt_411.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. ARAB CAPITALS FROM THE ALJAFERIA</p>
+
+<p>ZARAGOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_575" id="page_575">{575}</a></span></p>
+
+<div class="figcenter" id="plt_412">
+<p class="plt">Plate 412</p>
+<a href="images/plt_412.jpg">
+<img src="images/plt_412.jpg"
+height="600"
+alt="[Image unavailable.]" /></a>
+
+<p>THE STORY OF LUCRETIA. A PLATE FROM THE WORK ENTITLED “MUJERES ILUSTRES”
+(FAMOUS WOMEN) BY BOCCACCIO. PRINTED AT ZARAGOZA BY PABLO HURUS IN 1495
+(NATIONAL LIBRARY)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_576" id="page_576">{576}</a></span></p>
+
+<div class="figcenter" id="plt_413">
+<p class="plt">Plate 413</p>
+<a href="images/plt_413.jpg">
+<img src="images/plt_413.jpg"
+width="600"
+alt="[Image unavailable.]" /></a>
+
+<p>A PAGE FROM THE WORK ENTITLED “EXAMPLE AGAINST THE DECEPTION AND PERILS
+OF THE WORLD” BY JUAN DE CAPUA. PRINTED IN ZARAGOZA BY PABLO HURUS IN
+1493 (NATIONAL LIBRARY)</p>
+</div>
+
+<hr class="full" />
+<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK VALLADOLID, OVIEDO, AVILA &amp; ZARAGOZA ***</div>
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