III SALAMANCA

‘Sword never blunted pen,’ says a Spanish proverb, ‘nor pen sword.’ The history of Salamanca illustrated this truth. Its people were doughty warriors and learned scholars. The name of Salamanca was feared by Moor and Portuguese, as much as it was respected in all the halls of learning of the mediæval world. The seat of a university which all but successfully competed for pre-eminence with Oxford and Paris, it was at the same time the permanent camp of as fierce a race of fighting men as ever marched beneath the banners of Spain. The pen has made the city famous in every land, but it was by her sword that she came to be better known in her own country. Decayed and ruined, she has yet made herself illustrious in the two great fields of human activity, and has a twofold claim on the respect and interest of men of every European tongue.

The city, far older than Leon and Burgos, existed prior to the Roman conquest. It is identified by some with the Elmantica of Polybius, in which others recognise the neighbouring town of Alba de Tormes. Plutarch speaks of it as Salmatica, ‘a great town of Spain,’ and relates the heroic exploits of its womenfolk. Besieged by the Carthaginians under Hannibal, the inhabitants were forced to surrender. They were ordered to evacuate the town, leaving behind them all their arms and property as spoils for the victors. They were then placed under a guard of Massilians, while the rest of the Punic host hastened to plunder the forsaken city. But the women, who had accompanied the prisoners and whom no one had thought of searching, produced weapons which they had concealed about them, and armed their husbands, who fell upon their guards and cut them to pieces. The Carthaginian army was thrown into dismay by this unexpected attack, and the brave Salamantians were enabled to make good their escape to the hills. Hannibal is stated by Plutarch to have graciously pardoned the enemy that had eluded his vengeance.

Salamanca, with the rest of the province of Lusitania, passed under the sway of Rome, and seems to have been a place of some importance. Money was coined here in the reign of Tiberius, and the town was governed by duumvirs. Christianity must have early taken root here, for when the Goths conquered Spain they found an episcopal see already established at Salamanca. It had already been for a time the seat of a Vandal governor, Genseric, brother of King Huneric. Money was struck bearing the names of the city and of the kings Erwig and Egica. Certain bishops are mentioned as assisting at the councils of Toledo: Eleutherius at the third; Hiccila at the fourth and fifth; Egered at the seventh, eighth, and tenth; Providentius at the twelfth; Holemund at the thirteenth, fifteenth, and sixteenth. When in 715 Salamanca was submerged by the Moorish invasion, her bishop sought refuge with Pelayo in the glens of Asturias, and we read that Alfonso the Chaste assigned the basilica of San Salvador at Oviedo, to Quindulfo, the occupant of the see then in partibus infidelium. The city did not long remain in the undisturbed possession of the Moor. It was taken by Alfonso I. in 750, and again in 858 by Ordoño I., who made captive the Moorish amir, and released him only after extorting better terms for his Christian subjects. But this promise did not tempt back the bishops from their safe retreat in the north. Sebastian, who wore the mitre about the year 880, occupied himself with writing a chronicle of Spain from the reign of Wamba to his own day. His patron, Alfonso el Magno, succeeded in expelling the Mohammedans from Salamanca, and thought to annex it definitely to his kingdom; but it was recaptured by Abd-ur-Rahman, the Khalifa, five years later, the Christian inhabitants, including priests, to the number of two hundred, being put to the sword.

The city continued to change hands according to the varying fortunes of war till the conquest of Toledo by Alfonso VI. (1085). The country between the Douro and the Tagus, desolated by three centuries of unintermittent warfare, had become almost denuded of inhabitants. Alfonso appointed his son-in-law, Count Raymond of Burgundy, governor of Salamanca, with a mandate to repeople the town and surrounding district, and to repair the ravages of war. The count drew his colonists mainly from Castile, from the neighbouring towns of Toro and Braganza, from other parts of Portugal, from Galicia, from the ‘Sierra,’ and from his native province of Burgundy. These, together with the Mozarabes or original inhabitants, constituted the seven classes into which the population was divided, each with its separate quarter and local authorities. The whole community was subject to a code of laws framed by Count Raymond, and later amalgamated with the code preserved in the municipal archives, dating from the thirteenth century. From this document it would appear that an important part was taken in the work of colonisation by the Benedictine monastery of San Vicente, a foundation already some two or three centuries old.

Count Raymond and his wife, Urraca, were assisted in their beneficent labours by the famous bishop, Jeronimo Visquio. This prelate, a native of Perigord, and a monk of the order of St. Benedict, had come to Spain with the equally illustrious Don Bernard, Archbishop of Toledo. He accompanied the Cid as chaplain to Valencia, and on the reduction of that kingdom became its bishop. On the death of his patron he returned to Toledo, and was almost immediately appointed to the joint see of Salamanca and Zamora. In a deed, dated July 1102, the count confers upon him extensive privileges and revenues, which were confirmed by the king in 1107, the towns included in the diocese being furthermore specified. To Jeronimo we owe the old cathedral of Salamanca in which he was at last, full of years and honours, laid to rest. It had been his wish to have been laid beside his old master at Cardeña. He lived to witness the troubles attendant on the second marriage of Queen Urraca, to whom he was ever faithful; and was the first to acknowledge the primacy of the powerful Gelmirez, Archbishop of Santiago.

On Jeronimo’s death in 1120, his successor, Gerardo, was driven from the see by the Aragonese opponents of Urraca, and found an asylum with his metropolitan. The accession of Alfonso VII. resulted in the deposition of the next bishop Munio, who was a violent partisan of Aragon. He made determined efforts to recover his authority, without success, the intercession even of St. Bernard availing him nothing. Meanwhile a certain count, Don Pedro Lope, who appears to have been all-powerful in the town, shut the gates against the canonical bishop, Berengario, who succeeded at last in taking possession of his see only by the direct intervention of the king in 1135, after a lapse of four years.

The rebellious temperament of the Salamancans thus early manifested itself. A year or two later it was to cost them very dear. Scorning the leadership of any count or chief, the townsmen made repeated forays into Estremadura in search of glory and plunder. Returning laden with booty, they were met by a powerful Moorish army. The Mohammedan commander demanded a parley with their leader. The Salamancans replied that each man was his leader, whereupon the Moor thanked God for the folly of his adversaries. An engagement ensued, which might be better described as a massacre than as a battle, and but few returned to Salamanca to tell of the fate of their comrades.

The bitter lesson was repeated thrice in after years before the insensate citizens were sufficiently humbled to appeal to the king for assistance. He sent them as commander a famous warrior, Don Ponce Vigil de Cabrera, who was received in sorely tried Salamanca with much enthusiasm. The indomitable spirit of the citizens under able captainship achieved wonders. The castle of Albalat was taken and razed to the ground, and the whole district of Ciudad Rodrigo subjugated. Alfonso VII. in 1147, as a mark of favour, empowered the Alcaldes to build or to rebuild the city wall, and to encircle the suburbs with another.

Yet in 1170 we find the Salamancans allied with the people of Avila in arms against Fernando II., King of Leon. They regarded the founding of Ciudad Rodrigo as an encroachment on their privileges, and elected one Nuño Serrano as their king. On the field of Valmuza they gave battle to the king. Consulting the direction of the wind, they set fire to the brushwood, hoping that the smoke would be driven in the faces of their opponents. The wind suddenly changed, however, to the utter discomfiture of the rebels. The luckless Nuño was captured and burnt alive, and haughty Salamanca lay at the feet of the conqueror.

Fernando did not cherish resentment against the rebellious town. He called a Cortes here in 1178, and liberally endowed the see. In gratitude for the royal favour, Bishop Vital upheld the marriage of Alfonso IX. with his cousin, Teresa of Portugal, thereby bringing upon himself the fulminations of Pope Celestine III., and ultimately the sentence of suspension and deposition. Meanwhile the fighting spirit of the Salamancans was gratified by the establishment of the military order of Alcantara by two of the townsmen, Don Suero Fernández and his brother Gomez. The knights attached themselves to the Cistercian Order, their headquarters being the hermitage of San Julian de Pereo, on the banks of the Coa. The order was approved in 1177 by a bull of Pope Alexander III., afterwards confirmed by Lucius III.

Alfonso IX. endowed Salamanca with the university, which was destined to make its name known to the utmost confines of Christendom. This was a flourishing time in Salamanca. The Dominicans and Franciscans settled in the town; buildings, colleges, churches, and convents sprang up on all sides. The banner of Salamanca was seen in the forefront of the battle at Caceres, at Montanchez, at Merida; it fluttered over fallen Trujillo and Medellin; it waved before the walls of Ubeda in 1234, and of Granada two years later. The townsmen followed the Infante Alfonso to the sieges of Murcia and Seville (1248) and were rewarded for their valour by the privilege of holding open markets—probably heretofore the prerogative of the governor.

To these halcyon days there succeeded for Salamanca a long period of discord and warfare. Sancho el Bravo, when prince, held the town against his father; and in 1288 it was severely punished for its loyalty to the king by the rebellious Infante Don Juan, whose father-in-law, Don Lope de Haro, seized on the citadel. Under its walls halted the Portuguese army of King Diniz, marching upon Valladolid. In 1308 Salamanca made a vigorous defence, in the interests of the Queen Regent, Maria de Molina, against Nuñez de Lara.

The city is honourably distinguished by the refusal of the ecclesiastical council, held here in 1310, to condemn the doomed order of Knights Templars, who were, however, despoiled of their property here as elsewhere by decree of the Council of Vienne. A more cheerful function, the year following, was the baptism of the Infante Alfonso, born here, August 13, 1311. The lordship of his native city was afterwards given by this king to his wife, Maria of Portugal. The Salamancans fought well at the battle of the Salado (1340) under their bishop Juan Lucero. It was this prelate who in 1354 dissolved the marriage of Pedro the Cruel with Blanche of Bourbon, and celebrated the king’s amazing union with Juana de Castro, whom he repudiated on the following day. Lucero’s successor, Alfonso Barrasa, was a fervent partisan of Enrique de Trastamara. He followed him to the field with a force of five hundred archers, and held the city against his enemies. Meanwhile the Tejadas, one of the most powerful families of Salamanca, had declared for Don Pedro, and threw themselves into Zamora. The town was taken by Enrique’s partisans, while Don Alfonso Lopez de Tejada retired to the citadel, leaving his sons in the hands of the enemy. On their father’s refusal to surrender, the miserable lads were put to death. Don Alfonso escaped to Portugal, where he did not return till the reign of Juan I. He died in his native city in the year 1404. Bishop Barrasa on the triumph of Enrique II. was liberally rewarded for his devotion, and entrusted with important and honourable embassies to Flanders and Italy.

We read that St. Vicente Ferrer was in Salamanca at the beginning of the fifteenth century, and as a Spanish writer has it, converted the Jews to the unity of the faith on the ruins of their synagogue. He does not appear to have been equally successful in converting the Christians to the spirit of their faith, to judge from the following tragic incident which stained the history of Salamanca in his day. A quarrel arose over a game of pelota between two brothers of the family of Manzano and two of the Enriquez. The two latter were slain, and their slayers fled to Portugal. The mother of the victims, Doña Maria Rodriguez de Monroy, shed no tears, but silently and stoically gathered together her retainers and retired to her country seat at Villalba. A day or two later she, with a few followers, suddenly fell upon the murderers of her sons as they sat in fancied security at their inn in some Portuguese town, killed them, and bore their heads in triumph back to Salamanca, where she flung them upon the tombs of the Enriquez. But from this deed of vengeance sprang a bloody vendetta between the two families and their partisans, which the eloquence of St. Juan de Sahagun in 1460 allayed but could not extinguish. When forced to lay aside the sword and dagger, the bowl and philtre became the instruments of this unquenchable hate. Nay, as late as the reign of Philip II., the rival factions wore different colours, and eagerly seized the opportunity to contend against each other in jousts and tournaments. Juan de Sahagun, whose good deeds are strikingly relieved against so dark a background, himself fell a victim to poison, administered by a lady, whom his preaching and exhortations had deprived of her lover. Acclaimed at once (1479) as the patron of the city, it was not till October 17, 1690, that he was formally enrolled in the list of the saints of the Catholic Church. His feast is celebrated on the day of his death (June 11).

The fierce passions of the Salamancans were inflamed throughout the fifteenth century not only by private but political animosities. In the reign of Juan II. the city was alternately the prey of the partisans and the opponents of the royal favourite, Alvaro de Luna. When the king visited the town in 1440, the Archdeacon Juan Gómez, son of the late bishop, Don Diego de Anaya, a furious adversary of the Constable, garrisoned the alcazar of San Juan and the tower of the cathedral, and compelled his sovereign to take refuge in the house of one Acevedo. The fortress was again garrisoned against the king (Enrique IV.) six years later by Pedro de Gutiveros, but this time the bishop was on the royal side, and, with the help of Suero de Solis, expelled the rebel from the town. In gratitude for this and his friendly reception by the citizens in 1465, the unfortunate king ordered a fair or open market to be held every year from the 8th to the 21st of September, and to the delight of the townsmen decreed the demolition of the alcazar.

The disputed succession on the death of Enrique again plunged the city into civil war; both claimants, Juana and Isabel, finding partisans within its walls. Hoping to profit by these disorders, the Conde de Alba de Tormes entered the town at the head of his vassals and endeavoured to obtain possession of it. After much fighting he was expelled by the citizens, headed by Don Alfonso Maldonado and Suero de Solis. Upon the triumph of Isabel’s faction, the Portuguese quarter was promptly sacked in revenge for the assistance given by that nation to Juana. Another Maldonado was seized by King Fernando and ordered to deliver up his castle of Monleon under pain of death. The captive lord gave the necessary orders to his wife, commanding the garrison, who, at first, obstinately refused to obey them. It was only when the headsman was about to strike off her husband’s head in view of the ramparts that she relented and admitted the king’s troops.

The Salamancans were assuredly of stern stuff. The Catholic Sovereigns amused them with tournaments and pageants, and found employment for their swords before the walls of Granada. In the year 1497 Fernando, returning defeated from the Portuguese frontier, found his only son, Prince Juan, at the point of death. He expired on the 4th of October, after thirteen days’ sickness, at the age of nineteen, his mother arriving too late to see him alive. It is related that Fernando caused the queen to be informed that he also was dead, that her joy on finding him alive should somewhat soften the blow. Isabel never returned to the scene of her greatest bereavement; but we find Fernando, now a widower, here in the winter of 1505-1506.

The failure of the harvest about this time caused so much distress that the university was closed, and the ecclesiastical authorities had to leave the city. Hard upon these dark days came the rising of the Comuneros, into which the Salamancans threw themselves with all their hearts. Even the nobility espoused the popular cause, as also did the dean of the cathedral, various professors of the university, and the more prominent merchants. The leaders of the movement in Salamanca were young Maldonado Pimentel, and a skinner called Valloria, who was the idol of the populace, and by them hailed as ‘pope and king.’ But neither Valloria’s popularity nor Maldonado’s valour and rank availed to save them from the scaffold to which, with so many illustrious Castilians, they were doomed after the crushing defeat of the Comuneros at Villalar.

The establishment of the new monarchy meant for Salamanca, as for so many other cities, the end of liberty and the end of bloodshed. Family quarrels were henceforward to be adjusted by the king’s judges, wrongs avenged by his justice, not by the stiletto and poisoned draught. Outwardly Salamanca made merry over the change, and fêted Charles V. on his state entry in May 1534. His son was married here at the age of sixteen to Maria of Portugal—amid great rejoicings, as we are always told of such events.

Years passed by, and Salamanca partook of the senile decay which seemed to be creeping over Spain. The old feudal fights were recalled by the sanguinary town and gown riots, which filled the streets with dead and dying towards the close of the seventeenth century. Then came bad harvests, inundations, and the earthquake of 1755. It was but a poor and desolate city on which the French levied severe contributions in 1809, and which they sacked from end to end, three years after, in revenge for their disastrous defeat by Wellington before its walls. Salamanca has worshipped Mars and the Muses; but the War-god has turned savagely on his devotees, and from the scene of so many bloody conflicts the Genius of Learning seems at last to have fled shuddering away.

The Old Cathedral

The primitive cathedral of Salamanca is said to have been the church of San Juan el Blanco, in the riverside suburb. Its proportions and situation were not suited to the dignity of the new city founded by Count Raymond, and we find him before long laying the first stone of a new cathedral on one of the three eminences enclosed within the walls. The exact date of the foundation and the names of the architects are unknown. But tradition avers that Bishop Jeronimo consecrated the church, and the master-builders who raised the walls of Avila at Count Raymond’s orders most likely had some share in this, his greater work. They were Cassandro, an Italian, Florin de Southren, a Frenchman, and Alvar Garcia, a Navarrese. Placed at their disposal was a band of five hundred Moslem masons and carpenters, made prisoners by the count.

Bishop Jeronimo died in the year 1120, but the records show privileges conceded to the workmen engaged in the construction of the cathedral in 1152, 1183, and as late as 1285. According to Street, a priest of Medina del Campo, in the year 1178, bequeathed his property to the chapter for the purpose of completing the cloister, from which it may be inferred that not much remained to be done to the church itself at that date. Successive popes and kings showered donations and privileges upon the nascent cathedral, till the chapter, rich in lands and vassals, ranked as a feudal power, and the sacred edifice itself as a formidable stronghold. Massive, simple, vigorous, it well deserves the epithet fortis Salamantina, by which it is distinguished in the well-known lines about the cathedrals of Spain, ‘Sancta Ovetensis, dives Toletanas, pulchra Leonina, fortis Salamantina.’

A building so long in course of construction is sure to present certain varieties of style, and though the old cathedral of Salamanca has undergone very little alteration since its completion, its original Romanesque character is seen to have been modified by Gothic influence. The Byzantine pillars, remarks Don Jose Quadrado, carry graceful pointed arches, and the Romanesque capitals of the clustered columns exhibit an elegance very rare in works of that style.

In plan the church is a Latin cross, one arm having been removed to make way for the new cathedral. The nave and aisles terminate in apsidal chapels. Cloisters adjoin the southern side, and the entrance from the west is through a long portico, once flanked by two massive fortified towers. This vestibule is Byzantine, though adorned with Gothic statuary, and now entered through a very poor arrangement of Doric and Corinthian columns.

The nave produces a more imposing effect than is usual in Spanish churches, owing to the absence of a choir. There is no triforium, but the nave is lighted by round-arched windows of single lights. Over the crossing rises the glorious dome or lantern, called by the Salamancans the Torre del Gallo from the weathercock on its apex. This fine work is supported on arcades, divided into sixteen compartments, and pierced with windows over each of the cardinal sides. Outside, the lantern is roofed with scaled tiles. At the four angles are rounded pinnacles with continuously moulded windows; between these and contrasting with them are pointed gables with windows, the arches of which spring sharply from capitals. In his work on Gothic Architecture in Spain, Mr. Street remarks, ‘I have seldom seen any central lantern more thoroughly good and effective from every point of view than this is: it seems to solve, better than the lantern of any church I have yet seen elsewhere, the question of the introduction of the dome to Gothic churches. Though the scale of this work is very moderate, its solidity and firmness are excessive, and thus only is it that it maintains that dignified manliness of architectural character which so very few of our modern architects ever seem even to strive for.’

Standing beneath the lantern, we see the fine wooden retablo, adjusted so as to fit the curving wall of the apse. Its fifty-five subjects are arranged in five rows, and enclosed each in an arched frame painted white and gold. These paintings, representing scenes from the life and passion of Christ, are more delicate and skilful than the fresco of the Last Judgment, on the semi-dome above, painted perhaps half a century later in 1446, by Nicolás Florentino.

The chancel was at first reserved as a burying-place only for those of the blood-royal. Here are the tombs of the Infanta Mafalda, daughter of the King of Castile, who died here in the kingdom of Leon in 1204; of Don Fernando Alfonso, natural son of Alfonso IX., Dean of Santiago and Archdeacon of Salamanca; and of his natural son by Doña Aldara Lopez, Don Juan Fernandez, surnamed the Golden-Haired, a brave warrior, who died in 1303. On the gospel side is the tomb of good Bishop Sancho de Castilla, a descendant of Pedro the Cruel, and Doña Juana de Castro, who died in 1446, and close to him his successor Vivero, a counsellor of Fernando and Isabel. The statues of the two prelates are contained in the same sepulchral arch. Here also lie the noble cavaliers, Don Diego Arias, Archdeacon of Toro (obiit 1350), and Don Arias Diez Maldonado (1474), both benefactors of the cathedral, whose ashes were removed here in 1620 by order of the dean and chapter. In the chapel of St. Nicholas, on the epistle side, lies the Dominican Bishop Fray Pedro, who baptized Alfonso XI., and died in the first quarter of the fourteenth century; his effigy is enclosed by a pointed arch, above which Christ is shown as judge.

In the south transept, still fortunately preserved, are four interesting tombs, which appear to date from the thirteenth or the beginning of the fourteenth century. The first is crudely sculptured with reliefs of the Adoration of the Magi, the Crucifixion, and the Resurrection; the recumbent figure is said to be that of Diego Lopez, Archdeacon of Ledesma. Beneath a star-shaped cupola is the hooded figure of a woman, one Doña Elena, who passed away in the year 1272; the reliefs represent her deathbed and ascent to heaven. The third tomb is that of Don Alfonso Vidal, Dean of Avila and Canon of Salamanca; and the fourth, in the best Gothic style and fine arabesques, probably dates from the beginning of the fifteenth, rather than the preceding, century. It certainly cannot be, as used to be believed, the tomb of the precentor Aparitius, who died in 1274. Other very plain tombs are to be seen in the aisles, which are adorned with paintings by Fernando Gallego, called by Quadrado the Dürer of Salamanca.

The cloister, though as old as the church, has been extensively modernised. The doorway from the transept, however, has not lost its Byzantine character, nor its capitals their beautiful ornamentation of foliage with birds and nude figures. The four altars at the angles, dedicated respectively to the Blessed Virgin, St. Michael, St. Anthony of Padua, and the Magi, are enriched with the paintings of Gallego. In the cloister are also some tombs in the late Gothic style. The sarcophagus of the Archdeacon Diego Rodriguez (1504) is upheld by three lions; and another tomb enshrines the remains of Pedro Xerique (1529), a canon of this cathedral, who left a fund for the endowment of fifty poor girls with dowries—a very necessary bequest in these unsentimental Latin countries! Of the old twelfth-century sepulchres nothing but a few epitaphs and tablets remain.

Communicating with the cloister by some very ancient doorways are four interesting chapels. The oldest is the Capilla de Talavera, so called after the ‘Doctor de Talavera’ (one of the Maldonado family), who in the beginning of the fifteenth century endowed it with twelve chaplaincies for the celebration of the Mozarabic ritual. The chapel must have been very old at that time. ‘It is a very remarkable chamber,’ says Street, ‘square in plan below, and brought to an octagon above by arches thrown across the angles, and finally roofed with a sort of dome, carried upon moulded and carved ribs of very intricate contrivance. The interlacing of these ribs gives the work somewhat the effect of being Moorish, and there can be little doubt, I think, that it owes its peculiarities in some degree to Moorish influence. I should be inclined to attribute this room and its vault to the architect of the lantern of the church.’ The Mozarabic rite is still performed here six times a year.

The Capilla de Santa Barbara was founded about the year 1350 by Bishop Juan Lucero, who is buried here. His tomb was hidden during centuries by the table at which sat the examiners of the university and at which were conferred degrees. There are several other notable tombs belonging to the Gothic period. The effigy of a knight with a long beard and sword represents one Garcia Ruiz, the ecclesiastic close by, Canon Garcia de Medina, who died in 1474.

In the beautiful Gothic chapel of St. Catalina or Capilla del Canto, now dismantled and neglected, synods and provincial councils were customarily held. The fourth chapel, dedicated to St. Bartholomew, was founded early in the fifteenth century by Diego de Anaya, Archbishop of Seville. This prelate was a native of Salamanca, and took a prominent part in affairs of state. He was deputed to persuade the anti-pope, Don Pedro de Luna, to abandon his claims to the papacy; and failing in this, or for some other reason, was not suffered to take possession of his see till a few years before his death. The roof of the chapel is adorned with stars on a very dark background. Something of the Byzantine spirit is traceable in the ornamentation. Attention is however distracted from these details to the imposing tombs of the founder and his family. Enclosed by a fine railing with Renaissance designs of centaurs and floral scrolls, the recumbent statue of the bishop is seen, clad in full pontificals and watched over by a lion, a dog, and a hare. The tomb is of pure alabaster, and supported by lions. At the angles are groups of bishops and friars, and at the sides Christ with the Twelve Apostles and the Virgin with an equal number of female saints. The architects of this fine work and of the equally admirable railing are, unfortunately, unknown. Several others of the tombs in this chapel are of scarcely inferior conception and workmanship. The statues, believed to represent Don Gabriel de Anaya and his wife, and two earlier fifteenth-century effigies of a knight and a lady, are in partly Moorish costume, according to an affectation of that age. The only tomb with an epitaph is that of Doña Beatriz de Guzman, sister-in-law of the founder. The two sons born to Don Diego before he entered the Church by Doña Maria de Orozco are also buried here: on the gospel side lies Don Diego Gomez, fully armed, with a lion at his feet; his brother, the warlike archdeacon, Juan Gomez, rests in the niche adjoining the retablo.

The chapter house, also communicating with the cloister, contains some beautifully carved chairs and tables, and a replica of a Madonna and Child by Reni.

The New Cathedral

It may be presumed that the faithful of Salamanca had suffered for a number of years on account of the smallness of their cathedral; for the demand for a new place of worship is not traceable to any immediate or special cause, nor to any particular individual. At the instance of the bishop and the municipality, Fernando and Isabel, in the year 1491, solicited and obtained from Pope Innocent VIII. authority to erect a new cathedral at Salamanca, on the ground that the old fabric no longer sufficed for the needs of the congregation.

The city was then nearing the zenith of its prosperity, and all over Western Europe there was a craving for the pompous, the magnificent, and the merely big. We can imagine that the Salamancans of the new era were impatient of the plainness and masculine vigour of the little cathedral of Jeronimo. The chapter spared no pains to raise an edifice which should be as splendid as any in Spain. Nothing, however, was done till 1510, when the matter was placed in the hands of the two most celebrated architects of the kingdom, Antonio Egas, architect of the cathedral of Toledo, and Alfonso Rodrigues, master of the works at Seville. These two masters could not agree as to certain details in the plans, and the bishop Francisco de Bobadilla, son of Queen Isabel’s favourite Beatriz, summoned the nine most eminent architects of Spain to a conference. These were—Antonio Egas, Juan Gil de Hontañon, Juan de Badajoz, Alfonso de Covarrubias, Juan Tornero, Juan de Alava, Rodrigo de Zaravia, Juan Campero, and Rodrigues, who had by this time gone to the island of Santo Domingo. At this conference, held on September 3, 1512, the plan and proportions of the proposed building were decided, Juan Gil de Hontañon was appointed architect, and Juan Campero clerk of the works. The project being so far advanced, liberal donations poured in from the municipality and the citizens, and at last the foundation-stone was laid, as the inscription at the right-hand corner of the main façade records, on Thursday, May 12, 1513. De Hontañon was engaged at Seville rebuilding the dome of the cathedral, but under his occasional supervision and that of his assistant, Juan de Alava, the work was actively carried on. De Hontañon died in 1531, and was succeeded in his office by his assistant; and in 1560, his son Rodrigo being then architect, the cathedral was opened for divine worship, the event being thus commemorated on a tablet: Pio IIII. papa, Philippo II. rege, Francisco Manrico de Lara episcopo, ex vetere ad hoc templum facta translatio XXV. mort. anno à Christo nato MDLX.

The cathedral exhibits the transition from late Gothic to Renaissance. It is certainly constructed on very ambitious lines, and is not wanting in majesty, though that fervent lover of the Gothic, Mr. Street, declared the planning to be infelicitous and the detail throughout of the very poorest kind. The favourable impression the interior produces is almost entirely due to its spaciousness. The ground plan forms a rectangle, 195 feet long by 198 feet wide. On the south side it is built against the old cathedral, with which it communicates by a flight of eighteen steps. The western or principal façade is the oldest part of the building, and, as might be expected, is in the Gothic style, with hardly any admixture of the plateresque. The three entrances are recessed within graceful arches, and separated by massive buttresses adorned with statuary. The main entrance has two doors, separated by a pillar on which is a beautiful figure of the Virgin. Immediately above the doorway are two very fine reliefs of the Nativity and the Adoration of the Magi. These are contained within semicircular arches, which are in turn contained within a bewildering series of arches, rounded, elliptical, and pointed, all elaborately moulded and ornamented with animals, putti, and heraldic achievements. The vertex of the outermost of these arches upholds a vigorous relief of the Crucifixion, flanked by the Apostles Peter and Paul. Hardly a square foot has been left free of decoration, and the whole is overwrought and florid, though the rich cream colour of the stone in itself produces a pleasing effect. The side doors are much less elaborate, though designed on the same plan, and appear to have been intended to receive more statuary and ornament. The tower above is one of the few creditable performances of Churriguera—a native of Salamanca. The noble steeple to the right was part of the old cathedral, but was recast in the sixteenth century. It forms a landmark for travellers in the dreary country round the city.

On the north side of the church is the fine Puerta de las Palmas, which probably derives its name from the fine relief representing the entry of Christ into Jerusalem. The exterior of the cathedral generally suffers from comparison with the older structure at its side.

The interior consists of a nave and two aisles. The centre of the nave is occupied by the choir, which is connected, as is usual in Spanish churches, with the Capilla Mayor by a railed-in passage. There are no projecting transept arms. Over the crossing is a lantern with a half-orange dome, eight windows between Corinthian columns, and a superabundance of ornamentation, which only too well announces this to be the handiwork of Churriguera. The nave is higher than the aisles. Both are pierced with windows, made intentionally small to exclude the light. In front of these runs a pierced balustrade of very Renaissance character, below which is a charming frieze in the older style, with cherubs and animals peeping through foliage. The piers that support the roof have their capitals painted in blue and gold. Above certain of the arches is displayed the Vase of Lilies with the Angelic Salutation, adopted as its arms by the chapter; above others the medallions with busts so common in the architecture of this period.

The Capilla Mayor still lacks the retablo which it is proposed one day to set up, and is backed by hangings and a canopy over the statue of the Virgin. In the sanctuary are the silver urns containing the remains of Saints Juan de Sahagun and Tomas de Villanueva; further back in the Capilla del Carmen the tomb of Bishop Jeronimo, transported here from the old cathedral in 1744, together with the famous Cristo de las Batallas, the crude black image carried by the Cid with him on all his expeditions. It must be confessed that few Spanish cathedrals contain a less remarkable Capilla Mayor than this one.

Nor is the choir specially remarkable, except as a specimen of Churriguera’s decorative frenzy. The stalls are carved with the figures of saints, full-length and half-length, in very stagy poses, though the boy-martyrs, Justus and Pastor, are, it must be confessed, very well executed. Wherever space permitted, cherubs, floral scrolls, and all sorts of decorative patterns have been put in. The trascoro or altar at the rear of the choir surpasses the latter in the extravagance of its style. The Eternal Father, accompanied by angels, apostles, and prophets, may be seen amidst a profusion of clouds and foliage. The statues of St. Anne and St. John the Baptist obviously belong to an earlier period and a better school. They are attributed by Ponz to Juan de Juni, who was responsible for much of the ornamentation over the main entrance.

The chapels are all square and of the same height and size—twenty-eight feet square and fifty-four feet high. They are all decorated in the Gothic style, a uniformity which suggests that they were all built at the same time, or very carefully copied from the first one planned. Each contains a semicircular window, and four arched recesses for tombs. This regularity of style has operated to some extent as a check upon the excesses of the Churrigueresque school. The Golden Chapel—the second in the south aisle—dates from the sixteenth century. All within it is superbly gilded, the decoration reflecting credit on its author, Canon Francisco Sanchez de Palencia, whose noble tomb is here. His dignities are set forth on the beautiful plateresque reja. The chapel also contains a notable skeleton or memento mori. The next chapel is called after the Presidente de Lievana, and is adorned with some good paintings by the dumb artist Navarrete, particularly by a copy of Titian’s ‘Deposition.’ The fourth chapel on this side contains the good statue of a very good man, Canon Palacios, who died in the odour of sanctity in the year 1591. We may now descend to the old cathedral by a doorway on the right, close to a fine picture of the Madonna and Child and St. John, by Morales. The monuments of Count Raymond and Doña Urraca must have been destroyed to make room for this part of the new building. Good paintings by Gallego may be seen in the Capilla de San Antonio on the opposite side of the church. There are not many good tombs, the only ones remaining to be mentioned being those of the Bishops Corrionero (1620), Felipe Beltran (1783), and Agustino Varela (nineteenth century).

The sacristy is a gorgeous apartment, where mirrors, gilding, and ornamentation of every style are combined to produce a not altogether unpleasing effect. The treasury is rich in relics of doubtful authenticity. The silver reliquaries were once the property of the Knights Templars, whose cause Salamanca long upheld. Here you may gaze (with a befittingly credulous air) upon three thorns from Christ’s crown, a piece of the true cross, an arm of St. George, St. Lawrence’s shoulder, the head of one of the eleven thousand virgins who escorted St. Ursula, the hearts of St. Bartholomew and St. Sebastian, and the bodies of five Spanish martyrs who suffered under the Vandals. More interesting are a letter in St. Teresa’s handwriting, and a small crucifix of blackened bronze, often confounded with the Cristo de las Batallas, and probably of the same period and source. The chalice, monstrance, and other sacred vessels are beautifully wrought, even for a country where metal-working has been carried almost to perfection.

The University,

thanks to which the name of Salamanca was honourably known throughout the fourteenth, fifteenth, and sixteenth centuries from Lisbon to Novgorod, was founded by Alfonso IX., King of Leon, in the first quarter of the thirteenth century—moved thereto, it is said, by the establishment of the university of Palencia by his cousin of Castile. Consequent on the union of the two kingdoms in the person of Fernando III., the latter university declined and faded out of existence, Salamanca thus remaining the oldest seat of learning in Spain. Valladolid, the next in order of antiquity, dates from 1346, Alcalá from 1499, Seville from 1504. The sainted king in 1243 bestowed a charter on the young university, by virtue of which the students were exempted from the municipal law and made subject to their own tribunals. The first court thus constituted was composed of the bishop, the dean and prior of the Friars Preachers, the father guardian of the Discalced Franciscans, and certain persons named as Don Rodrigo, and Pedro Guigelmo, Garcia Gomez, Pedro Vellido, Fernando Sanchez de Porto Carrero, Pedro Muñiz, canon of Leon, and Miguel Perez, canon of Lamego.

Under Alfonso the Learned the new foundation naturally flourished. He not only confirmed by a royal ordinance, dated from Badajoz, 1252, all the privileges granted by his predecessors, but exempted the students from tolls and certain other dues, and secured them priority in the matter of accommodation at inns. Furthermore, in 1254, he endowed a chair of law with an annual stipend of five hundred maravedis, an assistant or bachelor also being appointed; a master of decrees, at a salary of three hundred maravedis; two masters of decretals, at five hundred maravedis a year each; two masters in physics, in logic, and in grammar, each at two hundred maravedis; an organist at fifty maravedis; and a librarian, at a hundred maravedis. The same monarch reduced the number of rectors to two—the Dean of Salamanca and one Arnal Sanz. In the celebrated Partidas, in the compilation of which Alfonso was doubtless assisted by members of this university, directions are given that at all such seats of learning there should be good inns, abundance of bread and wine, and pleasant walks where the students might in the evenings take the air.

No mention is made in the decrees of 1252 and 1254 of a faculty of theology, which probably came within the province of the cathedral chapter. The connection between the university and the cathedral was very intimate. Examinations were held and degrees conferred, as we have seen, in the chapel of Santa Barbara; the doctors were admitted to the choir, the canons reciprocally to the university theatres. Pope Innocent IV. had referred in flattering terms to the university at the Council of Lyons in 1245; and in 1255 Alexander IV., in a brief dated from Naples, acclaimed it as one of the four wonders of the world, and gave it his pontifical sanction. Boniface VIII. sent the professors a copy of his decretals, and revised the university statutes. The students were divided into eight sections, according to the part of the Peninsula from which they came, and the heads of these sections elected the rector. The election took place at Martinmas, and the installation on St. Catharine’s Day. The newly elected dignitary was escorted to his house by the students, each section being marshalled behind an ensign consisting of the principal fruit of its country. The rivalries between these different groups generally led to blows, and frequently called for the intervention of the authorities. On such occasions it was the privilege of the rector to defray all damages and fines. But the reign of cakes and ale did not always endure at Salamanca. In 1308 the times were so bad that the stipends of the professors were suppressed, and the university only survived the crisis through the self-sacrifice of the chapter and the intervention of the pope, who devoted a ninth of the tithes of the archbishopric of Santiago to its maintenance.

Subsequent pontiffs continued to exhibit great interest in the now flourishing institution, and to it belonged the honour of terminating, by its decision in favour of Clement VI., the schism which had divided the Christian church. A less honourable incident was the unfavourable decision pronounced by its professors on the great project of Columbus, referred to them by Queen Isabel. This verdict was the more surprising as the university had adopted the Copernican system at a time when it was considered heretical and dangerous.

The most famous school in all Spain shared the fortunes of the monarchy. In the days of Luis de Leon there were 70 professors and 10,000 students, and the 52 printing-offices and 84 bookshops employed 3600 men. In the year 1552 there were still no fewer than 6328 undergraduates. Women competed equally with men for the honours of the learned. Among the most illustrious members of the university were Beatriz Galendo, surnamed the Latin, the daughter of a professor, and the teacher and friend of Isabel the Catholic; Alvara de Alba, the author of a mathematical treatise, and Cecilia Morillas, the wife of a Portuguese, Dom Antonio Sobrino, and the mother of several learned doctors, who consulted her on the most difficult points in the humanities, in philosophy, and theology. Salamanca remained to the last a stronghold of Catholic orthodoxy. The only one of its professors who ever advanced heretical opinions—Pedro de Osuna—recanted in good time, and assisted with the rest of the university at the solemn burning of his books and the purification of the class-rooms in which he had taught. At the end of the eighteenth century the number of students had fallen to 2000. To-day it may be estimated at 1200 students, all drawn (excepting those of the Irish college) from the surrounding provinces. The nineteen professors are worse paid than an English ledger-clerk, and no book or pamphlet has issued from the university press (if such exists) for many years past.

The colleges were classified as Escuelas Mayores and Escuelas Menores. The college to which the name university is specially applied seems to have been built between 1415 and 1433 by Alfonso Rodriguez Carpintero, though the shield of the anti-pope Benedict XIII. (Pedro de Luna) over the door leading to the cathedral, dating from about 1380, leads one to suppose that part of the building was already standing at that date. For a long time, however, the cloisters of the cathedral were used as class-rooms. The present edifice has little about it to suggest the Gothic era. Restored by Fernando and Isabel, it ranks indeed as one of the earliest and finest specimens of plateresque architecture. Over the double entrance of the main façade are two rudely executed busts of the Catholic sovereigns, clasping the same sceptre, and enclosed in one medallion. Around this is inscribed the legend: ‘οί βασιλεῖς τῇ ἐγκυκλοπαιδείᾳ, αὕτη βασιλεῦσί’ (‘the Kings to the University, the University to the Kings’). The panels into which the three stages of this beautiful façade are divided are filled with escutcheons, medallions, foliage, scrolls, and grotesques, all admirably executed in the creamy stone, which gives so beautiful an appearance to the buildings of Salamanca. This fine work is ascribed to Enrique de Egas, and said to have cost 30,000 ducats. It is surmounted by a parapet of elaborate pierced work, and two pinnacles, which we could perhaps have spared.

Opposite, in the courtyard, stands the fine bronze statue of the university’s most brilliant alumnus—Luis de Leon. This great man was born at Granada in 1527, and entered the Augustinian Order in 1544. His writings went far to give permanency and purity to the Castilian idiom, which only at that time was coming into use by the learned. Promoted to the chair of theology at Salamanca, his translation into the vernacular of the Song of Solomon excited the suspicions of the Holy Office. He was arrested and kept in confinement at Valladolid during five years, at the end of which time he was released, the charges against him not having been proved to the satisfaction even of the inquisitors. On his return to his chair he received a tumultuous ovation. As he rose, the crowd of students awaited in dead silence an apology, a condemnation of his unjust accusers, some reference at least to the prosecution which had dragged on through five weary years. They were disappointed. Leon had no mind to dwell on his personal affairs. He broke the silence of five years with the simple words, ‘As we were saying yesterday ...’ He died, Provincial of his order, in the year 1591, and was buried in the Convent of San Agustino at Salamanca.

On the left side of the square is the old students’ hospital, with a fine effigy of St. Thomas Aquinas over the doorway, and a cornice in the plateresque style. Finer still is the portal of the adjacent Escuelas Menores, also dating from the early sixteenth century. Above the doorway of two arches are displayed the three escutcheons which proclaim the university to be royal, and the triple crown and the heads of St. Peter and St. Paul which proclaim it pontifical. These emblems appear amidst a profusion of detail, in which the Gothic and plateresque styles seem to have been assimilated.

Returning to the principal façade, we find the archives on the ground floor. Opening out of the inner patio may be seen the lecture-room of Louis de Leon. His ashes now repose in the chapel once adorned by Fernando Gallego, but ‘restored’ in the eighteenth century. The coloured stones and marbles used in the reconstruction are not without a certain pleasing effect. Passing up the noble staircase, with its banisters formed of dancing figures and foliage and superb artesonado ceiling, we reach the handsome library. This contains many treasures, among them forty Greek codices, as many Latin, the illuminated MS. of ‘famous and virtuous women,’ written by Alvaro de Luna, and a fifteenth-century Bible, richly illuminated. The Sala del Claustro is shown, outside which the student about to contest a thesis was obliged to remain for twenty-four hours to consider his subject at leisure.

Of the four Escuelas Mayores (High Schools)—San Bartolomé, del Arzobispo, Cuenca, and Oviedo—only the two first remain. These colleges bore the same relation to the Escuelas Menores that our Staff College does to Sandhurst. Here graduates were prepared for the highest posts in church and state. The College of San Bartolomé was founded in 1401 by Bishop de Anaya, whose sons were educated within its walls, and transferred to the present site sixteen years later. Vergara says that it produced seven cardinals, eighteen archbishops, seventy bishops, and innumerable judges and councillors of state. Like so many other similar institutions, originally intended for the poor and scholarly, the college soon became the preserve of the rich and aristocratic. The quarterings on the applicant’s shield were more carefully examined than his pretensions to scholarship, and when Carlos III. undertook to reform the college, it had earned the name of a hot-bed of vice. Its inward reformation corresponded with its material restoration. Little or nothing remains of the original structure. A spacious flight of steps leads up to the handsome portico in the Grecian style, with its four Corinthian columns and triangular pediment. The whole building is simple and massive, and crowned by a balustrade, in the centre of which are displayed the arms of the Anayas; the main façade the chapel with a heavy dome and Churrigueresque entrance. The inner court or patio is surrounded by a double gallery, the lower formed by sixteen Doric columns, the upper by as many Ionic. The magnificent staircase, dividing after the first flight into two branches, with its arches, Corinthian columns, and windows all in stone, surpasses any similar feat of architecture in Spain.

In the western part of the city, where abundant evidence yet remains of the frightful destruction wrought by the French in Wellington’s day, stands the interesting Colegio del Arzobispo, better known as the Colegio de los Irlandeses. Founded by Alfonso de Fonseca, successively Archbishop of Santiago and Toledo, it dates from the year 1521. The portal is in the classic style, with eight Ionic columns, a medallion of Santiago, and the archiepiscopal escutcheon; the adjoining façade is of the late Gothic. Above it rises the square cupola of the chapel designed by Pedro de Ibarra, and containing a retablo which ranks one of Berruguete’s finest works. The subjects of the eight panels of which it is composed are: the Ascension, Baptism, Flight into Egypt, the Adoration of the Shepherds, the Presentation in the Temple, the Finding of Moses, the Descent of the Holy Ghost, and Ananias and Sapphira. The whole was executed in less than eighteen months. Under a simple marble slab rests the body of Archbishop de Fonseca.

The galleries of the patio are formed by fluted columns and adorned with the heads of warriors very skilfully executed.

This college is now occupied, as its modern name implies, by Irish theological students, whose original seminary was founded by Philip II. in 1592. A college for Scottish Catholics was founded at the same time in Valladolid.

Of the forty colleges which once composed the University of Salamanca, the three described above alone remain. Most have utterly disappeared; of others, a few columns or chambers still exist, forming part now of buildings of another sort. The Colegio de Calatrava has survived, as a building, the three other colleges founded by the great military orders. It was extensively restored at the end of the eighteenth century, but the old doorway was spared with the saint’s head and knights upholding the banner of the order carved above it. The fine court has been dismantled, and the large chapel with transept and cupola has been stripped of the paintings and altar-pieces which once adorned it.

Minor Churches

Among the sacred edifices of Salamanca, next to the two cathedrals, ranks the church and convent of the Dominicans, variously known as Santo Domingo and San Estéban. The Dominicans, on their establishment at Salamanca in the year 1221, were first housed at San Juan el Blanco. Thirty years later they removed to San Estéban. Their convent was honoured in 1484 by the presence of Columbus, who found a generous host, a powerful protector, and a mind sufficiently broad to comprehend his project in the Friar Diego de Deza, afterwards grand inquisitor of Spain. His scheme, rejected by the university, was carefully considered by this learned man, and recommended to the queen. In gratitude, Columbus named the first town founded by him in the New World, Santo Domingo, after the order which had befriended him. From this monastery, too, departed the first Christian missionaries for America.

The building itself, unfortunately, has disappeared. It was pulled down in 1524 to make room for the present superb edifice, designed by Juan de Alava, the fellow-workman of Hontañon, who was succeeded by four other architects, till the completion of the work in 1610. The church is accounted one of the two or three most important monuments of the middle Renaissance period in Spain. The main façade, in the soft sandstone usual here, exhibits a marvellous profusion of figures, ‘excellently wrought, beautiful of themselves,’ remarks a critic, ‘but lacking in appropriateness, and not forming a part of a comprehensive scheme.’ On each side of the doorway, between pillars, are seen the figures of four of the Dominican saints; above, between four similarly placed statues of the doctors of the church, is an admirable relief of the Martyrdom of St. Stephen, executed by Juan Ceroni of Milan, who has carved his name and the date (1610) on the stones which were the instruments of the saint’s death. Above this, again, is a Crucifixion, overshadowed by the great arch which encloses the whole façade. The medallions and friezes exhibit very careful and graceful workmanship.

The side façades are mainly Gothic in character. Each buttress is surmounted by an ornate pinnacle. The nave is almost as spacious as that of the cathedral. The six-pointed vaults spring from fluted columns, and are brilliant with gilding. The windows of three lights and the rose-windows above are filled with good stained glass. The gorgeous retablo, which cost the Duke of Alba 4000 of his pine trees, is the work of Churriguera; its garishness is redeemed by the fine painting of the Martyrdom of St. Stephen by Claudio Coello, and the curious twelfth-century image of the Virgin de la Vega in gilt bronze. Over the choir, built by Bishop de Aranjo, is the fine Apotheosis of St. Dominic, a fresco by Palomino. The frescoes over the altar of the Rosary and in the chapel of the Cristo de la Luz are by his contemporary, Villamor. In the chapel of St. John is the tomb of Don Lope de Paz, the defender of Rhodes and Eubœa, and in a wooden urn in the Reliquary chapel are contained the ashes of the terror of the Low Countries, Fernando de Toledo, Duke of Alba.

The chapter-house is a grandiose apartment, with pillars of the Doric order, and a Corinthian altar beneath a canopy. Here may be seen some bas-reliefs of the thirteenth century from the old church. In the magnificent sacristy is the tomb of Bishop Herrera of Tuy, who died in 1632, and is shown in a kneeling posture. More interesting is the cloister, with its early Renaissance arcading and fanwork vaulting. Some of the medallions and reliefs which adorn the cloister were designed by Alfonso Sardiña in 1626. The noble staircase adorned by a Magdalene, which was executed by order of the illustrious Dominican theologian, Fray Domingo Soto, of whom it was punningly said, ‘Qui scit Sotum, scit totum.’

The seminary, built in 1617 by Gómez de Mora for the Society of Jesus, is a building of the type more commonly admired by Spaniards than other peoples. It is vast and heavy, commanding respect by its bulk rather than its proportions. Over the façade, with its six gigantic columns, rise two lofty steeples, flanking an acroterium with very bad statuary. The cupola or lantern is not ungracefully constructed, but spoilt with indifferent ornamentation. The interior is cold and monotonous, though free from the extravagant decoration of the epoch of its construction. The sacristy, which contains four copies of paintings by Rubens, is vast even for this vast church, the richest Jesuit establishment in Spain.

Another great but much less admirable pile is the church of the Recollect Augustine nuns, the convent having been founded in 1626 by the favourite of Felipe IV., the Count of Monterey, as a retreat for his sister, Doña Catilina. The architect was Juan Fontana. The church is in the usual shape of a Latin cross, and is richly adorned with coloured marbles, jasper, and lapis lazuli. The architecture was spoilt by injudicious repairs effected on the collapse of the dome in 1680. The tombs of the founder and his wife are in indifferent taste, but the statues are good. The church is rich in paintings. Ribera’s Conception hangs over the high altar, and the handsome retablo is adorned by his Virgin de la Piedad. In the transept are two other works of the same master—Our Lady of the Rosary and the Nativity. These paintings were bought in Naples by Monterey, then viceroy, at the time of the papal pronouncement on the mystery of the Immaculate Conception. According to Ford, it is believed that better pictures are preserved in the convent itself, which is not open to visitors.

San Benito is an interesting church, originally founded by the Galician settlers in 1104, and rebuilt in the late Gothic style by the Maldonado family in the fifteenth century. The tombs of several members of that family are within. The statues of Arias Perez Maldonado and his wife lie to the right and left of the chancel. The knight wears armour, and a page rests at his feet; the lady wears the costume of the age of Isabel the Catholic. Here also sleeps that haughty lord of Monleón, whose wife was so reluctant to save his life at the expense of his castle. From this church the Maldonado faction took the name of San Benito; the opposite faction, descended from Maria la Brava, affected the church of Santo Tomé de los Caballeros. There are some good tombs of the fourteenth and sixteenth centuries in the church of San Isidoro, founded by the French settlers of Count Raymond. The Portuguese built the little church dedicated to St. Thomas of Canterbury, which still preserves a triple apse and windows in the Romanesque style. The doorway is Gothic, and the tomb of Bishop de Velasco, supported by lions, obviously of the Renaissance. San Martin, built by settlers from Toro, though injured by a fire in 1854, preserves many ancient features. Some of the columns of the nave are Byzantine, and the doorway, with its triple-pointed arch, belongs to the best Gothic period. The south front is Renaissance. This is the burial-place of the Santisteban family. An architectural curiosity to which Street calls attention, is the little circular church of San Marcos, close to the wall at the north end of the city, with its three apses vaulted with semi-domes, while the rest of the edifice is roofed with wood. This odd little church was built as a chapel royal by Alfonso IX. in 1202.

The only church of interest besides those enumerated above is the Sancti Spiritus, built about 1190, and granted to the Knights of St. John of Jerusalem in 1222. Afterwards, with the adjacent convent, it passed into the possession of an aristocratic sisterhood. Rebuilt in 1541 by Leonor de Acevedo, the portal is in the Renaissance style, and the interior in late Gothic. The lower choir has fine artesonado work and well-carved stalls. The retablo, which dates from 1659, displays fine reliefs of the life of St. James, and good statues of the apostles. Near the entrance are the tombs of the great benefactors of the convent, Martin Alfonso, natural son of Alfonso IX., and his wife, Maria Mendez, a Portuguese lady (1270). Another tomb is that of Pedro Vidal, an ecclesiastic, who died in 1363.

Domestic and Municipal Buildings

Salamanca contains several old mansions of the nobility, which might well have delighted Prout. However remote may have been the date of their foundation, later restoration has given them for the most part a plateresque or Renaissance aspect. The Casa de las Salinas was built for the Fonseca family in 1538, and was afterwards used as a place of storage for salt. It is considered to be the best example of the plateresque style in the city. The four arches of the principal façade spring from granite columns with very well chiselled capitals. Good also are the busts in medallions between the arches. The second story is pierced by three square windows, supported by splendid masculine figures, emblematic of the victories of Charles V., and in the best style of the period. Hardly inferior to these are the cherubs and grotesques on the columns of the jambs. Angels’ heads appear over the arches of the gallery which crowns the edifice. The beautiful patio is adorned by arches similar to those of the façade. Round the court runs a mean wooden gallery carried on sixteen brackets superbly carved with terminal figures in every sort of posture, and supporting delightfully fantastic monsters. These figures are among the best sculptures in Salamanca, and merit close examination.

We find the five lilies of the Maldonados, those old Capulets of the city, displayed over the entrance of the Casa de las Conchas, built for the family in 1512. The house derives its name from the thirteen rows of shells decorating its front. The most interesting features of the building are the windows, each divided by a slender central shaft, and with delicate traceries in the early plateresque style. Quadrado states that the Jesuits, wishing to acquire the site, offered an ounce of gold for each of the shells, but the owners declined to give up the property at any price.

The unfinished palace of the counts of Monterey dates from the same epoch (1530). It is a massive building of three low stories, the upper pierced with an elegant gallery, and surmounted by a beautiful balustrade composed of figures and foliage intertwined. Above the general level rise square towers with open galleries, exhibiting some good decorative details. The lower stories of the mansion are devoid of interest.

Very suggestive of Salamanca’s fiery, flourishing days is the device over the doorway of an old house in the little Plaza de San Cebrian—‘Quod tibi non vis, alteri non facias.’ Close by in an underground cellar the famous Enrique de Villena is said to have studied magic under a sacristan from a neighbouring church. Not far away, we believe, is a house which we failed to find, called the Casa de las Batallas, where a temporary peace was patched up between the rival factions of the city in 1478—a peace commemorated by a text sculptured above the arch, ‘Ira odium generat, concordia nutrit amorem.’

Close to the Casa de las Salinas stands another memorial of that stormy time—the battered Torre del Clavero, built in 1470 by a knight of the Order of Alcantara, Francisco de Sotomayor. Its eight faces are strengthened by projecting bartizan turrets, not placed as is usual at the angles, and adorned with rude sculpture. It forms an interesting example of Castilian military architecture. Close by were formerly the headquarters of the Templars, and not far away is the street called after the ‘Yellow Well,’ from which St. Juan of Sahagun miraculously rescued a drowning child.

The centre of the city is occupied by the fine Plaza Mayor, planned in 1720 by Don Andres de Quiñones. The square compares very favourably with the finest open spaces of the kind in Europe. It is surrounded by a colonnade of twenty-two arches on each side, above which rise three stories, to a pierced parapet with pinnacles. Archways, surmounted by an acroterium, in the centre of each side, afford communication with the adjoining streets. The arcades are adorned with medallions of Spanish worthies. The bust of Cortes is said to mark the site of the house he lodged in when a student. In this square, which is occupied by gardens and is the fashionable promenade, bull-fights on an enormous scale have been organised, and from the balconies the townsmen have more than once looked down on the death-agonies of some wretched malefactor. One side is occupied by the town hall (Ayuntamiento). Its architecture is strictly in keeping with the surrounding line of houses. The façade, supported on a gallery of five arches, is flanked by fluted columns, statues appear between the windows, and on each side of the clock-tower rising above the parapet.

This modern centre of what activity Salamanca can boast may be compared with the old resorts of the population—the Plaza de la Yerba, and the Plaza de San Boal, where Englishmen will look with interest at the palace of the Marques de Almarza, built about the end of the fifteenth century. Here lodged the Iron Duke in those days when Spain and England stood side by side for war, as they now do, and we hope may ever do, in the cause of peace.

Printed by T. and A. Constable, Printers to His Majesty at the Edinburgh University Press

PLATE 1

GENERAL VIEW OF LEON.

PLATE 2

VIEW FROM THE CEMETERY.

LEON.

PLATE 3

CATHEDRAL: VIEW FROM THE NORTH.

LEON.

PLATE 4

CATHEDRAL: GENERAL VIEW.

LEON.

PLATE 5

LEON CATHEDRAL.

PLATE 6

CATHEDRAL: DOOR OF THE CROSS-AISLE (RESTORED).

LEON.

PLATE 7

LEON CATHEDRAL.

PLATE 8

LATERAL FAÇADE OF THE CATHEDRAL.

LEON.

PLATE 9

LONGITUDINAL SECTION OF THE CATHEDRAL.

LEON.

PLATE 10

CATHEDRAL: STAINED GLASS WINDOW OF THE THIRTEENTH CENTURY.

LEON.

PLATE 11

CATHEDRAL: STAINED GLASS WINDOW OF THE FOURTEENTH CENTURY.

LEON.

PLATE 12

PLAN OF THE CATHEDRAL.

LEON.

PLATE 13

CATHEDRAL: CENTRAL GATE OF THE PRINCIPAL PORCH.

LEON.

PLATE 14

CATHEDRAL: RIGHT GATE OF THE PRINCIPAL PORCH.

LEON.

PLATE 15

CATHEDRAL: DETAIL OF THE LOWER PART OF THE PRINCIPAL PORTICO.

LEON.

PLATE 16

CATHEDRAL: ARCH OF THE CENTRAL PORTICO.

LEON.

PLATE 17

CATHEDRAL: ARCH OF THE RIGHT DOOR.

LEON.

PLATE 18

CATHEDRAL: LEFT GATE OF PRINCIPAL PORCH.

LEON.

PLATE 19

CATHEDRAL: GATE OF THE CORO.

LEON.

PLATE 20

CATHEDRAL: DOOR OF THE CHAPEL OF ST. ANDREW.

LEON.

PLATE 21

CATHEDRAL: PAINTED WALLS.

LEON.

PLATE 22

CATHEDRAL: STATUE OF OUR LADY LA BLANCA IN THE PRINCIPAL PORCH.

LEON.

PLATE 23

CATHEDRAL: A SEPULCHRE.

LEON.

PLATE 24

CATHEDRAL: SEPULCHRE OF DON ORDOÑO II.

LEON.

PLATE 25

CATHEDRAL: SEPULCHRE OF MARTIN, FIRST BISHOP OF LEON.

LEON.

PLATE 26

CATHEDRAL: DETAIL OF THE DOOR OF THE CHAPEL OF ST. ANDREW.

LEON.

PLATE 27

CATHEDRAL: THE CLOISTERS. OUR LADY DEL FORO AND THE OFFERINGS OF THE KINGS.

LEON.

PLATE 28

CATHEDRAL: SPANDRIL OF CENTRAL GATE. THE LAST JUDGMENT.

LEON.

PLATE 29

CATHEDRAL: SPANDRIL OF CENTRAL GATE. THE LAST JUDGMENT.

LEON.

PLATE 30

CATHEDRAL: DETAIL OF THE RIGHT GATE.

LEON.

PLATE 31

CATHEDRAL: DETAIL OF THE GATE OF THE CHAPEL OF SAN ANDRÉS.

LEON.

PLATE 32

CATHEDRAL: VARIOUS STATUES FROM THE CROSS AISLE.

LEON.

PLATE 33

CATHEDRAL: DETAIL OF THE RIGHT-HAND PORTICO.

LEON.

PLATE 34

CATHEDRAL: THE BACK OF THE CHOIR.

LEON.

PLATE 35

CATHEDRAL: THE CHOIR STALLS.

LEON.

PLATE 36

CATHEDRAL: THE CHOIR STALLS.

LEON.

PLATE 37

CATHEDRAL: DETAIL OF THE CHOIR.

LEON.

PLATE 38

CATHEDRAL: CHOIR STALLS. THE GUARDIAN ANGEL OF PARADISE, AND THE ARCHANGEL ST. MICHAEL.

LEON.

PLATE 39

CATHEDRAL: CHOIR STALLS. NOAH, ADAM AND EVE.

LEON.

PLATE 40

CATHEDRAL: CHOIR STALLS. THE ARCHANGEL GABRIEL AND ABRAHAM.

LEON.

PLATE 41

CATHEDRAL: CHOIR STALLS. ISAAC AND JACOB.

LEON.

PLATE 42

CATHEDRAL: CHOIR STALLS. ESAU.

LEON.

PLATE 43

CATHEDRAL: CHOIR STALLS. SAMSON.

LEON.

PLATE 44

CATHEDRAL: CHOIR STALLS. ST. MATHIAS AND ST. MARK.

LEON.

PLATE 45

CATHEDRAL: CHOIR STALLS. ST. LUKE AND ST. BARTHOLOMEW.

LEON.

PLATE 46

CATHEDRAL: CHOIR STALLS. ST. ANDREW AND ST. PETER.

LEON.

PLATE 47

CATHEDRAL: CHOIR STALLS. SANTIAGO ALFEO AND ST. PHILIP.

LEON.

PLATE 48

CATHEDRAL: CHOIR STALLS. ST. JOHN THE EVANGELIST AND SANTIAGO.

LEON.

PLATE 49

CATHEDRAL: CHOIR STALLS. SAINT MARY MAGDALENE AND SANTO DOMINGO.

LEON.

PLATE 50

CATHEDRAL: IN THE CHOIR. ST. NICODEMUS AND VALOUR.

LEON.

PLATE 51

CATHEDRAL: CHOIR STALLS. ST. MARTHA AND ST. LUCY.

LEON.

PLATE 52

CATHEDRAL: CHOIR STALLS. ST. FRANCIS AND ST. CATHERINE.

LEON.

PLATE 53

CATHEDRAL. CHOIR STALLS. ST. FROYLAN AND ST. NICHOLAS.

LEON.

PLATE 54

CATHEDRAL: CHOIR STALLS. SAN VITORINO AND SAN MARTIN.

LEON.

PLATE 55

CATHEDRAL: CHOIR STALLS. SANTA CRISTINA AND SANTA ELENA.

LEON.

PLATE 56

CATHEDRAL: CHOIR STALLS. SAN GREGORIO AND SAN GERONIMO.

LEON.

PLATE 57

CATHEDRAL: CHOIR STALLS. SAN SILVESTRE AND SAN LUPERCIO.

LEON.

PLATE 58

CATHEDRAL: CHOIR STALLS. SAN LORENZO AND SAN VICENTE.

LEON.

PLATE 59

CATHEDRAL: CHOIR STALLS. SAN CELEDONIO AND SAN ESTEBAN.

LEON.

PLATE 60

CATHEDRAL: CHOIR STALLS. A SAINT.

LEON.

PLATE 61

CATHEDRAL: DETAIL OF THE CHOIR STALLS.

LEON.

PLATE 62

CATHEDRAL: DETAIL OF THE CHOIR STALLS.

LEON.

PLATE 63

CATHEDRAL: STATUE OF THE VIRGIN.

LEON.

PLATE 64

CATHEDRAL: DETAIL OF THE CLOISTERS.

LEON.

PLATE 65

CATHEDRAL: BAS-RELIEFS IN THE CLOISTERS.

LEON.

PLATE 66

FAÇADE OF THE COLLEGIATE CHURCH OF SAN ISIDORO.

LEON.

PLATE 67

GATE OF PARDON: COLLEGIATE CHURCH OF SAN ISIDORO.

LEON.

PLATE 68

COLLEGIATE CHURCH OF SAN ISIDORO.

LEON.

PLATE 69

PRINCIPAL GATE OF THE COLLEGIATE CHURCH OF SAN ISIDORO.

LEON.

PLATE 70

PANTEON OF THE KINGS IN THE COLLEGIATE CHURCH OF SAN ISIDORO.

LEON.

PLATE 71

SPANDRIL OF GATE OF PARDON: COLLEGIATE CHURCH OF SAN ISIDORO.

LEON.

PLATE 72

FRESCO OF THE PANTEON OF THE KINGS IN THE COLLEGIATE CHURCH OF SAN ISIDORO, END OF ELEVENTH CENTURY.

LEON.

PLATE 73

SECTIONS AND DETAILS OF THE PANTEON OF SAN ISIDORO.

LEON.

PLATE 74

COLLEGIATE CHURCH OF SAN ISIDORO: PAINTING ON THE WALL OF THE PANTEON OF THE KINGS.

LEON.

PLATE 75

COLLEGIATE CHURCH OF SAN ISIDORO: PAINTINGS ON THE WALLS OF THE PANTEON OF THE KINGS.

LEON.

PLATE 76

COLLEGIATE CHURCH OF SAN ISIDORO: CHALICE AND PATEN OF DOÑA URRACA, AND CROSS.

LEON.

PLATE 77

COLLEGIATE CHURCH OF SAN ISIDORO: IVORY CROSS OF KING FERNANDO I. AND SANCHA HIS WIFE.

LEON.

PLATE 78

COLLEGIATE CHURCH OF SAN ISIDORO: RELICS, CONTAINING ST. MARTIN’S HAND, ST. JOHN BAPTIST’S JAW, ONE OF ST. ISIDORO’S FINGERS, AND SOME OF THE VIRGIN’S HAIR.

LEON.

PLATE 79

COLLEGIATE CHURCH OF SAN ISIDORO: CHALICE AND CRUCIFIX IN FILIGREE GOLD.

LEON.

PLATE 80

COLLEGIATE CHURCH OF SAN ISIDORO: IVORY COFFER.

LEON.

PLATE 81

COLLEGIATE CHURCH OF SAN ISIDORO: GOTHIC CRUCIFIX IN GOLD.

LEON.

PLATE 82

SAN MIGUEL DE ESCALADA: GENERAL VIEW OF THE CONVENT.

LEON.

PLATE 83

SAN MIGUEL DE ESCALADA: EXTERIOR OF THE TEMPLE AND PORTICO.

LEON.

PLATE 84

SAN MIGUEL DE ESCALADA: INTERIOR OF THE CHURCH.

LEON.

PLATE 85

SAN MIGUEL DE ESCALADA: INTERIOR OF THE CHURCH.

LEON.

PLATE 86

SAN MIGUEL DE ESCALADA: SOUTHERN FAÇADE, PLAN, AND DETAILS. (TOWN HALL, GRADEFES.)

LEON.

PLATE 87

SAN MIGUEL DE ESCALADA: LONGITUDINAL AND TRANSVERSE SECTIONS AND DETAILS. (TOWN HALL. GRADEFES.)

LEON.

PLATE 88

DETAILS OF SAN MIGUEL DE ESCALADA. (TOWN HALL, GRADEFES.)

LEON.

PLATE 89

SAN MIGUEL DE ESCALADA: A CAPITAL IN THE CHURCH.

LEON.

PLATE 90

OUR LADY DEL MERCADO.

LEON.

PLATE 91

OUR LADY DEL MERCADO: BARRED WINDOW IN THE PRINCIPAL FAÇADE.

LEON.

PLATE 92

CHURCH OF SAN PEDRO DE LOS HUERTOS.

LEON.

PLATE 93

GENERAL VIEW OF THE CONVENT OF SAN MARCOS.

LEON.

PLATE 94

PRINCIPAL FAÇADE OF THE CONVENT OF SAN MARCOS.

LEON.

PLATE 95

DETAIL OF THE FAÇADE OF THE CONVENT OF SAN MARCOS.

LEON.

PLATE 96

ENTRANCE TO THE CONVENT OF SAN MARCOS.

LEON.

PLATE 97

DETAIL OF THE FAÇADE OF THE CONVENT OF SAN MARCOS.

LEON.

PLATE 98

DETAIL OF THE FAÇADE OF THE CONVENT OF SAN MARCOS.

LEON.

PLATE 99

DETAIL OF THE FAÇADE OF THE CONVENT OF SAN MARCOS.

LEON.

PLATE 100

DETAIL OF THE FAÇADE OF THE CONVENT OF SAN MARCOS.

LEON.

PLATE 101

DETAIL OF THE FAÇADE OF THE CONVENT OF SAN MARCOS.

LEON.

PLATE 102

SACRISTY IN THE CONVENT OF SAN MARCOS.

LEON.

PLATE 103

STALLS IN THE CONVENT OF SAN MARCOS.

LEON.

PLATE 104

CHURCH OF SAN MARCOS: DETAIL OF THE CHOIR.

LEON.

PLATE 105

CHURCH OF SAN MARCOS: DETAIL OF THE CHOIR STALLS.

LEON.

PLATE 106

CHURCH OF SAN MARCOS: DETAIL OF THE STALLS.

LEON.

PLATE 107

CHURCH OF SAN MARCOS: DETAIL OF THE CHOIR STALLS.

LEON.

PLATE 108

CHURCH OF SAN MARCOS: DETAIL OF THE CHOIR.

LEON.

PLATE 109

PROVINCIAL MUSEUM OF SAN MARCOS: TRAY, CRUCIFIX, AND VASE.

LEON.

PLATE 110

PROVINCIAL MUSEUM OF SAN MARCOS: CROSS OF SANTIAGO DE PEÑALVA.

LEON.

PLATE 111

PROVINCIAL MUSEUM OF SAN MARCOS: CHRIST IN THE BYZANTINE STYLE, AND THE VIRGIN IN THE GOTHIC STYLE.

LEON.

PLATE 112

PROVINCIAL MUSEUM OF SAN MARCOS: SAN FRANCISCO.

LEON.

PLATE 113

DON ORDOÑO II. PRESENTING HIS PALACE TO THE VIRGIN.

LEON.

PLATE 114

STANDARD OF ALFONSO VII., EMPEROR, NOW BELONGING TO THE ILLUSTRIOUS FAMILIES OF LEON.

LEON.

PLATE 115

TOWER OF THE PONCES.

LEON.

PLATE 116

LAS CASAS CONSISTORIALES.

LEON.

PLATE 117

HOUSE OF THE GUZMANES.

LEON.

PLATE 118

BASTIONS OF THE ANCIENT WALLS.

LEON.

PLATE 119

CALLE DE SANTA ANA.

LEON.

PLATE 120

CORNER OF THE HOUSE OF THE GUZMANES.

LEON.

PLATE 121

VIEW OF THE RAILWAY STATION.

LEON.

PLATE 122

GENERAL VIEW OF ASTORGA.

LEON.

PLATE 123

MOUNTAINEERS OF THE PROVINCE.

LEON.

PLATE 124

IVORY CASKET OF THE NINTH CENTURY, FROM SAN ISIDORO AT LEON, NOW IN THE NATIONAL ARCHÆOLOGICAL MUSEUM.

PLATE 125

TWO STATUES IN THE ARCHÆOLOGICAL MUSEUM.

LEON.

PLATE 126

VIEW OF BURGOS.

PLATE 127

GENERAL VIEW OF BURGOS.

PLATE 128

LA PLAZA MAYOR.

BURGOS.

PLATE 129

GENERAL VIEW FROM THE CASTLE.

BURGOS.

PLATE 130

MANSION OF THE CID.

BURGOS.

PLATE 131

EL PASEO DEL ESPOLON.

BURGOS.

PLATE 132

VIEW FROM THE PROVINCIAL MUSEUM.

BURGOS.

PLATE 133

A VIEW OF BURGOS.

PLATE 134

THE CATHEDRAL.

BURGOS.

PLATE 135

FAÇADE OF THE CATHEDRAL.

BURGOS.

PLATE 136

CATHEDRAL: PUERTA DE LA PELLEGERIA.

BURGOS.

PLATE 137

CATHEDRAL: VIEW FROM THE CLOISTERS.

BURGOS.

PLATE 138

CATHEDRAL: UPPER PART OF THE TOWER.

BURGOS.

PLATE 139

CATHEDRAL: THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 140

CATHEDRAL: PRINCIPAL FRONT.

BURGOS.

PLATE 141

CATHEDRAL: FROM THE CLOISTERS GARDEN.

BURGOS.

PLATE 142

TOWERS OF THE CATHEDRAL.

BURGOS.

PLATE 143

CATHEDRAL: ONE OF THE SPIRES.

BURGOS.

PLATE 144

BOSSES.

DETAIL, SPIRE WINDOWS.

ANGLE AND CROCKET OF SPIRE.

BURGOS CATHEDRAL.

PLATE 145

INTERIOR OF SPIRE.

DOORWAY TO SPIRE.

BURGOS CATHEDRAL.

PLATE 146

COURT OF THE CATHEDRAL.

BURGOS.

PLATE 147

GENERAL PLAN OF THE CATHEDRAL.

BURGOS.

PLATE 148

BURGOS CATHEDRAL.

PLATE 149

CATHEDRAL: VIEW OF THE PRINCIPAL NAVE AND HIGH ALTAR.

BURGOS.

PLATE 150

BURGOS CATHEDRAL.

PLATE 151

CATHEDRAL: VIEW OF THE NAVE FROM THE GATE OF THE PELLEGERIA.

BURGOS.

PLATE 152

CATHEDRAL: BACK PART OF THE HIGH ALTAR.

BURGOS.

PLATE 153

CATHEDRAL: CHOIR STALLS.

BURGOS.

PLATE 154

INTERIOR OF THE CATHEDRAL.

BURGOS.

PLATE 155

DETAILS IN THE CATHEDRAL.

BURGOS.

PLATE 156

DETAILS IN THE CATHEDRAL.

BURGOS.

PLATE 157

DETAILS IN THE CATHEDRAL.

BURGOS.

PLATE 158

DETAILS IN THE CATHEDRAL.

BURGOS.

PLATE 159

DETAILS IN THE CATHEDRAL.

BURGOS.

PLATE 160

DETAILS IN THE CATHEDRAL.

BURGOS.

PLATE 161

CATHEDRAL: EXTERIOR OF THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 162

CATHEDRAL: INTERIOR VIEW OF THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 163

CATHEDRAL: THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 164

CATHEDRAL: DETAILS OF THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 165

CATHEDRAL: DETAILS OF THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 166

CATHEDRAL: THE CONSTABLE’S CHAPEL FROM THE ALTAR.

BURGOS.

PLATE 167

CATHEDRAL: ENTRANCE TO THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 168

CATHEDRAL: DETAILS OF THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 169

CATHEDRAL: ALTAR-PIECE ON THE EPISTLE SIDE OF THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 170

CATHEDRAL: WINDOWS OF SACRISTY, THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 171

CATHEDRAL: DOORWAY AND WINDOW IN THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 172

CATHEDRAL: SANTA ANA, IN THE ALTAR-PIECE OF THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 173

CATHEDRAL: ST. MARGARET WITH THE MONSTER AT HER FEET, IN THE ALTAR-PIECE OF THE CONSTABLE’S CHAPEL.

BURGOS.

PLATE 174

CATHEDRAL: DETAILS OF THE PRINCIPAL CHAPEL.

BURGOS.

PLATE 175

CATHEDRAL: DETAILS OF THE EXTERIOR OF THE PRINCIPAL CHAPEL.

BURGOS.

PLATE 176

CATHEDRAL: EXTERIOR OF THE PRINCIPAL CHAPEL.

BURGOS.

PLATE 177

CATHEDRAL: CHAPEL OF ST. ANNE.

BURGOS.

PLATE 178

CATHEDRAL: DETAILS OF THE ALTAR-PIECE IN THE CHAPEL OF ST. ANNE.

BURGOS.

PLATE 179

CATHEDRAL: CHAPEL OF SANTA TECLA.

BURGOS.

PLATE 180

CATHEDRAL: STAIRCASE LEADING TO PUERTA ALTA DE LA CORONERIA.

BURGOS.

PLATE 181

CATHEDRAL: VIEW OF THE CLOISTERS.

BURGOS.

PLATE 182

CATHEDRAL: GATE OF THE OLD SACRISTY IN THE CLOISTERS.

BURGOS.

PLATE 183

CATHEDRAL: THE CLOISTER GATE.

BURGOS.

PLATE 184

CATHEDRAL: PUERTA DEL SARMENTAL.

BURGOS.

PLATE 185

CATHEDRAL: GATE OF PARDON.

BURGOS.

PLATE 186

CATHEDRAL: A DOORWAY.

BURGOS.

PLATE 187

CATHEDRAL: A DOORWAY.

BURGOS.

PLATE 188

CATHEDRAL: PORCH OF THE PELLEGERIA.

BURGOS.

PLATE 189

CATHEDRAL: PUERTA ALTA DE LA CORONERIA.

BURGOS.

PLATE 190

CATHEDRAL: PUERTA ALTA DE LA CORONERIA.

BURGOS.

PLATE 191

CATHEDRAL: THE FAMOUS COFFER OF THE CID.

BURGOS.

PLATE 192

CATHEDRAL: CENTRAL DOME IN THE CROSS-AISLE.

BURGOS.

PLATE 193

CATHEDRAL: PROCESSIONAL DOOR IN THE CLOISTERS.

BURGOS.

PLATE 194

CATHEDRAL: ENTRANCE TO THE CLOISTERS.

BURGOS.

PLATE 195

CATHEDRAL: DETAIL OF THE DOOR LEADING TO THE GOTHIC CLOISTERS.

BURGOS.

PLATE 196

CLOISTERS OF THE CATHEDRAL.

BURGOS.

PLATE 197

THE LOWER CLOISTERS. ELEVENTH CENTURY.

BURGOS.

PLATE 198

CATHEDRAL: THE CLOISTERS.

BURGOS.

PLATE 199

CATHEDRAL: THE CLOISTERS.

BURGOS.

PLATE 200

CATHEDRAL: THE CLOISTERS.

BURGOS.

PLATE 201

CATHEDRAL: DETAIL OF THE CLOISTERS.

BURGOS.

PLATE 202

CATHEDRAL: BAS-RELIEF IN THE LOWER CLOISTERS. ELEVENTH CENTURY.

BURGOS.

PLATE 203

CATHEDRAL: BAS-RELIEFS IN THE LOWER CLOISTERS. ELEVENTH CENTURY.

BURGOS.

PLATE 204

CATHEDRAL: SOFFITS OF CLOISTER ARCHES AND ORNAMENTS FROM DOORS.

BURGOS.

PLATE 205

SAN FERNANDO AND DOÑA BEATRIZ OF SWABIA IN THE CATHEDRAL CLOISTERS.

BURGOS.

PLATE 206

CATHEDRAL: LONGITUDINAL SECTION OF THE CLOISTERS. ELEVENTH CENTURY.

BURGOS.

PLATE 207

CATHEDRAL: DETAILS OF THE SEPULCHRE OF DON FERNANDO DIEZ DE FUENTE-PELAYO.

BURGOS.

PLATE 208

NICHES WITH TOMBS IN THE CATHEDRAL CLOISTERS.

BURGOS.

PLATE 209

CATHEDRAL: PUERTA DEL SARMENTAL.

BURGOS.

PLATE 210

CATHEDRAL: SEPULCHRE OF DON FERNANDO DIEZ DE FUENTE-PELAYO. ABBOT OF ST. MARTIN.

BURGOS.

PLATE 211

DETAILS OF SCREENS IN THE CATHEDRAL.

BURGOS.

PLATE 212

CATHEDRAL: EL CRISTO DE LOS HUEVOS.

BURGOS.

PLATE 213

CATHEDRAL: SEPULCHRE OF ARCHBISHOP LUIS DE ACUÑA.

BURGOS.

PLATE 214

CATHEDRAL: SEPULCHRE OF THE FOUNDER OF THE CATHEDRAL.

BURGOS.

PLATE 215

CATHEDRAL: OUR LADY LA MAYOR, STATUE OF SILVER.

BURGOS.

PLATE 216

CATHEDRAL: PROCESSIONAL CRUCIFIX IN SILVER GILT, THE WORK OF JUAN DE ARFE IN 1592.

BURGOS.

PLATE 217

CATHEDRAL: GOLD ENAMELLED VASE WITH COVER AND ANTIQUE MEDALLIONS. TWO SILVER GILT GOBLETS, AND JUG.

BURGOS.

PLATE 218

CATHEDRAL: DOUBLE-HANDLED VESSEL WITH COVER, THE WORK OF DOM. URQUIZA DE MADRID, IN 1771.

BURGOS.

PLATE 219

CATHEDRAL: STATUES OF SAINTS AND ECCLESIASTICS.

BURGOS.

PLATE 220

CATHEDRAL: DETAILS OF BALCONIES.

BURGOS.

PLATE 221

CATHEDRAL: REMAINS OF ALTAR. RELIEVO FROM PORTAL. ELEVENTH CENTURY.

BURGOS.

PLATE 222

CATHEDRAL: COMPARTMENT OF APSIS.

BURGOS.

PLATE 223

CATHEDRAL: PART OF THE OPEN GALLERY OR TRIFORIUM.

BURGOS.

PLATE 224

CATHEDRAL: DETAILS OF THE CHOIR STALLS.

BURGOS.

PLATE 225

ALTAR-PIECE OF THE CHURCH OF SAN NICOLÁS.

BURGOS.

PLATE 226

LA CARTUJA: GENERAL VIEW OF THE CHURCH.

BURGOS.

PLATE 227

LA CARTUJA: GATE OF THE CHURCH.

BURGOS.

PLATE 228

LA CARTUJA: SEPULCHRE OF THE INFANTE DON ALONSO.

BURGOS.

PLATE 229

LA CARTUJA: INTERIOR VIEW OF THE CHURCH.

BURGOS.

PLATE 230

LA CARTUJA: SEPULCHRE OF THE INFANTE DON ALONSO.

BURGOS.

PLATE 231

LA CARTUJA: SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.

PLATE 232

LA CARTUJA: SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.

PLATE 233

LA CARTUJA: STATUE OF SAN BRUNO.

BURGOS.

PLATE 234

LA CARTUJA: DETAILS OF THE SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.

PLATE 235

LA CARTUJA: DETAILS OF THE SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.

PLATE 236

LA CARTUJA: DETAILS OF THE SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.

PLATE 237

LA CARTUJA DE MIRAFLORES: DETAILS OF THE CHOIR STALLS, AND STALL OF THE OFFICIATING PRIEST.

BURGOS.

PLATE 238

LA CARTUJA DE MIRAFLORES: STALLS OF THE LAY BROTHERS.

BURGOS.

PLATE 239

LA CARTUJA DE MIRAFLORES: A SIDE DOOR.

BURGOS.

PLATE 240

LA CARTUJA DE MIRAFLORES: DETAIL OF THE CHOIR.

BURGOS.

PLATE 241

LA CARTUJA DE MIRAFLORES: CHOIR STALLS.

BURGOS.

PLATE 242

LA CARTUJA DE MIRAFLORES: DETAIL OF THE CHOIR STALLS.

BURGOS.

PLATE 243

LA CARTUJA DE MIRAFLORES: THE PRIOR’S STALL.

BURGOS.

PLATE 244

LA CARTUJA: DETAIL OF THE SEPULCHRE OF DON JUAN II. AND HIS WIFE.

BURGOS.

PLATE 245

LA CARTUJA: SEPULCHRE OF THE INFANTE DON ALONSO. BROTHER OF ISABEL I.

BURGOS.

PLATE 246

LA CARTUJA: TOMB OF THE INFANTE.

BURGOS.

PLATE 247

LA CARTUJA: COMPARTMENT OF KING’S TOMB.

BURGOS.

PLATE 248

LA CARTUJA: PORTIONS OF CORNICE, KING’S TOMB.

BURGOS.

PLATE 249

LA CARTUJA: ORNAMENT FROM THE INFANTE’S TOMB.

BURGOS.

PLATE 250

PORTION OF THE KING’S STATUE.

PORTION OF INFANTE’S ROBE.

INFANTE’S PRIE DIEU CLOTH.

LA CARTUJA: KING’S EFFIGY. INFANTE’S ROBE. INFANTE’S PRIE-DIEU CLOTH.

BURGOS.

PLATE 251

PANELLED WALL BEHIND THE INFANTE’S STATUE

LA CARTUJA: PANELLED WALL. ALABASTER CROWN AND TASSELS.

BURGOS.

PLATE 252

LA CARTUJA DE MIRAFLORES: A SIXTEENTH-CENTURY CHIMNEYPIECE.

BURGOS.

PLATE 253

CATHEDRAL AND LA CARTUJA: EFFIGIES FROM TOMBS.

BURGOS.

PLATE 254

LA CARTUJA: CEILING ORNAMENTS. CATHEDRAL: DETAILS FROM THE CONSTABLE’S MONUMENT.

BURGOS.

PLATE 255

CONVENT OF LAS HUELGAS: VIEW OF THE TEMPLE.

BURGOS.

PLATE 256

CONVENT OF LAS HUELGAS: FAÇADE OF THE MONASTERY.

BURGOS.

PLATE 257

CONVENT OF LAS HUELGAS: PATIO DE SAN FERNANDO.

BURGOS.

PLATE 258

CONVENT OF LAS HUELGAS: ENTRANCE TO THE CHURCH.

BURGOS.

PLATE 259

CONVENT OF LAS HUELGAS.

BURGOS.

PLATE 260

CHURCH OF LAS HUELGAS.

BURGOS.

PLATE 261

A SEPULCHRE IN THE CONVENT OF LAS HUELGAS.

BURGOS.

PLATE 262

DETAILS OF THE EXTERIOR OF SANTA MARIA LA REAL, COMMONLY CALLED DE LAS HUELGAS.

BURGOS.

PLATE 263

CLOISTERS AND SEPULCHRE IN THE CONVENT OF LAS HUELGAS.

BURGOS.

PLATE 264

A SEPULCHRE IN THE CONVENT OF LAS HUELGAS.

BURGOS.

PLATE 265

A SEPULCHRE IN THE CONVENT OF LAS HUELGAS.

BURGOS.

PLATE 266

SEPULCHRES IN THE CHOIR OF SANTA MARIA LA REAL DE LAS HUELGAS.

BURGOS.

PLATE 267

CONVENT OF LAS HUELGAS: VIEW OF THE CHOIR.

BURGOS.

PLATE 268

CONVENT OF LAS HUELGAS: THE CLOISTERS.

BURGOS.

PLATE 269

CONVENT OF LAS HUELGAS: CLOISTERS OF SAN FERNANDO.

BURGOS.

PLATE 270

CONVENT OF LAS HUELGAS: ENTRANCE TO THE NAVE OF ST. JOHN.

BURGOS.

PLATE 271

CONVENT OF LAS HUELGAS: DOOR IN THE CHAPEL OF SAN SALVADOR.

BURGOS.

PLATE 272

CONVENT OF LAS HUELGAS: THE CLOISTERS.

BURGOS.

PLATE 273

CONVENT OF LAS HUELGAS: FLAG TAKEN BY ALFONSO VIII. AT THE BATTLE OF LAS NAVAS.

BURGOS.

PLATE 274

GATE OF THE KING’S HOSPITAL.

BURGOS.

PLATE 275

FAÇADE OF THE CHURCH OF THE HOSPITAL OF THE KING.

BURGOS.

PLATE 276

INTERIOR VIEW OF THE COURTYARD OF THE HOSPITAL OF THE KING.

BURGOS.

PLATE 277

CLOISTERS IN THE MONASTERY OF SANTO DOMINGO DE SILOS.

BURGOS.

PLATE 278

MONASTERY OF SANTO DOMINGO DE SILAS (SILOS).

BURGOS.

PLATE 279

CASKETS AND CHALICE IN THE MONASTERY OF SANTO DOMINGO DE SILOS.

BURGOS.

PLATE 280

RELIQUARY, DETAILS, AND PATEN IN THE MONASTERY OF SANTO DOMINGO DE SILOS.

BURGOS.

PLATE 281

DETAIL OF AN ALTAR: MONASTERY OF SANTO DOMINGO DE SILOS.

BURGOS.

PLATE 282

THE ARCH OF FERNAN GONZALEZ.

BURGOS.

PLATE 283

GATE OF THE HOSPITAL OF ST. JOHN.

BURGOS.

PLATE 284

MONASTERY OF SAN JUAN DE ORTEGA: SEPULCHRE OF THE FOUNDER.

BURGOS.

PLATE 285

GATE OF THE HOUSE OF THE ‘CORDON.’

BURGOS.

PLATE 286

HOUSE OF THE ‘CORDON.’

BURGOS.

PLATE 287

CHURCH OF SAN GIL: CHAPEL OF THE NATIVITY.

BURGOS.

PLATE 288

ALTAR-PIECE OF THE BUENA MAÑANA IN SAN GIL.

BURGOS.

PLATE 289

CHURCH OF SAN GIL: ALTAR-PIECE OF THE CHAPEL OF THE KINGS.

BURGOS.

PLATE 290

GATE OF THE CHURCH OF SAN LESMES.

BURGOS.

PLATE 291

ALTAR-PIECE IN SAN LESMES.

BURGOS.

PLATE 292

PORCH OF THE CHURCH OF SAN ESTÉBAN.

BURGOS.

PLATE 293

ENTRANCE TO THE PARISH CHURCH OF SAN NICOLÁS.

BURGOS.

PLATE 294

ALTAR-PIECE IN SAN NICOLÁS DE BARI.

BURGOS.

PLATE 295

ARCHWAY OF SANTA MARIA, SIXTEENTH CENTURY.

BURGOS.

PLATE 296

GATE OF SANTA MARIA.

BURGOS.

PLATE 297

THE ARCO DE SANTA MARIA.

BURGOS.

PLATE 298

PROVINCIAL MUSEUM: ARABESQUES OF THE ARCO DE SANTA MARIA.

BURGOS.

PLATE 299

EXTERIOR VIEW AND DETAIL OF THE ARCH OF SANTA MARIA.

BURGOS.

PLATE 300

PROVINCIAL MUSEUM: SEPULCHRE OF DON JUAN DE PADILLA IN FRESDELVAL, FIFTEENTH CENTURY.

BURGOS.

PLATE 301

PROVINCIAL MUSEUM: SEPULCHRE OF DON JUAN DE PADILLA.

BURGOS.

PLATE 302

INTERIOR VIEW OF THE PROVINCIAL MUSEUM.

BURGOS.

PLATE 303

PROVINCIAL MUSEUM: FRONT OF AN ALTAR IN ENAMELLED BRONZE, ELEVENTH CENTURY.

BURGOS.

PLATE 304

PROVINCIAL MUSEUM: VISIGOTHIC SEPULCHRE OF SIXTH CENTURY, FOUND AT BRIVIESCA.

BURGOS.

PLATE 305

COFFIN OF BRIVIESCA: PRESERVED IN THE PROVINCIAL MUSEUM.

BURGOS.

PLATE 306

PROVINCIAL MUSEUM: ROMAN STATUE FOUND IN THE RUINS OF SALONICA.

BURGOS.

PLATE 307

TRANSVERSE SECTION AND DETAILS OF THE CHURCH OF SAN JUAN (BAÑOS).

BURGOS.

PLATE 308

CHURCH OF GAMONAL.

BURGOS.

PLATE 309

INTERIOR OF THE CHURCH OF GAMONAL.

BURGOS.

PLATE 310

PORTAL OF THE CHURCH OF THE VILLA DE SASAMÓN.

BURGOS.

PLATE 311

TOWER OF THE CHURCH OF THE VILLA DE SANTA MARIA DEL CAMPO.

BURGOS.

PLATE 312

CHAPEL OF OUR LADY OF THE VALLEY IN THE RODILLA MONASTERY. GENERAL VIEW OF THE EXTERIOR.

BURGOS.

PLATE 313

CHAPEL OF OUR LADY OF THE VALLEY IN THE RODILLA MONASTERY.

PORCH.

INTERIOR.

BURGOS.

PLATE 314

MONASTERY OF FRESDELVAL: PORTAL.

BURGOS.

PLATE 315

MONASTERY OF FRESDELVAL: HOSPICE.

BURGOS.

PLATE 316

MONASTERY OF FRESDELVAL: CLOISTERS.

BURGOS.

PLATE 317

MONASTERY OF FRESDELVAL: WINDOW IN THE RUINED TEMPLE.

BURGOS.

PLATE 318

MONASTERY OF FRESDELVAL: WINDOW IN THE RUINED TEMPLE.

BURGOS.

PLATE 319

OLMILLOS CASTLE.

BURGOS.

PLATE 320

A COURTYARD.

BURGOS.

PLATE 321

LERMA: THE DUKE OF LERMA’S PALACE AND THE COLLEGE.

BURGOS.

PLATE 322

LERMA: THE COLLEGE.

BURGOS.

PLATE 323

LERMA: INTERIOR OF THE COLLEGIATE CHURCH.

BURGOS.

PLATE 324

LERMA: SEPULCHRE OF THE CARDINAL DUKE OF LERMA.

BURGOS.

PLATE 325

LERMA: DETAILS OF THE SEPULCHRE OF THE CARDINAL DUKE OF LERMA.

BURGOS.

PLATE 326

LERMA: THE MAGDALENE.

(Copy of a Picture by Leonardo Da Vinci.)

BURGOS.

PLATE 327

LERMA: OUR LADY OF THE SILLA.

(Copy of a Picture by Raphael.)

BURGOS.

PLATE 328

BRIDGE OF HORADADA.

BURGOS.

PLATE 329

CATHEDRAL, FROM THE EAST.

SALAMANCA.

PLATE 330

GENERAL VIEW FROM THE SCHOOL.

SALAMANCA.

PLATE 331

GENERAL VIEW OF SALAMANCA.

PLATE 332

GENERAL VIEW OF SALAMANCA.

PLATE 333

A PORTION OF SALAMANCA.

PLATE 334

ROMAN BRIDGE OVER THE TORMES.

SALAMANCA.

PLATE 335

BRIDGE OF BEJAR.

SALAMANCA.

PLATE 336

VIEW OF THE ANCIENT WALL.

SALAMANCA.

PLATE 337

PRINCIPAL NAVE OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 338

NAVE OF CROSS-AISLE OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 339

SEPULCHRES IN THE OLD CATHEDRAL.

SALAMANCA.

PLATE 340

LONGITUDINAL SECTION OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 341

Doña Elena, Died 1272.

Chantre Aparicio, Died 1274.

SEPULCHRES IN THE OLD CATHEDRAL.

SALAMANCA.

PLATE 342

Don Alonso Vidal, Dean of Avila.

Don Diego Lopez, Archdeacon of Ledesma.

SEPULCHRES IN THE CROSS-AISLE, OLD CATHEDRAL.

SALAMANCA

PLATE 343

SEPULCHRE IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 344

SEPULCHRE IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 345

SEPULCHRE IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 346

CAPITALS OF THE SEPULCHRES IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 347

CAPITALS OF THE SEPULCHRES IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 348

CAPITALS OF THE SEPULCHRES IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 349

CAPITALS AND EFFIGIES IN THE OLD CATHEDRAL.

SALAMANCA.

PLATE 350

CAPITALS IN THE OLD CATHEDRAL.

SALAMANCA.

PLATE 351

THE OLD CATHEDRAL.

SALAMANCA.

PLATE 352

DETAILS OF THE OUTSIDE AND PLAN OF THE CUPOLA OF THE OLD CATHEDRAL.

SALAMANCA.

PLATE 353

THE CATHEDRAL.

SALAMANCA.

PLATE 354

VIEW OF THE CATHEDRAL FROM THE ‘SEMINARIO.’

SALAMANCA.

PLATE 355

CATHEDRAL: EAST FAÇADE.

SALAMANCA.

PLATE 356

TOWER OF THE CATHEDRAL.

SALAMANCA.

PLATE 357

CATHEDRAL: THE TOWER DEL GALLO.

SALAMANCA.

PLATE 358

PRINCIPAL FAÇADE OF THE CATHEDRAL.

SALAMANCA.

PLATE 359

PRINCIPAL NAVE IN THE CATHEDRAL.

SALAMANCA.

PLATE 360

CATHEDRAL: VIEW OF THE CROSS-AISLE.

SALAMANCA.

PLATE 361

CATHEDRAL: ENTRANCE TO THE CHAPEL OF THE BISHOP OF SEVILLE, DON DIEGO DE ANAYA.

SALAMANCA.

PLATE 362

CATHEDRAL: VIEW OF THE SACRISTY.

SALAMANCA.

PLATE 363

CATHEDRAL CHAPEL IN THE CLOISTERS.

SALAMANCA.

PLATE 364

CHAPEL OF ST. BARBARA IN THE CATHEDRAL CLOISTERS.

SALAMANCA.

PLATE 365

CATHEDRAL: DOME OF THE TOWER OF THE ‘GALLO.’

SALAMANCA.

PLATE 366

CATHEDRAL: GENERAL VIEW OF THE PUERTA DEL NACIMIENTO.

SALAMANCA.

PLATE 367

CATHEDRAL: GATE OF THE NATIVITY.

SALAMANCA.

PLATE 368

CATHEDRAL: GATE OF ST. CLEMENT.

SALAMANCA.

PLATE 369

CATHEDRAL: GATE OF THE ‘RAMOS.’

SALAMANCA.

PLATE 370

CATHEDRAL: GATE OF THE PATIO CHICO.

SALAMANCA.

PLATE 371

CATHEDRAL: RIGHT HAND GATE; OR, GATE OF THE BISHOP.

SALAMANCA.

PLATE 372

CATHEDRAL: THE BEHEADING OF ST. JOHN BAPTIST.

By Jac. Geronimo Espinosa.

SALAMANCA.

PLATE 373

CATHEDRAL: THE VIRGIN HOLDING THE DEAD BODY OF HER DIVINE SON.

Pietá in wood, by Salvador Carmona.

SALAMANCA.

PLATE 374

CATHEDRAL: WOODEN CRUCIFIX WITH WHICH THE TROOPS OF THE CID WERE HARANGUED. THE SMALLER CRUCIFIX THE CID CARRIED BENEATH HIS ARMOUR.

SALAMANCA.

PLATE 375

CATHEDRAL: CHAIR AND TABLE IN THE CHAPTER HALL.

SALAMANCA.

PLATE 376

GENERAL VIEW OF THE CHURCH OF SANTO DOMINGO.

SALAMANCA.

PLATE 377

DETAIL OF THE FAÇADE OF SANTO DOMINGO.

SALAMANCA.

PLATE 378

FAÇADE OF THE CHURCH OF SANTO DOMINGO.

SALAMANCA.

PLATE 379

DETAIL OF THE FAÇADE OF SANTO DOMINGO.

SALAMANCA.

PLATE 380

CLOISTERS OF SANTO DOMINGO.

SALAMANCA.

PLATE 381

INTERIOR OF THE CHURCH OF SANTO DOMINGO.

SALAMANCA.

PLATE 382

ARCHES IN THE CHOIR OF THE CHURCH OF SANTO DOMINGO.

SALAMANCA.

PLATE 383

INTERIOR VIEW OF THE SACRISTY OF SANTO DOMINGO.

SALAMANCA.

PLATE 384

DOOR OF THE CONFERENCE HALL OF SANTO DOMINGO.

SALAMANCA.

PLATE 385

GENERAL VIEW OF THE CLOISTERS OF SANTO DOMINGO.

SALAMANCA.

PLATE 386

CLOISTERS OF SANTO DOMINGO.

SALAMANCA.

PLATE 387

FRESCO IN THE CHURCH OF SANTO DOMINGO, BY PALOMINO.

SALAMANCA.

PLATE 388

DOOR OF THE CHURCH OF ST. MARTIN.

SALAMANCA.

PLATE 389

GATE OF THE CHURCH OF ST. MARTIN.

SALAMANCA.

PLATE 390

DOOR OF THE CHURCH OF SAN JUSTO.

SALAMANCA.

PLATE 391

CHURCH OF THE AUGUSTINES: THE CONCEPTION OF THE VIRGIN, BY RIBERA.

SALAMANCA.

PLATE 392

GATE OF THE CHURCH OF SAN BENITO.

SALAMANCA.

PLATE 393

PARISH CHURCH OF THE HOLY SPIRIT.

SALAMANCA.

PLATE 394

PORTAL OF THE PARISH CHURCH OF THE HOLY SPIRIT.

SALAMANCA.

PLATE 395

CHURCH OF THE THIRD ORDER OF ST. FRANCIS.

SALAMANCA.

PLATE 396

VIEW OF THE SEMINARY FROM THE IRLANDESES.

SALAMANCA.

PLATE 397

VIEW OF THE SEMINARY.

SALAMANCA.

PLATE 398

CHAPTER-HALL IN THE SEMINARY.

SALAMANCA.

PLATE 399

THE SEMINARY: ABRAHAM OFFERING MELCHISEDECH BREAD AND WINE.

SALAMANCA.

PLATE 400

THE SEMINARY: THE QUEEN OF SHEBA VISITING SOLOMON, BY RUBENS.

SALAMANCA.

PLATE 401

THE SEMINARY: CHRIST SCOURGED. STATUE IN WOOD BY SALVADOR CARMONA.

SALAMANCA.

PLATE 402

GENERAL VIEW OF THE UNIVERSITY.

SALAMANCA.

PLATE 403

FAÇADE OF THE UNIVERSITY.

SALAMANCA.

PLATE 404

UPPER PART OF THE FAÇADE OF THE UNIVERSITY.

SALAMANCA.

PLATE 405

LOWER PART OF THE FAÇADE OF THE UNIVERSITY.

SALAMANCA.

PLATE 406

UNIVERSITY: MEDALLION REPRESENTING THE CATHOLIC SOVEREIGNS OVER THE PRINCIPAL ENTRANCE.

SALAMANCA.

PLATE 407

FAÇADE OF THE UNIVERSITY.

SALAMANCA.

PLATE 408

LIBRARY IN THE UNIVERSITY.

SALAMANCA.

PLATE 409

UNIVERSITY: ALTAR OF THE CHAPEL.

SALAMANCA.

PLATE 410

GALLERY IN THE UNIVERSITY.

SALAMANCA.

PLATE 411

PORTICO OF THE UNIVERSITY.

SALAMANCA.

PLATE 412

DETAILS OF THE PORCH OF THE UNIVERSITY.

SALAMANCA.

PLATE 413

DETAILS OF THE PORCH OF THE UNIVERSITY.

SALAMANCA.

PLATE 414

DOOR OF THE LIBRARY OF THE UNIVERSITY.

SALAMANCA.

PLATE 415

COURT OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.

PLATE 416

FAÇADE OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.

PLATE 417

PORCH OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.

PLATE 418

PORTICO OF THE CHAPEL OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.

PLATE 419

COURT OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.

PLATE 420

DETAILS OF THE COURT OF THE ARCHBISHOP’S COLLEGE, NOW OF THE IRLANDESES.

SALAMANCA.

PLATE 421

GATE OF SANTA MARIA DE LAS DUEÑAS.

SALAMANCA.

PLATE 422

PROVINCIAL MUSEUM: MODEL IN WOOD FOR AN ALTAR FOR THE CATHEDRAL, BY MANUEL RODRIGUEZ.

SALAMANCA.

PLATE 423

PROVINCIAL MUSEUM: ARM-CHAIR OF FR. ANTONIO DE SOTOMAYOR.

SALAMANCA.

PLATE 424

PROVINCIAL MUSEUM: ST. MICHAEL OVERCOMING SATAN. SILVER STATUE. THE WORK OF JUAN DE ARFE.

SALAMANCA.

PLATE 425

CLOISTERS IN THE RUINS OF THE SCHOOL OF THE VEGA.

SALAMANCA.

PLATE 426

CAPITALS IN THE COLLEGE OF THE VEGA.

SALAMANCA.

PLATE 427

STATUE OF OUR LADY OF THE VEGA.

SALAMANCA.

PLATE 428

THE HOUSE OF SALINAS.

SALAMANCA.

PLATE 429

COURTYARD OF THE HOUSE OF SALINAS (UPPER PART).

SALAMANCA.

PLATE 430

DETAIL OF THE COURTYARD OF THE HOUSE OF SALINAS.

SALAMANCA.

PLATE 431

GENERAL VIEW OF THE COLLEGE OF CALATRAVA.

SALAMANCA.

PLATE 432

STAIRCASE IN THE COLLEGE OF CALATRAVA.

SALAMANCA.

PLATE 433

TOWER OF THE ‘CLAVERO.’

SALAMANCA.

PLATE 434

GENERAL VIEW OF THE SCHOOL.

SALAMANCA.

PLATE 435

FAÇADE OF THE SCHOOL.

SALAMANCA.