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+*** START OF THE PROJECT GUTENBERG EBOOK 64900 ***
+
+                          THE SPANISH SERIES
+
+                                TOLEDO
+
+
+
+
+                          THE SPANISH SERIES
+
+                     _EDITED BY ALBERT F. CALVERT_
+
+
+                        GOYA
+                        TOLEDO
+                        MADRID
+                        SEVILLE
+                        MURILLO
+                        CORDOVA
+                        VELAZQUEZ
+                        THE PRADO
+                        THE ESCORIAL
+                        ROYAL PALACES OF SPAIN
+                        GRANADA AND ALHAMBRA
+                        SPANISH ARMS AND ARMOUR
+                        LEON, BURGOS & SALAMANCA
+                        VALLADOLID, OVIEDO, SEGOVIA,
+                          ZAMORA, AVILA & ZARAGOZA
+
+
+
+
+                                TOLEDO
+
+                     AN HISTORICAL AND DESCRIPTIVE
+                              ACCOUNT OF
+                      THE “CITY OF GENERATIONS,”
+                      BY ALBERT F. CALVERT, WITH
+                        OVER 500 ILLUSTRATIONS
+
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+                  NEW YORK: JOHN LANE COMPANY MCMVII
+
+
+                  Printed by BALLANTYNE & CO. LIMITED
+                       Tavistock Street, London
+
+
+                                  TO
+                       S.A. INFANTA MARIA TERESA
+                           IN WHOSE SYMPATHY
+                  THE ANCIENT GRANDEUR IS LINKED WITH
+                     THE FUTURE GREATNESS OF SPAIN
+                              THIS VOLUME
+                  WITH AN ASSURANCE OF SINCERE ESTEEM
+                             IS DEDICATED
+
+
+
+
+PREFACE
+
+
+The author would, in the ordinary way, be hard put to it to frame a
+reasonable apology for compiling a new volume on the subject of the
+ancient and royal city of Toledo. Artists have reproduced its wonder of
+imposing and picturesque detail; archæologists have explored its many
+monuments; historians have discovered in its archives a record which,
+for many centuries, represents the log-book of Spain. There is no
+secret, apart from the impenetrable mystery of its origin, which has not
+been revealed; its chronicle is a well-thumbed volume. The beginnings of
+Spanish history go no further back than the earliest references we have
+to the natural stronghold founded on the seven rocks on the banks of the
+Tagus, and Spanish tradition claims for the citadel an antiquity coeval
+with the sun and stars. Both the history and the legends have been
+transcribed in many languages, yet, in a series which is intended to
+embrace all Spain in its compendious design, the inclusion of the
+twice-told tale of the “city of generations” carries with it an
+unquestionable justification.
+
+The ambition of the author has not been to throw fresh light on a
+well-worn subject, nor to supplement the work of earlier and more
+erudite writers with new facts or theories, but simply, as in the case
+of the earlier volumes in this series, to equip the illustrations with a
+brief, explanatory text. It would be futile to attempt to even outline
+the story of Toledo in some hundred and fifty pages of letterpress, but
+I hope it may be found that in this limited space sufficient detail has
+been given to convey to the reader a general idea of the changing
+fortunes and unchanging character of the city, which Padilla has
+described as “the crown of Spain, the light of the world, free from the
+time of the mighty Goths.”
+
+The impression of grandeur and melancholy, of strength and silence,
+which the traveller receives from a visit to the one-time capital of the
+Peninsula, cannot be suggested by the written word, but it may be that
+the illustrations will recall, if they do not suggest, the feeling which
+the city inspires. Toledo is mediæval in its architecture and its
+atmosphere. The Moorish occupation has left no more than a scratch upon
+its Gothic character; the spirit of modernity has been defied by its
+virile antiquity. But the Moslem remains have been made a feature of the
+illustrations, and, as in the volumes devoted to Seville, Cordova, and
+Granada in this series, the intricacies of Arabian decoration have been
+extensively reproduced.
+
+Many of the plates are included here by the courtesy of Messrs.
+Alguacil, Rafael Garzon, Hauser and Menet, and Moreno, and to these
+gentlemen I tender my sincere thanks for the permission accorded me to
+reproduce them. I have also to acknowledge my indebtedness to Mr. E. B.
+d’Auvergne for the assistance rendered by him in the compilation, and to
+Messrs. Martin and Gamoneda for their kindness in allowing me to make
+use of the matter and illustrations contained in the volume on _Toledo_
+which they have published in the new series of the _Monumentos
+Arquitectónicos de España_.
+
+I venture to hope that no apology is needed for including the chapter on
+El Greco, and the selection of his pictures, which appear in this
+volume. A separate book, devoted entirely to this subject, which will be
+issued in this series, cannot be ready for some time, and as so little
+has been written about Domeniko Theotokopouli, and so few of his
+pictures have been reproduced, I have decided to incorporate these brief
+notes concerning the Cretan painter, whose association with Toledo
+extended over a period of nearly forty years.
+
+                                                               A. F. C.
+
+
+“ROYSTON,”
+
+  SWISS COTTAGE,
+
+     N.W.
+
+
+
+
+CONTENTS
+
+
+      PAGE
+
+THE CHILDHOOD OF THE CITY                                              1
+
+THE CITY UNDER THE VISIGOTHS                                           8
+
+TOLEDO UNDER THE MOOR                                                 29
+
+TOLEDO THE CAPITAL OF CASTILE                                         59
+
+BUILDINGS OF THE CASTILIAN PERIOD                                     83
+
+THE CATHEDRAL                                                        101
+
+THE DECLINE OF THE CITY                                              130
+
+EL GRECO                                                             147
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+      TITLE      PLATE
+
+Toledo. (_Specially drawn for The Spanish Series_)                     1
+
+General View of Toledo from the South-east                             2
+
+View of Toledo from the South-east                                     3
+
+General View of Toledo                                                 4
+
+View of Toledo from the Campo del Rey                                  5
+
+General View of Toledo                                                 6
+
+State of the Ruins of the Circo Maximo in the Year
+1848, according to the “Album Artistico”                               7
+
+The River Tagus                                                        8
+
+Bridge of Alcantara                                                    9
+
+Perspective of St. Martin’s Bridge and the Direction
+of the Fortified Lines                                                10
+
+Perspective View of the Site of the Aqueduct                          11
+
+Environs of Toledo                                                    12
+
+Plaza de Zocodover                                                    13
+
+The Town Hall                                                         14
+
+The Market-place                                                      15
+
+The Market-place                                                      16
+
+A Street in Toledo                                                    17
+
+A Street in Toledo                                                    18
+
+A Street in Toledo                                                    19
+
+A Street in Toledo                                                    20
+
+A Street in Toledo                                                    21
+
+A Street in Toledo                                                    22
+
+A Street in Toledo                                                    23
+
+A Street in Toledo                                                    24
+
+Visagra Gate                                                          25
+
+A Street in Toledo                                                    26
+
+A Street in Toledo                                                    27
+
+Bridge of Alcantara                                                   28
+
+Alcantara Gate                                                        29
+
+Alcantara Portal and Bridge                                           29
+
+Exterior of the Northern City Walls                                   30
+
+Fortifications of the old Bridge of Boats, replaced by
+the Bridge of St. Martin                                              31
+
+Remains of the City Walls of “Al-Hizém,” from the
+Gate of the Doce Cantos to the Plaza de Armas of
+the Bridge of Alcantara                                               32
+
+Remains of the City Walls, south-west, rebuilt at the
+Time of the Reconquest                                                33
+
+Remains of the Roman Ramparts of the first Enclosure
+of the City                                                           34
+
+Remains of the Roman Ramparts of the first Enclosure
+of the City. (Plaza de Armas of the Bridge of
+Alcantara)                                                            35
+
+Visigoth Capital transformed into a Fountain Basin.
+(No. 9, Callejon de la Lamparilla)                                    35
+
+Principal Entrance to the House of the Baths of Aben-Ya-Yix
+Bajada al Colegio del Infantes                                        36
+
+Sepulchral Arch of the Infante don Fernando Perez
+in the Belen Chapel in the Convent of the Comendadora
+de Santiago                                                           36
+
+Ruins of Polan Castle. Fourteenth Century                             37
+
+Guadamar Castle                                                       38
+
+Remains of the Roman Ramparts of the first Enclosure
+of the City                                                           39
+
+The Exterior Walls                                                    40
+
+Remains of the Fortifications in the Jewish Suburb                    40
+
+Gate of the “Almofala” (Bib-al-Mojadha) rebuilt in
+the Fourteenth Century                                                41
+
+“The Abbot’s Tower” in the Northern Walls                             41
+
+Ruins of the Aquaria Tower, commonly called “Horno
+del Vidrio”                                                           42
+
+Remains of the Aqueduct (left bank of the river)                      43
+
+Remains of the Aqueduct (right bank of the river)                     43
+
+Remains of the Roman Construction in the Tower of
+the Plaza de Armas of the Bridge of Alcantara                         44
+
+Bridge of Alcantara                                                   45
+
+East Side of the Bridge of Alcantara                                  46
+
+Posterior Façade of the defensive Tower of the Bridge
+of Alcantara                                                          47
+
+Defensive Tower of the Bridge of Alcantara. Anterior
+Façade                                                                48
+
+Alcantara Gate                                                        49
+
+Commemorative Inscription in the Avenue of the
+Defensive Tower of the Bridge of Alcantara                            50
+
+Coat-of-Arms of the Catholic Sovereigns in front of
+the Defensive Tower of the Bridge of Alcantara                        51
+
+“The Khalif’s Capitals” at No. 13 Calle del Coliseo                   51
+
+Perspective of the Bridge of Alcantara                                52
+
+St. Martin’s Bridge                                                   53
+
+St. Martin’s Bridge                                                   54
+
+Façade of Santa Cruz                                                  54
+
+Defensive Towers at the Entrance of St. Martin’s
+Bridge and the Town                                                   55
+
+Restored Posterior Façade of the Arch de La Sangre                    55
+
+Remains of the Aqueduct (right bank)                                  56
+
+East Side of St. Martin’s Bridge                                      57
+
+Defensive Tower of St. Martin’s Bridge. Façade seen
+from the Bridge                                                       58
+
+Defensive Tower of St. Martin’s Bridge. Façade seen
+from the Highway                                                      58
+
+Malbardón Gate. Eleventh Century                                      59
+
+Visagra Gate                                                          60
+
+Upper Part of the Visagra Gate. Built in 1550                         61
+
+Tower in the City Walls of “The Suburb of San Isidoro,”
+near the new Visagra Gate                                             62
+
+Hydraulic Machine and Remains of the Walls in the
+Quarter of the Curtidores, near the River                             63
+
+Walls of the Suburb of San Isidore                                    63
+
+Ancient Visagra Gate                                                  64
+
+Ancient Visagra Gate. The Side which joins the Wall
+and the side Defensive Tower                                          65
+
+Ancient Visagra Gate. Defensive and Side Tower                        66
+
+Ancient Visagra Gate. Remains of the Eastern Façade                   67
+
+Detail of the Principal Façade of the old Visagra Gate                68
+
+Interior of the old Visagra Gate                                      68
+
+Ancient Visagra Gate                                                  69
+
+The Tower called “Puerta Baja de la Herreria,” now
+“Gate of the Sun”                                                     70
+
+Castle of San Servando                                                71
+
+Castle of San Servando. Ancient Entrance in the West
+Façade                                                                72
+
+Castle of San Servando. South-east Angle                              72
+
+Door of the Castle in San Servando                                    73
+
+Gate of Valmadron                                                     74
+
+Gate of Cambrón                                                       75
+
+Los Baños de Florinda de Cava                                         76
+
+Entrance to Los Baños                                                 77
+
+Ruins of the Tower called “Los Baños de Florinda
+de Cava”                                                              78
+
+Details of the Convent of Santa Fe. Eleventh Century                  79
+
+West Portal in the old Hermitage, now the Inn of Santa
+Ana, on the Sisla road                                                80
+
+Altar-piece of San Justo                                              81
+
+Detail of the Church of San Justo. Fifteenth Century                  82
+
+Detail of the Chapel of Santos Justo and Pastor                       83
+
+Effigies of Juan Guas, architect of San Juan de Los
+Reyes, and of his son. Chapel of Christ at the
+Column, in the Parish Church of San Justo                             84
+
+Effigies of Mari Alvares, wife of Juan Guas, and of her
+Daughter. Chapel of Christ at the Column, in
+the Parish Church of San Justo                                        85
+
+Mosque of the Tornerias. Exterior of the South Façade,
+South-west Angle                                                      86
+
+Interior of the Mosque de las Tornerias                               87
+
+Arch of the “Kibláh” in the Mosque de las Tornerias                   88
+
+Mosque of the Tornerias. Trefoil Arched Window                        89
+
+Mosque of the Tornerias. Horse-shoe Window                            89
+
+Mosque of the Tornerias. Arched Window                                90
+
+Mosque of the Tornerias. Rectangular Window                           90
+
+Mosque de las Tornerias                                               91
+
+Mosque of the Tornerias, built over Roman Remains                     92
+
+Supposed Elevation of the Mosque of Bib-al-Mardóm                     93
+
+Supposed Plan of the Mosque of Bib-al-Mardóm                          94
+
+Actual Situation of the North-east Façade of the
+Ancient Mosque of Bib-al-Mardóm, a Transept
+and _Mudejar_ Apsis of the Hermitage of Santo
+Cristo de la Luz                                                      95
+
+The Mosque of Bib-al-Mardóm, Horse-shoe Arch and
+Remains of the Dado and Little Arches and Windows
+in the North-east Façade (right side)                                 96
+
+The Mosque of Bib-al-Mardóm, Horse-shoe Arch and
+Remains of the Dado of Little Arches and Windows
+in the North-east Façade (left side)                                  97
+
+Principal Nave in the Mosque of Bib-al-Mardóm                         98
+
+Arch in the Southern Interior of the Mosque of Bib-al-Mardóm          99
+
+Actual Entrance to the Castle                                         99
+
+Mosque of Bib-al-Mardóm. Arch in the Interior Wall,
+South-west Angle                                                     100
+
+Detail of the North-west Façade of the Mosque of Bib-al-Mardóm       100
+
+Bib-al-Mardóm. “Arch of the Cross,” Interior Façade                  101
+
+Bib-al-Mardóm. “Arch of the Cross,” Exterior Façade                  101
+
+Mosque of Bib-al-Mardóm                                              102
+
+North-west Façade of the Mosque of Bib-al-Mardóm
+(Hermitage of Santo Cristo de la Luz), discovered
+in February 1899                                                     103
+
+The Epigraphic Medallion on the North-west Façade of
+the Mosque of Bib-al-Mardóm (Hermitage of
+Santo Cristo de la Luz), rebuilt in the year 370
+after the Hegira (A.D. 980)                                          104
+
+Visigoth Capital in the old Moorish Parish Church of San
+Sebastian                                                            105
+
+Visigoth Base which serves as a Capital in the old
+Moorish Parish Church of San Sebastian                               105
+
+Santo Cristo de la Luz                                               106
+
+The Hermitage of Santo Cristo de la Luz                              107
+
+Wall-Paintings of Santo Cristo de la Luz                             108
+
+Church of Santo Cristo de la Luz                                     109
+
+Wall-Paintings of Santo Cristo de la Luz                             110
+
+Ancient Mosque, now the Hermitage of Santo Cristo
+de la Luz                                                            111
+
+Exterior of the Hermitage of Santo Cristo de la Luz,
+and Towers of various Churches                                       112
+
+Detail of the Transito (Synagogue), built in 1360 at the
+expense of Samuel Levi                                               113
+
+Details of the Interior Decoration of the Church of the
+Transito (Ancient Synagogue)                                         114
+
+Details of the Interior Decoration of the Church of the
+Transito (Ancient Synagogue)                                         115
+
+Details of the Transito (Synagogue)                                  116
+
+Details of the Transito (Synagogue)                                  117
+
+Details of the Transito (Synagogue)                                  118
+
+Entrance Arch in the Building called Taller Del Moro                 119
+
+Detail of Decoration in the Moorish Workshop                         120
+
+Details of the Palace of the Ayalas                                  121
+
+Details of the Palace of the Ayalas                                  122
+
+Exterior of the Chapel of Santo Cristo de la Vega                    123
+
+Door and Exterior of Santa Maria la Blanca                           124
+
+Sections and Details of the Ancient Synagogue, now the
+Church of Santa Maria la Blanca                                      125
+
+Part of the Longitudinal Section of the Ancient Synagogue,
+now the Church of Santa Maria la Blanca                              126
+
+Interior of Santa Maria la Blanca                                    127
+
+Interior of Santa Maria la Blanca                                    128
+
+Interior of Santa Maria la Blanca                                    129
+
+Cárcel de Santa Hermandad                                            130
+
+A Gothic Doorway                                                     131
+
+A Doorway                                                            132
+
+St. Michael’s Tower. Fourteenth Century                              133
+
+House of the Toledos                                                 134
+
+Details of a Courtyard                                               135
+
+Details of a Courtyard                                               136
+
+Details of a Courtyard                                               137
+
+Details of a Courtyard                                               138
+
+Details of a Courtyard                                               139
+
+The Fountain of Calerahigo                                           140
+
+Arab Details                                                         141
+
+Visigoth Crowns and Crosses of Guarrazar                             142
+
+Visigoth Crowns and Crosses of Guarrazar                             143
+
+Visigoth Crowns and Crosses found at Toledo and now
+in the Royal Armoury at Madrid                                       144
+
+San Pedro Martin                                                     145
+
+Calle de Santo Tomé                                                  145
+
+Alcazar Royal Palace. Reproduction of the Engraving
+made in 1566 for Braun’s “Civitates Orbi Terrarum”                   146
+
+Perspective of the Alcazar in 1845. East and North
+Façades. Reproduction of an Engraving in the
+Work “Toledo Pintoresca”                                             147
+
+The Alcazar. Taken from the Plaza de Zocodover                       148
+
+South Façade of the Alcazar                                          149
+
+The Alcazar. West Façade after the latest Restoration                150
+
+The Alcazar                                                          151
+
+Alcazar. Principal Façade on the North                               152
+
+The Alcazar. East Façade, after the latest Restoration               153
+
+General View of the Alcazar                                          154
+
+The Alcazar. The Principal Staircase                                 155
+
+The Alcazar. Principal North Portal                                  156
+
+The Alcazar. Court and Plan                                          157
+
+Court of the Alcazar                                                 158
+
+Court in the Alcazar. After the latest Restoration                   159
+
+The Alcazar. Plan and Details. North Façade                          160
+
+Details of the North Façade of the Alcazar                           161
+
+Door of the Hall of the House of the Mesa (the Table)                162
+
+Details of the House of the Mesa                                     163
+
+Details of the House of the Mesa                                     164
+
+Details of the House of the Mesa                                     165
+
+Details of the Hall of the House of the Mesa                         166
+
+Details of the Hall of the House of the Mesa                         167
+
+Details of the Hall of the House of the Mesa                         168
+
+Details of the House of the Mesa                                     169
+
+Doorway of the College of the Infantes. Sixteenth
+Century                                                              170
+
+Doorway of the Palace of the Martinez                                171
+
+Roman Tower of San Juan de los Reyes                                 172
+
+Cloisters of San Juan de los Reyes                                   172
+
+Exterior of San Juan de los Reyes                                    173
+
+San Juan de los Reyes                                                174
+
+Plan of the Church and Processional Cloister of San
+Juan de los Reyes                                                    175
+
+Doorway in San Juan de los Reyes                                     176
+
+Gothic Doorway in San Juan de los Reyes                              177
+
+Exterior of the Arch of San Juan de los Reyes                        178
+
+Interior of San Juan de los Reyes                                    179
+
+Interior of San Juan de los Reyes                                    180
+
+Interior of San Juan de los Reyes                                    181
+
+Longitudinal Section of the Church of San Juan de los
+Reyes                                                                182
+
+Interior, San Juan de los Reyes                                      183
+
+Retablo, San Juan de los Reyes                                       183
+
+Gallery in San Juan de los Reyes                                     184
+
+Gallery in San Juan de los Reyes                                     185
+
+Details of San Juan de los Reyes                                     186
+
+Details of Gallery in San Juan de los Reyes                          187
+
+Details of San Juan de los Reyes                                     188
+
+San Juan de los Reyes. Wall in the Presbytery                        189
+
+Interior of San Juan de los Reyes                                    190
+
+Interior of San Juan de los Reyes                                    191
+
+Interior of San Juan de los Reyes                                    192
+
+San Juan de los Reyes. Decoration in the Transverse
+Nave                                                                 193
+
+San Juan de los Reyes. Details of the Arms of Isabella
+the Catholic                                                         194
+
+Details of the Transept of the Church of San Juan de
+los Reyes                                                            195
+
+San Juan de los Reyes. Interior                                      196
+
+A Dome in San Juan de los Reyes                                      197
+
+Remains of Windows of San Juan de los Reyes                          198
+
+Details of the Cross-Aisle in the Church of San Juan
+de los Reyes                                                         199
+
+Altar of San Juan de los Reyes                                       200
+
+Altar of San Juan de los Reyes                                       200
+
+Details of the Altar-piece in San Juan de los Reyes                  201
+
+Copy of the original Drawing of the Arch and Cross-Aisle
+of San Juan de los Reyes                                             202
+
+Longitudinal Section of the Cloister of San Juan de los
+Reyes                                                                203
+
+Cloisters of San Juan de los Reyes                                   204
+
+San Juan de los Reyes. The Cloisters                                 205
+
+Cloisters of San Juan de los Reyes                                   206
+
+Cloisters of San Juan de los Reyes                                   207
+
+Details of the Cloisters of San Juan de los Reyes                    208
+
+Compartment of the Cloisters of San Juan de los Reyes                209
+
+San Juan de los Reyes. Details of the Cloisters                      210
+
+Details of the Cloisters of San Juan de los Reyes                    211
+
+San Juan de los Reyes. Details of the Cloisters                      212
+
+San Juan de los Reyes. Details of the Cloisters                      213
+
+San Juan de los Reyes. Details of the Cloisters                      214
+
+San Juan de los Reyes. Details of the Cloisters                      215
+
+Church of San Juan de los Reyes. Courtyard                           216
+
+Court in San Juan de los Reyes                                       217
+
+Doorway of the Museum of San Juan de los Reyes                       218
+
+San Juan de los Reyes. Details above Door of Museum                  219
+
+Palace of Don Pedro the Cruel                                        220
+
+Details of the Palace of Don Pedro the Cruel                         221
+
+Façade of the Palace of Don Pedro the Cruel                          222
+
+Doorway of the Palace of Don Pedro the Cruel                         223
+
+Doorway of the Palace of Don Pedro the Cruel                         224
+
+The Cathedral                                                        225
+
+General View of the Cathedral                                        226
+
+The Cathedral                                                        227
+
+Section of the Cathedral                                             228
+
+Longitudinal Section of the Cathedral                                229
+
+Transverse Section of the Cathedral                                  230
+
+Principal Façade of the Cathedral and Tower                          231
+
+The Cathedral. Detail of the Exterior                                232
+
+The Cathedral. Portal of the Principal Façade                        233
+
+The Cathedral. Principal Gate                                        234
+
+The Cathedral. The Gate of the Lions                                 235
+
+The Cathedral. Porch of the Principal Façade                         236
+
+The Cathedral. The Lion Door                                         237
+
+The Cathedral. The Lion Door                                         237
+
+Door of the Cathedral                                                238
+
+The Cathedral. Door of the Lost Child                                239
+
+The Cathedral. Details of the Puerta de la Feria                     240
+
+The Cathedral. Gate of the Conception                                241
+
+The Cathedral. Ornamental Details of the Gates                       242
+
+The Cathedral. Central Nave                                          243
+
+The Cathedral. Tomb of Alonso de Carrillo                            243
+
+The Cathedral. General View of the Interior                          244
+
+The Cathedral. General View of the Interior                          245
+
+The Cathedral. Interior                                              246
+
+The Cathedral. Interior                                              247
+
+Windows in the Principal Nave of the Cathedral                       248
+
+The Cathedral. Grating of the Principal Chapel.
+Sixteenth Century                                                    249
+
+The Cathedral. Exterior of the Principal Chapel                      250
+
+The Cathedral. Exterior of the Principal Chapel                      251
+
+The Cathedral. Exterior of the Principal Chapel                      252
+
+The Cathedral. Details of the Principal Chapel                       253
+
+The Cathedral. Details of the Principal Chapel                       254
+
+The Cathedral. Exterior of the Principal Chapel                      255
+
+The Cathedral. Details of the Principal Chapel                       256
+
+The Cathedral. Details of the Principal Chapel                       257
+
+The Cathedral. Altar-piece of the Principal Chapel                   258
+
+The Cathedral. Detail of the Altar-piece of the Principal
+Chapel                                                               259
+
+The Cathedral. Exterior of the High Altar                            260
+
+The Cathedral. Exterior of the High Altar                            261
+
+The Cathedral. Exterior of the High Altar                            262
+
+The Cathedral. Details of the Altar-piece                            263
+
+The Cathedral. Frontal of the High Altar. Fifteenth
+Century                                                              264
+
+The Cathedral. Frontal of the High Altar. Fifteenth
+Century                                                              265
+
+The Cathedral. Detail of the Frontal of the High
+Altar                                                                266
+
+The Cathedral. Exterior of the Principal Chapel                      267
+
+The Cathedral. Sepulchre of Cardinal Mendoza in the
+Principal Chapel                                                     268
+
+The Cathedral. Dome of the Principal Chapel                          269
+
+The Cathedral. Exterior of the Choir                                 270
+
+The Cathedral. Exterior of the Choir                                 271
+
+The Cathedral. Details of the Exterior of the Choir                  272
+
+The Cathedral. Exterior of the Choir                                 273
+
+The Cathedral. Choir Stalls                                          274
+
+The Cathedral. Choir Stalls                                          275
+
+The Cathedral. Choir Stalls                                          276
+
+The Cathedral. Details of the Choir Stalls, representing
+the Re-conquest of Granada by Ferdinand and Isabella                 277
+
+The Cathedral. Interior of the Choir                                 278
+
+The Cathedral. Details of the Choir                                  279
+
+The Cathedral. Details of the Choir                                  280
+
+The Cathedral. The Archbishop’s Throne, representing
+the Transfiguration. By Berruguete                                   281
+
+The Cathedral. Virgin of the Laneros                                 282
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 283
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 284
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 285
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 286
+
+The Cathedral. Detail of Choir Stalls. The Capture
+of Alhama by Ferdinand and Isabella, 1482. Re-conquest
+of Granada                                                           287
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 288
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 289
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 290
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 291
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 292
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 293
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         294
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         295
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         296
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         297
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         298
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         299
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         300
+
+The Cathedral. Masonry in the Choir                                  301
+
+The Cathedral. Exterior of the Presbytery                            302
+
+The Cathedral. Interior of the Chapel of the New
+Kings with the Sepulchres of Don Henry the
+Bastard and his Wife                                                 303
+
+The Cathedral. Sepulchres of Don Henry the Bastard
+and his Wife in the Chapel of the New Kings                          304
+
+The Cathedral. Sepulchre of Cardinal Tavera in the
+Chapel of the New Kings                                              305
+
+The Cathedral. Sepulchre of Don Juan I. in the Chapel
+of the New Kings                                                     306
+
+The Cathedral. Sepulchre of Doña Leonor, Wife of Don
+Juan I., in the Chapel of the New Kings                              307
+
+The Cathedral. Chapel of the Descent of the Virgin                   308
+
+The Cathedral. Muzarabic Chapel                                      309
+
+The Cathedral. Details of the Chapel of the Virgen
+de la Antigua                                                        310
+
+The Cathedral. Chapel of the Virgen de la Antigua.
+Fourteenth Century                                                   311
+
+The Cathedral. Doorway of the Chapel of the Canons                   312
+
+Altar-piece of Santa Isabel                                          313
+
+Altar-piece of Santa Catalina                                        313
+
+Altar-piece of Santa Catalina                                        314
+
+Altar-piece of Santa Catalina                                        315
+
+Altar-piece of Santa Catalina                                        316
+
+Chapel of Santa Catalina. Founded by the Counts of
+Cedillo                                                              317
+
+The Cathedral. Chapel of Santiago, containing the
+Sepulchres of Don Alvaro de Luna and that of his
+Wife Doña Juana. Fifteenth Century                                   318
+
+The Cathedral. Sepulchre of Don Juan de Zerezuela in
+the Chapel of Santiago. Fifteenth Century                            319
+
+Cupola of the Chapel “de los Reyes Nuevos” in the
+Cathedral                                                            320
+
+Cupola of the “Capilla de Santiago,” called “De Don
+Alvaro de Luna” in the Cathedral                                     320
+
+The Cathedral. Sepulchre of Don Gil Carrillo de Albornoz
+in the Chapel of San Ildefonso                                       321
+
+The Cathedral. Sepulchre of Gil de Albornoz in the
+Chapel of San Ildefonso                                              322
+
+The Cathedral. Entrance to the Chapter Room. Sixteenth
+Century                                                              323
+
+The Cathedral. Chapter Room                                          324
+
+The Cathedral. Various Portraits of Cardinals                        325
+
+The Cathedral. Various Portraits of Cardinals                        326
+
+The Cathedral. Details in the Chapter Room                           327
+
+The Cathedral. Chapter Room                                          328
+
+The Cathedral. Doorway of the Chapter Room                           329
+
+The Cathedral. Detail of a Doorway in the Chapter
+Room                                                                 330
+
+The Cathedral. Cupboard made by Gregorio Pardo
+(1549-1551), for the Antechamber of the Chapter
+House                                                                331
+
+Cupboard in the Cathedral                                            332
+
+The Cathedral. A Rich and Gossamer-carved Ceiling
+in the Chapter Hall. Sixteenth Century                               333
+
+The Cathedral. Ceiling in the Chapter Hall                           334
+
+The Cathedral. A Ceiling in the Ante-room                            335
+
+The Cathedral Cloisters                                              336
+
+The Cathedral Cloisters                                              337
+
+Presentation Portal in the Cloister of the Cathedral                 338
+
+Exterior, by the Cloisters of the Chapel, of the Place of
+Sepulchre built by Henry II. for his Tomb                            339
+
+The Cathedral. Picture by Bayeu in the Cloisters                     340
+
+Portal of St. Catherine in the Cloister of the Cathedral             341
+
+The Cathedral. Details of the Gate of the Presentation
+in the Cloister                                                      342
+
+The Cathedral. Reliquary of San Sebastian in the
+Octavo                                                               343
+
+The Cathedral. Detail of the Reliquary of San Sebastian
+in the Octavo                                                        344
+
+The Cathedral. A Byzantine Reliquary                                 345
+
+Sepulchres in the Cathedral                                          346
+
+Sculpture in the Cathedral                                           347
+
+The Cathedral. Bronze Lectern and Books of the
+Holy Office                                                          348
+
+The Cathedral. A Bronze Pulpit                                       349
+
+The Cathedral. Detail of a Pulpit                                    350
+
+Pulpit in the Cathedral                                              351
+
+Cathedral Bells which Ring when the Host is Elevated                 352
+
+The Cathedral. Statue of Don Juan II. Sixteenth
+Century                                                              353
+
+The Cathedral. St. Francis of Assisi                                 354
+
+The Cathedral. A Picture by Bayeu                                    355
+
+Details in the Cathedral                                             356
+
+The Cathedral. Cover of a Missal                                     357
+
+The Cathedral. Silver Salver, “The Abduction of the
+Sabine Women,” by Benvenuto Cellini                                  358
+
+The Cathedral. Chalice and Paten                                     359
+
+The Cathedral. A Ship that belonged to Queen Juana
+la Loca                                                              360
+
+Monstrance in the Cathedral                                          361
+
+The Cathedral. Sword of Alfonso VI.                                  362
+
+The Cathedral. The Adoration of the Kings (silk)                     363
+
+The Cathedral. The Veil of Santa Leocadia (silk)                     364
+
+The Cathedral. The Assumption (silk)                                 365
+
+The Cathedral. The Beheading of San Eugenio (silk)                   366
+
+Kufic Entablature in the Cathedral                                   367
+
+The Cathedral. A Dalmatic embroidered in Gold and
+Silk. Sixteenth Century                                              368
+
+The Cathedral. A Chasuble embroidered in Gold and
+Silk. Sixteenth Century                                              369
+
+The Cathedral. Details of the Puerta del Reloj                       370
+
+The Cathedral. Details of the Puerta del Reloj                       371
+
+The Cathedral. Details of the Puerta del Reloj                       372
+
+The Cathedral. Details of the Puerta del Reloj                       373
+
+Effigies of Juan Guas (architect of San Juan de los
+Reyes), his Wife, and Children                                       374
+
+Sculpture in San Andrés                                              375
+
+Banner of the Salado                                                 376
+
+St. Peter Natano and St. Theresa sculptured in Wood                  377
+
+Plan of the Santa Iglesia Primada                                    378
+
+Santa Isabel. Side Altar-piece                                       379
+
+Santa Isabel. Detail of an Altar-piece                               380
+
+Parish Church of Santiago                                            381
+
+Exterior of Santiago del Arrabal. Thirteenth Century                 382
+
+Pulpit in the Church of Santiago del Arrabal, from
+which San Vicente de Ferrer preached against the
+Jews                                                                 383
+
+Parochial Church of Santiago del Arrabal                             384
+
+Church of San Tomé                                                   385
+
+Detail of an Altar-piece in the Church of the Trinity                386
+
+Sepulchres in the Church of St. Peter the Martyr                     387
+
+Details of a Sepulchre in the Church of St. Peter the
+Martyr                                                               388
+
+Church of St. Peter the Martyr. Statue of a Kneeling
+Canon                                                                389
+
+Chapel in San Juan de la Penitencia                                  390
+
+Chapel in San Juan de la Penitencia                                  391
+
+Details of San Juan de la Penitencia                                 392
+
+Sepulchre in San Juan de la Penitencia                               393
+
+Sepulchre in San Juan de la Penitencia                               394
+
+Detail of the Convent of San Juan de la Penitencia                   395
+
+Details of the Convent of San Juan de la Penitencia                  396
+
+Convent of Santo Domingo                                             397
+
+Convent of Santo Domingo                                             398
+
+Convent of Santo Domingo                                             399
+
+Ancient Sepulchre in the Convent of Santo Domingo                    400
+
+Santo Domingo el Real. Principal Altar-piece                         401
+
+Doorway of the Convent of San Antonio                                402
+
+Porch of the Church and Convent of San Clemente                      403
+
+Porch of the Church and Convent of San Clemente                      404
+
+Detail of the Interior of the Convent of San Clemente                405
+
+Portal of Santa Cruz                                                 406
+
+Portal of Santa Cruz                                                 407
+
+Porch of Santa Cruz                                                  408
+
+The Hospital of Santa Cruz                                           408
+
+Court of Santa Cruz                                                  409
+
+Courtyard of the Hospital                                            410
+
+Court of Santa Cruz                                                  411
+
+Court of Santa Cruz                                                  412
+
+Detail of the Portal of the Hospital of Santa Cruz                   413
+
+Details of Santa Cruz                                                414
+
+Hospital of Santa Cruz                                               415
+
+Portals in the Vestibule of the Ancient Hospital of
+Santa Cruz                                                           416
+
+Hospital of Santa Cruz. Portrait of the Founder,
+Cardinal Mendoza                                                     417
+
+Hospital de Afuera. The Court                                        418
+
+Hospital de Afuera                                                   419
+
+Hospital of St. John Baptist                                         420
+
+Hospital de Afuera. Sepulchre of Cardinal Tavera,
+1557, Alonzo Berruguete                                              421
+
+The University                                                       422
+
+The University                                                       422
+
+Details of the House of Munárriz                                     423
+
+Gate of Al Mardóm                                                    424
+
+Altar of the Church of San Justo                                     424
+
+Portal of the Archbishop’s Palace                                    425
+
+In the Town Hall                                                     425
+
+Cloisters of San Juan de los Reyes                                   426
+
+View of St. Martin’s Bridge, looking down the River                  426
+
+Gallery of San Juan de los Reyes                                     427
+
+A Moorish Workshop                                                   427
+
+Hotel Castilla                                                       428
+
+Detail of the Courtyard of the Hotel Castilla                        429
+
+Visigoth Capitals in the Church of San Sebastian                     430
+
+National Archæological Museum. Capital, Fourth
+Century after the Hegira                                             431
+
+National Archæological Museum. Capital of Santiago
+de los Caballeros near the Alcazar. Fourth
+Century after the Hegira                                             431
+
+Capital in the Archæological Museum                                  432
+
+National Archæological Museum. Fragment of Dado
+found near the Basilica of Santa Leocadia                            433
+
+National Archæological Museum. Window of San Ginés                   433
+
+National Archæological Museum. Decorative Table in
+White Marble, belonging to the Aljama Mosque of
+Toledo                                                               434
+
+National Archæological Museum. Decorative Fragment
+found at the “Miradero.” Carved in White
+Marble                                                               434
+
+Capital in the South-west Angle, belonging to the old
+Mosque, now the Hermitage of Santo Cristo de la
+Luz                                                                  435
+
+The Fifth of the Visigoth Capitals of the Hospital of
+Santa Cruz                                                           435
+
+National Archæological Museum. Skylight or Ornament
+found at Toledo                                                      436
+
+Visigoth Capital in the Provincial Museum                            436
+
+Architectural Fragments of the Visigoth Period in the
+Parish Church of San Román                                           437
+
+Architectural Pieces of the Visigoth Period existing in
+the City                                                             438
+
+Architectural Fragments of the Visigoth Period                       439
+
+Capital of the South-east Angle belonging to the ancient
+Mosque, now the Hermitage of Santo Cristo de la Luz                  440
+
+Visigoth Capital of the old Parish Church of San Sebastian           440
+
+National Archæological Museum. Visigoth Capitals of
+the Church of Santa Eulalia. Fragment of the
+Dado of the Basilica of Santo Leocadia                               441
+
+Capitals in the Archæological Museum                                 442
+
+Provincial Museum. Capital of the Fourth Century
+after the Hegira                                                     443
+
+National Archæological Museum. Arab Astrolabe
+made at Toledo in the year 459 after the Hegira
+(A.D. 1067)                                                          443
+
+Architectural Fragments of the Visigoth Period                       444
+
+Architectural Fragments anterior to the Mahometan
+Irruption, No. 1                                                     445
+
+Architectural Parts and Decorative Remains anterior
+to the Mahometan Irruption, No. 2                                    446
+
+Architectural Parts and Decorative Fragments anterior
+to the Mahometan Irruption, No. 3                                    447
+
+Arches of various Churches of the Fourteenth and
+Fifteenth Centuries                                                  448
+
+Denudation of our Lord before the Crucifixion. El
+Greco. Sacristy of the Cathedral                                     449
+
+The Virgin, St. Anne, the Child Jesus, and St. John.
+El Greco. Chapel of St. Anne                                         450
+
+Our Lady of Sorrows. El Greco. Sacristy of the New
+Kings, in the Cathedral                                              451
+
+Pentecost. El Greco. Church of the Trinity                           452
+
+Jesus and St. John. El Greco. Church of St. John
+the Baptist                                                          453
+
+The Assumption. El Greco. Chapel of San José                         454
+
+St. Martin. El Greco. Chapel of San José                             455
+
+The Holy Eucharist, by El Greco. Church of San José                  456
+
+San José and the Child Jesus. El Greco. Parish
+Church of the Magdalene                                              457
+
+The Interment of Count de Orgaz. El Greco. Church
+of Santo Tomé                                                        458
+
+Detail of the Interment of Count de Orgaz. El Greco                  459
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                460
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                461
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                462
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                463
+
+Fragment of the Interment of the Count de Orgaz                      464
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                465
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                466
+
+The Annunciation. El Greco. Parish Church of San
+Nicolás                                                              467
+
+The Crucifixion. El Greco. San Nicolás                               468
+
+San Pedro Nolasco. El Greco. Parish Church of San
+Nicolás                                                              469
+
+The Assumption. El Greco. Parish Church of San
+Vicente                                                              470
+
+San Eugenio. El Greco. Parish Church of San Vicente                  471
+
+St. Peter. El Greco. Parish Church of San Vicente                    472
+
+Jesus and the Virgin. El Greco. Parish Church of
+San Vicente                                                          473
+
+The Ascension. El Greco. San Domingo el Antigua                      474
+
+A Saint (? Santo Domingo el Antigua). El Greco                       475
+
+The Birth of Jesus. El Greco. Santo Domingo el
+Antigua                                                              476
+
+Santa Veronica with the Sudarium. El Greco. Santo
+Domingo el Antigua                                                   477
+
+St. John Baptist. El Greco. Santo Domingo el Antigua                 478
+
+St. John the Evangelist. El Greco. Church of Santo
+Domingo                                                              479
+
+Altar-piece of the Convent of Santo Domingo. El Greco                480
+
+St. Francis of Assisi. El Greco. College of Noble
+Ladies                                                               481
+
+The Baptism of Jesus. El Greco. Hospital of St. John
+Baptist                                                              482
+
+Portrait of Cardinal Tavera. El Greco. Hospital of
+St. John Baptist                                                     483
+
+View of the High Altar of the Tavera Hospital. El
+Greco                                                                484
+
+General View of Toledo (left half). El Greco. Provincial
+Museum                                                               485
+
+General View of Toledo (right half). El Greco. Provincial
+Museum                                                               486
+
+View of Toledo. El Greco. Provincial Museum                          487
+
+Portrait of Antonio Covarrubias. El Greco. Provincial
+Museum                                                               488
+
+Portrait of the Son of Covarrubias. El Greco. Provincial
+Museum                                                               489
+
+The Crucifixion. El Greco. Provincial Museum                         490
+
+Allegory of the Virgin. El Greco. Provincial Museum                  491
+
+Portrait of Juan de Avila. El Greco. Provincial
+Museum                                                               492
+
+Our Saviour. El Greco. Provincial Museum                             493
+
+St. John the Evangelist. El Greco. Provincial Museum                 494
+
+St. Peter. El Greco. Provincial Museum                               495
+
+St. Matthias. El Greco. Provincial Museum                            496
+
+St. Philip. El Greco. Provincial Museum                              497
+
+St. Andrew. El Greco. Provincial Museum                              498
+
+St. Thomas. El Greco. Provincial Museum                              499
+
+St. Simon. El Greco. Provincial Museum                               500
+
+St. Matthew. El Greco. Provincial Museum                             501
+
+St. Jude Tadeo. El Greco. Provincial Museum                          502
+
+An Apostle. El Greco. Provincial Museum                              503
+
+An Apostle. El Greco. Provincial Museum                              504
+
+An Apostle. El Greco. Provincial Museum                              505
+
+The Annunciation. El Greco                                           506
+
+The Dream of Philip II. El Greco. Chapter Hall
+of the Escorial                                                      507
+
+St. Maurice and the Theban Legion. El Greco. Chapter
+Hall of the Escorial                                                 508
+
+Portrait of El Greco by Himself. Señor A. de Beruete,
+Madrid                                                               509
+
+Christ driving the Money Changers from the Temple.
+El Greco. Señor de Beruete, Madrid                                   510
+
+Portrait of a Student (El Greco?). El Greco. Don
+Pablo Bosch, Madrid                                                  511
+
+
+
+
+TOLEDO
+
+
+
+
+THE CHILDHOOD OF THE CITY
+
+
+There are spots that stand out in the ocean of time like islands
+unsubmerged. The flood of years has rolled onwards past and around them,
+and its billows have broken in vain against their shores. Such a spot is
+Toledo. It lifts its head above the ever-shifting waters of the ages,
+and looks forth unchanged, unchanging, across the sea of centuries--a
+last surviving beacon of the drowned mediæval world.
+
+Very old is the city. It has outgrown decay. Nor can we conceive it as
+changing. It has almost become a part of the everlasting hills on which
+it stands. The rock has grown into Toledo and Toledo into the rock.
+
+In a land where all is old, men marvel at the antiquity of this city.
+And when it was younger by centuries, the chroniclers, groping amid
+legends and fables the wildest and most extravagant, strove to penetrate
+the darkness of the ages and to discern the pale glimmerings of Toledo’s
+dawn. Here, surely, first trod the first man, thought the ancients, and
+here was already a city when God first placed His sun exactly over it in
+the yet-dark Heavens. If this was not so, said another chronicler, then
+beyond doubt Toledo’s seven hills were the first to appear above the
+waters of the Deluge, and Tubal, the grandson of Noah, established here
+a kingdom. So stories and traditions multiplied, each historian
+inventing a fresh one. These fables of the city’s founding are quaint,
+curious, and ingenious. Iberia and Hispania of course suggested persons,
+and so we find Iberia, daughter of King Hispan, and wife of a Persian
+captain, Pyrrhus, resorting in search of health to the banks of the
+Tagus, and her husband making a bower for her on these rocky steeps.
+Hercules, who is credited with the foundation of Seville, added the
+building of Toledo to his many labours. “Dismiss these far-fetched
+fables,” cries the learned prelate De Rada, “and admit that our city was
+founded by the Consuls Tolemon and Brutus, in the reign of Ptolemy
+Evergetes.” But another conjecture as absolutely baseless as the others!
+More interesting is the legend that the town was built by Jews flying
+from Nebuchadnezzar, by whom it was named Toledoth, “the city of
+generation.” Certain it is that Jews lived in Toledo at the earliest
+periods of its history, and played a great part, as we shall see, in its
+affairs. However picturesque may be these traditions and wonderings of
+the sages, we cannot resist the conclusion that the beginnings of this
+old capital of Spain were obscure and commonplace enough. Along the
+banks of the yellow Tagus savage tribesmen pastured their flocks and
+herds, and the more practical spirits among them recognised the
+advantages of the cliff above the river as a settlement. Doubtless mere
+temporary encampments succeeded each other here season after season,
+till some sentiment or necessity attached men permanently to the spot,
+and a rude cluster of huts was formed--the rough inception of our
+greatest towns.
+
+The Celtiberians hereabouts were known to the Romans as Carpetani (how
+ill these Latin forms seem to reproduce the uncouth designations which
+these primitive peoples really bore!) The Carthaginians were the first
+civilised nation to come in contact with them, and we hear of a Punic
+governor, Tago. It is impossible to resist the suspicion that his
+personality arose, Aphrodite-like, from the river Tagus. But a Moorish
+writer gives a plausible account of a revolt which arose among the
+Carpetani consequent on Tago’s assassination by Hasdrubal, the
+contemporary of Hannibal. This brought that great commander himself upon
+the scene. Before him the tribesmen were scattered like chaff before the
+wind.
+
+Did the African Phœnicians found a permanent station at Toledo? It
+would not seem so. No vestige or fragment, no trace whatever of their
+domination has come down to us. Most likely this was a mere trading
+centre, where the black-bearded, keen-eyed Semites bartered the wares of
+Africa and the East against the ores and fleeces of Spain. The
+population remained almost purely Celtic. One wonders if a few
+Carthaginians settled amongst them, and if their descendants became
+confounded with their kinsmen in race, the Jews. It is a wild
+conjecture, but might not the presence of such Semitic settlers have
+given rise to the fantastic legend of the founding of Toledo by the
+Children of Israel?
+
+Where the Carthaginian sowed, the Roman reaped. And now the Carpetanian
+village looms in the light not of mere tradition, but of history. Livy
+tells us that in the year 193 B.C. the Pro-Consul Marcus Fulvius
+Nobilior defeated a host of Celtiberians, Vaccei and Vectones in this
+region, and took prisoner a king called Hilerno. In consequence of this
+victory Toledo--described as _urbs parva sed loco munito_--fell into the
+power of the conquerors. The wild rebellious Celts might henceforward
+chafe and lash themselves into impotent fury; on their necks the yoke of
+the Roman was firmly riveted, never by the natives unassisted to be
+shaken off.
+
+Historians have remarked on the aloofness of the Toledans during the
+long winter of foreign domination. Between the various leaders and
+factions who made Spain their cock-pit, the citizens observed strict
+neutrality. They rendered no assistance to Viriathus in his magnanimous
+attempt to recover national independence. Perhaps they were not wanting
+in sympathy for their compatriots; but the conquerors had long
+recognised the military value of the town by the Tagus, and here we may
+suppose was always a strong garrison ready to stamp out the first
+efforts at revolt.
+
+Under the wings of the Roman eagle, the material prosperity of Toledo
+steadily increased. From a collection of wretched huts, it had become a
+_colonia_, the capital of Carpetania. As such it would have had its
+_arx_, or citadel, prætorium, forum, temples, baths, and _vici_, or long
+suburbs straggling into the country. Of all these practically no traces
+remain. But in the Vega, outside the town, may be traced a semicircular
+enclosure, formed by masses of stones and mortar, about a metre in
+thickness, but of varying height. This space has been dignified with the
+name of Circus Maximum, and is undoubtedly a Roman work. But Señor
+Amador de los Rios has demonstrated almost conclusively that the Circus
+never advanced much beyond the foundations, which we now see before us
+probably in no very different state from that in which they were left
+some two thousand years ago. But though no Celtiberian captives or
+Christian martyrs here were “butchered to make a Roman holiday,” the
+consecration of the spot to the practice of cruelty bore fruit in after
+years. For the fires lit by the Inquisition were kindled here, and the
+Christian put the incompleted amphitheatre to the use for which it had
+been designed by the Pagan. To-day the men of Toledo play at _pelota_ in
+the enclosure, and their cheery shouts may well scare away the ghosts of
+torturer and victim.
+
+This may be regarded as the most important Roman remains in the
+neighbourhood of the city. The famous Cave of Hercules, which figures so
+largely in legendary lore, was probably the crypt or substructure of a
+Temple of Jupiter; and on the cliff-side below the Alcazar are a few
+fragments of a once-important aqueduct.
+
+It has been conjectured from the dimensions of the projected Circus that
+the Romans had at one time thought of elevating Toledo to the rank of
+chief city of Spain. The design, if it ever was formed, was never
+carried into execution. Of what passed in the town under Latin rule we
+have but the vaguest notion. Toledo, like almost every other place in
+Europe, has its traditions of fierce persecution productive of local
+martyrs. Almost as many Christians were massacred in Spain, if we
+credit these stories, as Gibbon thinks perished in the whole Roman
+Empire. Among the martyrs of Toletum, it is perhaps superfluous to say,
+was a young and lovely virgin, in this instance called Leocadia. She was
+done to death by the truculent Dacian. St. Eugenius, the first bishop of
+Toledo, is said to have been a disciple of St. Paul. He was martyred at
+Paris, and his alleged remains were obtained from Charles IX. of France
+and presented to the city by Philip II.
+
+In early ecclesiastical annals Toledo has less shadowy claims on
+remembrance as the seat of several councils, the most celebrated being
+those of 396, 400, 589. The minutes of the second council are preserved
+in the local archives. Miss Hannah Lynch makes merry over the fathers’
+spirited denunciations of her sex. In truth, the irreverent reader is
+reminded of those other fulminations launched in the diocese of Rheims
+against certain persons unknown, and of the poet’s surprised comment on
+their want of effect. The sex fared better at the hands of the Council,
+however, than vegetarians and mathematicians, both of whom were
+excommunicated downright. Neither class is numerous in Spain at the
+present day, so the labours of the fathers may not have been altogether
+ineffectual.
+
+
+
+
+THE CITY UNDER THE VISIGOTH
+
+
+During the fifth century the Toledans may well have listened with
+attention to spiritual discussions, for looking forth from their rocky
+perch, they beheld the kingdoms of the earth passing away, and all that
+had seemed stable and eternal fading like the morning mist. The final
+breaking-up of the great world-controlling power was evident. Nations,
+the very names of which the men of the south had never heard, loomed
+from out the darkness of the north, and swept like a cloud of locusts
+over the land. The whole of Spain was desolate. Toledo, ever grim and
+stubborn, stood prepared to die hard. The tide of Vandal invasion surged
+in vain round her walls; then spent its fury in the south. The Visigoths
+established themselves in southern France. Under Walya they had overrun
+Spain, but had exchanged it, willingly enough, for Aquitania. Euric the
+Balthing, who succeeded his brother Theodoric as king in 466, seems to
+have repented of the bargain. He reconquered all Spain, except Galicia,
+which was held by the Suevi, and took Toledo. Where the Vandal had
+failed, the Visigoth succeeded. In the first years of the sixth century
+the Franks stripped Euric’s grandson, Amalaric, of practically all his
+possessions north of the Pyrenees, and the kingdom of the Visigoths
+became synonymous with Spain. Its capital was Narbonne during the
+troubled reigns of Theudis and Theudigisel. But in 553 Athanagild was
+elected king. His wife was the sister of the Bishop of Toledo, and
+partly on that account, perhaps, but more probably because of its
+central position, he made that city his capital. That rank it retained
+during the continuance of the Visigothic monarchy, with the brief
+interval of the reign of Liuba, who succeeded Athanagild in 567 and
+removed his Court to Narbonne.
+
+The history of Toledo for the next century and a half becomes, in some
+sort, the history of Spain. Under Liuba’s brother and successor
+Leovigild (more correctly Liobagilths) the monarchy was consolidated.
+The Suevi in the north-west were subdued, and the nominal suzerainty of
+the Eastern Emperor was disavowed. Despite the difference in religion
+between the Visigoths, who were Arians, and the Romanised Iberians, who
+were Catholics, the two races began to intermingle, and the fusion of
+both into a single nation commenced. Leovigild was the first of his line
+to assume the insignia and appurtenances of royalty, and struck coins
+with his own likeness and the description, “King in Toledo.” The title
+is significant of the increased importance of the city. The prosperity
+of the kingdom was temporarily interrupted by the celebrated
+insurrection of the monarch’s son Ermenegild. This was the outcome of
+the marriage of that prince with Ingunthis, the daughter of the Prankish
+and Catholic king Sisebert. The wedding was solemnised in Toledo with
+great pomp, but the city shortly after became the scene of violent
+quarrels between Queen Goiswintha and her daughter-in-law. Ermenegild
+embraced his wife’s religion, and headed a revolt against his father. He
+was defeated, and paid the penalty with his life at Tarragona, after
+refusing to accept the sacrament at the hands of an Arian bishop.
+Unedifying though his conduct may appear to us, he was regarded as a
+martyr for the faith, and is enrolled among the saints of the Catholic
+Church.
+
+Nor does his example seem to have been without its effect upon his
+brother, Reccared, who succeeded Leovigild in 587. In the month of May
+589, Toledo was thronged with Catholic bishops and priests--many lately
+returned from exile--and with nobles from all parts of Spain, making
+their way to the Basilica of Santa Maria de la Sede Real, to assist at
+the solemn profession of the Catholic faith by the king and his queen,
+Baddo. Sixty-two prelates took part in this, the third Council of
+Toledo, the most eminent being Massona, Bishop of Merida, Leandro of
+Baetica, Santardus of Braga, Ugno of Barcelona, Megecias of Narbonne,
+and Eufemio of Toledo. It was a memorable day for Spain. The king’s
+example was soon followed by his subjects of his own race, and the
+unification of the two peoples was greatly accelerated.
+
+During the hundred and ten years that elapsed between the death of
+Reccared (601) and the rout of the Guadelete (711), no fewer than
+fifteen sovereigns sat on the throne of Spain. Toledo was the theatre of
+their barbaric triumphings, their violent entrances and tragic exits.
+Now the city would resound with the savage, exultant yells of the
+townsmen, as they dragged the body of the usurper Witeric up and down
+the steep, uneven streets--to cast the bleeding, shapeless thing that
+had so lately been a king, upon a dunghill. Now, the people would be
+acclaiming Wamba, greatest of the Visigoths--after the strange scene at
+Gerticos, where the crown was forced upon him at the sword’s point;
+another time, a long procession of captives would file through the
+gates, to witness to the old king’s triumph in Narbonnese Gaul. Not a
+“demise of the crown” but there would be angry mutterings among the
+townsfolk, and whispers of murder, compulsion, and fraud. And while the
+kings raved and the people wept, the Church grew every day stronger--so
+strong that usurper and legitimate sovereign alike had perforce to
+obtain her sanction to his election and accession. And as the years went
+on, the spark of religious zeal in the breast of Spain was fanned into
+flame, and we read of fierce onslaughts on the Jewish citizens, and of
+merciless edicts, condemning them to penalties painful and humiliating.
+Dark days were these for the Children of Israel whose home Toledo so
+long had been; but darker still were impending for their persecutors and
+for the royal line of the Visigoths.
+
+An exact picture of society in Spain at this period has been preserved
+in the Etymologies of Isidore Pacense. The Visigoths were a primitive,
+barbarous people, who had imposed upon themselves the outward
+appearances of Roman, or rather of Byzantine, civilisation. The
+contemptuous reference of Hallam to this “obscure race” is undeserved.
+Even in their earlier stages of development the Goths manifested many
+noble qualities--notably, a clemency towards their enemies--which were
+not conspicuous in the more polished nations of the South. And though
+they never properly assimilated the culture of the Latins, they attained
+to a degree of refinement and civilisation which compares favourably
+with that reached by contemporaries. “Spain,” remarks the author of
+“Toledo” in the “Monumentos Arquitectónicos de España,” “may then fairly
+and proudly claim that, while in Central Europe art had acquired no
+distinctive form--in the midst of the bitterness of slavery, when,
+before the abjuration of Reccared, the fusion of the races was not
+legally recognised--the Iberian Peninsula had developed a definite and
+evident artistic and literary individuality. That individuality must
+have been the result of the fortuitous conjunction and union of Latin
+traditions, more or less degenerate, with influences originally
+Byzantine and with those other transformed elements introduced by the
+Germanic hosts of Atawulf; but, even then, it remains an individuality,
+which asserts itself in the surviving examples of Visigothic culture,
+and which was transmitted to the generations succeeding the Moslem
+conquest.”
+
+According to the standpoint of the critic, the Gothic kings’ taste for
+pomp and luxury may be interpreted as proof of their civilised instincts
+or of their native barbarism. For of the splendour of the Court of
+Toledo we have abundant testimony. From the writings of Isidore, we
+learn that the nobles used only goblets and basins of the precious
+metals, that their garments were of superfine silk, and their ornaments
+of the richest jewels. The elaborate ceremonial of the royal household
+may be inferred from the list of functionaries--the First Count, or
+Chief Butler, the _Escancias_; the Count Chamberlain, or _Cubiculario_;
+the Master of the Horse, _Estabulario_; the Major Domo, or _Numerario_;
+the Steward, or _Silonario_; the Master of the Pages, or _Espartarius_;
+the Count of the _Sagrarios_, or Sacred Things; and the Treasurer, or
+_Argentarios_. These offices were only held by the highest nobles. In
+the Cluny Museum at Paris and the Royal Armoury at Madrid are preserved
+the superb Votive Crowns discovered at Guarrazar in 1858. These
+priceless objects proclaim the wealth and munificence of the Visigothic
+monarchs. They are composed of double hoops of gold, decorated on the
+outside by three bands in relief. The outer bands are set with pearls
+and sapphires, and the middle band with the same stones in a setting of
+a red vitreous substance. The crown is suspended by four chains from a
+double gold rosette, which encloses a piece of rock crystal set in
+facets. Each chain consists of four links, shaped like the leaf of the
+pear-tree, and _percées à jour_. In its original state the crown of King
+Swinthila, now in the Madrid Armoury, had, hanging from its lower rim, a
+cross and twenty-two letters, making up the inscription, SVINTHILANUS
+REX OFFERET. All and each of these letters were actual jewels, set in
+the red glassy paste already mentioned, to them being attached large
+single pearls and pear-shaped sapphires. Though only twelve letters were
+remaining when the crown was discovered, the dedication was skilfully
+reconstructed by Señores de Madrazo and Amador de los Rios. The crown of
+Recceswinth in the Cluny Museum and the crown of the Abbot Theodosius at
+Madrid do not differ greatly from that of Swinthila in style and
+material. Though the workmanship is rude compared with modern specimens
+of the goldsmith’s art, these crowns still excite admiration by their
+beauty and richness. Inquiring into the origin of their style, Señor de
+Riaño arrives at the conclusion that it “must be looked for in the East;
+their manufacture was most probably Spanish. We cannot imagine the
+extraordinary magnificence of the Visigothic court, so similar to that
+of Constantinople and other contemporary ones, without the presence at
+each of a group of artists whose task was to satisfy these demands.” Not
+only the applied arts, but letters and learning were cultivated at
+Toledo. Swinthila and Recceswinth delighted in the composition of
+epistles and verses, in which, unfortunately, the taste, acquired from
+the Byzantines, for long-winded, flowery and involved phrases is
+painfully apparent. Recceswinth interested himself in the collection and
+revision of ancient manuscripts. In his reign flourished the learned and
+saintly Ildefonso, who was publicly thanked for his work on the
+perpetual virginity of Mary by the martyr Saint Leocadia, who came
+expressly from Heaven for the purpose. One of Ildefonso’s successors in
+the see of Toledo, Julian, was a Jew by birth, or at least descent. He
+was renowned for his erudition and especially as a polemical writer.
+Though he narrowly escaped excommunication as a heretic, he is now
+venerated as a saint, and was buried beside St. Ildefonso.
+
+As the seat of a Court which did something more than ape the culture of
+the Latins (_pace_ Mr. Leonard Williams), Toledo rose from an obscure
+Roman colony into a city of dignity and importance. It is supposed to
+have reached its highest stage of development in the reign of King Wamba
+(672-680), whose mutilated statue confronts the traveller on approaching
+the town from the railway-station. Most of the buildings ascribed by the
+chroniclers, however, to that king were in all probability only restored
+by his orders, and were originally constructed by his predecessors.
+Isidore Pacense enumerates among the edifices existing in his time in
+Spain, basilicas, monasteries, oratories, and hermitages; the _Aula
+Regia_, or royal residence, “distinguished before all other buildings by
+the richness of the four porticos which encircled it”; the _Atrii_ of
+the nobility, which were allowed only three porticos; hospitals,
+guest-houses, and _Repositaria_, or treasure-houses. It is reasonable to
+assume that the capital of Spain would have possessed buildings of all
+the kinds specified during the hundred years that elapsed between the
+death of Athanagild and the accession of Wamba.
+
+To the former king is attributed the foundation of the sanctuary
+converted later into the Hermitage of Cristo de la Luz, and the Church
+of Santa Justa, reconstructed in the sixteenth century. From an
+inscription on marble found in 1581, near the Convent of San Juan de la
+Penitencia, it would appear that Reccared built a church consecrated to
+the Virgin in the year 587. The text runs: IN NOMINE DNI CONSECRA | TA
+ECCLESIA SCTE MARIE | IN CATHOLICO DIE PRIMO | IDUS APRILIS ANNO FELI |
+CITER PRIMO REGNI D-NI | NOSTRI GLORIOSISSIMI H | RECCAREDI REGIS ERA |
+DCXXV. To Liuba II. is ascribed the erection of the Church of San
+Sebastian, where some capitals and shafts, discovered in 1899, exist to
+attest its Visigothic origin. The Basilica of Santa Leocadia dated from
+the days of Sisebut (612-621): and though the chroniclers assign no date
+to the dedication of the Church of San Ginés there can be no doubt that
+it took place in the seventh century. Wamba adorned with statuary and
+partially restored the city walls, but it is an error, based on a
+corrupt text of Isidore Pacense’s, to suppose that he built them.
+
+The site of the Aula Regia, or Palace of the Visigothic kings, has long
+been a matter of dispute among archæologists. The author of the article
+on Toledo in the “Monumentos Arquitectónicos” decides in favour of the
+plot of ground covered by the Convents of the Concepcion and the
+Comendadores de Santiago, the ruined Hospital of Santa Cruz, and the new
+extension of the Paseo del Miradero--close to the Zocodover, in the
+north-east angle of the city. Adjacent to the palace was the Basilica of
+Saints Peter and Paul, “which seems,” says Señor Menendez y Pidal, “to
+have been the royal pantheon, opened only for the entombment of the
+sovereign and the taking the oath of allegiance to his successor.” Here
+were suspended the votive crowns, afterwards buried at Guarrazar; here
+probably were interred Athanagild, Leovigild, Reccared I., Liuba II.,
+Gundemar, Sisebut, Reccared II., Tulga, Erwig, Egica, and Witica. Their
+very dust has long since been scattered by the wind--who shall say
+where? In a hall attached to that Basilica, in similar annexes to the
+Basilicas of Santa Leocadia and Santa Maria de la Sede Real, were held
+those ecclesiastical synods which so powerfully contributed to the
+shaping of the destinies of Spain. Santa Leocadia’s church is now known
+as the Cristo de la Vega; the Basilica de Santa Maria faced the Bridge
+of Alcantara and was in after years known as Santa Maria de Alficem.
+Here Recceswinth is said to have been crowned, the temple being
+afterwards restored by Erwig, Wamba’s successor.
+
+Not a single building erected by the Visigothic kings exists to-day.
+“Destroyed by man’s fury and by the vicissitudes of time,” regretfully
+observes Señor Amador de los Rios, “or altered till all trace of their
+original form has been lost, by the pious care which intended to
+preserve them, you may seek in vain in the city of Wamba for an intact
+monument of that age; not even the walls ascribed to that prince have
+remained entire. Fragments of friezes; isolated capitals, which have
+adorned later edifices, oddly out of place in the scheme of decorations,
+or cut and defaced; broken shafts, perhaps bearing some inscriptions;
+pieces of a hinge, a metope, a lintel, or an impost, perhaps some
+dedicatory tablet--this is all that has escaped at Toledo the
+devastating scythe of time.”
+
+These relics, however, are fortunately numerous. For a detailed
+description of the more important, the reader is referred to the
+“Monumentos Arquitectónicos de España.” Some we shall notice more
+particularly in dealing with the edifices of which they now form part.
+
+Under Wamba the Visigothic monarchy reached the apex of its greatness.
+Under his four successors, Erwig, Egica, Witica, and Roderic, State and
+people are said to have become hopelessly enervated. The old Gothic
+vigour blazed up now and again in some individual ruler or statesman,
+but failed to communicate itself to the nation. The kingdom was
+tottering to its fall. The taste for display and the amenities of
+existence grew stronger in this period of decline. Never was there such
+wealth and splendour in Toledo as when it fell a prey to the hosts of
+Islam. The rapid decay of this once great and martial race is without a
+parallel in history. It is difficult to assign to it a cause. Luxury was
+the privilege only of the nobility and clergy, and could hardly have
+corrupted the whole people. Modern writers lamely attribute the final
+catastrophe to ecclesiastical influence and domination. Perhaps when all
+has been said, the state of Spain under Witica and Roderic was not much
+worse than under subsequent rulers of other dynasties; and the downfall
+may have been due, not so much to the effeminacy of the vanquished, as
+to the extraordinary military genius of the conquerors. Historians would
+have said little about the degeneracy of the Visigoths if the battle of
+the Guadalete had had a different issue.
+
+The Hispano-Goths, as Catholics, evinced a fanatical and intolerant
+temper which had been conspicuously lacking in them as Arians. Harsh
+edicts continued to be promulgated against the Jews--then, as till a
+much later date, a most important element in the population of Toledo.
+The unlucky Children of Israel may have derived in the intervals of
+persecution some malicious consolation from the bitter quarrels between
+the king and the Catholic clergy. Witica was an enemy, or what was
+probably regarded as the same thing, a would-be reformer of the Church.
+To his impiety, indeed, monkish writers are fond of ascribing the
+destruction of the Gothic kingdom. His predecessor, Egica, did not
+hesitate to condemn to excommunication, exile, and confiscation of
+property, Sisebert, the powerful Archbishop of Toledo. Perhaps some
+clerkly chronicler, by way of retaliation for this outrage upon his
+order, invented the following discreditable story, to be found in the
+pages of Lozano.
+
+King Egica had conceived an ardent passion for the beautiful Doña Luz,
+who is described as the grand-daughter of Kindaswinth, and the sister of
+Roderic, afterwards king. Her love, however, was given to her uncle, Don
+Favila, Duke or Governor of Cantabria. The lovers, wearied at last by
+the king’s opposition to their union, went through a secret and
+simplified form of marriage in the lady’s bedchamber before a statue of
+the Virgin. In the course of time. Doña Luz became a mother. Egica’s
+suspicions had already been enkindled, and fearing his wrath, she placed
+the new-born infant in a little ark and set it afloat on the bosom of
+the Tagus. As her maids pushed out the tiny craft from the foot of the
+steep path that leads down from Toledo, a radiance diffused itself
+around the sleeping child and for long marked his passage down the broad
+stream. The irate monarch, divining that Doña Luz must in some way have
+disposed of her child, caused a census to be taken of all the children
+born in and around the city within the past three months with the names
+of the respective fathers. The number of births was recorded at
+35,428--a very surprising total for Toledo! And, which is still more
+remarkable and highly creditable to the city, the parentage of these
+numerous infants was in every case authenticated. What then had become
+of Doña Luz’s baby? Baffled in his quest, the king suborned one of his
+minions, Melias by name, to accuse the unfortunate lady of incontinency.
+The penalty for this offence, we are told, was nothing less than death
+by fire; and for that fate Egica bade Doña Luz prepare, unless she could
+secure a defender or otherwise clear her reputation. At the eleventh
+hour, the valorous champion appeared in the person of Don Favila, who
+disproved the charge made against his lady-love to the satisfaction of
+mediæval intelligences, by the simple method of running her accuser
+through the body. This, however, did not satisfy the sceptical monarch,
+who insisted on a further ordeal by combat. A knight named Bristes,
+cousin of the recreant Melias, was challenger and accuser on this
+occasion, and was quickly despatched by the doughty Favila.
+
+In the meantime the ark containing Pelayo, the infant child of Doña Luz
+and her champion, had reached Alcantara, where the little passenger
+almost miraculously fell into the hands of his mother’s other uncle,
+Grafeses. This benevolent prince took every care of the child,
+unsuspicious, of course, of his origin. Attracted to Court by the noise
+of these scandals and combats, he found a handkerchief in his niece’s
+room, the counterpart of one which he had discovered in the little ark.
+Doña Luz soon confessed to him the whole story, and he endeavoured to
+intercede for her with the king. Egica, probably more exasperated than
+ever, insisted on a third duel between Favila and a knight called
+Longaris. Both combatants had been wounded when a holy hermit appeared
+on the scene, and admonished the king as to his wickedness and hardness
+of heart. Egica repented and consented to the public celebration of the
+marriage of Favila and Doña Luz. Here we have a fine romantic account of
+the origin of the heroic Pelayo, the restorer of the monarchy and the
+saviour of the Spanish nation.
+
+Wilder, more romantic still, and better known are the legends clustering
+round the last king of the Goths. The scene of most of these is laid in
+Toledo. Here was held that wonderful tournament, to which resorted all
+the crowned heads of Europe--aye, even such potentates as the Emperor of
+Constantinople and the King of Poland. A new city of palaces was reared
+in the Vega by the hospitable Roderic to accommodate his fifty thousand
+noble guests. This splendid function may have taken place before or
+after the king’s strange marriage with the bewitching Moorish princess
+Elyata (re-baptized Exilona), who had been washed ashore by the sea on
+the coast of Valencia. Lovely as was his consort, Roderic did not, as we
+all know, remain faithful to her. Here enters the mournful and very
+shadowy figure of Florinda, otherwise known as La Cava. This peerless
+damsel was confided to the care of the king by her father, the trusty
+Julian (or Illán), governor of Ceuta. Alas for the maiden! while bathing
+in the Tagus, her charms were only too well revealed to Roderic, gazing
+from his palace windows on the cliff above. A glimpse of a shapely leg
+scarce concealed by a diaphanous mantle decided the fate of
+Florinda--and of Spain. What he could not effect by persuasion, the
+king effected by violence. Perhaps he hoped that the proud Julian’s
+daughter would keep silence as to her own dishonour. He was mistaken. A
+trusty page, spurring night and day, quickly bore the fatal tidings to
+the father at distant Ceuta, and the missive in which the wronged
+Florinda implored vengeance on her betrayer.
+
+To the no doubt conscience-stricken Roderic, seated in good old kingly
+fashion upon his throne, appeared two venerable strangers with a message
+of mysterious import. When Hercules had founded (as some men say)
+Toledo, not far from the city, among the mountains, he had reared a
+tower, of which these uncouth brethren were the guardians, as their
+ancestors, in an unbroken line, had been before them. On this tower and
+on its unknown and fearful contents, the demigod had laid a necromantic
+spell. It had been the custom of each of the Kings of Spain to affix to
+the massive doors a new lock, and now Roderic was summoned to fulfil
+this duty, for failing this and if any rash mortal should discover the
+secret of the tower, ruin, absolute and immediate, must overtake his
+kingdom. Agog with curiosity, with a brilliant cavalcade, the king
+clattered through the streets of his capital, and found the wondrous
+tower in the recesses of the hills. The aged custodians besought him to
+hasten and to affix his seal to the enchanted doors. In vain! it was
+with another intention the impetuous sovereign had come hither. He burst
+open the doors and rushed in, where never man since Hercules had dared
+to tread. Before him stood a gigantic statue in bronze, which dealt
+blows with a great mace unceasingly to right and left. On its breast
+were inscribed the words, _I do my duty_. Roderic sternly adjured the
+creature of enchantment to let him pass. It obeyed. In the interior of
+the tower the King found a casket of rich workmanship. A legend thereon
+warned him of the doom that would overtake him who should open it.
+Roderic forced open the lid. He beheld a fold of linen on which were
+painted the figures of Moorish warriors in battle-array. As he gazed the
+figures seemed to move, to grow larger, to assume the proportions of
+men. He beheld a battlefield where Goths and Moors contended for the
+mastery. Breathless, he awaited the issue. The Goths were flying, and he
+saw his own white steed, Orelia, galloping through the fray--riderless.
+Affrighted, the king and his attendants rushed to the door. There lay
+the two ancient custodians, dead. Thunder rolled, a storm burst over the
+land, and Roderic and his cavaliers drew not rein till they reached the
+palace of Toledo. Next day the stout-hearted Goths reascended to the
+hills. But as they approached, behold a great eagle swooped down from
+the sky holding in its talons a flaming brand! The tower blazed up like
+matchwood. Then arose a great wind which carried the ashes to every part
+of Spain; and every man on whom a portion of the ashes fell was
+afterwards slain in battle by the Moors.
+
+These direful portents must surely have prepared Roderic for treachery,
+conspiracies, and unpleasantness of all kinds. But when Count Julian
+arrived, smiling and deferential, to take his daughter home to Ceuta, he
+seems to have suspected nothing, feared nothing. The rest of the
+story--Julian’s invitation to the Moors, the rout of Guadalete, the
+disappearance of Roderic--relates to the history of Spain generally, not
+to that of Toledo. Dozy believes that Julian actually existed, but he
+seems to have been a Byzantine governor of Ceuta, not a Spaniard. It is
+hardly necessary to say that Florinda is as much a figment of the
+imagination as the enchanted tower. Yet near the Puente de San Martin
+(above which never king’s palace stood) some fragments of masonry are
+pointed out as the Baños de la Cava (Florinda’s Bath). They are, in
+reality, but the remains of a Moorish tomb.
+
+In July 711, King Roderic set out from Toledo, never to return. Upon the
+news of the rout of Guadalete, all the magnates and prelates abandoned
+the city. Its surrender to the Moorish host of the one-eyed Tarik was
+the work of the Jews, who had not forgotten the persecutions of Sisebert
+and Egica. There were Jews in the invading army under the command of
+Kaula-al-Yahudi. When Tarik appeared before the walls, a venerable
+Israelite was let down in a basket, and, approaching him, offered to
+admit him to the city if liberty and the free exercise of their religion
+were guaranteed to his race. The Berber joyfully accepted these terms,
+and on the following day proud Toledo--deserted by its Christian
+inhabitants--was annexed to the Saracen Khalifate.
+
+
+
+
+TOLEDO UNDER THE MOOR
+
+
+Never again was Toledo to attain to the wealth and splendour it
+possessed under Wamba and his successors. The invaders, fresh from the
+conquest of the richest provinces of Africa, were dazzled by the
+magnificence of the spoils that fell to them in the dark-browed city
+above the Tagus. The Arabian historians have need of all their powers of
+hyperbole to over-estimate the richness of the treasure. There was
+enough and to spare, Al Leyth Ibn Saïd tells us, for every soldier in
+the army. The humblest troopers might have been seen staggering under
+the weight of priceless silks and garments, chains of gold, and strings
+of precious stones. The rude Berbers, fresh from their mountains, but
+ill appreciated the value of the loot, and cut the costliest fabrics in
+two or more pieces to adjust their shares. A magnificent carpet,
+composed of superb embroidery, interwoven with gold and ornamented with
+filigree work, and profusely set with gems, is said to have been treated
+in this way by the troopers into whose greedy hands it fell. It would be
+interesting to learn the place of manufacture of this carpet, for from
+the silence of St. Isidore upon the subject of textile fabrics, it would
+seem that they were not made in his time in Spain.
+
+But, to credit the Moorish chroniclers, the rarest of exotic treasures
+had been accumulated in the Visigothic capital. Here were found the
+Psalms of David, written upon gold leaf in a fluid made from dissolved
+rubies! and most wonderful of all, the Table of Solomon made out of a
+single emerald! It was brought to Toledo--so runs one version--after the
+taking of Jerusalem, and was valued in Damascus at one hundred thousand
+dinars--equal to about £50,000. We are not surprised to hear that this
+unique piece of furniture “possessed talismanic powers”; for tradition
+affirms it was the work of genii, and had been wrought by them for King
+Solomon the Wise, the son of David. This marvellous relic was carefully
+preserved by Tarik as the most precious of all his spoils, being
+intended by him as a present to the Khalifa; and, in commemoration of
+it, the city was called by the Arabs, Medina Almyda, that is to say,
+“The City of the Table.”
+
+Thus far Washington Irving. With characteristic credulity, Ibn Hayyan,
+the historian, gives in the translation of Gayangos a substantially
+different account of the treasure: “The celebrated table which Tarik
+found at Toledo, although attributed to Solomon and named after him,
+never belonged to the poet-king. According to the barbarian authors, it
+was customary for the nobles and men in estimation of the Gothic Court,
+to bequeath a portion of their property to the church. From the money so
+amassed the priests caused tables to be made of pure gold and silver,
+gorgeous thrones and stands on which to carry the Gospels in public
+processions, or to ornament the altars on great festivals. The so-called
+Solomon’s table was originally wrought with money derived from this
+source, and was subsequently emulously enlarged and embellished by
+successive kings of Toledo, the latest always anxious to surpass his
+predecessor in magnificence, until it became the most splendid and
+costly gem ever made for such a purpose. The fabric was of pure gold,
+set with the most precious pearls, emeralds and rubies. Its
+circumference was encrusted with three rows of these valuable stones,
+and the whole table displayed jewels so large and refulgent that never
+did human eye behold anything comparable with it.... When the Muslims
+entered Toledo it was discovered on the altar of the Christian Church,
+and the fact of such a treasure having been found soon became public and
+notorious.”
+
+Gibbon accounts for the presence of the Table of Solomon at
+Toledo--assuming that there ever was such a thing, and that it ever was
+there at all--by supposing it to have been carried off by Titus to
+Rome, whence it may have been taken by Alaric when the Goths sacked the
+city. Whichever version of the table’s origin be accepted, it seems
+strange that it was not carried away by the clergy in their flight from
+Toledo. Of its ultimate fate nothing is known, unless we can accept the
+little that is revealed in the following history.
+
+Upon Musa approaching the city to supersede Tarik, the latter broke off
+and concealed one of the legs of the table. Musa was already incensed
+against his lieutenant for having deprived him of the glory of the
+conquest of Spain, and emphasised his reprimands with strokes of a whip.
+When he found that the leg of the table was missing, his anger was very
+great. Tarik assured him he had found it in that mutilated condition,
+and Musa caused the missing leg to be replaced by one of gold. His
+subordinate, however, he cast into prison, where the One-Eyed One
+remained till released by orders from the Khalifa himself. He was amply
+revenged on Musa, when upon the latter presenting the table to his
+sovereign as his own discovery, he was able triumphantly to give him the
+lie by producing the missing leg of emerald. And so the wonderful Table
+of Solomon, of emerald, or of gold, or of both, passes out of the ken of
+history.
+
+We hear of Musa’s son, Abd-ul-Aziz (or “Belasis,” as he is quaintly
+termed by old Spanish writers) marrying King Roderic’s widow, Exilona,
+at Toledo. Abd-ul-Aziz, however, was Governor of Seville, where he met
+his death, and it is not unlikely, if he married the queen at all, that
+he did so in that southern city, where she may have been left by her
+first consort to await the result of the battle of the Guadalete. If
+there be any truth in the legend that Exilona was of Moorish origin
+herself, the story of this second and apparently cold-blooded union
+seems less improbable. Tradition has it that the widow of the Goth only
+consented to the match on Abd-ul-Aziz promising to observe towards her
+all the deference due to a Christian queen. He kept his promise only too
+faithfully, and his forcing his officers to bend the knee to a woman and
+an infidel, is said to have contributed to bring about his assassination
+in the mosque at Seville.
+
+The conquerors here, as in other parts of the kingdom, acted generously
+towards the conquered. A moderate tribute was levied on the Christians,
+who were allowed to practise their religion and be governed by their own
+laws and customs. Seven churches were allotted to their use, the names
+of these being Santa Eulalia, Santa Maria de Alficem, Santa Justa, San
+Sebastian, San Marcos, San Torcuato, and San Lucas. But these privileges
+must have hardly consoled the citizens for the loss of the town’s rank
+as capital of Spain. It became, as it had been under the Romans, “a
+strong place,” of which the dominant race valued the advantages, but, in
+consequence of the rise of Cordoba and Seville it sank to the condition
+of a provincial town.
+
+As such its career was throughout stormy and turbulent. The spirit of
+rebellion seemed instinct in the grim fortress-like city, and infused
+itself into Mohammedan and Christian, Arab and Castilian alike. The two
+races fraternised well enough. They had a common interest: resistance to
+any external authority. This impatience of control was characteristic of
+the Toledans for centuries. Its annals during the period of Mohammedan
+occupation are a tedious record of sieges, riots, usurpations and
+massacres. Such events are only of interest when studied in the minutest
+detail. A brief _résumé_ of them is, however, indispensable to a proper
+knowledge of the town.
+
+The citizens’ first appearance in the troubled arena of Muslim politics
+was as loyalists--an uncongenial _rôle_! In the civil wars that
+distracted the reign of Abd-ul-Malik, Toledo was held by his son Omeya,
+and vainly besieged for a month by the rebels. On the approach of
+Abd-ul-Malik, the garrison, wishful of glory, made a vigorous sortie and
+completely routed the investing force. The townsmen had tasted blood.
+It took much to quench their thirst. Knowing their character, in the
+troubles fomented by the pretender Yusaf ben Debri, his partisan,
+Mohammed Abu-l-Aswad took refuge among them in the year of the Hegira
+142. The place was immediately invested by the Wizir, Al Kama, and as
+usual offered a stout resistance. Wearied of their ruler, however, the
+people played him false and betrayed the town to the Wizir. Abu-l-Aswad
+was taken prisoner and sent to Cordoba.
+
+A year or two later the Toledans repented of their submission. While the
+Amir, Abd-ur-Rahman, was engaged in preparations for a war in the east
+of Spain, some powerful families, led by one Hixem ben Adra al Fehri,
+rose, seized the Alcazar, and put the Wizir to flight. They released the
+notorious rebel, Kasim ben Yusuf, from prison, and raised an army of
+about ten thousand men--mostly freebooters and masterless men who seemed
+to have regarded Toledo as the best market for their peculiar talents.
+The Amir’s appearance before the walls, with a powerful army, caused
+moderate counsels to prevail among the insurgents. The citizens were
+anxious to be rid of the undesirables they had invited into their midst,
+and persuaded Hixem to visit the royal camp to solicit terms.
+Abd-ur-Rahman generously pardoned him, and once more incarcerating
+Kasim, left the town to itself.
+
+He soon had good reason to repent his forbearance. In 763 Kasim escaped
+from confinement, rallied the citizens round him, and declared the town
+subject only to the Khalifa of Damascus. The siege that followed was
+languidly conducted. The people, we read, were suffered to cultivate
+their fields, and to carry produce into the city unmolested. At this
+rate the siege might have lasted as long as that of Candia. Kasim,
+meanwhile lulled into a sense of security, abused his power, and
+alienated his unruly subjects. On the arrival of the Amir, he was given
+notice to quit. Having seen him successfully elude the royal forces,
+Toledo opened its gates to Abd-ur-Rahman. The Amir, despairing of the
+townsmen’s temper, exacted from them but a nominal obedience, but his
+successor, Hakam, thought to coerce them by a bitter lesson. As
+Governor, he sent them one Amru of Huesca, a renegade Christian, “by a
+condescension,” he wrote, “which proves our extreme solicitude for your
+interests.” The renegade’s policy was thorough. He ingratiated himself
+with the people, and posed as the champion of their liberties. It was at
+their own suggestion that he raised a fortress in their very midst. The
+place being strongly garrisoned and all being ready, the approach of a
+large army, commanded by the Amir’s son, Abd-ur-Rahman, was announced.
+At the suggestion of the Governor, the prince was invited by the
+nobility into the city; and he, in return, as if to mark his sense of
+the honour conferred upon him, ordered a great feast to be made ready at
+the Castle. To this all the chief men were bidden. What followed is
+known as the Day of the Fosse. The guests were allowed to enter only one
+by one. Behind the gate stood a man with bared arm and uplifted axe. As
+each guest entered there was a sweep of the arm, a flash of steel, and a
+head rolled into the ditch already prepared. Without, nothing was heard,
+nothing was seen, nothing suspected. The episode reminds one of the
+famous Blood Bath of Stockholm. The butchery is said at last to have
+been revealed to those waiting outside the wall by the thick vapour
+issuing from the gate. A physician, who had been watching for hours, and
+who had noticed that none of the numerous guests who had entered, had
+issued forth, was the first to raise the alarm. “Men of Toledo,” he
+shouted, “I vow that yonder vapour is not the smoke of a feast, but
+rises from the blood of our butchered brethren!”
+
+This ghastly tragedy occurred in 807, and has given rise to a proverbial
+expression current in Spanish--_una noche Toledana_, applied to a night
+disagreeably passed in sleeplessness or pain.
+
+The blow struck by the ferocious Amru was of the kind that alone met
+with the approval of Macchiavelli: it not only intimidated, but it
+crushed. For a quarter of a century we hear no more of tumults or
+dissensions in the City by the Tagus. Meantime it prospered. Arts and
+letters flourished. In the year 827 we have to record the death “of the
+very learned alfaqui, Isa ben Dinar el Ghafeki, a native of that city
+and a disciple of Malik ben Anas. He was a man beloved by all--friendly
+in manner, admirable in conversation, and upright of life: such as were
+taught by Isa ben Dinar acquired their learning with delight. He was in
+the habit of practising some few observances that were considered
+extraordinary: he made, for example, the prayer of the dawn with the
+preparation and ablutions proper to that of the evening twilight.”
+
+The opulence of the Jews and Christians decided the Wali, Aben Mafût ben
+Ibrahim, to increase their tribute. This led to the outbreak of 832. A
+wealthy young citizen, named Hakam el Atiki, otherwise known as El
+Durrete, or “the striker of blows,” had been insulted by the Wali, and
+used the discontent of the people as a means of avenging his injuries.
+He distributed money freely among the more inflammable sections of the
+populace, and collected about him a body of lawless followers. One of
+these was seized in the Soko, or market-place (the Zocodover) by one of
+the Wali’s officers, and a tumult at once uprose. In the end the
+Alcazar fell into the hands of the rebels, and the Wali barely escaped
+with his life. Hakam, however, was shortly afterwards obliged to abandon
+his conquest, and spread abroad the report that he had left the country.
+The vigilance of the garrison becoming in consequence relaxed, he seized
+the city by a _coup de main_, and held it for some years. He was
+wounded, taken prisoner, and beheaded in 837, by Abd-el-Raf, his head
+being suspended from the gate of Bisagra.
+
+So far the risings at Toledo had been mainly political, and the townsmen
+had sunk their religious and racial differences to make common cause
+against the stranger. The cause of the insurrection of 854 was, by
+exception, an outburst of fanaticism on the part of the Muzarabes or
+Christians, who practised the ritual of the Spanish Goths. It was at
+this time that the Catholics of Cordoba and Seville, subject to some
+extraordinary aberration, had in great numbers earned the doubtful
+honour of martyrdom by blaspheming Mohammed. To Toledo, as the most
+likely spot at which to create a disturbance, came Eulogius and stirred
+the Christians to avenge the “wrongs” of their co-religionists. Under
+the leadership of Sindola, they dispossessed their Moorish governors,
+and carrying the war into the enemy’s own country, defeated the Amir’s
+forces at Andujar. Ordoño King of Leon, now came to the assistance of
+the citizens, who, hitherto, had shown no eagerness to call in the help
+of the Christians of the north. Mohammed, the Amir, presently appeared
+before Toledo, and drew the allied forces into an ambush. The Christians
+were totally defeated--almost annihilated. Nothing daunted, the
+Toledans, later on, insulted their sovereign by electing Eulogius to the
+vacant archiepiscopal see. Mohammed, by way of reprisal, inveigled a
+large force of Christians on to a bridge which he had undermined. It was
+the Day of the Fosse over again.
+
+In the year 873, we find the independence of Toledo, subject to his
+suzerainty, nominally acknowledged by the Amir, who was probably glad to
+make any terms that promised peace with vassals so turbulent. In the
+reign of the Amir Al Mundhir even this faint shadow of outside authority
+was shaken off by the city, which again asserted its complete
+independence, in 886, under Ibn Hafsûn. The town was besieged by the
+royal forces under the Wizir Haksim. The wily Ibn Hafsûn, seeing that
+the stronghold must fall, proposed to the opposing general that he
+should allow him to evacuate the place and transport his army to the
+frontier of Valencia, on a train of beasts of burden to be provided by
+the besiegers. Haksim joyfully assented to this capitulation, and on the
+day appointed, what was supposed to be the entire army of the rebel
+chief issued from the gates of the city and wended their way, with the
+train of packhorses, eastwards. Leaving what he considered a sufficient
+garrison in Toledo, Haksim drew off the greater part of his forces and
+went to Cordoba. Meanwhile the crafty Hafsûn swiftly retraced his steps,
+and with the aid of the considerable detachment he had left concealed in
+the town, put the garrison to the sword, and once more hurled defiance
+at the Amir. Great was Al Mundhir’s wrath on the receipt of this
+intelligence, and before nightfall, the head of Haksim lay severed from
+his body.
+
+Ibn Hafsûn proved a formidable antagonist. The Amir lead an army against
+him in 888 and was defeated and killed. Twenty years later Hafsûn died,
+bequeathing what was practically an independent sovereignty to his son.
+The great Khalifa, Abd-ur-Rahman III., now sat on the throne of Cordoba.
+He determined to put an end to the arrogant pretensions of the unruly,
+untameable city. His summons to capitulate being contemptuously
+rejected, he took the field in 930. For eight years the siege went on,
+varied by exploits and incidents, which might prove matter for a Moorish
+Iliad. Famine stalked abroad in the obstinate city, but the Hafsûns
+would not hear of surrender. When at last it became plain that the
+people would yield, the leaders and their partisans, to the number of
+four thousand, made a last desperate sortie. Two thousand cavaliers,
+with a foot-soldier clutching firmly hold of each horse’s girth, they
+broke through Abd-ur-Rahman’s camp, and got clean away. Almost joyfully
+the townsmen opened their gates to the great Amir--to be firmly bitted
+and bridled during the remainder of his reign.
+
+That the town was still subject to the central authority in the year
+979, we gather from this incident. The Governor, Abd-ul-Malik Ibn Merwân
+having some difference with the Wali of Medina Selim (Medinaceli),
+challenged him to single combat and slew him. For this, without more
+ado, he was removed from office by orders from Cordoba.
+
+In the first quarter of the eleventh century, Toledo recovered her
+freedom, on the break-up of the Umeyyah empire. Under her sultan,
+Ismail, in 1023, she was able to boast that she knew no other lord or
+ruler under the blue heavens. After Ismail came Abu-l-Hasan Yahya al
+Ramân who reigned till 1075, and was then succeeded by Yahya Kadir, who
+lost his throne in 1085.
+
+Before relating the incidents of the reconquest of Toledo by the
+Christians and its incorporation in the steadily expanding kingdom of
+Leon, we will take a glance at the city as it was under its Mohammedan
+rulers. Of its affluence, importance, and strength, the foregoing
+cursory sketch of its history has afforded us some idea. It ranked as
+the metropolis of the Christian element in the Amir’s dominions, and its
+prelates early obtained recognition from their Paynim sovereigns as
+dignitaries of the highest standing. Among them were such notable men as
+Wistremir and Eulogius. One of the archbishops of Toledo, Elipando,
+embraced the heresy of Nestorius, and went the length of excommunicating
+his fellow bishops. Upon his death, however, an orthodox successor was
+chosen. The Christians were wealthy and arrogant. They were classed in
+congregations, dependent on their various churches, each division
+including certain families irrespective of their domiciles. Toledo,
+during the three and a half centuries of Mohammedan dominion, never
+seems to have lost the outward character of a Christian town. Moorish
+influence she felt, and it served to soften and chasten her rough
+features, but Moorish she never became as did Seville and Cordoba. Yet
+in every corner of the old city the guides are prone to point out the
+buildings and remains that they fondly believe to be of Arabic
+workmanship. In reality, very few monuments of the Mohammedan period
+have survived. It is not by what we see but by what we read that we can
+form an idea of the city as it was in those days.
+
+It was renowned for its clepsydras or water-clocks, invented by
+Abu-l-Kasim. These are described as follows in an Arabic document: “But
+what is marvellous and surprising in Toledo, and what we believe no
+other town in all the world has anything to equal, are its water-clocks.
+It is said that Az-Zagral [Abu-l-Kasim] hearing of a certain talisman
+which is in the city of Arin, of Eastern India, and which shows the
+hours by means of _aspas_ or hands, from the time the sun rises till it
+sets, determined to fabricate an artifice by means of which the people
+could know the hour of day or night, and calculate the day of the moon.
+He made two great ponds in a house on the bank of the Tagus, near the
+Gate of the Tanners, making them so that they should be filled with
+water or emptied according to the rise and fall of the moon.” The water
+began to flow into the ponds as soon as the moon became visible, and at
+dawn they were four-sevenths full. The water rose by one-seventh every
+twenty-four hours, and were full at full moon. As the luminary waned,
+the water fell in exact proportion. The exact working of these
+contrivances was lost when an astronomer, deputed by Alfonso el Sabio to
+examine them, broke parts of the intricate machinery.
+
+The chroniclers relate wonders of the palace of An Naôra, so called from
+its celebrated _noria_ or hydraulic apparatus. The apartments were so
+splendid as to rival those of the palace of the Amir himself, and “were
+resplendent as the sun at noonday, and the moon at the full.” In the
+luxurious gardens was the lake or albuhera, in the centre of which rose
+a pavilion of glass, where Al Ramân-bil-Lah, the last sovereign of
+Toledo, used to pass the night. “The clever architects”--we quote from
+the “Monumentos Arquitectónicos”--who made the lake, not only raised the
+waters from the river in order to fill it, but raised them above the
+cupola of the pavilion, over and around which they flowed incessantly,
+forming around it a diaphanous and crystalline mantle. Not a drop could
+penetrate the structure or touch the persons within. With the sonorous
+murmur of these waters mingled that produced by the fountains that
+gushed forth from the mouths of the lions in metal guarding this
+wonderful pavilion. Illumined inside with lamps of various colours,
+without it presented a fantastic appearance, which was reflected back
+from the waters of the lake, and which the people of Toledo contemplated
+with admiration through the dense foliage.”
+
+Of this exquisite pleasaunce, no trace remains. Nor is anything left of
+the other palace of Al Hizem, built by Ismaîl, the first admittedly
+independent Sultan of Toledo--afterwards inhabited by the Christian
+kings. The principal building in Moorish times was, of course, the
+Aljama, or Chief Mosque. This seems to have been erected at the same
+time as the great Mezquita at Cordoba, in the reign of Abd-ur-Rahman
+II., and to have been richly embellished and enlarged under the third
+and greatest Khalifa of that name. We read that in the fourth century of
+the Hegira, the architect Fatho ben Ibrahim el Caxevi built two
+sumptuous mosques, called, the one, Adabejin, the other Gebel Berida;
+but where these were situated, or what was the real Arabic spelling of
+the names, we have no means of knowing.
+
+Happily a few specimens of the local architecture of that epoch remain.
+Of these one of the learned compilers of the “Monumentos
+Arquitectónicos” writes: “In spite of their varying degrees of
+integrity, and although greatly damaged and changed by later
+restorations, these works possess an extreme importance, and suffice to
+manifest the peculiar physiognomy of the secondary religious edifices of
+this part of the Peninsula at the most glorious epoch of the
+Khalifate--a physiognomy strikingly different from that of the principal
+religious structures, or Aljamas, equivalent to our cathedrals, and
+different also from that of the same buildings in the south. They show,
+furthermore, decorative processes believed to have been unknown in
+Spain at that epoch.”
+
+The most complete and remarkable of these buildings is the Mosque of
+Bib-el-Mardom, now known as the Cristo de la Luz. It is situated to the
+north of the city, between the Puerta del Sol and the Puerta Bisagra.
+Here Alfonso VI., on entering Toledo on May 25, 1085, halted and caused
+Mass to be celebrated, leaving his shield behind him as a memento of the
+incident.
+
+The exterior of this most interesting building is unpromising. It is
+thus described by Mr. Street: “The exterior face of the walls is built
+of brick and rough stone. The lower part of the side wall is arcaded
+with three round arches, within the centre of which is a round horseshoe
+arch for a doorway; above is a continuous sunk arcade of cusped arches,
+within which are window openings with round horse-shoe heads. The lower
+part of the walls is cut with single courses of brick, alternating with
+rough stonework; the piers and arches of brick, with projecting labels
+and strings also of unmoulded brick. The arches of the upper windows are
+built with red and green bricks alternated.” Restorations carried out in
+1899 brought to light a most interesting pierced frieze running round
+the north-eastern façade, and serving as a sort of ventilator. Above was
+deciphered the following inscription in Arabic characters: “In the name
+of God, the Compassionate, the Merciful. This mosque was rebuilt ... the
+renewal of its upper part, proposing to render it more beautiful, and
+[the restoration] was finished, with the help of God, under the
+direction of Musa Ibn Ali, the architect, and of Saada. It was completed
+in the Muharram of the year 370” [July 17, 979, to August 15, 980 A.D.]
+The whole façade of the edifice has been much disfigured by successive
+reconstructions, coatings of plaster, &c., and has undergone much more
+serious transformation than the interior.
+
+Entering when the eyes have become accustomed to the obscurity, we make
+out the details of a very small and curious structure. Again to quote
+Mr. Street, the nave is only “21 ft. 7¼ in. by 20 ft. 2 in., and this
+space is subdivided into nine compartments by four very low circular
+columns, which are about a foot in diameter. Their capitals are all
+different. The arches, of which four spring from each capital, are all
+of the round horseshoe form; above them is a string-course, and all the
+intermediate walls are carried up to the same height as the main walls.
+They are all pierced above the arches with arcades of varied design,
+generally cusped in very Moorish fashion, and supported on shafts; and
+above these each of the nine divisions is crowned with a little vault,
+formed by intersecting cusped ribs, thrown in the most fantastic way
+across each other, and varied in each compartment. The scale of the
+whole work is so diminutive that it is difficult, no doubt, to
+understand how so much is done in so small a space; but looking to the
+early date of the work it is impossible not to feel very great respect
+for the workmen who built it, and for the ingenious intricacy which has
+made their work look so much larger and important than it really is.”
+After the Reconquest, the loftier portion of the temple, consisting of
+apse and transept, and containing the altar, was added. Looking closer
+into the details of the Moorish portion, one is struck by the contrast
+presented by rude shafts and capitals, evidently of Visigothic
+workmanship, with the general elegance and delicacy of the whole. On
+making a careful study of these features, it is difficult to resist the
+conclusion (supported, indeed, by tradition) that they formed part of an
+earlier and less skilfully constructed mosque, itself merely a
+restoration or adaptation of a Visigothic church. Señor Amador de los
+Rios is of opinion that the existing structure constituted only the
+inner portion or _maksurah_ of the temple, and believes that the
+southern wall is the only part of the outer or enclosing _enceinte_
+remaining. In this he finds traces of the _kiblah_ or sanctuary,
+_membar_, and other features peculiar to Mohammedan worship. The mosque
+consisted originally, in all probability, in addition to the fabric we
+now see, of naves extending on each side of those still standing, from
+north-east to south-west. Even thus the mosque must have been very
+small. The exact configuration and plan of the original building is
+still a matter of great perplexity to archæologists, and a great many
+more discoveries remain to be made before anything can be positively
+stated under this head.
+
+The newer, or Christian, portion of the mosque contains some remarkable
+mural paintings, discovered in 1871. They date from about the close of
+the twelfth century, and exhibit pronounced Byzantine influence. It
+seems satisfactorily established that two of the four female figures
+represent Saints Eulalia and Martiana; and the other two, in all
+probability, the martyrs Leocadia and Obdulia. The fifth figure--that of
+a man--represents a prelate. It may be, as Mr. Leonard Williams thinks,
+the Archbishop Bernardo, who figures largely in the annals of the
+Reconquest; or the prelate’s patron saint. It is not to that archbishop,
+however, but to one of his successors--possibly Don Gonzalo Perez
+(1182-1193)--that the remodelling of the building into a Christian place
+of worship should be ascribed.
+
+This intensely interesting monument is the subject of several curious
+and entertaining legends. In the days of Athanagild (and it is not
+impossible, as we know, that the church may have existed at that time) a
+crucifix, greatly venerated by the citizens, hung over the door. Two
+evil-minded Jews, Sacao and Abishai by name, to express their hatred for
+Christianity, drove a lance into the side of the figure. Instantly blood
+gushed forth. The terrified Israelites hid the miraculous object in
+their own home, but were traced by the stains of blood, and (it is
+hardly necessary to add) torn to pieces. This irritated their
+co-religionists, who, to avenge them, poisoned the feet of the statue.
+This resulted in a second miracle, for when a devout woman was about to
+kiss the feet, they were withdrawn--to the discovery and undoing, once
+more, of the villainous Jews. The right foot of the image remains
+withdrawn to the present day, that all men may know the truth of the
+story.
+
+Now we come to the explanation of the name “Cristo de la Luz.” When the
+Moors were about to take the city, the Christians walled up the
+miraculous crucifix, with a lamp burning before it. Three hundred and
+seventy years passed; and on the glorious May 25, 1085, Alfonso VI. and
+his Christian chivalry came riding into reconquered Toledo. Among the
+cavaliers was the Cid, Ruy Diaz de Bivar. The warrior’s horse, on
+passing the mosque, stumbled, or, as others have it, knelt. With
+preternatural acuteness, the Cid suspected some unusual circumstance,
+and had the adjacent wall broken down. Then was discovered the crucifix
+with the lamp still burning brightly, as when placed there nearly four
+centuries before. The mosque was reconsecrated on the spot; and the King
+left his shield as a memento. There it hangs to-day, above the central
+arch, bearing a white cross on a crimson ground. Whether it is authentic
+or not, we cannot say, but below it one may read: _Esto es el escudo que
+dejo en esta ermita el Rey Don Alfonso VI., cuando ganó á Toledo y se
+dijo aqui la primera misa._
+
+The Cristo de la Luz is no longer a church, and is now classed among the
+national monuments of Spain.
+
+Hardly less interesting, but very far from being as well known, is the
+ancient mosque in the Calle de las Tornerias. It is contained in the
+upper part of the private houses numbered 27, 29, and 31. The mosque
+having been built against a steep incline, it was raised on a
+substructure of galleries, which now form the ground floor of the modern
+houses. The mosque was never converted to Christian uses, and retains
+its original physiognomy almost unimpaired. In the opinion of Spanish
+archæologists, it belongs to the same period as the Cristo de la Luz;
+but Street does not share this view, and thinks it a later work. Like
+the other mosque, it is built more or less in the form of a square, and
+has likewise Visigothic columns and capitals, pointing to the existence
+of a previous structure. Here, also, we find the horseshoe arch and the
+cupola, and evidences of the position of the kiblah. Recent restorations
+have shown that the walls are composed of the finest brickwork,
+unsurpassed for smoothness and regularity. But so far no trace has been
+revealed of any texts from the Koran, or inscription commemorating the
+architect’s name, such as were usual in the Mohammedan temples of Spain.
+
+The Puerta Antigua de Bisagra, or ancient gate of Bisagra--not to be
+confounded with the new gate of the same name built by Charles V.--is
+dilapidated and falling to pieces. In Moorish times it was the principal
+entrance to the city. The name was probably originally Bib-Sahla. It
+dates from about the beginning of the tenth century, but to the
+primitive structure only the foundations of the gate belong. A
+reconstruction seems to have been carried out at the time of the
+Reconquest, and to that epoch the arch, or gate, properly speaking, may
+be assigned. The upper portion of the time-worn fabric belongs to a
+still later period. This is the only one remaining of the fifteen gates
+with which the walls of Toledo appear to have been furnished during the
+Mohammedan occupation.
+
+The celebrated Puente de Alcantara, as it exists to-day, must be
+regarded as the work of the Christians. It took the place of a
+structure, built or restored by the Musulmans, and regarded by the
+writers of their time and nation as one of the wonders of Spain.
+According to an inscription on the bridge tower, the work dated from the
+year 997 A.D., and was built by “Alif, son of Mohammed Al Ameri,
+Governor of Toledo, under the great Wizir, Al Mansûr.” With it, no
+doubt, were incorporated the remains of previous Gothic and Roman
+constructions. It was almost entirely swept away in a great flood in the
+year 1258, after having already undergone extensive repairs and
+restorations since the Reconquest. Thus we may conclude that there can
+be few if any traces of the Moorish bridge in the actual Puente de
+Alcantara. On the other side of the town there was probably a wooden
+bridge or bridge of boats, where the Puente de San Martin now spans the
+river. A little below it is a brick tower, with open arches, the
+horseshoe curve of which, and other features, bespeak its Moorish
+origin. Legend places here the incident of the Bath of Florinda. In
+later times the work was believed to be the remains of a bridge. But an
+Arabic inscription, recently redeciphered and translated, goes to prove
+that the tower formed part of a very different monument: “In the Name of
+God, the Merciful, the Compassionate! Oh, men, believe that the promises
+of God are certain and let not yourselves be seduced by the flattery of
+the world, nor be lured away from God by the deceits of the Evil One!
+This is the tomb of Hosàm (?)-ben-Abd ... [He confessed that there is no
+other God but] God. He died [may God have mercy on him] ... the year
+eight ... and four hundred.” The Baños de la Cava may now be safely
+regarded as a Musulman sepulchral monument of the fifth century after
+the Hegira.
+
+We have now briefly considered the only monuments of interest to any but
+the most ardent archæologists that can be ascribed, so far as their
+general structure is concerned, to the Moslem lords of Toledo. Admitting
+that the most important buildings of that time have long since
+disappeared, it remains clear that the city could never have presented
+the Oriental aspect of the Andalusian seats of Islam.
+
+The history of the city as an independent State is soon told. Under
+Ismail and his son Al Mamûn, Toledo became the most powerful Musulman
+State in Spain. The lesser principalities having been disposed of, a
+fierce struggle for supremacy was waged between Al Mamûn and the Amir
+of Seville. A desperate battle before the walls of Murcia decided the
+issue in favour of the Toledan, and gave Valencia into his hands. But,
+as is often the case with men of all ranks, Al Mamûn’s strength and
+wisdom were undone and rendered unavailing by his fatal trait of
+magnanimity.
+
+Alfonso of Leon, dispossessed of his kingdom by his brother, threw
+himself upon the protection of the Amir of Tolaitola. The noble Muslim
+bestowed upon the fugitive prince a palace near his own, an oratory, and
+a garden “wherein to recreate himself”; and allowed him to establish a
+miniature Court for himself and his followers at Brihuega. Lands were
+assigned to him as a source of revenue, and he became the most intimate
+and honoured friend of the Amir. It is said that in return an oath was
+exacted of Alfonso that he would assist his host against all men, and
+never war upon him or his son. That some such pledge should have been
+asked for in return for such magnificent hospitality seems very
+probable. The Archbishop Don Rodrigo relates that one day Al Mamûn found
+himself with his most trusty counsellors in a wood from which a full
+view of the city could be obtained. The Moorish sovereign fell to
+discoursing upon the defences of the place and the best means of
+attacking it. These words were overheard by Alfonso, who chanced to be
+by, and who at once feigned sleep beneath a tree. Here he was presently
+discovered by the Moors, to their great dismay. Some among them asked
+leave of Al Mamûn to slay him. On this permission being indignantly
+refused, they dropped hot lead on the Leonese prince’s hand to see if he
+were really asleep. Alfonso did not stir, which would have convinced
+most people that he was feigning sleep. The Muslims, on the contrary,
+retired, satisfied that he had heard nothing and seen nothing.
+
+Before returning to his kingdom, the Christian prince renewed his vows
+of loyalty and friendship to Al Mamûn, with whom personally, indeed, he
+never broke faith. The Moor’s son, Yahya, reaped the reward of the
+father’s generosity. A weak and incapable sovereign, addicted to luxury
+and despised for his devotion to superstitious practices, he was
+detested by his own subjects, who on one occasion drove him out of the
+city, to take refuge at Cuenca. His authority was restored only with the
+help of his natural foes, the Castilians. Alfonso, unmindful of his vow,
+forgetful of the dead Al Mamûn’s princely generosity, could not resist
+this opportunity of adding to his dominions the old capital of the Kings
+of Spain. For six years he laid waste the frontiers of the Amirate, and
+in the seventh year--carefully availing himself, no doubt, of the
+information unwittingly communicated by his old benefactor--invested
+Toledo itself. Famine accomplished what arms could not, Yahya asked for
+terms. They were onerous enough. They involved the cession of all the
+Moorish King’s dominions, except Valencia, the Muslims who elected to
+remain in Toledo being guaranteed the free exercise of their religion,
+their property, and liberty. They were to be subject to their own laws
+and tribunals and to retain their mosques. The terms, as remarks
+Quadrado, were, in fact, almost the same as those granted to the
+Christians by the Arabs three hundred and seventy years before. Only the
+Alcazar, the bridges, gates, and the garden called the Huerta del Rey,
+were reserved to Alfonso himself. The capitulation completed, Yahya and
+his court took the road to Valencia, and Alfonso VI. entered Toledo by
+the Bib-el-Mardom on Sunday, May 25, 1085.
+
+“May God renew her past splendour, and inscribe once more the name of
+Toledo on the list of the cities of Islâm!” This was the devout
+aspiration of a Muslim chronicler, but in neither particular has it ever
+been fulfilled.
+
+
+
+
+TOLEDO THE CAPITAL OF CASTILE
+
+
+The incorporation of the haughty city of the Visigoths with the kingdom
+of Castile was, when the first wave of enthusiasm had subsided, regarded
+with coldness and misgiving by its people. The Toledans were as
+tenacious as ever of their peculiar customs and privileges which they
+had hoped to maintain intact. Even with the powerful assistance of the
+Cid, whom he appointed Alcalde, Alfonso found the ordering of the
+affairs of his new capital a difficult and dangerous task. The
+population included (remarks Don Jose Quadrado) “the conquered and
+resigned Musulman, the Israelite ever submissive and industrious, the
+Mozarabe ennobled by his ancient lineage and constancy in his faith, the
+Castilian, proud of his conquests, the foreigner rewarded for his
+prowess, or attracted from remote countries by signal privileges; and
+this multiplicity of races and diversity of creeds demanded as many
+separate systems of law and administrations.” The Jews, Musulmans and
+foreigners continued subject to their own codes and tribunals; but while
+the Mozarabe or native of Toledo clung to the old Fuero Juzgo or
+Visigothic law, inherited from his fathers, the Castilians and Leonese
+expected to be ruled according to the ruder, rougher code of their
+warrior counts and kings. Alfonso dealt with these two peoples of common
+race and language as with the other more widely distinct races. Each had
+an Alcalde of its own, subject, however, to the Alcalde Mayor named by
+the king. A compromise, too, was arrived at, the Castilians being
+subject to their own law in civil cases, and to the Mozarabe in criminal
+matters. On the whole, the tendency of these measures was to conciliate
+the Toledans. But we find evidence of jealousies between them and their
+conquerors or deliverers from the North for many years afterwards.
+
+Alfonso’s honour had not gone unstained in regard to his taking the city
+of his old friend and benefactor, and the Moors must have been sanguine
+indeed if they looked forward to a scrupulous fulfilment of the pledges
+given them by the conqueror while he was _outside_ the walls. The clause
+that entitled the Muslims to the free and exclusive use of their mosques
+was particularly obnoxious to the rabid ecclesiastics and crusaders who
+accompanied the king. With increasing irritation they compared the noble
+proportions of the Mohammedan mezquita with those of the humble
+provisional Catholic Cathedral of Santa Maria de Alficem. While Alfonso
+was absent in Leon, he left the city in charge of his queen, Constancia,
+a Frenchwoman, and of her countryman, Bernard, now bishop, and formerly
+a monk of Cluny. This prelate took advantage of his sovereign’s absence
+to burst one night into the coveted mosque with an armed party, and
+having “purified” it, suspended bells in the minarets, which announced
+at dawn the celebration of the Christian rite. When word was brought to
+the King of this infamous violation of the treaty, he set out for
+Toledo, announcing his intention of burning the bishop alive. Moved
+either by that magnanimity which in the person of Al Mamûn had
+contributed to their downfall, or, as Spanish writers say, by a
+far-seeing prudence, the Moors went out in a body to meet the monarch,
+and besought him to forgive the highly placed thieves. Alfonso, with a
+show of reluctance, acquiesced in their prayer, and the Christians were
+most undeservedly confirmed in the possession of a church they had no
+hand in creating. The Alfaqui, or headman of the Muslims, was
+munificently rewarded for his generosity, his statue being placed in the
+Capilla Mayor of the new cathedral, which was solemnly consecrated in
+1087. No nation has shown a very nice sense of honesty in respect of
+church property, yet it needs no subtle intelligence to perceive that a
+church is as much the property of the particular sect for whose special
+use it was designed by members of that sect, as any private house is of
+its private owner.
+
+The sturdy Toledans were attached, not only to their laws and customs,
+but (which was of more importance in those days) to their own Gothic or
+Mozarabic ritual. This differs in what are considered important
+particulars from the Roman. The host is divided into nine parts,
+representing the Incarnation, Epiphany, Circumcision, Passion, Death,
+Resurrection, Ascension, and Eternal Kingdom of Christ. Of these
+fragments, seven are arranged to form a cross. Because it is not Roman,
+English writers are fond of extolling the beauty and simplicity of this
+liturgy. It was a stumbling-block to Queen Constance and the zealous
+French bishop, who were anxious to reduce all things in Spain to
+Catholic uniformity. The King ordered the question to be decided by
+ordeal of single combat. The Mozarabic champion remained the victor. The
+bishop then demanded the ordeal of fire. The two missals were
+accordingly thrown into a great blazing pile, and the local favourite,
+having probably been saturated with some incombustible preparation,
+remained unconsumed. Another version has it that neither book was
+injured by the flames. Alfonso, after his fashion, clinched the
+controversy by ordering the Mozarabic ritual to be confined to the two
+parish churches allotted to the Christians by their Moorish rulers,
+whilst everywhere else Mass was to be celebrated according to the Roman
+office.
+
+Alfonso VI. had to fight hard to keep possession of Toledo. The
+Almoravide invasion had burst like a tidal wave over Southern Spain.
+Everywhere the Musulmans were recovering their spirits and their
+strength. The Castilian king fled, wounded, from the bloody field of
+Zalaca, with only five hundred followers, leaving behind him twenty
+thousand slain. Toledo could have had no pleasant associations for its
+latest conqueror. Here died three of his _six_ wives--Constancia of
+Burgundy, Isabel of France, and Zayda of Seville. At Ucles was slain his
+only son, while yet a mere child. “Where is your prince?” asked the
+unhappy father of the warriors escaped from the rout. “Where is the
+light of my eyes and the staff of my age?” All were silent. “He is dead
+and you live!” bitterly exclaimed the king. “Yes,” replied Alvar Fañez
+sternly, “we live to save the throne, the country, and the lands
+acquired with our blood and sweat.” But the Alcazar re-echoed to the
+mournful plaint, “Sancho! Sancho, my son!” till Alfonso VI. passed away
+in July 1109. The stones of which the church altars were built had
+miraculously distilled tears in token of his approaching death. Before a
+year had passed the Vega was blackened by the advancing hordes of Islam.
+The Castle of Azeca, the monastery of San Servando, fell into their
+hands; but the City of the Goths, thanks to the leadership of Archbishop
+Bernard and of Alvar Fañez, hurled back the hosts of Ali and was held
+fast for Spain.
+
+The accession of Alfonso VII. el Batallador brought brighter days to his
+capital, but it was assailed during the twelfth century with a
+succession of calamities that might have broken down the patience of
+Job. The year 1113 was marked by an earthquake and disastrous
+overflowing of the Tagus; 1116, by a fire on a large scale; in 1117, the
+price of wheat rose, to fourteen soldos the bushel; in 1168, the Tagus
+was again in flood; again in 1181 and 1200; between 1187 and 1200, all
+the grocery stores were burnt (how or why, we are not told), the Tagus
+was frozen over in 1191, and there was a famine the following year.
+Eclipses of the sun were of the commonest occurrence: we hear of them in
+1114, 1162, 1177, 1191, and 1207. We can easily imagine the Mohammedan
+denizens shaking their heads and ascribing these phenomena, especially
+the last, to the change of government, and extolling the good old times
+of Al Mamûn when earth, river, and sun kept their places and behaved
+according to rule.
+
+Yet Toledo flourished, and her citizens were never more in their element
+than in the spring of the year 1212, when their town became the
+rallying-point and base of the great crusading army, destined to achieve
+the crowning mercy of the Navas de Tolosa. The dominant personality of
+that time was the Archbishop Rodrigo Jimenez de Rada. A writer of
+history, a valiant soldier, a sagacious statesman, princely in his
+magnificence, and angelic in his charity, he was a tower of strength in
+Spain, and especially for Toledo, in the dreadful years of famine and
+brigandage that followed the victory over the Moor. His name will be for
+ever remembered as practically the founder of the great cathedral which
+is the city’s crowning glory and title to fame.
+
+The century of floods, earthquakes, and eclipses passed away, and found
+Toledo a hotbed of civil strife and internecine discord. As in Italian
+cities at the same time, rival families and factions fought in the
+streets, turned their houses into fortresses, and set the civic
+authorities at defiance. The hidalgos of Toledo would hurry home from
+warring with the infidel to plunge their swords into the bosoms of their
+fellow townsmen. Laras and Castros waged pitched battles for the
+possession of the capital of Castile. At last the royal power asserted
+itself, and with terrible effect. We read that “the King Ferdinand came
+to Toledo, and hanged many men and boiled others alive in cauldrons.
+Era MCCLXII. (1224).” This boiler of his fellow men is known as _Saint_
+Ferdinand. His father, Alfonso IX. of Leon, is also mentioned as having
+broiled his rebellious subjects, and flayed others alive. But such
+performances are not considered by a certain class of writers even now
+to argue any real depravity of character.
+
+The sainted king’s severity on another occasion is more creditable to
+him. On his entry into the town, two young women threw themselves at his
+feet and implored vengeance on their betrayer, Fernandez Gonzalo--the
+Alcalde himself. The high rank of the offender did not save him from
+instant decapitation, and his head was within an hour gazing down on the
+scene of his amours from the Puerta del Sol. Whether the betrayed
+damsels or any one else were benefited by these drastic measures, the
+panegyrists of the righteous king forgot to tell us.
+
+Still it was an age when strong measures were called for; and
+recognising this, the citizens themselves instituted the famous Santa
+Hermandad or Holy Brotherhood for the maintenance of public order and
+suppression of brigandage. The organisation received the royal sanction,
+and was endowed with many privileges. It supplied the place of a regular
+police force for all Castile for at least three centuries, and readers
+will remember the frequent references to it in the pages of “Don
+Quixote.”
+
+Toledo had not yet become a capital in the sense of being the permanent
+residence of the sovereign. Saint Ferdinand and his immediate
+predecessors and successors were essentially soldiers. Their Court was
+the camp, and in the unremitting war of reconquest it was necessarily
+transferred from place to place, from one confine of the ever-expanding
+kingdom to the other. When at Toledo the king resided at the
+Alcazar--which in Moorish days had been a fortress constructed of
+_tapia_ (a species of concrete), and which was fortified with masonry by
+Alfonso VI. The building was enlarged and embellished, and made more
+suitable for a royal residence by Sancho el Bravo (1284-1295). But the
+state of affairs in what may be termed the Epoch of the Reconquest
+(1085-1252), was obviously not favourable to the development of the
+building arts. Toledo possesses few memorials of these days, for such
+edifices as may have been founded at or before that time have undergone
+such transformations as to render them practically the products of later
+ages. Such supplies and energies as were not absorbed by the
+all-important business of war were naturally diverted to the building of
+the cathedral, which was not, as we shall see, completed for another two
+centuries.
+
+Mediæval history concerns itself almost exclusively with kings and
+princes, battles and treaties. Of the life of the people in Spain, as
+elsewhere, we hear very little. From stray references in the records we
+glean the information that the streets of Toledo were filthy and
+unpaved, and frequently encumbered with the carcases of beasts. Over the
+gates the heads of malefactors were ever rotting, poisoning the already
+vitiated air. We have concise details, too, of no particular interest,
+as to the municipal constitution of the city. Beyond this meagre
+information, we know something of the history of Toledo only so far as
+it was also the history of Spain.
+
+Pedro I., the Cruel (1350-1368), had no liking for the gloomy, turbulent
+town, and during his reign Seville might have been called the seat of
+government. However much he may have endeared himself to the
+Andalusians, the ferocious king was no favourite with the Toledans. When
+the ill-used queen, Blanche of Bourbon, escaped from her prison in the
+Alcazar and claimed the right of sanctuary in the cathedral, the city
+rose in her behalf, and a thousand native blades sprung from their
+scabbards to protect her. An alliance was concluded with Talavera and
+Cuenca, and the gates opened to Don Enrique of Trastamara, the king’s
+half-brother. It is said that Pedro’s faction held the bridge of San
+Martin, expecting the rebel prince to enter that way, while his
+supporters introduced his troops into the town by the opposite bridge of
+Alcantara. The Trastamara partisans attacked the Jewish quarter, the
+Israelites being especial favourites of Don Pedro, and a frightful
+massacre ensued. Soon the king’s party gained the upper hand, and the
+unfortunate Blanche was removed from the city, wherein she had found
+such staunch friends, to the castle of Sigüenza.
+
+This is not the first time we read of a massacre of Jews at Toledo. Yet
+the town was for many centuries one of the strongholds of Jewry in
+Europe, and a centre of Hebrew culture and activity. The story of the
+Jews of Toledo is, in fact, one of the most interesting chapters in the
+history of the city and of Spain.
+
+Jews were settled in the Peninsula at a remote period. The author of
+“The Moorish Empire in Europe” (S. P. Scott) thinks their arrival in
+that country “antedated the Christian Era by at least a thousand years.”
+As we know, legend actually ascribes the foundation of Toledo to the
+race. This may, we think, be due to a confusion of the Israelites with
+Phœnician settlers. At the time of Christ, the Jews of Spain were very
+numerous and opulent. Another legend tells how their chief men addressed
+a letter to the Sanhedrim at Jerusalem, protesting against the
+Crucifixion. A document--altogether spurious, it need hardly be
+said--has been produced in support of this story. After the destruction
+of Jerusalem by Titus, there seems to have been a large influx of Hebrew
+refugees into Spain. So long as the Visigoths remained Arians, they
+remained tolerant; but Reccared, soon after his conversion to
+Catholicism, levelled the severest enactments against the Israelites. He
+set a bad precedent. With Sisebut began the long era of persecution. His
+harsh edicts, forcing the Jews to choose between baptism and banishment,
+are still to be found in the Fuero Juzgo. Swinthila, Kindila,
+Recceswinth, Erwig, and Egica followed the same policy. Among the
+tyrannical enactments of this time is the grotesque command that the
+Jews of Toledo should eat pork! Under these circumstances it is not to
+be wondered that the Spanish Jews beheld with dawning hope the
+successful progress of the Mohammedans in Northern Africa. A secret
+intelligence was established with these Semitic conquerors of a newer
+faith, and thanks to the constant intercourse between the Jews of Africa
+and those of Spain, Musa and Tarik were fully supplied with the most
+minute particulars of the Visigothic State.
+
+The period of the Khalifate was the Golden Age of Spanish Jewry. The
+numbers of the race, depleted by persecution, were increased by the
+advent of upwards of twelve thousand Yemenite Jews, invited by the
+Moorish conquerors. Never since the days of Solomon had the Children of
+Israel known such peace and prosperity. Possessed already of a
+remarkably high degree of culture, they communicated their knowledge to
+the Arabs, who showed themselves generous patrons and protectors. Nor
+were the new rulers of Spain slow to perceive the advantages to be
+derived from the subject race’s commercial enterprise and talent for
+affairs. Though the versatility of the Jew at this time was one of his
+most remarkable characteristics, it was above all as a physician that he
+was esteemed by Muslims and Christians alike. In this capacity he became
+the indispensable and most trusted companion of sovereigns and prelates,
+and penetrated into the very arcana of power. From Court physician to
+Minister the transition in those days of personal government was easy,
+and we find Hasdai ben Isaac Ibn Shaprut occupying both positions under
+Abd-ur-Rahman I.
+
+As far as was consistent with their religious beliefs, the Jews of
+Toledo assimilated themselves with the conquerors. The minutes of the
+congregation were kept in Arabic down to the end of the thirteenth
+century, and that language was sedulously cultivated and almost
+exclusively employed by the brilliant succession of Jewish theologians
+and humanists who made the city a centre of literary and scholastic
+activity.
+
+We have it on the authority of Mr. S. P. Scott that, under the Muslim
+dominion, the Jews were allowed to elect a king, always a prince of the
+House of Judah, “who, while not openly invested with the insignia of
+royalty, received the homage and tribute of his subjects.” It is
+illustrative of the respect of the race for learning that the erudite
+Rabbi Moses, when recognised exposed as a slave at Cordoba, was
+immediately elected to this dubious royalty.
+
+The Jews of Toledo must have viewed with unpleasant apprehensions the
+re-establishment of the Catholic monarchy. Yet at first it seemed they
+had no cause for alarm. Alfonso VI., as we know, granted to them the
+liberal privileges by which the Muslims also benefited. But in the
+charter confirming the customs of the Mozarabes (1091) it was made plain
+that no penalty would be exacted of a Christian for the murder of a Jew
+or Muslim. The result might have been foreseen. Seventeen years after,
+the people rose in savage fury, broke into the synagogues and butchered
+the rabbis in their pulpits, burnt and pillaged every Jewish house, and
+slaughtered the luckless objects of their animosity without mercy. But
+it was the people, rather than the governing classes, who manifested
+this violent racial prejudice. As in every other land, in spite of
+persecution, the Chosen People grew in wealth and abated not their
+industry and commercial activity. It was they who brought to the grim
+Gothic city the choicest products of the East; they alone who could
+combat the ravages of disease; they alone who could supply the needy
+king and nobles with the coin for which in Italy men paid as much as one
+hundred and twenty per cent. interest. Spain hated the Jew, but could
+not as yet do without him.
+
+The rule of Alfonso VI.’s successors could not have been excessively
+harsh, for many Jewish families, hounded out of Southern Spain by an
+unusual manifestation of Mohammedan bigotry, took refuge within the
+walls of Toledo. Thanks to the influence of Fermosa, the Jewish mistress
+of Alfonso VIII., many of her race exercised important functions at the
+Court. But the fanatical temper of the populace attributed to the favour
+shown these unbelievers the disaster of Alarcos, and the beautiful
+favourite and her friends were murdered in the very presence of the
+king.
+
+“At the beginning of the thirteenth century,” says Mr. Joseph Jacobs,
+B.A., in the “Jewish Encyclopædia,” “the Shushans, the Al-Fakhkhars, and
+the Alnaquas, were among the chief Jewish families of Toledo, Samuel Ibn
+Shushan being nasi [the chief of Sanhedrim] about 1204. His son built a
+synagogue which attracted the attention of Abraham ben Nathan of Lunel,
+who settled in Toledo before 1205. During the troubles brought upon
+Castile by the men of ‘Ultrapuertos’ in 1211-12, Toledo suffered a riot;
+and this appears to have brought the position of the Jews more closely
+to the attention of the authorities. In 1219 the Jewish inhabitants
+became more strictly subject to the jurisdiction of the Archbishop of
+Toledo, who imposed upon every Jew over twenty years old an annual
+poll-tax of one-sixth of a gold mark; and any dispute about age was to
+be settled by a jury of six elders, who were probably supervised by the
+nasi, at that time Solomon ben Joseph Ibn Shushan. In the same year
+papal authority also interfered with the affairs of the Toledo Jews,
+ordering them to pay tithes on houses bought by them from Christians,
+‘as otherwise the Church would be a considerable loser.’”
+
+A significant phrase! But not only houses and land all over the country
+were mortgaged to the Jews, but also church plate and even the sacred
+vessels. Jewish usurers were said to drink out of the chalices used for
+the Precious Elements. The exasperation of the Christians was
+disregarded by Alfonso X. the Learned, who entertained a profound
+respect for the erudition and traditions of the Jews. A Hebrew, Don Zag
+Ibn Said, directed the compilation of the famous Alfonsine Tables; and
+under the patronage of the monarch, Toledo became famous for its
+translations from the Arabic into Hebrew, Latin, and Spanish. The rabbis
+distinguished themselves in medicine and astronomy. While doing his
+utmost to draw the oppressed race within the fold of the Catholic
+church, the Learned King granted permission to the Jews of Toledo to
+erect that beautiful synagogue which, under the name of Santa Maria la
+Blanca, ranks to-day among the national monuments of Spain.
+
+“The Spanish Jews,” says Mr. Scott, “by reason of the peculiarities of
+their situation, the hostility of their rulers--which their pecuniary
+resources and natural acuteness often baffled, but never entirely
+overcame--and their successive domination by races of different origin,
+faith, and language, were impressed with mental peculiarities and
+characteristics not to be met with in their brethren of other countries.
+Their religious formalism was proverbial, and the Hebrew of Toledo
+observed more conscientiously the precepts of the Pentateuch and Talmud
+than the Hebrew of Damascus or Jerusalem.” Thus we find the Jews of
+Toledo siding against the rationalising theories of the great
+Maimonides, himself a native of Cordoba, and whose tomb is a conspicuous
+landmark on the western shore of the Sea of Galilee.
+
+Don Amador de los Rios reproduces an ancient record for the year 1290,
+stating the amount of tribute payable by the various Jewish communities
+of Castile. Out of a total of 2,801,345 maravedis the Israelites of the
+city of Toledo contributed 216,500, and those in the entire archdiocese
+1,062,902 maravedis. The pomp of Catholic public worship and the wealth
+of the clergy are partially accounted for by these figures.
+
+Up till then, always the most valuable (from a European point of view)
+and the most prosperous element of the population of Toledo, the Jews
+assumed yet greater prominence in the reign of Pedro I. That prince was
+declared by his numerous enemies to be the substituted child of a
+Jewess, and his Court was reviled as a Jewish Court. He showed favour to
+the race in many ways. His treasurer and confidential adviser was the
+famous Don Samuel Ha Levi. Whether or not the Jewish statesman’s
+administration was in the interests of Castile, it is too late in the
+day to say; but there can be no doubt that he was a loyal servant of his
+king and a devoted friend of his own people. He it was who caused to be
+erected Toledo’s other great synagogue, now called the Transito. He was
+a warm ally of the beautiful Maria de Padilla, Pedro’s gentle mistress,
+and for years, with consummate astuteness, defended himself against the
+insidious and violent attacks of his innumerable enemies. His enormous
+wealth--honestly or dishonestly acquired--brought about his downfall. In
+the very year (1360) the synagogue was completed, Samuel was seized at
+Seville, and, by order of the king, placed upon the rack. The haughty
+Hebrew is said to have died of sheer indignation. Pedro shed crocodile
+tears over his ill-starred Minister’s fate, and greedily confiscated his
+property. His fortune was found to consist of 70,000 doubloons, 4000
+silver marks, twenty chests filled with treasure, and eighty Moorish
+slaves. The property of all Levi’s relatives was also forfeited to the
+Crown, and was valued at 300,000 doubloons. Pedro did not, however,
+withdraw his favour from the Jews as a race. It had been well for them
+if he had. Their loyalty to the Bluebeard King earned for them the
+detestation of the partisans of Enrique de Trastamara, and brought
+about, as we have seen, the massacre of 1355, in which 1200 Jews
+perished.
+
+The new king, Enrique, took advantage of a riot said to have been
+excited by the arrogance of the converted Jews in 1367, and in which
+1600 houses were burnt to the ground, to impose a tribute of no less
+than twenty thousand gold doubloons on the afflicted people.
+
+It was possibly due to the presence of a large Israelite population that
+Toledo, very much against its will, had been held for King Pedro in
+1369. It was, in consequence, fiercely assailed by its own archbishop,
+Don Gomez Manrique, while Pedro sent an army largely composed of
+Saracens to its relief. The city was a prey to famine, internecine
+warfare, pestilence, and to every description of calamity. The killing
+of Pedro and the accession of Enrique were hailed as an ineffable boon
+by the wretched citizens. But from that hour the position of the Jews
+grew more and more pitiable. Their prosperity waned, and with it the
+prosperity of the old city in which they had so long been unwelcome
+guests.
+
+Their final ruin as a community was effected mainly at the instance of
+St. Vicente Ferrer, the Dominican. Visiting the city in 1391 he so
+inflamed the devout populace with apostolic zeal that they burst into
+the larger of the two Juderias or Ghettos, put practically the whole of
+its inhabitants--including the venerable rabbis, Judah ben Asher and
+Israel Alnaqua--to the sword, sacked the quarter from end to end, and
+demolished most of the synagogues. The saintly Ferrer reappeared at
+Toledo twenty years later, but there were nominally no Jews left to
+massacre. The Hebrews that remained had been “converted.” The good friar
+did what he could, and induced the Toledans to confiscate the synagogue
+built in Alfonso X.’s reign and convert it into the Christian Church of
+Santa Maria la Blanca. We suggest that it should have been renamed San
+Vicente del Sangre.
+
+The work of destruction was done thoroughly, and henceforward we hear
+little in the story of Toledo of the Children of Israel. But their names
+have not been altogether forgotten. Mr. Jacobs gives a long list of
+members of that luckless congregation, famous for their learning and
+science. He enumerates theologians, physicians, astronomers,
+grammarians, satirists, poets and astrologers. Toledo, thanks to these
+latter, achieved an unenviable reputation as a centre of the magic art.
+Indeed, this was known at one time as the Arte Toledana. “It is said”
+(we quote Mr. Jacobs) “that Michael Scott learned his magic from a
+Toledo Jew named Andreas, who translated works on magic from the
+Arabic.” The same writer elsewhere says: “The Spanish Jews differed but
+little from the Christian population with regard to customs and
+education. They were fond of luxury, and the women wore costly garments
+with long trains, also valuable jewellery; this tended to increase the
+hatred of the population towards them. They were quarrelsome and
+inclined to robbery, and often attacked and insulted one another even in
+their synagogues and prayer-houses, frequently inflicting wounds with
+the rapier or sword they were accustomed to carry.” With royal
+permission a Jew might have two wives.
+
+Deprived of the more legitimate pastime of Jew-baiting, the Toledans
+began to turn their swords against each other and their sovereign.
+“Never,” remarks Gamero, “had the nobility shown itself so arrogant and
+rebellious as during the reign of Juan II.” Envy of that great man and
+powerful Minister, Don Alvaro de Luna, was mainly the cause of this. The
+leading families took different sides, and the streets frequently were
+slippery with the blood of the citizens. The Alcalde, Pero Lopez de
+Ayala, declared against the great Constable and held the town as an
+independent seigneurie against the king’s forces for five years. King
+Juan had deserved better things of his lieges of Toledo, for in 1431 he
+had entertained them on his return from his campaign in Andalusia with
+festivities and pageants of the gayest character. The people took part
+in bull fights and games in the Zocodover, while the knights and
+_ricoshombres_ jousted and feasted in the Vega. The Alcazar re-echoed to
+the music of lute and lyre, and the songs of the minstrels. But Toledo
+was not to be subdued with kindness. The artisan class presently
+revolted on the imposition of a new tax, the tumult being the occasion
+of the saying, _Soplara il odrero, y alborozarse la Toledo_ (Let the
+ironmonger blow and Toledo will rise). Next, the cruel and miserly
+governor, Pedro Sarmiento, followed Ayala’s example, and demanded of the
+king the dismissal of the noble Constable. The royal forces were set at
+defiance, and a pitched battle was fought below the walls. The fortune
+of the day remained with the rebels, and Sarmiento was able for a time
+to dictate to his sovereign. He was at last crushed, but was able to
+carry off an enormous amount of treasure loaded on two hundred mules.
+
+These events had produced a permanent feud between the families of Ayala
+and Silva, only terminated by the marriage of the heir and heiress of
+the respective houses. Toledo, during the first three-quarters of the
+fifteenth century, was a prey to incessant warfare. Sometimes the whole
+town would be contending against external foes for or against the king,
+sometimes it would be the nobles contending with the people, or the
+church with the nobles. Toledo, as a whole, supported its archbishop,
+Carrillo, when in 1465 he pronounced sentence of dethronement on Enrique
+IV. Three years later that unlucky monarch managed, by winning over the
+Ayalas to his side, to make his entry into the city. The proud chief of
+the family was himself obliged to flee from the town in 1471. The king
+was besieged in the Alcazar; the balance inclined sometimes to this
+party, sometimes to that. The old animosities between the Ayalas and
+the Silvas blazed up again from time to time; and under its weak
+sovereign Toledo had its fill of fighting. But those brave days were
+drawing to a close, and in 1474, came one before whom even Toledans had
+to bend the knee and whom, recognising in her a stronger spirit, they
+afterwards delighted to honour. The accession of Isabel the Catholic on
+the death of Enrique IV., and to the exclusion of the rightful heiress,
+Juana, calumniously nicknamed La Beltraneja, marks the beginning of a
+new era in the history of Spain, and therefore of Toledo.
+
+
+
+
+BUILDINGS OF THE CASTILIAN PERIOD
+
+
+The earliest specimens of post-Moorish architecture in Toledo partake
+more or less of the character of fortifications. For many years, as we
+have seen, after the Reconquest the Christians’ hold upon the city was
+precarious, and the first efforts of the Castilian kings was naturally
+towards strengthening its defences. The history of the walls of Toledo
+is obscure and confused; but it seems certain that a wall has always
+extended within historic times across the northern side of the loop
+formed by the river. The Conqueror Alfonso VI. strengthened and added to
+this defence by the erection of the newer or outer wall, inclosing the
+suburb or Arrabal del Antequeruela. He also appears to have restored the
+inner or Moorish wall, and has left traces on the magnificent Puerta del
+Sol, a Moorish work which must have been quite new in his day. Indeed,
+it may possibly have been built by Moorish masons after the Reconquest.
+It is a noble and impressive portal to the grand old city, and most
+powerfully impresses the beholder. Quadrado will have it that so
+dignified a monument can have been the work only of a ruling race, in
+the days of its liberty and glory; it could not have been the mere
+afterglow of the ascendency and taste of a nation now subjugated. We
+may, however, be permitted to doubt whether the political decadence of a
+people becomes _instantly_ manifested in its artistic life. The gateway
+forms a high tower with two flanking turrets, one square and abutting on
+the wall, the other rounded and finishing off the _enceinte_. The portal
+is composed of a succession of four arches, all being of the horseshoe
+shape, though the outer arches are more pointed than the inner ones.
+Above the outermost arch is a double row of arcades of brickwork, the
+arches intersecting. Over the second arch is a circular medallion in
+relief, representing the Virgin offering the chasuble to St. Ildefonsus.
+Another relief in marble is supposed to represent the summary punishment
+of Fernan Gonzalez by St. Ferdinand, for the seduction of two young
+women. The battlements are of a type common enough in Spanish Christian
+architecture, but which Mr. Street thinks was derived originally from
+the Moors. Another writer, Mr. O’Shea, remarks: “This gate with its warm
+orange tints, that contrast so admirably with the lapis-lazuli azure of
+the cloudless sky, its battlement fringing the top, and opening vistas
+of most novel aspect, is a treasure for an artist.” The exceeding
+quaintness and majesty of this gateway have moved many writers to
+express themselves almost too rapturously. Toledo’s other gates--the
+Puerta Nueva de Visagra and the Puerta del Cambrón--date from a much
+later period.
+
+The rude, dismantled pile of the Castle of San Servando, which crowns
+the height opposite to the Bridge of Alcantara, marks the site of a
+monastery, erected by Alfonso VI. in gratitude for his escape from the
+rout of Sacralias (1086). It was peopled by Benedictines from Sahagun
+and Cluny. These holy men soon found by the defensive works with which
+their new home was provided that their duties would not be entirely of a
+clerical description. Yusuf-ben-Tashfin, the Almoravide leader, almost
+destroyed the building during his abortive siege of Toledo, and Alfonso
+subsequently gave the establishment the aspect and features of a
+fortress. As such it bore the brunt of the repeated Saracen onslaughts
+in the first half of the twelfth century. It was abandoned in
+consequence by the monks, and was bestowed by Alfonso VIII. on the
+Knights Templars. It continued in their possession till the suppression
+of the Order in 1312. It seems to have fallen into ruins soon after, and
+was rebuilt about 1386, on the initiative of the great archbishop,
+Tenorio. It is not a very interesting monument. It is built of masonry,
+with facings of red brick here and there. Three of its four sides are
+standing, and the same number of towers. These bear a resemblance to the
+outer or circular tower of the Puerta del Sol. The windows and arches
+exhibit Moorish, or rather Mudejar, influence. The castle in its day
+must have been a fine specimen of the mediæval stronghold. To-day its
+ruin is complete. It serves as a home to the owl and the bat, and the
+very ghosts of monks and templars seem to have deserted it as
+uninhabitable.
+
+The castle is referred to by Calderon and other writers, and seems at
+one time to have been a favourite spot for duels.
+
+The increased importance of Toledo as the capital of Castile
+necessitated the improvement of its communications with the outside
+world. The Bridge of Alcantara was, at the time of the Reconquest, the
+only permanent traject across the Tagus, and the bridge of boats on the
+western side of the town having been swept away, Alfonso X. (1252-1289)
+decreed the construction of a stone bridge now known as the Puente de
+San Martin. It was built of five arches and lasted till the reign of
+Pedro I., when it was blown up by that king’s partisans to obstruct the
+entry of Enrique de Trastamara. It continued in a practically demolished
+condition for twenty years, when the great archbishop, Pedro Tenorio,
+determined to restore the missing arches at his own expense. It is said
+that the architect entrusted with the work found, to his dismay, the
+night before the day fixed for the opening, that, owing to some
+oversight in his calculations, the whole fabric would collapse on the
+removal of the scaffolding. He made known the cause of his anxiety to
+his wife; and she rose at dead of night, and setting fire to the whole
+structure preserved her husband’s reputation and, not impossibly, his
+life. The reconstructed bridge was, of course, without fault or flaw. A
+final reconstruction took place in 1690. On the town side, the Puente de
+San Martin is defended by two square towers. Above the archway are two
+inscriptions relating to the works executed by order of Charles II. The
+further extremity of the bridge is defended by another square
+battlemented tower with a horseshoe arch. Its two bridges are among the
+most picturesque features of Toledo.
+
+With the obvious exception of the cathedral, the most interesting
+monuments of what we may term the middle age of Toledo are the two
+synagogues, now styled Santa Maria la Blanca and El Transito. The Jews,
+as we have seen, everywhere loom large in the annals of Toledo.
+
+The first-named of these temples derives its actual name from a
+tradition that a Christian church occupied the site in Visigothic times,
+to account for the dedication of which a legend is repeated similar to
+that of Santa Maria ad Nives at Rome. It is situated on what was once
+the Jewry or Ghetto, on the western side of the city, not far from the
+Puente de San Martin. Its foundation--as a synagogue--is variously
+ascribed to the period of the Reconquest, to the last days of the
+Moorish dominion, and to the latter period of the Khalifate. The first
+date seems the most probable. It continued to be used for the Jewish
+worship till 1405, when, as has been already told, it was seized and
+converted into a Catholic church. It has long since become a merely
+secular monument. The exterior, approached through the most miserable
+and sordid neighbourhood, is very far from reflecting the splendour the
+Jews enjoyed at its foundation. The façade, mean and dilapidated like
+the rest of the exterior, is probably of much more recent construction
+also. Within, a strange, fantastic impression is created. The phrase,
+“How are the mighty fallen!” involuntarily rises to the lips as one
+contemplates the traces of grandeur and elegance subsisting amid ruin
+and decay. The temple is symbolical of the race: exotic, reminiscent of
+a lost glory, depressed, oppressed. There is, however, no trace or
+suggestion of the primitive Hebrew architectural style about the
+building. The traditions of Jerusalem were either unknown to, or had
+been forgotten by, those who reared these walls--likely enough Moors,
+whose skill was always at the disposal of Christian and Jew. In fact,
+the synagogue may be taken as a fine example of late Saracenic work. The
+plan consists of a nave with two aisles on each side. The nave was
+prolonged in the seventeenth century so as to form a chancel. The
+building is 81 feet long by 63 feet wide. The nave reaches to a height
+of 60 feet, and is 15 feet broad, while the aisles measure only 12 feet
+and rise from 40 to 50 feet high. The nave and aisles are separated by
+four rows of octagonal columns, from which spring bold horseshoe arches
+of the true Moorish type. The capitals are of stucco and elaborately
+designed with floral devices, in which the fir-cone is conspicuous;
+there is a vague suggestion of Byzantine influence. Mr. Street imagines
+them to be much later than the original capitals which they overlay.
+“All the Moorish decorative work seems to have been executed in the same
+way in plaster. This was of very fine quality, and was evidently cut and
+carved as if it had been stone, and seldom, if ever, I think, stamped or
+moulded, according to the mistaken practice of the present day. The
+consequence is that there is endless variety of design everywhere
+and--wherever it was desired--any amount of undercutting. The spandrels
+above the arches are filled in with arabesque patterns, and there is a
+cusped wall arcade below the roof.” All this stucco work appears to date
+from about the time of Alfonso X., or perhaps from a later restoration.
+Above the nave is an exquisite frieze in low relief, formed of lines
+interlacing and crossing each other. The roof is of pine-wood, and _not_
+of Lebanon cedar, as at one time alleged. Mr. Street thinks “the
+pavement is very good, but must be about the date of the conversion of
+the synagogue into a church. It is divided into compartments by border
+tiles laid down the length of the church on either side of the columns.
+The spaces between them are filled in with a rich diaper of encaustic
+and plain red tiles, whilst the general area between these richer bands
+is paved with large red, relieved by an occasional encaustic, tiles. The
+latter have patterns in white, dark blue, and yellow, and in all cases
+they are remarkable for the beautiful inequality of the colours of the
+surface of the design. Both colour and material are in themselves better
+than the work of our tile manufacturers of the present day and
+illustrate very well the difference between hand-work and machinework.”
+The Catholics added three altars in the plateresque style, which, it is
+unnecessary to say, do not harmonise with the rest of the edifice. One
+of the retablos is attributed to Berruguete.
+
+Comparing this old Jewish meeting-place with the other and later
+synagogue, Miss Hannah Lynch remarks: “As a religious temple, as the
+expression of solemn worship rooted in the strange and mysterious East,
+the former is by far the more imposing, the more earnest and harmonious.
+Prayer in the _Transito_ seems a matter of graceful and artistic
+dilettanteism; here it appears a great racial cry of the soul.”
+
+The later vicissitudes of this synagogue are curious. About the middle
+of the sixteenth century it was converted by Cardinal Siliceo into an
+asylum for the professional frail ones of Toledo; but about half a
+century later the establishment ceased to exist--whether because there
+was no more frailty in Toledo or no more repentance, we are not told.
+Subsequently it was turned into a barracks, and then (O’Shea says) into
+a dancing-hall.
+
+The Transito (so called after the Transit of the Blessed Virgin, _i.e._,
+the Assumption) is situated in the same quarter. We have already told
+the story of its foundation by Samuel Ha Levi, the powerful treasurer of
+Pedro I. Upon the expulsion of the Jews from Spain in 1492, it was
+handed over to the Order of Calatrava, who dedicated it to St. Benedict
+(San Benito). This synagogue is also purely Moorish in style, but of the
+later or Granadan period. Its plan differs radically from that of Santa
+Maria la Blanca. It constitutes a parallelogram, undivided into naves
+and aisles, 76 feet by 31 feet, and 44 feet high. The effect is simple
+and graceful. The side walls are quite plain up to the height of about
+twenty feet, where a broad frieze of stucco runs round the building,
+with floral and star pattern designs, and bordered by inscriptions in
+Hebrew. Above this is an arcade with double shafts, and extremely rich
+capitals. The arches are of the horseshoe form, cusped into seven
+points. Eight of the arches contain lattice-work of the most beautiful
+design. Indeed, the whole of the arcading is rich and graceful beyond
+all praise. The western wall, where was formerly the Rabbinical chair,
+and is now the altar, is profusely decorated with patterns,
+inscriptions, and coats of arms, down to within seven feet of the floor.
+In the opposite wall windows have been pierced, breaking into the
+frieze. The roof is of cedar, and a fine specimen of _artesonado_ work.
+Across it run tie-beams, superfluous in this case, but of which the
+Moorish builders were fond. The rafters slope down equally to a deep
+cornice, which is carried right across the angles, “so as to give
+polygonal ends to the roof.”
+
+On either side of the altar are long Hebrew inscriptions now illegible,
+and the precise meaning of which has been a subject of fierce and
+perpetual controversy. The text on the Epistle side may be translated:
+“The mercies which God hath shown us, raising up amongst us judges and
+princes to deliver us from our enemies and oppressors.... And we of this
+land have built this house with a strong and mighty arm. The day that it
+was built was great and delightful for the Jews, who, attracted by the
+fame of these things, came from the ends of the earth to see ... if a
+ruler should be given us who should be as a tower of strength ... to
+govern our commonwealth.... And there was raised up to help us, Samuel
+[Levi,] and God was with him and with us, and who found for us grace and
+mercy. He was a man of peace, powerful among all the people, and a great
+builder. These things were accomplished in the reign of the King Don
+Pedro; may God be his helper, enlarge his dominions, prosper him and
+succour him, and place his seat over all princes. May God be with him
+and all his house, and may every man be humbled before him ... and let
+those who hear his name rejoice to hear it in all the Kingdoms, and let
+it be manifest that he has been unto Israel a defender and a shield.”
+The inscription on the Gospel side proclaims the Rabbi Myir Abdali as
+the architect and extols his pre-eminent virtues, and pathetically
+celebrates the return of good and prosperous times--times not destined
+to last for the luckless race!
+
+In the neighbourhood of the synagogue exists the skeleton of the palace
+built by the great Jewish treasurer. It afterwards passed into the hands
+of the Marquises of Villena, and is associated with Don Enrique de
+Aragon, uncle of Juan II., a very interesting personality. He was a man
+of vast learning, and was, probably in consequence, reputed to be a
+magician and in league with the Evil One. Indeed, his magnificent
+library, including his own writings, was, in after years, burnt by order
+of the Inquisition. Beneath the mansion are still to be found various
+subterranean chambers, which popular superstition declares to have been
+the scene of Don Enrique’s conferences with Satan and his satellites.
+This necromancer was indeed Marquis of Villena, but it is by no means
+certain that he inhabited this house, which afterwards became the
+property of another family (the Pachecos), on whom the title was
+conferred by Enrique IV. The palace was deliberately burnt by its owner,
+the Duque de Escalona, in the reign of Charles V., it having been
+contaminated, as he thought, by the temporary residence within its walls
+of the Constable de Bourbon, then in arms against his own country. The
+Castilian grandee’s sense of honour was not a mere pose. The building is
+now the property of the Marquis de la Vega, who has tastefully restored
+it. It receives additional interest from its having been, as is now
+believed, the home of El Greco.
+
+Two ruinous structures are pointed out as the palaces of Don Pedro and
+of Enrique de Trastamara respectively. The latter probably belonged to
+one of the Counts of Trastamara, not to the king who bore that title. It
+is in the Moorish style, with horseshoe arches, friezes, and _ajimeces_.
+The so-called palace of Don Pedro is of the same class of architecture,
+but has much less to show--a horseshoe arch, a dado, and an almost
+illegible Arabic inscription which reads, “Lasting glory and perpetual
+prosperity to the master of this house.”
+
+Better examples of the Mudejar (or late Moorish) style are the Casa del
+Mesa and the Taller del Moro. The former is situated close to the church
+of San Román, and was built soon after the Reconquest by that prominent
+Toledan, Esteban Illán. The saloon is one of the very best examples of
+this style of architecture. It is 60 feet long by 22 feet wide, and 36
+feet high. The artesonado ceiling is thus described by Street: “The
+patterns are formed by ribs (square in section) of dark wood with a
+white line along the centre of the soffit of each. The sides of the ribs
+are painted red, and the recessed panels have lines of white beads
+painted at their edges, and in the centre an arabesque on a dark blue
+ground. The colours are so arranged as to mark out as distinctly as
+possible the squares and patterns into which it is divided, and the
+sinking of some panels below the others allows the same pattern to be
+used for borders and grounds with very varied effect. The reds are
+rather crimson in tone, and the blues very dark.” The entrance--of a
+slightly horseshoe pattern--is framed in exquisite and luxuriant
+traceries. So also is the opposite _ajimez_ window, but here the designs
+show Gothic influence. A high dado of _azulejos_ and a very deep cornice
+and frieze of delicate workmanship complete the decoration of this very
+beautiful hall.
+
+The Taller del Moro is (quite without foundation) said to occupy the
+site of the massacre of the _Noche Toledana_. It was so called because
+it was used as a workshop during the building of the cathedral. There is
+a conflict of opinion as to its age, but it probably dates from about
+the time of the Reconquest. The Arabic inscriptions, however, imply that
+it was intended for the habitation of a Moor, the Latin texts being
+doubtlessly added by later owners. The Taller consists of a large hall,
+54 feet long by 23 feet wide, and of two adjacent smaller apartments. It
+exhibits the artesonado ceiling, the delicate stucco-work and friezes
+with star-like and floral designs we are led to expect in specimens of
+Mudejar architecture. Street doubts if the stucco-work dates further
+back than 1350. The portal is in good Gothic style, and was added by
+Cardinal Mendoza.
+
+As in all other Spanish cities, after their reacquisition by the
+Christians, in Toledo, for many, many years, Moorish architects and
+masons continued to be employed even in the construction of sacred
+edifices. This accounts for the mixed Christian and Saracenic style of
+several of the churches, even where these had not originally been
+mosques. The interesting church of San Román had been a Mohammedan
+temple remodelled to the requirements of Christian worship, while the
+tower or steeple is a Mudejar work added by Esteban Illán, and (to quote
+Mr. Street), “the finest example of its class to be seen here.” The
+steeple is of rough stone and brick, of a warm brown tone, and quite
+plain for more than half its height. The upper stages are pierced with
+windows which exhibit a very ungraceful trefoiled variation of the
+horseshoe arch--then fast dying out. Notwithstanding, the steeple has a
+noble and rugged appearance, like most things Toledan. The church itself
+has been so often restored, that it is hard to assign it to any one
+epoch. The Capilla Mayor is of the sixteenth century, and of the
+plateresque style. One of the altars has a front of black stone, carved
+at the edges in imitation of an altar-cloth with embroidery and lace.
+Here and there traces may be detected of the original mosque. The
+steeples of the churches of Santa Magdalena, Santo Tomé, San Pedro
+Martir, San Miguel, Santa Leocadia, and La Concepcion, resemble that of
+San Román, but differ greatly in size.
+
+The minor churches of Toledo are not specially interesting. Without the
+walls, however, is one with noteworthy characteristics. The little
+“basilica” of the Cristo de la Vega occupies the site of the famous
+church of St. Leocadia, built by the Visigothic King, Sisebuth, in the
+seventh century, to mark the place of the virgin saint’s martyrdom.
+Several of the great councils were held here. The story is told that the
+saint appeared in person here to St. Ildefonso, in the presence of King
+Recceswinth, and having expressed her satisfaction at the theologian’s
+masterly defence of the virginity of the Blessed Virgin, allowed him,
+with the royal dagger, to cut off a piece of her veil as a souvenir of
+her visit. This event naturally raised the “basilica” in the estimation
+of the devout. It was demolished by the Moors, and restored in 1162. It
+underwent many restorations and was finally ruined by the French during
+the War of Independence. The present edifice represents little more than
+the apse of the chapel of the Cristo de la Vega. There was a miraculous
+crucifix, attached to which is a particularly silly legend. Two lovers
+had plighted their troth before the image, and the man afterwards denied
+the promise. The girl adjured the Christ to bear witness to the truth of
+her statement, and the figure obligingly extended a wooden arm while a
+voice from on high proclaimed, “_I testify._” Another version has it
+that the figure testified in favour of a Christian who (_mirabile
+dictu_) had lent money to a Jew; and yet another, that it expressed
+approbation of the magnanimity of a cavalier who had pardoned his enemy
+under extraordinary circumstances. Whatever it may have done, the
+crucifix has long since disappeared. An Arabic inscription deduces that
+Mohammed ben Rahman, first King of Toledo, was buried here, A.D. 743. As
+there was no king in the city of that year, and as the first independent
+sovereign was otherwise named, the inscription must be apocryphal or
+else the word “king” must signify in the original merely _Vali_ or
+governor.
+
+A legend, better known and rather less silly than that of the Cristo de
+la Vega, deals with the love affairs of an imaginary Moorish princess,
+called Galiana “la mora mas celebrada de toda la moreria,” the daughter
+of an equally mythical king, called Galafre. _He_ is linked up with
+history by some writers alleging him to have been the nephew of the
+wicked Count Julian, Galiana was the apple of her parent’s eye, and for
+her delectation he built a palace abounding in all conceivable delights.
+The young lady had, in some way, compromised herself with a gigantic
+Moor, Bradamante by name; and to rid her of this truculent wooer, no
+less a personage than Charlemagne appeared on the scene. All, of course,
+ended happily (except for Bradamante) by the conversion of the lovely
+princess and her marriage to the gallant Frank. In the Puerta del Rey,
+outside the town, may still be seen a building dilapidated, let out in
+tenements, which is pointed out as the Palace of Galiana. The place was
+a mansion of the great Guzman family and exhibits traces of fine Moorish
+work--horseshoe arches, twin-windows, a defaced inscription or two, some
+tiling, and arabesques--enough, in short, to conjure up a splendid
+Moorish palace, which, however, need not have antedated the Reconquest.
+
+The building is the property of H.I.M. the Empress Eugénie, and it is
+somewhat to be regretted that her attention has not been directed to its
+present condition and to the chance here presented of retarding the
+decay of a valuable monument of antiquity.
+
+
+
+
+THE CATHEDRAL
+
+
+Transcending in importance all the other monuments of Toledo and,
+indeed, of Castile, is the Cathedral--one of the noblest specimens of
+Gothic architecture the world affords. The metropolitan church of Spain,
+it is sumptuous without gaudiness, austere without gloominess, admirably
+interpreting the spirit of Spanish Catholicism before it withered under
+the chilling influence of Philip II. and the Inquisition. The Cathedral
+of Toledo does not impress the foreigner as typically national. Indeed
+it corresponds no longer to the temper of the nation. And it was raised
+as a protest against those Moorish influences which have passed into the
+life and art of Spain, and without which nothing can be taken as
+representatively Spanish.
+
+The Cathedral of Toledo, then, is Gothic, and may be said to embody the
+ideals of old Spain--of the young fighting nation that looked forward,
+not backward. Splendid as the Mosque seized by Archbishop Bernard and
+converted to Christian uses may have been, it was the work of the
+infidel. In 1227 King Ferdinand III. and the Archbishop Don Rodrigo de
+Rada were able at last to give effect to a determination arrived at some
+years before; and on August 14 the first stone of a new temple, which
+should never have been contaminated by Muslim rites, was laid with
+solemn ceremony. The name of the architect continues to be a matter of
+controversy. An epitaph in the sacristy of the Capilla de los Doctores
+affords some clue to his identity. It runs as follows:
+
+    Agni: jacet: Petrus Petri: magister
+    Eclesia: Scte: Marie: Toletani: fama:
+    Per exemplum: pro more: huic: bona:
+    Crescit: qui presens: templum: construxit
+    Et hic quiescit: quod: quia: tan: mire:
+    Fecit: vili: sentat: ire: ante: Dei:
+    Vultum: pro: quo: nil: restat: multum:
+    Et sibi: sis: merce: qui solus: cuncta:
+    Coherce: obiit: x dias de Novembris:
+    Era: de M: et CCCXXVIII (A.D. 1290).
+
+“Petrus Petri” is interpreted by Spanish writers “Pedro Perez,” but we
+incline to Mr. Street’s view that the correct rendering is probably
+Pierre le Pierre, the architect having been, as the name implies, a
+Frenchman. “This, at any rate,” continues Mr. Street, “is certain: the
+first architect of Toledo, whether he were French or Spanish, was
+thoroughly well acquainted with the best French churches, and could not
+otherwise have done what he did. In Spain, there was nothing to lead
+gradually to the full development of the Pointed style. We find, on the
+contrary, buildings, planned evidently by foreign hands, rising suddenly
+without any connection with other buildings in their own district, and
+yet with most obvious features of similarity to works in other countries
+erected just before them. Such is the case with the cathedrals at
+Burgos, at Leon, and at Santiago, and such even more decidedly is the
+case here. Moreover, in Toledo, if anywhere, was such a circumstance to
+be expected. In this part of Spain there was in the thirteenth century
+no trained school of native artists. Even after the conquest the Moors
+continued to act as architects for Christian buildings whether secular
+or ecclesiastical, and, indeed, to monopolise all the art and science of
+the country which they no longer ruled. In such a state of things I can
+imagine nothing more natural than that, though the Toledans may have
+been well content to employ Mohammedan art in their ordinary works, yet,
+when it came to be a question of rebuilding their cathedral on a scale
+vaster than anything which had as yet been attempted, they would be
+anxious to adopt some distinctly Christian form of art; and lacking
+entirely any school of their own, would be more likely to secure the
+services of a Frenchman than one of any other nation.... But however
+this may have been, the church is thoroughly French in its ground-plan
+and equally French in all its details for some height from the ground;
+and it is not until we reach the triforium of the Choir that any other
+influence is visible; but even here the work is French work, only
+slightly modified by some acquaintance with Moorish art....”
+
+The stupendous fabric, once begun, whether by French or Spanish hands,
+took two hundred and sixty-six years to finish. From the death of the
+first architect in 1270 to the year 1425 the names of the architects
+have been lost. During this period, the successive styles of
+architecture naturally influenced the original scheme and found
+expression in the building. It was in January 1493 that the roof was
+finished and the main structure completed. Certain chapels, such as the
+Reyes Nuevos, Sagrario, &c., were later additions. Among the later
+architects we find Rodrigo Alfonso, Alvar Gomez, Martin Sanchez, and
+Juan Guas. The stone employed inside (according to O’Shea) was quarried
+at Oliguelas, some nine miles from the city. It becomes harder with age.
+“The external portion is all of Berroqueña stone, save the ornamentation
+of the portals, which is also of Oliguelas white stone.”
+
+The Cathedral forms an oblong, semicircular at the eastern end, and
+lying east and west. In width it is exceeded only by the Cathedrals of
+Milan and Seville, measuring 178 feet broad by 395 feet long. On the
+north side are the cloisters and additional chapels and sacristies. From
+the eastern side project the chapels of the Reyes Nuevos, San Ildefonso,
+and Santiago, and the Winter Chapter-room. The plan of the interior is
+easy of comprehension. The nave extends from the western entrance to the
+Capilla Mayor: on either side of it are two aisles which are continued
+round and behind this chapel in a semicircular sweep. Street extols the
+skill with which this arrangement has been carried out. Between the
+Choir and the Capilla Mayor a transept extends across the church, not
+projecting, however, beyond the outer walls of the farther aisles. The
+eighty-eight pillars which support the fabric and mark off these
+divisions are composed each of from eight to sixteen light columns,
+standing on the same base. The capitals are moulded in plain foliage.
+The arches resting on these pillars make up the seventy-two vaults of
+which the roof is composed. The aisles rise gradually in towards the
+central nave, which is 116 feet high. The crypt or substructure
+corresponds in its divisions and the number of its piers to the edifice
+above. The pavement is of bluish white marble arranged in chequers.
+
+In the original plan no side-chapels appear to have been contemplated.
+But the chapel of Santa Lucia was added by Archbishop de Rada in memory
+of Alfonso VI. And, in addition to chapels built since the rest of the
+church, the spaces between the buttresses in the outer aisles have been
+railed off so as to form twenty-three chapels of various styles and
+periods. The interior is lit by 750 stained-glass windows of rich hues
+that delight the spectator. They depict episodes from the Scriptures,
+and are said to have been as carefully designed as if intended for close
+inspection. Among the artists were Dolfin (1418), De Vergara, Albert of
+Holland, Maese Cristobal, Juan de Campos, Vasco Troya, and Pedro
+Francés. The effect of the light falling in rays of richest colour on
+the pavement and columns is magical. The walls are denuded of colour and
+rudely whitewashed.
+
+The centre of the Cathedral is occupied by the choir (_Coro_), to the
+east of which, separated by the transept, is the Capilla Mayor. The
+choir is enclosed by walls and cloisters, except on the side facing the
+Capilla Mayor, where it is railed in by the magnificent reja, designed
+by Domingo de Cespedes and Hernando Bravo (1548). Like the corresponding
+railing of the High Chapel opposite, this work was formerly heavily
+silver-plated and gilded, but at the time of the French invasion it was
+recoated with iron to secure it from spoliation. Unfortunately, no
+means have yet been discovered of restoring the reja to its original
+state. Among the elaborate ornamentation may be noticed the arms of
+Cardinal Siliceo and of the Ayala family, with the interwoven
+inscriptions _Procul esto prophani_ and _Psale et psile_. The Choir is
+paved with white marble inlaid with dark. The vaulting above the Choir
+itself rises to the height of a hundred feet, the aisle round it to
+ninety feet, and the outer aisle to thirty-five feet. In the outer aisle
+are small chapels placed between the buttresses. Mr. Street describes
+this part of the building in great detail and considers that the
+original scheme of the Cathedral is only to be seen here. The triforium,
+formed of an arcade of cusped arches, in the outer wall of the inner
+aisle exhibits Moorish influence. “It would be impossible,” writes the
+authority just mentioned, “to imagine any circumstance which could
+afford better evidence of the foreign origin of the first design than
+this slight concession to the customs of the place in a slightly later
+portion of the works. An architect who came from France, bent on
+designing nothing but a French church, would be very likely, after a few
+years’ residence in Toledo, somewhat to change in his views, and to
+attempt something in which the Moorish work, which he was in the habit
+of seeing, would have its influence. The detail of this triforium is,
+notwithstanding, all pure and good....”
+
+The Choir is enriched by a magnificent screen, lecterns, and stalls. The
+screen, or _respaldo_, which at one time seems to have been continued
+right across the transept, encloses the Choir on three sides, and
+consists of an arcade carried on fifty-two columns of jasper and marble,
+and supporting and enclosing admirable statuary and sculpture. Above the
+capitals of the columns is a series of fifty-six medallions in high
+relief, dating from 1380, and representing scenes from the Old
+Testament. These reliefs are worthy of close study, and are beautiful
+examples of simple and faithful mediæval treatment. The series is
+supplemented by a medallion with a bust by Berruguete and the statues of
+Innocence and Sin, by Nicolas de Vergara--works on which Street outpours
+the vials of his wrath.
+
+Of the wonderful Choir Stalls of Toledo everyone has heard. They are
+unsurpassed triumphs of the carver’s art. The lower tier, including
+fifty seats, is the work of Maese Rodrigo, and dates from 1495. The
+stalls are of walnut wood, and the carving portrays the campaign against
+Granada by the Catholic Sovereigns. The carving being almost
+contemporary with the events illustrated has given these reliefs an
+historical as well as an artistic value. The names of the fortresses
+are here and there indicated by labels, and the designs are somewhat
+marred by the introduction of fanciful monsters. The whole breathes very
+much of the mediæval spirit, and we can, therefore, hardly complain of a
+certain stiffness and lack of variety. They form an admirable contrast
+to the finer, more finished work of the upper tier of stalls, executed
+fifty years later by Berruguete and Philip of Burgundy, surnamed
+Vigarni. Thirty-five seats, including the Primate’s, are the work of the
+Spaniard, the thirty-six opposite exhibiting the skill of the
+Burgundian. “They were wrought,” says O’Shea, “in rivalry of each other,
+and finished in 1543; and as Cardinal Tavera’s inscription runs:
+‘Certaverunt turn artificum ingenia; certabunt semper spectatorum
+judicia.’” The stalls are placed in recesses of alabaster, and separated
+by fine red jasper columns, with capitals in white marble. Over the
+recesses is a series of alabaster figures in low relief of the prophets
+and patriarchs. The carvings on the stalls themselves depict episodes
+from both the New and Old Testaments. The work breathes the spirit of
+the Renaissance, interpreted by Berruguete and his colleague with a
+skill, it has been truly observed, worthy of Benvenuto Cellini himself.
+Berruguete was a pupil of Michelangelo. His work is more vigorous than
+that of Vigarni, who excels in elegance and softness of outline.
+Street’s denunciations of these triumphs of the carver’s art are a
+curious instance of the length to which an artistic bias may lead a
+clever writer and critic. The reliefs representing the visits of the
+Blessed Virgin to Purgatory and to St. Ildefonso are not by Philip of
+Burgundy, but by his brother Gregorio.
+
+Very fine are the reading-desks, with friezes of gilded bronze, executed
+by the two Vergaras in the middle of the sixteenth century. Those on the
+Epistle side are carved in low relief with the stories of David and
+Saul, the Blessed Virgin and St. Ildefonso, and the Apocalypse; those on
+the Gospel side, the stories of St. Ildefonso, the Ark of the Covenant,
+and the Passage of the Red Sea. In the centre of the Choir is a
+magnificent brass lectern upheld by a great eagle with wings outspread;
+its eyes are of red stones and it crushes with its talons a struggling
+dragon. It was executed in 1646 by Salinas. The pedestal on which it
+stands is older by two hundred years, and is thoroughly Gothic in
+character, with buttresses, pinnacles, and statuary. The work is said to
+be German. The pedestal is borne by six lions, finely sculptured.
+
+The northern entrance to the transept, which separates the Choir from
+the Capilla Mayor, affords the best and least interrupted view of the
+Cathedral. That view impressed the writer with its calm majesty and
+sanctity, but by way of contrast it is worth while recording the
+impressions of a traveller only lately returned (Mr. Stewart Dick): “My
+first feeling was one of disappointment--a feeling that even now has
+hardly worn away.
+
+“It is vast and cold. A white expanse. Huge pillars towering up to a
+great height. A blaze of harsh daylight. In the middle, blocking up the
+view down the nave, the tawdry gilt of the Coro. Doors opening and
+banging all round, people promenading, sitting on the bases of the
+pillars and talking with undropped voices. You ask yourself with
+amazement, Is this a church? The form is here, but where is the spirit?
+
+“In fact, it is only in the evening that Toledo Cathedral comes into its
+own. It is quiet and peaceful then. The promenaders have all gone away,
+the blaring of the organ has ceased, and through the open door you hear
+the twittering of birds in the cloisters. The shadows darken among the
+pillars, the beautiful windows begin to glow, and a soft light fills the
+upper part of the church. It is like the opening of a flower.
+
+“Then at last you begin to feel the impressiveness and the dignity of
+those avenues of mighty pillars. The trivialities that annoyed you are
+lost, the effects are broad, grand, and majestic, and at last the
+building is a temple; it seems as if the Holy Spirit had entered with
+the fall of the twilight.”
+
+The Capilla Mayor, or High Chapel, occupies the eastern end of the nave,
+the aisles sweeping round behind it. The hinder portion was originally
+the Capilla de los Reyes Viejos, the chapel in which were entombed
+Sancho el Bravo, Sancho el Deseado, Alfonso VII., and others. In the
+year 1498 the two chapels were thrown into one by Cardinal Cisneros, who
+left the royal tombs for a time undisturbed. The High Chapel, according
+to O’Shea, measures 56 feet in length, 50 feet in breadth, and 116 feet
+in height. The piers are sculptured with the effigies of kings,
+prelates, and saints, and with “a multitude of angels playing on
+different instruments, and with outspread wings, that want but incense
+to raise them again from the spot where they have alighted.” The walls
+of the chapel are pierced or of open-work, the stone in parts being
+almost transparent, and thus adding to the brightness of the effect. Two
+rows of statuary enhance the beauty of the stonework, which is among the
+earliest portions of the fabric. But these walls, for all their
+magnificence, are put in the shade by the superb reja or railing, facing
+that of the Choir, and contemporary with it. This work is thus described
+by Señor Riaño: ‘The reja is 42 feet wide by 19 inches high; it rests
+on a pediment of marble ornamented with masks and bronze work upon which
+rises the reja, which is divided horizontally by means of a frieze of
+ornamentation, and this again vertically into five compartments. In each
+vertical division there is a pilaster of four sides formed of _repoussé_
+plates, carved with a fine ornamentation in the Renaissance style; this
+is again terminated with life-size figures in high relief of bronze. The
+second compartment rises upon the band which divides it in a horizontal
+sense; it follows the same decoration in its pilasters, and is
+terminated by a series of coats of arms, torches, angels, and a variety
+of foliage which finishes the upper part. Upon the centre, hanging from
+a thick chain, supported from the roof, is suspended a life-size Rood of
+admirable effect, which completes the decoration. In several spots there
+are labels with mottoes in Latin; in one of them appears the following
+inscription, and the date of 1548, when the splendid work was finished:
+‘Anno MDXLVIII. Paul III. P.M. Carol. V. Imper. Rege. Joannes Martinez
+Siliccus Archiepiscopus Tolet. Hispaniae Primat.’ The railings of the
+reja are silvered, and the reliefs and salient points gilt. The artist
+who made it was Francisco Villalpando, a native of Valladolid; this
+model was chosen in preference to those of several artists, who
+presented their plans in competition before the ecclesiastical
+authorities; it is calculated that ten years elapsed before it was
+finally finished, Villalpando was greatly distinguished likewise as a
+sculptor and architect.” By him are the gilt pulpits in the plateresque
+style, made from the bronze tomb that the Great Constable, De Luna, had
+caused to be designed for himself. On a pier at the extremity of the
+chapel is the statue of the celebrated shepherd, Martin Alhaga, who is
+said to have, semi-miraculously, guided Alfonso VIII. and his army to
+the rear of the Moorish forces at Las Navas de Tolosa--thus securing the
+victory to the Christians. The king, who alone saw his features, is said
+to have designed the statue. Opposite is the figure of the Moorish
+Alfaqui, Abu Walid, whose intercession secured the old mosque to the
+Catholics, in the manner already narrated.
+
+The splendour of the High Altar, with its jasper and bronzes, renders a
+detailed description impossible and inadequate. Its magnificent retablo,
+rising to the very roof, is the richest gem of the Cathedral. Designed
+by Philip Vigarni (Borgoña), and painted and gilded by his brother Juan,
+numerous other masters contributed to its excellences. We may name
+Maître Petit Jean (of France or Aragon), Almonacid (a converted Moor),
+Copin (a Dutchman), Francesco of Antwerp, Fernando del Rincon, Egas, and
+Pedro Gumiel. The retablo is of wood and divided into five compartments
+by gorgeous columns. The subjects are from the New Testament, and are
+worked out with immense and ornate elaboration. The whole is crowned
+with a colossal Calvary. Behind the High Altar is placed that
+extraordinary example of eighteenth-century bad taste, the too famous
+_Transparente_. The whole architecture, painting, statues, carving and
+bronze is the work of the same person, Narciso Thomé who completed it in
+1734. Much as we may denounce the taste (or rather the lack of it) of
+this triumph of the Churrigueresque style, we are obliged to admire the
+wonderful execution of this misdirected genius.
+
+The royal tombs lie around the High Altar. They were placed in recesses,
+sculptured in the Gothic style by Diego Copin of Holland, by order of
+Cardinal Cisneros in 1507. The arches are peculiarly graceful and light.
+The tombs themselves date from much earlier times. Here sleep their last
+sleep Alfonso VII., Sancho el Bravo, Sancho el Deseado, and several
+Infantes. To the left of the altar is the sepulchre, more glorious than
+any king’s, of the great Cardinal Mendoza, erected by order of Isabel
+the Catholic, who owed so much to him. It was the work of Covarrubias,
+and is all of precious marbles. One side is formed by the sarcophagus
+with its recumbent effigy, the other by an altar. Above this last is a
+medallion representing the Archbishop Adoring the Cross. Part of the
+wall was demolished to make room for this stately mausoleum. Beneath the
+Capilla Mayor is a subterranean chapel, not of special interest. It
+contains a Burial of Christ by Copin, deserving of an inspection that in
+the dim light is well-nigh impossible, and some pictures by Ricci.
+
+At the eastern extremity of the Cathedral, behind the Capilla Mayor and
+projecting beyond the general outline, is the chapel of San Ildefonso.
+Erected by Archbishop de Rada, it remains the last important
+middle-pointed feature of the building, though considerably modified by
+Cardinal Albornoz in the latter part of the fourteenth century. It is
+eight-sided, and has beautiful traceried windows, and arches richly
+moulded and decorated. In arched recesses, beneath gabled and pinnacled
+canopies, are the tombs of Cardinal Albornoz, and several members of his
+family. There is much beautiful detail on the tomb of Don Iñigo de
+Mendoza, who fell at Granada in 1491; and the sepulchre of the Bishop of
+Avila by Tejada is a noble temple of the plateresque. The altar is
+modern. St. Ildefonso was the prelate who distinguished himself by his
+advocacy of the doctrine of the Immaculate Conception. In return he is
+said to have received signal marks of favour from the Blessed Virgin,
+who invested him with a cassock, came down to attend Matins in his
+company, and so forth.
+
+To the north of this chapel is the larger Capilla de Santiago, likewise
+projecting beyond the original ground plan, and dating from 1435. It was
+built by order of the Great Constable, Alvaro de Luna, to be the place
+of sepulchre of himself and wife, on the site of an earlier chapel
+dedicated to St. Thomas à Becket. The plan is similar to that of the
+last chapel described. Outside, the flat-pitched tile roof is finished
+with a battlement and circular turrets at the angles. The most
+conspicuous features of the chapel are the tombs, in Carrara marble, of
+the Constable Alvaro de Luna and his wife Doña Juana Pimentel. The
+Constable is shown in full armour, and at each corner of his tomb kneels
+a knight of Santiago, of which order he was Grand Master. Four
+Franciscan monks attend on his lady. In niches in the wall repose
+kinsmen of the ill-fated Constable, the tombs all having been executed
+by permission of Isabel the Catholic, by Pablo Ortiz in 1488,
+thirty-five years after De Luna’s death on the scaffold at Valladolid.
+The tombs designed for the Constable in his lifetime were to have been
+furnished with life-size figures in bronze, which, by mechanical
+contrivance, were to have risen each time Mass was celebrated, and to
+have remained during the service in a kneeling posture. These figures
+were destroyed by the Infante Don Enrique, and the bronze was used by
+Villalpando for the pulpits in the Capilla Mayor. The retablo of the
+High Altar reveals the portraits of the founder and his wife by Juan de
+Segovia. “The chapel,” says Mr. Street, “bears evidence in the
+‘perpendicular’ character of its panelling, arcading and crocketing, of
+the poverty of the age in the matter of design. At this period, indeed,
+the designers were sculptors rather than architects, and thought of
+little but the display of their own manual dexterity.”
+
+Passing down a corridor between this chapel and that of Santa Leocadia
+we reach the Capilla de los Reyes Nuevos, lying quite outside the
+original plan of the Cathedral. It was founded by Enrique II. of
+Trastamara, and contains his tomb, his wife’s, and the sepulchres of
+Enrique III., his Queen, Katharine of Lancaster, Juan I. and Queen
+Leonor, and the effigy of Juan II., who is buried near Burgos. The
+chapel is a fine specimen of the Renaissance style, reconstructed by
+Alfonso de Covarrubias in 1534. The portal is fine, and is guarded by
+two kings armed and bearing escutcheons. During Mass, a gorgeously
+apparelled functionary holds upright a mace, crowned and jewelled, and
+with the arms of Spain.
+
+The side-chapels of the Cathedral are not, on the whole, as interesting
+as one would expect in a building of such antiquity and associations. To
+the south of the Capilla de San Ildefonso is the Capilla de la Trinidad;
+next comes the entrance to the Chapter House or Sala Capitular, an early
+sixteenth-century work with an artesonado ceiling in red, blue, and
+gold, excelling anything of the kind in Andalusia. The thirteen frescoes
+adorning the walls of the Chapter House are by Juan de Borgoña, who was
+also responsible for the earlier series of portraits of the archbishops.
+Copin’s work is to be recognised in the archiepiscopal throne, the other
+stalls being by Francisco de Lara. Returning to the church through a
+portal in the Moorish style, we find on the left the chapel of San
+Nicolas, followed by the chapels of San Gil, San Juan Bautista, Santa
+Ana, and the Reyes Viejos, founded in 1290 as the Capilla del Espritu
+Santo, with a fine reja by Céspedes. The chapel of Santa Lucia, founded
+by Archbishop de Rada, is, of course, in the best Gothic style, and has
+“an extremely rich recessed arch in stucco, of late Moorish work--a
+curious contrast to the fine pointed work of the chapel.”
+
+The Capilla de San Eugenio contains the alabaster effigy of Bishop del
+Castillo (1521), and the tomb in the Mudejar style of the Alguacil
+Fernan Gudiel (1278). The statue of the saint is by Copin, the
+paintings on the retablo by Juan de Borgoña. Adjacent to the chapel is
+the colossal figure of Saint Christopher, usually seen in Spanish
+churches. This figure is probably coeval with the fabric, but was
+restored in 1638. A primitive style of art is also to be seen in the
+altar-piece of the Capilla de San Martin. The next two chapels--de la
+Epifania and de la Concepcion--do not present any features of special
+interest.
+
+In the south-west angle of the church is the interesting Mozárabic
+Chapel, built in 1504 by Enrique de Egas, under the orders of the famous
+Cardinal Ximenes de Cisneros. It is devoted to the celebration of Mass
+and the offices of the church according to the Mozárabic ritual, which
+till the middle of the last century was followed in six of the parish
+churches. The Cupola dates from 1626, and was the work of Jorge Manuel
+Theotocopuli. The porch is Gothic, and the reja in good Renaissance
+style, executed by Juan Frances in 1524. The frescoes, of no great
+value, painted by Juan de Borgoña, represent the expedition against
+Oran, in which the great Cardinal took part. Miss Hannah Lynch gives a
+vigorously worded account of a service in this chapel according to its
+peculiar rite: “The quaint old ritual may be heard every morning at 9
+A.M., and will be found extremely puzzling to follow. The canons, in a
+sombre, flat monotone, chant responses to the officiating priest at the
+altar. The sound combines the enervating effect of the hum of wings,
+whirr of looms, wooden thud of pedals, the boom and rush of immense
+wings circling round and round. After the first stupefaction, I have
+never heard anything more calculated to produce headache, nervous
+irritation, or the contrary soporific effect. In summer, it must be
+terrible.”
+
+At the opposite, or north-west, angle of the church is the Chapel of San
+Juan or of the Canons, so called because Mass can be celebrated here
+only by those dignitaries. It was built in 1537 by Covarrubias in the
+Renaissance style, and occupies the site of the old tower chapel, called
+the Quo Vadis. The ceiling is of artesonado, in gold and black, with
+carved flowers and figures. Since 1870 this chapel has been the
+repository of the Cathedral Treasure, styled Las Alhajas, or the Jewels.
+Here is kept the gorgeous _custodia_, or portable tabernacle, made by
+order of Cardinal Cisneros by Juan de Arfe, who began it in 1517 and
+completed it without assistance in 1524. This triumph of the
+silversmith’s craft is in the form of a Gothic temple, eight feet high,
+with all the architectural details, such as columns, arches, and
+vaultings, the whole resembling delicate lacework. Scenes from the life
+of our Saviour are illustrated in reliefs. There are no fewer than two
+hundred and sixty statues of various sizes, all exhibiting the same
+skill. The tabernacle was gilded over in 1595 by Valdivieso and Morino.
+The _viril_ inside, in which the Host is exposed, was made of the first
+gold brought from America, is completely covered with precious stones,
+and weighs twenty-nine pounds. In the Treasure is also included the
+mantle of the Virgen del Sagrario, considered by Señor de Riaño the most
+remarkable specimen of embroidery that exists in Spain. It is described
+in the following manner: “It is made of twelve yards of cloth of silver,
+entirely covered with gold and precious stones. In the centre is an
+ornament of amethysts and diamonds. Eight other jewels appear on each
+side of enamelled gold, emeralds, and large rubies; a variety of other
+jewels are placed at intervals round the mantle, and at the lower part
+are the arms of Cardinal Sandoval [seventeenth century] enamelled on
+gold and studded with sapphires and rubies. The centre of this mantle is
+covered with flowers and pomegranates embroidered in seed-pearls of
+different sizes. Round the borders are rows of large pearls. Besides the
+gems which are employed in this superb work of art, no less than 257
+ounces of pearls of different sizes, 300 ounces of gold thread, 160
+ounces of small pieces of enamelled gold, and eight ounces of emeralds
+were used.” The beautiful dish, repoussé in silver, the designs on
+which represent the Rape of the Sabines and the Death of Darius, was
+believed to be the work of Benvenuto Cellini, but is now ascribed to the
+Flemish artist, Mathias Méline. Among the Alhajas are also four
+geographical globes, with large silver figures, gleaming with
+gems--eighteenth-century work. Of historical interest is the sword, said
+to have been worn by Alfonso VI. on his entry into Toledo, and the
+original letter written by St. Louis of France to the Chapter, bestowing
+sacred relics obtained from the Great Emperor: “Given at Etampes, the
+year of our Lord, 1248, month of May.” Other objects of value are the
+Cope of Cardinal Albornoz and the Cruz de la Manga, made in the
+sixteenth century by Gregorio de Varona, a native of the city. Here,
+also, are the archiepiscopal cross, planted by Cardinal Mendoza on the
+summit of the Alhambra in 1492, and the Golden Bible in three volumes,
+dating from the twelfth century. It is to be doubted if the accumulation
+of these splendid objects, intended for diverse practical uses, in one
+collection, serves to show any of them to the best advantage.
+
+On the north aisle are the chapels of Teresa de Haro, Nuestra Señora de
+la Antigua--where the Spanish colours used in the Moorish campaigns were
+blessed--of the Pila Bautismál, with a beautiful bronze font, and a
+reja by Céspedes; and the large Capilla de San Pedro, built in 1442 in
+the Gothic style by Archbishop de Rojas. The founder’s fine monument was
+placed here in the eighteenth century. On the other side of the Puerta
+del Reloj is the Capilla de la Virgen del Sagrario, noted for a statue
+of the Blessed Virgin, which she is said to have kissed on her visit to
+St. Ildefonso. The statue is of dark-coloured wood, and was formerly
+clothed in a mantle embroidered by Felipe Corral; and composed of gold,
+rubies, emeralds, and pearls, now kept in the Treasury. In this chapel
+the degree of doctor is conferred on licentiates. The two small chapels
+of the Cristo and of Santa Leocadia are adjacent to the entrance to the
+Capilla de los Reyes Nuevos.
+
+Adjoining the Chapel of the Virgen del Sagrario are a set of apartments,
+built with it upon the site of an old hospital, by Nicolas de Vergara,
+junior, at the close of the sixteenth century. These rooms are the
+Sacristia, Vestuario, Cuarto de la Custódia, and Ochavo. The Sacristia,
+entered through a portal 26 feet high, contains paintings by El Greco,
+to be noticed in the chapter on that master; the ‘Betrayal of Christ,’
+by Goya; and a ceiling fresco by Luca Giordano, representing the Miracle
+of San Ildefonso. The Vestuario contains pictures by several Italian
+masters, among them ‘Paul III.’ by Titian; a replica of the portrait at
+Naples; a ‘Madonna’ by Rubens; and a ‘St. Francis’ by El Greco. The
+Custodia was till lately the Cathedral Treasury. The Ochavo, at the back
+of the Capilla de la Virgen, is richly adorned and contains the
+collection of relics, among them massive silver caskets, wonderfully
+wrought, for the bones of the saints Leocadia and Eugenius.
+
+The vestments preserved here, to the number of forty sets, belong mostly
+to the fifteenth and sixteenth centuries, and are of the most splendid
+description. “Each set [says Riaño] generally includes a chasuble,
+dalmatic, cope, altar frontal, covers for the gospel stands, and other
+smaller pieces. The embroideries on the orphreys, which are formed of
+figures of saints, are as perfect as the miniatures on illuminated MSS.”
+
+The Cloisters to the north-west of the church were built by Cardinal
+Tenorio in 1389. They are not, as Miss Lynch observes, to be compared
+with those of Burgos, of Santiago, or of Oviedo. The garden they enclose
+lends a brighter, gayer note to the columned and arched galleries than
+is found in those other cathedrals. The frescoes in the lower cloister
+were painted by Francisco Bayeu, and illustrate the lives of St.
+Eugenius and the legend of the _Niño perdido_.
+
+We should, perhaps, have described the exterior of the Cathedral first,
+but from the sightseer’s point of view the interior is, of course, more
+important. It is a general subject of complaint that it is extremely
+difficult to obtain a good view of any considerable part of the fabric
+from the outside, nor does it stand out as conspicuously from a distance
+as its imposing dimensions would lead one to suppose. The best view is
+to be obtained from the church of Nuestra Señora de la Valle, above the
+Puente de San Martin. The exterior, with its flying buttresses, finials,
+and rose-windows, reflects the Gothic spirit of the interior. The west
+façade is flanked by two towers, that above the Chapel of the Canons
+alone being complete. It is 295 feet high, and was begun by order of
+Archbishop Tenorio, in 1380, by Rodrigo Alfons, and completed under
+Archbishop Contreras in 1440 by Alvar Gomez. On the summit is a small
+spire, surmounted by a cross, a vane, and an arrow. Here are hung the
+bells, among them the famous Campana Gorda, weighing nearly two tons,
+and whose note reaches to Madrid. The tower also contains a peal called
+the Matraca, worked continuously by mechanism from Maundy Thursday till
+Easter Saturday. The view from the summit is far-reaching and inspiring.
+
+Among the finest features of this noble church are its eight principal
+entrances. In the western façade are three portals--the Puerto del
+Perdon in the centre, flanked by the Puertas de los Escribános and de
+la Torre. All date from the first half of the fifteenth century and are
+in the Gothic style. The Puerta del Perdon forms a noble arch, richly
+ornamented, and divided into two smaller arches by a column surmounted
+by the figure of Christ, above which are the Twelve Apostles. Above
+these again is a relief in the Renaissance style representing the gift
+of the Chasuble to San Ildefonso. The smaller doors are in single
+arches, and are sculptured with statues of angels and patriarchs. The
+Puerta de los Escribános is so called because through it the notaries
+enter the church to take their oaths. It is also called the Puerta del
+Juicio. Above it is a long inscription commemorating the taking of
+Granada and the expulsion of the Jews. Above the portals the façade is
+adorned with a colossal sculpture of the Last Supper, the Saviour and
+the Apostles being seated each in a niche, and the table reaching from
+buttress to buttress. The façade is pierced with a beautiful rose-window
+thirty feet across with a glazed arcade beneath.
+
+On the south side are the Puertas Llana and de los Leones. The former in
+the classic style, was made by Ignacio Haám in 1800. The Puerta de los
+Leones gives access to the transept, and is a magnificent Gothic work,
+erected in 1460 by the Fleming, de Egas, and ornamented by Juan Alemán.
+The sculpture of the portal is perfect. The six columns of the atrium
+are surmounted by six lions holding shields. Here are the famous bronze
+doors, wrought by Villalpando and Ruy Diaz del Corral in 1545. The
+wood-carving and decoration employed a great many masters, among whom
+may be mentioned Velasco, Troyas, and the two Copins. Between them was
+divided the sum of 68,672 maravedis. At the opposite or northern end of
+the transept is the Puerta del Reloj, dating from the beginning of the
+fifteenth century, and so named from the clock above it. The door is of
+bronze and above it is a fine rose-window of about the same period. It
+is considered by Street the best example of stained glass now remaining
+in the Cathedral. West of this, the Puerta de Santa Catalina leads into
+the eastern cloister. The decoration is profuse. St. Catharine, and the
+instruments of her martyrdom, are shown, with the arms of Spain and the
+Tenorio family. The Puerta de la Presentacion, also leading into the
+cloister, is in the Renaissance style, and dates from 1565. Pedro
+Castañeda, Juan Vasquez, Torribio Rodriguez, Juan Manzano, and Andrés
+Hernandez are named as the designers of this very fine portal. The
+cloisters are entered from the west side next to the tower, by the
+Puerta del Mollete, so called because _molletes_ or rolls were or are
+distributed to the poor here.
+
+The chapel and cloister of San Bias on the north side of the cloisters
+are the most important additions made to the structure in the fifteenth
+century. The chapel contains the monument of the founder, Cardinal
+Tenorio, and “in the cloister walls,” says Street, “a door which, in the
+capricious cusping and crocketing of its traceried work, illustrates the
+extremes into which Spanish architects of this age ran in their
+elaboration of detail and affectation of novelty.”
+
+
+
+
+THE DECLINE OF THE CITY
+
+
+Toledo, up till then hardly distinguished for its loyalty to the Crown,
+loved Isabel the Catholic, and on her account, perhaps, rendered
+obedience to her Aragonese husband. The Catholic sovereigns liked the
+city, and generally held their Court there. The magnificent Cardinal
+Mendoza was the prime mover in the expedition against Granada, and
+planted the Cross on the summit of the Alhambra. The power of the
+primacy was in no way diminished by the consolidation of the monarchy,
+and Toledo still looked rather to its archbishop than to its king for
+guidance and governance. Under Ferdinand and Isabel it prospered
+exceedingly. The arts of peace were studied, industries flourished, and
+the more adventurous and restless spirits found an outlet for their
+energies in colonial enterprises beyond the seas instead of cutting each
+other’s throats in the byways of the city. Toledo became courtly and
+urbane. The luckless princess, Juana, was born at the Alcazar in 1479;
+and here the Infanta Isabel was married on April 29, 1498, to the King
+of Portugal. Only a few months later her corpse was brought hither from
+Zaragoza, to be laid in the convent of Santa Isabel.
+
+The death of Queen Isabel, and the proclamation of Juana and Felipe I.
+on May 22, 1502, put an end to the long spell of peace. Toledo sided at
+first with Ferdinand against his son-in-law, and was held by the Silvas
+against the latter’s forces under the Marquis de Villena. In the
+following year (1506) the Ayalas, supported by the townsmen generally,
+took possession of the town, and resolved to maintain its liberties
+against the Flemish favourites and centralising tendencies of the new
+_régime_. The Silvas, as a matter of course, ranged themselves on the
+opposite side, and the streets ran red with blood. Toledo was herself
+again.
+
+The accession of the Flemish prince, Charles, afterwards emperor,
+determined the Castilians to make a stand for national independence.
+What city had so good a claim to be the headquarters of the movement,
+the focus of anti-foreign agitation, as Toledo the turbulent? In 1520
+occurred the outbreak of the _Comuneros_ movement. At its head were four
+gentlemen of Toledo: Hernando Dávalos, Gonzalo Gaytan, Pedro de Ayala,
+and (greatest of all) Juan de Padilla. Twenty thousand citizens rallied
+to the cry of “Padilla y Comunidad!” and the movement spread from the
+Tagus to Salamanca and westwards to the frontiers of Portugal. To
+Juana, imprisoned at Tordesillas, herself a Toledan, protestations of
+loyalty and devotion were addressed. But denounce her son’s fraudulently
+obtained sovereignty she would not. Meanwhile Charles’s forces were not
+idle. The Alcaide, Clemente de Aguayo, held the tower of San Martin, and
+Don Juan de Silva, the Alcazar, against the insurgents. But the townsmen
+were victorious. Padilla, however, was defeated at Villalar, and
+executed, with his brave lieutenants, Juan Bravo and Maldonado.
+
+In the Comunero leader’s dauntless wife, Maria de Pacheco, liberty found
+a new champion and Spain a new heroine. “She was found praying at the
+foot of the Cross,” says Miss Lynch, “when her servants brought her the
+news of Padilla’s defeat and death. She rose, robed herself in black,
+and walked to the Alcazar between her husband’s lieutenants, Dávalos and
+Acuña, who bore a standard representing Padilla’s execution. They named
+her captain of the insurgents, and found her implacable and violent, but
+still a sovereign commander.” For sixteen months under this Castilian
+Joan of Arc the old city of the Visigoths held out against the armies of
+Charles V. Routed in a bloody sortie on October 16, 1521, by Zuñiga,
+prior of San Juan, the Comuneros were obliged, ten days later, to
+abandon the gates to the besiegers. A truce was agreed to, while the
+demands of the citizens should be presented to the Emperor. Maria
+remained in her own house, as in a fortress, guarded by her faithful
+troops. But on February 3 the murder of a citizen brought on a renewal
+of the conflict. Desperate battle waged in every street and lane. Maria,
+assailed and valiantly defended in her stronghold, at last cut her way
+through, and retired to Portugal, dying at Oporto years afterwards. The
+townsmen were worsted, and sullenly submitted. Toledo had fought her
+last fight.
+
+Her day was over. Charles V. forgave her, and would come at times to
+live in the Alcazar. She was still the capital of Spain. But her haughty
+temper and the arrogance of her clergy matched ill with the policy of
+Philip II. In 1560 Madrid--upstart, provincial Madrid--was proclaimed
+the _única corte_. Less important than under the Khalifate, Toledo
+became a mere provincial town. But the Church did not desert her. She is
+still the metropolitan see of Spain.
+
+Let us see what the monarchs of United Spain did for the old city, and
+what monuments remain of the days when it was Court and capital.
+
+The church of San Juan de los Reyes, near the Puente de San Martin, was
+built in 1476 by Ferdinand and Isabel, in thanksgiving for the victory
+of Toro gained over the Portuguese allies of Juana, nicknamed “la
+Beltraneja.” The first architect was a Fleming, Juan Guas, one of the
+builders of the cathedral. The church was intended to receive the ashes
+of the royal founders, but after the capture of Granada it was decided
+to establish the mausoleum in that city, and the completion of San Juan
+de los Reyes was delayed till the seventeenth century. In consequence,
+the architecture exhibits the transition from the Late Gothic to the
+Late Renaissance style. “Nothing,” remarks Street, “can be more
+elaborate than much of the detail of this church, yet I have seen few
+buildings less pleasing or harmonious.” The exterior is unpromising, and
+is decorated, if we can use the word in such a connection, with festoons
+of rusty chains which fettered the limbs of the Christians in Moorish
+prisons. The chief entrance, to the north, was completed by Covarrubias
+in 1610, and is in the decadent style of architecture. It is adorned
+with inferior statuary, and the arms and initials of the Catholic
+sovereigns.
+
+The interior is composed of a single nave, two hundred feet long and
+from forty-three to seventy feet wide. There are four chapels on one
+side and three on the other. At the east end of the church is a shallow
+five-sided apse, forming the Capilla Mayor. Over the junction of the
+nave and transept is an octagonal cupola, resting on four fine pillars,
+with a pointed dome and a window in each face. At the west end of the
+church is a deep gallery, containing the choir. The altar dates from the
+Renaissance period, and is brought well forward into the nave. It came
+from the suppressed church of Santa Cruz. Above it is a blue velvet
+canopy, embroidered with the eagle, the symbol of St. John. The whole
+fabric is enriched with statuary, tracery, carving, and heraldic devices
+in almost reckless profusion. The yoke and the arrows--the devices of
+the Catholic sovereigns--and their coats of arms are repeated again and
+again. Among the inscriptions is one commemorating the foundation of the
+church. It runs: “Este monasterio é églesia mandaron hacer los muy
+esclarecidos Principes é señores D. Hernando é Doña Isabel, Rey y Reina
+de Castilla, de Leon, de Aragon, de Sicilia, los cuales señores por
+bienaventurado matrimonio y uñaron los dichos Reinos, seyendo el dicho
+rey y señor natural de los reinos de Aragon y Sicilia, y seyendo la
+dicha señora Reina y señora natural de los Reinos de Castilla y Leon; el
+cual fundaron á gloria de nuestro señor Dios, y de la bienaventurada
+Madre suya, nuestra Señora la Virgén Maria, y por especial devocion que
+le ovieron.”
+
+Admirable as is the church in its general structure, and in the detail
+and execution of its ornamentation, it is garish and ostentatious. There
+is a superabundance of light and luxury. Here there is no dim religious
+light, no suggestion of mystery or devotion. Prayer would seem
+incompatible with the whole character of the edifice. More favourable
+was the opinion of Théophile Gautier, who declared that “Gothic art
+never produced anything more suave, more elegant, or more fine.”
+
+Attached to the church is the convent, bestowed on the Franciscans, and
+pillaged by the French in 1808. It has been converted into a museum,
+which does not contain much of great interest. The most important
+exhibits are fragments of Visigothic inscriptions and Moorish tile-work.
+
+The cloister of San Juan de los Reyes is a gem of florid Gothic, and the
+finest part of the whole fabric. There are two galleries, one above the
+other, the lower with traceried openings, the upper with large open
+arches. As in the church, there is here an excess of decoration, hardly
+a square inch on pillar, arch, and vaulting being free from sculptured
+ornamentation. There is a bewildering profusion of statues of angels,
+men, and animals, of scroll-work and foliage, heraldic devices and
+inscriptions. The whole is dazzlingly white--more like a temple of the
+Sun than a shrine of “the pale Galilean.” The original effect, perhaps,
+was less crude, for the church and cloisters have been recently
+restored, and, it must be confessed, not too skilfully.
+
+A most beautiful specimen of azulejo work has been built into the
+north-west wall. It comes from the suppressed monastery of the Calced
+Augustines, and is said to have been a part of the ornamentation of the
+ancient palace of Don Rodrigo--wherever that may have been situated.
+
+Before the finishing touches had been put to San Juan de los Reyes, the
+last important Gothic work of Toledo, the erection of one of the two
+earliest examples of the Renaissance style in Spain had been begun. The
+hospital of Santa Cruz was built between the years 1494 and 1514 by
+Enrique de Egas, of Brussels, some ten years after he had completed the
+college of the same name at Valladolid. The hospital was designed by the
+founder, the mighty Cardinal Mendoza, as an asylum for foundlings. He
+died in 1495, and left 75,000 ducats to the queen for the completion of
+the work. Isabel it was who chose the site overlooking the bridge of
+Alcantara, where formerly the palace of the legendary King Galafre is
+fabled to have stood. Among other stories connected with the spot is
+that of a Leonese princess wedded against her will to a Moorish prince,
+her union with whom was prevented by the intervention of an angel. As in
+all the early specimens of Spanish Renaissance architecture, the
+groundwork of the building approximates to the Gothic, the new ideas
+manifesting themselves in the decoration and carving. The portal is
+superb. The reliefs represent the Adoration of the Cross by St. Helena,
+St. Peter, St. Paul, and the founder, Cardinal Mendoza, two pages also
+appearing, bearing mitre and helmet. Other reliefs, exquisitely
+chiselled, have for subjects the espousals of St. Joachim and St. Anne,
+and Charity. The four cardinal virtues are shown, and everywhere, amidst
+a maze of ornamentation, occur Mendoza’s arms and device. The
+plateresque windows, with their rejas in the local style, are deserving
+of admiration. Entering, we find a vast _patio_, enclosed by a double
+arcaded gallery of marble, and, crossing it, ascend a grand staircase
+with a fine ceiling of the _artesonado_ kind. The chapel, in the form of
+a Maltese cross, has also a fine ceiling, and Gothic pillars,
+beautifully carved, that attest the splendid appearance once presented
+by this dismantled building. Some of the columns adorning Santa Cruz
+were brought from the Visigothic church of Santa Leocadia.
+
+To the same period belongs the Franciscan convent and church of San Juan
+de la Penitencia, begun by order of Cisneros in 1514, and finished by
+his secretary, Fray Francisco Ruiz, Bishop of Avila. The semi-Moorish
+palace of the Pantojas was utilised in its construction, and the whole
+building bears traces of Arabic, or rather Mudejar, workmanship.
+Entering the chapel by a porch adorned with the great Cardinal’s arms
+and foliations in the Gothic style, we find ourselves in a sombre
+edifice of a single nave, revealing a curious medley of styles. The roof
+is a fine example of the artesonado. Over the transept, which is divided
+from the nave by a plateresque reja, is a cupola with a stalactite roof
+of the Moorish pattern. The principal retablo is early Renaissance, and
+several of the altars may be classed as Baroque. The most interesting
+feature of the church is the tomb of the Bishop of Avila, who died in
+1528. It is in the Renaissance style, and was the work of a Lombard
+artist. It is wrought in Sicilian marble, and is thus described by Ponz:
+“Above a large stone divided by three pilasters to form three pedestals
+there are an equal number of statues seated, representing Faith, Hope,
+and Charity. Between the pilasters are the arms of the Bishop--five
+castles. In a framed recess are the urn, couch, and recumbent figure. In
+front of the urn are seen two weeping children, and within the recess
+four angels draw aside the curtains. On either side are two Doric
+pillars supporting the frieze, which is inscribed, ‘Beati mortui qui in
+Domino moriantur.’ On the edge are two antique columns admirably
+executed. Between these columns and pilasters are statues, St. James and
+St. Andrew, and above, the figures of children. Over all is a bas-relief
+of the Annunciation, with the statues of St. John the Divine and St.
+John Baptist, one-half the size of the Virtues below.”
+
+The Emperor-King Charles V. had, as we have seen, small reason to love
+Toledo, but he did something for the permanent embellishment of the
+city, and the last architectural monuments reared on its craggy
+peninsula belong to his era.
+
+It is difficult to ascribe the Alcazar, to which reference has so often
+been made, to any one epoch. It has undergone so many vicissitudes, so
+many reconstructions, that the name, as we have employed it, must be
+understood to represent a site rather than the actual palace. A
+stronghold of some sort has always been here--possibly, in Roman times,
+the Arx, where tradition avers the martyr Leocadia suffered death. The
+Arabian geographer, Jerif al Edris, writing in 1154, describes Toledo as
+“a town great in extent and population, extremely strong, with fine
+ramparts, and an Alcazaba, fortified and impregnable.” This citadel was
+doubtless the Alcazar, which was strengthened and rebuilt by successive
+Castilian kings, and is said to have been the residence of the Cid, the
+first Christian Alcaide. Added to, reconstructed, partially demolished
+and repeatedly restored, it must have presented an aspect rude and
+heterogeneous enough when, in 1538, Charles V. ordered Alonso de
+Covarrubias and Luis de Vega to rebuild the palace entirely on the
+lines of the new Alcazar of Granada. The Flemish Emperor may, then,
+fairly be considered the founder of the present fortress-palace, though
+it has since his time undergone radical transformations. It was burnt
+down during the War of Succession in 1710, restored sixty years later,
+destroyed again by the French in 1810, and devastated by a third
+conflagration as late as 1887. Since 1882 it has been the seat of the
+Royal Military Academy.
+
+The northern façade was constructed after the designs of Covarrubias,
+and looks on the square created by Ferdinand and Isabel in 1502. The
+reconstruction was so complete that probably no stone of the older
+façade was left in its place. The façade is severe and majestic,
+revealing classical influence, though not without important traces of
+the plateresque. It is flanked by towers, and adorned with a handsome
+portal--the work of Enrique de Egas, brother-in-law of Covarrubias. Over
+the door are the Imperial arms, supported by the figures of two heralds
+or mace-bearers. The fortress-like eastern façade is believed to be a
+part of the original Alcazar as restored by Alfonso X.; the western side
+of the building dates from the reign of the Catholic sovereigns, and the
+southern, with massive Doric pillars and square turrets, was built after
+designs by Juan de Herrera.
+
+The inner court, or _patio_, is described by a Spanish writer as
+“solemn, grandiose, full of majesty ... constructed for the
+dwelling-place of the August Cæsar.” It forms a spacious parallelogram
+and is enclosed by an arcade in two storeys with columns of the
+Corinthian order. Above the capitals are displayed the escutcheons of
+the various kingdoms ruled over by Charles. The modern restorers of the
+palace have adorned the court with a statue of the Emperor in the Roman
+costume in which he was so fond of being represented.
+
+The finest feature of the palace must have been the staircase, designed
+by Villalpando and Herrera, which has been to some extent restored after
+its destruction by Stahremberg in 1710. One of the widest staircases in
+the world, “it ends,” says Miss Hannah Lynch “in the void!” In truth,
+the Alcazar is not to-day a very interesting building. It is, in
+reality, quite impossible to identify the scenes of the romantic and
+historical episodes which we know occurred in one or other of the
+successive Alcazars. But the room in which Alfonso VI. died and the
+window at which the hapless Blanche de Bourbon wept, _pace_ the local
+guides, must have disappeared to the last stone and fragment ages ago.
+All that can be said of the palace to-day is that it forms an imposing
+landmark, and affords from its northern terrace one of the finest views
+of Toledo.
+
+To the age of Charles V. (or Carlos I. as in Spain he would properly be
+called) belongs the Hospital de San Juan Bautista, styled the Hospital
+de Afuera (outside) in the suburb of Covachuelas. The building was begun
+in 1541 by order of Archbishop Juan de Tavera, who died on his return
+from the baptism of Prince Carlos at Valladolid. The building was
+carried on after Bustamente’s death by the two Vergaras, and completed
+about 1600. The façade dates from the eighteenth century and is still
+unfinished. The courtyard, spacious and imposing, is divided into two
+and enclosed by colonnades. A fine Renaissance portal by Berruguete
+leads into the large chapel, which is in the form of a cross and
+surmounted by a dome. The pavement is of black and white marble. Before
+the altar is the tomb of Archbishop Tavera by Berruguete. This is one of
+the finest monuments in Spain. It was finished by Berruguete when he was
+over eighty years old, in 1561, his death taking place the same year in
+one of the rooms under the great clock. His sons received nearly a
+million maravedis for the work. “The Cardinal,” says Théophile Gautier,
+“is stretched out upon his tomb in his pontifical habit. Death has
+pinched his nose with its strong fingers, and the last contraction of
+the muscles, in their endeavour to retain the soul about to leave the
+body for ever, puckers up the corners of the mouth and lengthens the
+chin; never was there a cast taken after death more horribly true; and
+yet the beauty of the work is such, that you forget any amount of
+repulsiveness that the subject may possess. Little children in attitudes
+of grief support the plinth and the Cardinal’s coat of arms. The most
+supple and softest clay could not be more easy or more pliant; it is not
+carved, it is kneaded!”
+
+The hospital contains some of El Greco’s most notable work, which will
+be noticed in the chapter on that master.
+
+To Charles V. Toledo also owes the grand New Gate of Visagra, built in
+1550, and restored in 1575. It consists of two separate structures, or
+gateways, enclosing a _patio_. On the exterior of the north gate is
+shown the double eagle with the Spanish arms and a Latin
+inscription--all in sculptured granite. On the inside is a fine statue
+of St. Eugenio, variously attributed to Berruguete and Monegro. The
+statues of Gothic kings, a life-sized angel with unsheathed sword,
+elegant capitals and balconies, combine to make this gateway one of the
+finest approaches possessed by any city in the world.
+
+The Ayuntamiento, or town hall, of Toledo was erected in the time of
+Ferdinand and Isabel by the corregidor Gomez Manrique, and enlarged and
+restored between 1576 and 1618 by the corregidor Juan Tello, under the
+supervision of El Greco. The façade is composed of two storeys, the
+first consisting of nine arches with Doric columns which spring from
+massive pillars, the second of as many arches with Ionic columns. The
+edifice is surmounted by two towers, crowned with steeples and
+weather-vanes. On the fine staircase may be read in letters of gold on a
+blue ground this admonition to the civic dignitaries of Toledo:
+
+    Nobles, discretes varones,
+    Que gobernais á Toledo,
+    En aquellas escalones,
+    Desechad las aficiones,
+    Codicio temor, y miedo,
+    For los comunes provechos,
+    Dejad los particulares;
+    Pues vos fizo Dios pilares
+    De tan riquisimos techos,
+    Estad firmes y derechos.
+
+The Summer Council Chamber is handsomely decorated with _azulejos_, and
+contains some battle pictures. The portraits of Carlos II. and his wife
+are the work of Carreño.
+
+The celebrated Bridge of Alcantara, of which mention has so often been
+made in these pages, belongs indifferently to all the epochs of Toledo’s
+history, so no apology is needed for mentioning it here. “It constitutes
+to-day as in the past,” writes Amador de los Rios, “the principal
+entrance to the city, and, constructed very wisely on one of the
+narrowest parts of the river, it is formed of a great central arch of
+more than twenty-eight metres in breadth, resting on the right on a
+solid pile, often demolished, behind which is a smaller semicircular
+arch, which is, in turn, sustained by the bridge head, founded on the
+rock and pierced by a still smaller arch or passage, where several
+Visigothic remains have been discovered.” At the outer or country end of
+the historic bridge formerly stood a fortified tower, which was in 1787
+replaced by the existing structure. This is in a pretentious style, and
+is decorated with various inscriptions, among them one commemorating the
+building by order of Philip V. The majestic hexagonal tower on the town
+side, with its picturesque turrets, dates probably from 1259. Above it
+is a statue of St. Ildefonso, by Berruguete. Over the archway are
+sculptured the badges of Ferdinand and Isabel (the yoke and bundle of
+arrows), commemorating the restoration of the tower, in 1489, by Gomez
+Manrique. A noble bridge is this of Alcantara; old--old as the city--the
+work of all Toledo’s rulers, and like Toledo, grim, stern, rude,
+destined, it would seem, to endure for ever. Romans, Visigoths, Moors
+and Castilians have lingered on it, triumphed on it, fled across it,
+fought upon it, and across it to-day must walk every traveller entering
+with reverence this great temple of the mediæval and bygone.
+
+
+
+
+EL GRECO
+
+BY
+
+ALBERT F. CALVERT AND C. GASQUOINE HARTLEY
+
+
+Domeniko Theotokopuli,[A] known to us to-day as El Greco, was the first
+great painter of Spain, and in his strange and fascinating art, the
+Spanish School compels for the first time the attention of the world.
+And El Greco was not Spanish. He was born in Crete, it would seem about
+the year 1548, and died at Toledo in 1614. Learning his art in Venice,
+in his early manner he is a pure Venetian, owing much to the work of the
+Bassani, and more to the inspiration of Tintoretto, but in Toledo he
+became Spanish and himself, developing there a manner in which the
+special temper of the race finds an expression passionate enough, not
+equalled again, indeed, until the advent of Goya.
+
+There will always be some men imaginative, entirely personal, who,
+like El Greco, seek to express themselves, and in so doing, quite
+unwittingly probably, express the life of their age. Having the
+interpretative--creative would perhaps be the truer word--genius, their
+work becomes, as it were, a mirror, which reflects not the man alone,
+but the circumstances that have formed his life. For, after all, what
+the artist does is to use up what he has seen.
+
+This is why El Greco seems to chronicle for us our impressions of
+Toledo, and of Spain.
+
+Surely no other painter has lived in a city in such strong agreement
+with his spirit. Think of the place--wind-swept, heat-dried,
+extraordinarily austere, yet flushed with colour, ochre-red shading to
+unusual greens; heaped upon its rocky throne above the yellow flowing
+Tagus, its rugged silhouette straight cut against a sky hard and clear
+as enamel; and, beyond, the sierra like a great brown sea in which it
+all stands as an island starting from the waves. A suggestion of
+strenuousness seems to linger everywhere, a spirit, personal and keen,
+cruel almost as the sword-blades the city fashions. The very buildings,
+placed upon the crags beneath the great hulk of the Alcazar, repeat this
+impression, they rise in sharp upward and downward lines like an
+arrangement of swords, and make their appeal by the strange strength of
+their aspect. The streets are a tortuous net of steep-rising
+passage-ways. A city strongly itself that has suffered no change,
+fantastic as a city seen in a dream.
+
+Yes, to those who know Toledo, the impression of the character of the
+city upon El Greco will bring no surprise. His art corresponds perfectly
+with its setting. Everywhere his work is around you, for El Greco is one
+of those painters who has but a single home. He built churches and other
+buildings--the classic façade of the Ayuntamiento, for instance, was
+modelled on his design; he carved statues, he painted pictures, there
+are canvases of his in the museum, in the cathedral, and in many of the
+churches. And in all this mass of work, it is the living force behind it
+that is the first impression that you gain; a kind of driving power that
+fascinates you, just as Toledo fascinates you, by reason of its power.
+El Greco was a painter able to create--that is the secret of it all.
+And, be it remembered, the artist does not find his matter straight from
+the springs of his brain, what he is able to see he sets down, and that
+is all. His art is great in exact measure as it is able to transfer this
+vision from him to us. In this way El Greco, to whom vision seems to
+have been the whole of life, does in his pictures transfer to us the
+entire impression of Toledo, so that it is difficult to speak of his art
+without making Toledo the refrain.
+
+And as we wait with his pictures and note, after the first surprise has
+left us, the qualities of the work, throughout they confirm this. The
+very form of his composition is moulded upon Toledo. Just as its
+buildings cluster around the Alcazar, almost as bees swarming about
+their queen, so he groups everything around a central figure. Never,
+after he came to Toledo, did El Greco use Italian backgrounds. And in
+his long, lithe figures, so fantastic in their hard outlines, sometimes
+we catch that suggestion of the sword that haunts Toledo. Then when we
+come to more tangible things, we find to-day El Greco’s models in the
+dark peasants of Toledo. Nowhere else can we quite believe in the
+reality of those coldly fervent, self-absorbed, ecstatic men, who greet
+us with such fascination from his canvases, their lean, long profiles
+suggesting again that aspect of a sword.
+
+Then, El Greco’s colour was drawn from the landscape around him. And
+colour, if we may credit the truth of the conversation recounted by
+Pacheco, was to him the one quality in painting, form, drawing, all
+else, being of secondary significance. This, too, was learnt in Toledo,
+where colour has an allurement--illusive and insistent. Toledo it was
+showed him the existence of cold tones, and the fascination of its greys
+and livid greens led him to anticipate modern colour, at a time when
+every one else was painting warm tonalities. In the Convent of San Juan
+de los Reyes, now the Museo Provincial, is that ‘Bird’s-Eye View of
+Toledo,’ the picture in which we have a portrait of George Manuel
+Theotokopuli, El Greco’s son. At first you will be astonished, it is the
+strangest landscape in the world. But wait with the picture--always the
+danger with El Greco is that you will not linger enough. The painter who
+sees for himself must be studied, not dismissed as he who but sets down
+the common vision of things. And El Greco does give us the real Toledo
+in this fantastic landscape. Do you doubt this? Then go when night falls
+upon the city to some such vantage-point as the Puerta del Cambón, where
+beneath the dome of the evening sky you will see Toledo, heaped roof
+against roof, tower against tower. You will forget the strangeness of
+the picture’s statement, as you come to see that it is just this effect
+that El Greco has caught. Now you will recognise the reality of those
+bluish whites, those tones of green that surprised you, and, in
+gladness, you will yield to the truth, the beauty--are not the two the
+same?--of the painter’s vision, and avow how much he has taught you to
+see.
+
+Always El Greco’s pictures leave an impression of their own upon the
+spectator; and this is the test of vital work. It is personality that
+counts in art. Whether he paints the visible truth of outward things, as
+in his portraits--that wonderful series in the Prado, for instance, in
+which he startles us with his revelation of his model--or pure fancies
+of the mind, as ‘The Vision of Philip II.,’ in the Escorial, a picture
+that would seem to have no conscious reference to things seen, one feels
+that he had something definite to express. And although his style at
+first may have been formed largely on that of the great Venetian
+painters, of Tintoretto especially--a “sort of shorthand of the
+Venetian,” Mr. Ricketts calls it--in all his pictures there is but one
+personality--that of himself. At the back of his art was a force of
+passionate character--unbalanced? Yes! capricious and arbitrary; a
+tyrannical need that compelled expression. But in spite of his singular
+conventions and, from a theorist’s point of view, the strangeness and
+exaggeration of his qualities, he does convey his meaning, splendidly
+effective, if not the best. And because of this intensity of vision we
+have those pictures of exaggerated statement that give credit to the
+fable of the painter’s madness, such as the ‘St. John the Baptist,’ in
+the Hospital San Juan Bautista, a picture which many have found ugly,
+while the few see in its new conception a striving for personal
+utterance, and find many things in its suggestion.
+
+El Greco stumbled in his methods maybe, never in his purpose, which was,
+it would seem to us, the significance of movement. All his strange
+skill, the power of his imagination, his new knowledge of colour and
+light, are used in this service, to bring home to us the vision of
+movement that everywhere he saw. Even in his portraits it is this that
+holds us. There is something more in them than the outward likeness;
+there is a power of reaching to and showing us the unquiet spirit
+within. He makes his portraits live and speak. This quality is present
+in all his work. Every picture is built up by its effect; and this
+effect is movement--life. By concentrating on a particular passage, by a
+contempt for detail and peddling accuracy, he directs our minds to this
+principal thing. His interest, as it were, compels ours; he realises his
+vision and makes us share in his imagination.
+
+But it may be said that in many of these pictures the effect is forced;
+in the ‘St. Maurice,’ the rejected altar-piece of the Escorial, for
+instance, in the ‘Baptism of Christ’ and the ‘Descent of the Holy
+Spirit,’ in the Prado, and in many pictures in Toledo, easily
+recognised, in which realities are replaced by a series of conventions.
+It is not necessary to wait to particularise examples. Certainly one
+does not see in the pictures of other painters those greens, those ashen
+whites and crimsons, those livid blacks; El Greco’s use of colour is
+unusual and his own. Light is not used as he uses it, as a quantity for
+emotional appeal; those faces, so elongated or contracted, and with such
+extravagant expressions, those figures with hard anatomical outlines, do
+not correspond with life as we see it. Yes, this is true. But look
+longer at these pictures.... Well, would it be possible to gain their
+_effects_ without the _defects_? If things are forced out of harmony it
+is for the sake of “telling strongly.” All this search for expression is
+done quite consciously. El Greco throughout was strong enough to be true
+to himself and to his imagination. He knew that no system of art is
+final, that the achievements of artists are, in truth, the stones
+wherewith the Temple of Art is built. Imagination does not see
+commonplaces. And we recall the statement of Blake--he, too, a painter
+of visions of the mind: “He who does not imagine in stronger and better
+lineaments, and in stronger and better light, than his perishing mortal
+eye can see, does not imagine at all.”
+
+El Greco might have said these words.
+
+And the man? There is a portrait Domeniko Theotokopuli has left of
+himself now in the Museum of Seville. In it we see the long, striking
+profile, with its large, strong nose, restless eyes and straight mouth,
+cruel slightly, framed by the great white ruff that forms such fitting
+setting to the fine head. The forehead is high, the dark hair scant upon
+the temples. We may read in the face, and still more in the perfectly
+shaped hands--the left holds a square palette upon which are the five
+primary colours, white, black, yellow-ochre, vermilion, and lake, the
+colours he used most frequently--the fastidiousness of the artist, the
+instinct for beauty; we may read a peculiar suggestion of mysticism and
+ardour; self-assertion, too, and impatience--both wait in those long,
+nervous fingers. It is a face of genius, but of a kind restless,
+unbalanced, decadent perhaps. And we understand the driving energy that
+burned to fever, so that at times the balance was lost between the
+painter’s aim and the result, and we realise that the work of such a man
+must be introspective, experimental, neurotic.
+
+We know nothing almost of El Greco’s life, and if external happenings
+were all, the most original painter of Spain would remain an unexplained
+personality. His very name is uncertain, and contemporary writers,
+disregarding the Theotokopuli, speak of him as Domeniko Greco. We do not
+know the year in which he was born, for the information given by
+Palomino in “El Museo” must certainly be questioned, no register of his
+birth as yet having been found among the Cretan archives, or in the
+parochial books of the Greek colony in Venice, the city in which it
+seems certain that he lived--a pupil, we may well think, of Tintoretto,
+rather than of Titian; and this in spite of the letter of his friend
+and compatriot the miniature-painter, Clovio,[B] in which Clovio speaks
+of the young Greek painter’s skill, tells of his coming to Rome, and,
+after commending him to the patronage of the Cardinal Nepote Farnese,
+refers to his having learnt his art from the greatest Venetian. But the
+testimony of his work gives more truth than this statement; his early
+pictures, their authorship so long unknown, again and again have been
+attributed to Tintoretto, to Bassano, to Veronese even, never to Titian.
+
+That El Greco was a Cretan we know by his signature, always in Greek, on
+many pictures, Λομήνικος Θεοτοκόπουλος Κρήσεποίει--the ‘San Maurice,’
+in the Escorial, is one. And again, when called, in 1582, by the
+Tribunal of the Inquisition to act as interpreter in the case of a
+Cretan accused of being a Morisco, he describes himself as “Domeniko
+Theotokopuli, native of Candia, painter, resident in Toledo,” as we
+learn from a document discovered by Señor Cossio, to whose research, and
+to that of Señor Foradada and of Señor de Beruete, we owe the few
+discovered facts of El Greco’s life.
+
+We know that Domeniko Greco came to Toledo some time before 1577, and in
+that year he was at work in the convent of Santo Domingo el Antigua,
+where the Church was built and its statues carved by him, and where he
+painted the screens of the fine retablo; that further, he would seem
+never to have left Toledo; that he married there, and had a son, George
+Manuel, who was architect and sculptor to the cathedral from 1628 to his
+death in 1631, and also a daughter, whose portrait figures in several
+pictures--in ‘Christ Despoiled of his Vestments,’ in the cathedral, for
+one; that he died in Toledo, and was buried in Santo Domingo el Antigua
+on April 7, 1614[C]--and that is about all. We have record of much
+work--Toledo still has more than fifty Grecos--and there were pictures
+painted for the small town of Illescas, and also for Madrid. We read of
+two lawsuits, one undertaken to compel the Cathedral Chapter to pay in
+full for the ‘Expolio,’[D] the second to vindicate the painter’s right
+to sell his pictures without paying the tax levied upon merchandise.
+These lawsuits, his pictures, with their dates and signatures, certain
+contracts and receipts, are the few facts to be reported.
+
+It would seem that this strange, self-contained life wished to be
+silent; for it is perhaps not too fanciful to read this meaning into
+that answer given by El Greco when asked, in connection with the writ
+served on him for the ‘Expolio,’ whether he had been brought to Toledo
+to paint the retablo of Santo Domingo: “I am neither bound to say why I
+came to this city nor to answer the other questions put to me.” Here we
+gain hints of certain very real traits of character.
+
+And, if the facts of his life are meagre enough, we can find suggestions
+of this same temper, silent, yet passionate, in that visit of Pacheco to
+the Toledan painter when he was old, in 1611, of which we have spoken
+before. Pacheco tells us that El Greco was a student of many things, a
+writer on art, a great philosopher given to witty sayings, a sculptor
+and architect as well as a painter. He writes of much work that he saw,
+and speaks in particular of a cupboard in which were models in clay of
+each picture El Greco had finished. The two painters talked on many
+subjects, of colour and its supreme quality in painting, of Michael
+Angelo and his failure as a colourist. But in all the account of
+Pacheco, always so minutely laborious, it is significant to note in one
+sentence the impression he formed of Domeniko Greco: “He was in all
+things as singular as in his painting.”
+
+Nor will it do to overlook the testimony of Giuseppe Martinez, whose
+“Practical Letters on the Art of Painting,” though not printed until
+1866, were written a century before. He too speaks of Domeniko Greco as
+of extravagant disposition, and in proof recounts that he engaged
+musicians to play to him that he might “enjoy an additional luxury
+during meals.” The prudent Aragonese condemns this “too much
+ostentation,” but we capture again some fresh clues and hints of this
+strangely effective personality--a fanatic of life, a fanatic of
+painting.
+
+But we have not settled the account of genius when we have called it
+unusual, fanatic, or decadent. It is the solution of the dull that
+genius is extravagant consciously. El Greco can have had no desire, no
+power, to repeat the easy, the commonplace. If strange, exaggerated
+even, his art is without a trace of affectation. When he painted a
+vision he felt it natural to symbolise his idea in the way that he did.
+In colour, in form, he painted only what his imagination saw, gaining in
+colour fresh harmonies for himself, and a new suggestion of movement in
+his imaginative compositions, to which our imagination must find answer.
+
+El Greco understood all nature as a Living Presence; his art was a
+series of experiments to express this. And every one must be struck with
+the peculiar development of this special personality in his art from
+stage to stage--stages that with sufficient accuracy may be divided into
+three periods.
+
+The first is the pupil’s search for truth; the Venetian stage, in which
+we find a consciousness of tradition, showing itself in the
+still-fettered design, in the attitudes of the figures, in the use of
+warm colour, in a flowing quality in the paint, and, especially perhaps,
+in the landscape backgrounds, so Venetian with palaces and marble-paved
+piazzas; yet mingled with all this tradition is an emphatic personality,
+an ardour of expression, very difficult to define, seen in such early
+pictures as ‘The Blind Man,’ in the Parma Gallery, or ‘The Cardinal,’ in
+the National Gallery, both painted before 1577. Over the whole Venetian
+period the influence of Tintoretto is obvious; while the portraits of
+these years recall in their method the work of the Bassani; and of the
+pre-Spanish pictures, as, for instance, the ‘Cleansing of the
+Temple,’[E] now in the possession of the Countess of Yarborough, and the
+replica of the same subject on a small scale, in the Cook collection at
+Richmond, Surrey, a picture of real beauty that testifies to El Greco’s
+skill in miniature--these, and many other works, were thought until
+quite recently to be the work of the Venetians, the first being
+attributed to Paul Veronese, the latter to Tintoretto, and this in spite
+of their marked character.
+
+And the Venetian influence remained in the first years in Toledo. It is
+seen in the beautiful Virgin in the early ‘Assumption,’ painted for the
+central altar-screen of Santo Domingo el Antigua, but now in the
+Prado.[F] But the chief work of this period is the ‘Christ Despoiled of
+His Vestments,’ still in the sacristy of the cathedral in Toledo, for
+which it was painted in 1577. Here, perhaps, in the fine simplicity of
+the grouping, in the dignity of the inspired head of the Saviour, in the
+rich and strong colour and in the vivid light and shade, we have the
+best results of all El Greco learnt in Venice. But even in this
+beautiful picture we see the development, or rather the co-existence, of
+his two styles: on the one hand carefully and thoroughly worked-out
+qualities, a balanced art remembered from Venice, but with it all a
+power that was his own, that seized the elements in the picture and gave
+them life--his life. And again, we have in the excessive height of the
+Christ, in the hands of many of the figures in this picture and in the
+‘Assumption,’ first hints of the special conventions with which the name
+of El Greco is certainly most associated.
+
+We come to the second stage, in which the painter, forgetting tradition,
+seeks to set down his vision in his own way; it is the period of
+experiment, as we see it first in the ‘St. Maurice,’[G] painted in 1581,
+that strange picture, rejected, as we may so well believe, by Philip
+II., who, misunderstanding, as many have done since, the intensity of
+feeling that animates the work, attributed its exaggerated expression to
+madness. Here, and in other pictures of this time, in the seizing
+‘Vision of Philip II.’ and in the ‘St. John the Baptist’ in particular,
+we have splendid examples of imaginative work. Maybe the details are
+impossible, perhaps absurd--many have found them so--but for others the
+inspiration of the painter triumphs, and the longer they gaze at these
+visions the more they are impelled. For, be it remembered, the idea
+should be the starting-point in all imaginative pictures, and should
+control both the design and its treatment, and these Greco’s are
+splendid in this respect. Whether the imagination is exaggerated and
+perverted in wilful experiment, whether from an uncertain technical
+equipment, or whether it is, as we would think, the natural and true
+expression of intense dramatic vision, it is not easy to say. Who shall
+decide whether to call these mad pictures or visions that breathe the
+sublime? That is a question hard to answer in much of El Greco’s
+characteristic work. Perhaps the truth is that we dislike too readily
+what we do not easily understand. El Greco goes back to first principles
+and speaks in symbols with which we are not familiar. Those spectres of
+human kind that surprise us in so many of his pictures in Toledo, in
+those in the Prado, as well as in these two in the Escorial, do not
+suggest life as we see it; but they are inspired--they do convey his
+meaning. This painter’s method is a real enigma; he essayed surprising
+effects by separating colour into its original values; he used light as
+a means of emotional appeal, giving us sometimes most delicate
+harmonies, sometimes discordant contrasts. Domeniko Greco had to teach
+his world to see what he saw, and in this way he came, it may seem to
+some, to over-emphasise what to him was truth.
+
+And his third stage was a fevered expression of his imaginative vision.
+We have entered a new world of extraordinary restlessness, the
+restlessness that must exist when spirit struggles from the bonds of the
+flesh. Toledo, the ardent arid city, burnt fiercely in El Greco’s blood,
+and, more and more, he seems to have felt that it was not enough to
+record facts; to have cared less to give æsthetic pleasure; but that the
+object of his art should be to clothe abstract ideas with life. It is
+something of all this that we find in his later pictures. In each there
+is emphasis--or, if you like, exaggeration--of statement; in the
+‘Coronation of the Virgin’ in San José, for instance, a picture that in
+a strange, left-handed way carries us forward to the picture by
+Velazquez[H] on the same subject. The exaggeration is equally visible in
+the ‘Assumption’ in San Vicente, more beautiful, and the most
+interesting of these rare visions, a picture in which we have
+movement--the very sensation of a figure passing through the air as we
+have, perhaps, in no other picture. It is even stronger in the group of
+pictures in Madrid, the ‘Baptism,’ the ‘Descent of the Holy Spirit,’ the
+‘Resurrection,’ and the ‘Christ Dead in the Arms of God’; it meets us
+again in the ‘St. Joseph with the Child Jesus,’ and in the ‘Virgin and
+Child with Saints Justa and Gertrude,’[I] both in San José, the church
+that is the museum of so much of the master’s work--pictures all similar
+in their intense sentiment; while emphasis burns to a white flame of
+ardent expression in the famed ‘St. John the Baptist,’ the wonderful
+picture of which we have spoken already. It is there, too, in the
+‘Christ Crucified,’ one in the Prado, one in San Nicolas, surely the
+most terrible realisation possible of that scene of sacrifice, in which
+the agony of spirit so outweighs the agony of the flesh, and sky and
+earth seem to take their share in the struggle.
+
+It is impossible to translate the effect of these animated religious
+pictures into words. El Greco was not content to embody the old myths in
+fresh forms, but he gave fresh forms to the ideas that are, as it were,
+the soul of each myth--that which lives when the form of the stories
+change. Even in his pictures with few figures, such for instance, as the
+‘Mary and Jesus,’ in San Vicente, the ‘St. Francis,’ of which there are
+four replicas in Toledo, or that earlier picture, a beautiful rendering
+of a difficult theme, ‘La Veronica,’ one of the series painted for the
+Santo Domingo el Antigua in 1575-76, we have this exaggeration. Then,
+sometimes, exaggeration, which in each picture, after all, only
+emphasises the idea, disappears altogether, and we are given figures of
+singular beauty, as the ‘San Martin,’ in San José, or the really fine
+Madonnas--dark, oval-faced angels that surprise us at times with a
+beauty of type we hardly expect from El Greco. But, as a rule, in the
+pictures of this period, roughly marked by the painting of that
+experimental picture the ‘St. Maurice,’ there is this intensity of
+expression; and especially we find a new, and often strange, use of
+colour; colour, as well as form, being used as a means of dramatic
+statement, with a result that to many is exaggeration. For El Greco
+learnt first, perhaps, from the Venetians, and afterwards certainly in
+Toledo, many new possibilities of colour--that it has a quality that
+speaks, and further that the appeal of a picture depends first of all on
+the tone of its colour. It is for this reason he used colour as a means
+of emotional appeal; it was another quality by which to convey his idea
+to the world. For El Greco held truly that the province of art is to
+interpret, not to imitate. Every development of his art seems to have
+come from his own mind, hardly at all from the work of other painters;
+from the first he was true to his ideals. And always his pictures seem
+to be more the work of his soul than of his hand; which, in other words,
+is to say that he was greater as an artist than as a painter.
+
+Domeniko Greco, like so many of the painters of Spain, was great in
+portraiture; and some of his portraits, such as those of Antonio
+Covarrubias and of Juan de Alava, in the Museo de San Juan de Los Reyes,
+that of Cardinal Tavera, in the Hospital de Afuera, the whole series in
+the Prado, and many others not possible to name, are as fine portraits
+as have ever been done in the world. In his earliest portraits even, in
+that of Julio Clovio, in the Museum of Naples, or that of ‘A Student,’ a
+portrait, it well may be, of the young painter himself, we have the
+qualities of his later work; always it is the spirit of his model that
+he seeks.
+
+And this inward interpretation of life is seen, too, in that picture
+which is accounted rightly the most interesting, though not perhaps the
+most typical, of his work, ‘The Burial of Gonzalo Ruiz, Count of Orgaz,’
+still in the Church of Santo Tomé, where it was painted in 1584. Look at
+this gallery of living portraits, all the life of Toledo--the life of
+Spain--is reflected back from those ardent faces. In St. Augustine,
+splendid in ecclesiastical robes, is the magnificent opulence of the
+Catholic Church; in the livid face of the dead count, in the cowled monk
+and two priests is the fervid piety of a people who have felt themselves
+in mystical communion with God; in the young, warm beauty of St. Stephen
+and the lovely acolyte is the full joy and rich colour of Spain; and
+lastly, in the long line of mourners who stand behind the group of the
+principal figures, and where the painter’s own nervous face is the sixth
+portrait counting from the right side, you have types unchanged in
+Castile to-day. And how individual is the rendering of the upper section
+of the picture in which Christ awaits in the heavens the spirit of the
+dead saint. Yes, this picture is one of the greatest pictures in Spain;
+it is always interesting.
+
+[Illustration: PLATE 1
+
+TOLEDO
+
+_Specially drawn for The Spanish Series_]
+
+[Illustration: PLATE 2
+
+GENERAL VIEW OF TOLEDO FROM THE SOUTH-EAST]
+
+[Illustration: PLATE 3
+
+VIEW OF TOLEDO FROM THE SOUTH-EAST]
+
+[Illustration: PLATE 4
+
+GENERAL VIEW OF TOLEDO]
+
+[Illustration: PLATE 5
+
+VIEW OF TOLEDO FROM THE CAMPO DEL REY]
+
+[Illustration: PLATE 6
+
+GENERAL VIEW OF TOLEDO]
+
+[Illustration: PLATE 7
+
+STATE OF THE RUINS OF THE CIRCO MAXIMO IN THE YEAR 1848, ACCORDING TO
+THE “ALBUM ARTISTICO”]
+
+[Illustration: PLATE 8
+
+THE RIVER TAGUS]
+
+[Illustration: PLATE 9
+
+ALCANTARA BRIDGE]
+
+[Illustration: PLATE 10
+
+PERSPECTIVE OF ST. MARTIN’S BRIDGE AND THE DIRECTION OF THE FORTIFIED
+LINES]
+
+[Illustration: PLATE 11
+
+PERSPECTIVE VIEW OF THE SITE OF THE AQUEDUCT]
+
+[Illustration: PLATE 12
+
+ENVIRONS OF TOLEDO]
+
+[Illustration: PLATE 13
+
+PLAZA DE ZOCODOVER]
+
+[Illustration: PLATE 14
+
+THE TOWN HALL]
+
+[Illustration: PLATE 15
+
+THE MARKET-PLACE]
+
+[Illustration: PLATE 16
+
+THE MARKET-PLACE]
+
+[Illustration: PLATE 17
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 18
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 19
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 20
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 21
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 22
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 23
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 24
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 25
+
+VISAGRA GATE]
+
+[Illustration: PLATE 26
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 27
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 28
+
+BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 29
+
+ALCANTARA GATE
+
+ALCANTARA PORTAL AND BRIDGE]
+
+[Illustration: PLATE 30
+
+EXTERIOR OF THE NORTHERN CITY WALLS]
+
+[Illustration: PLATE 31
+
+FORTIFICATIONS OF THE OLD BRIDGE OF BOATS, REPLACED BY THE BRIDGE OF ST.
+MARTIN]
+
+[Illustration: PLATE 32
+
+REMAINS OF THE CITY WALLS OF “AL-HIZÉM,” FROM THE GATE OF THE DOCE
+CANTOS TO THE “PLAZA DE ARMAS” OF THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 33
+
+REMAINS OF THE CITY WALLS, SOUTH-WEST, REBUILT AT THE TIME OF THE
+RECONQUEST]
+
+[Illustration: PLATE 34
+
+REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY]
+
+[Illustration: PLATE 35
+
+REMAINS OF THE ROMAN RAMPART OF THE FIRST ENCLOSURE OF THE CITY. (PLAZA
+DE ARMAS DEL PUENTE DE ALCANTARA)
+
+VISIGOTH CAPITAL TRANSFORMED INTO A FOUNTAIN BASIN. (No. 9 CALLEJON DE
+LA LAMPARILLA)]
+
+[Illustration: PLATE 36
+
+PRINCIPAL ENTRANCE TO THE HOUSE OF THE BATHS OF ABEN-YA-YIX BAJADA AL
+COLEGIO DEL INFANTES
+
+SEPULCHRAL ARCH OF THE INFANTE DON FERNANDO PEREZ IN THE BELEN CHAPEL IN
+THE CONVENT OF THE COMENDADORA DE SANTIAGO]
+
+[Illustration: PLATE 37
+
+RUINS OF POLAN CASTLE. FOURTEENTH CENTURY]
+
+[Illustration: PLATE 38
+
+GUADAMAR CASTLE]
+
+[Illustration: PLATE 39
+
+REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY]
+
+[Illustration: PLATE 40
+
+THE EXTERIOR WALLS
+
+REMAINS OF THE FORTIFICATIONS IN THE JEWISH SUBURB]
+
+[Illustration: PLATE 41
+
+GATE OF THE “ALMOFALA” (BIB-AL-MOJADHA) REBUILT IN THE FOURTEENTH
+CENTURY
+
+“THE ABBOT’S TOWER” IN THE NORTHERN WALLS]
+
+[Illustration: PLATE 42
+
+RUINS OF THE AQUARIA TOWER, COMMONLY CALLED “HORNO DEL VIDRIO”]
+
+[Illustration: PLATE 43
+
+REMAINS OF THE AQUEDUCT (LEFT BANK OF THE RIVER)
+
+REMAINS OF THE AQUEDUCT (RIGHT BANK OF THE RIVER)]
+
+[Illustration: PLATE 44
+
+REMAINS OF THE ROMAN CONSTRUCTION IN THE TOWER OF THE PLAZA DE ARMAS OF
+THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 45
+
+BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 46
+
+EAST SIDE OF THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 47
+
+POSTERIOR FAÇADE OF THE DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 48
+
+DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA. ANTERIOR FAÇADE]
+
+[Illustration: PLATE 49
+
+ALCANTARA GATE]
+
+[Illustration: PLATE 50
+
+COMMEMORATIVE INSCRIPTION IN THE AVENUE OF THE DEFENSIVE TOWER OF THE
+BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 51
+
+COAT OF ARMS OF THE CATHOLIC SOVEREIGNS IN FRONT OF THE DEFENSIVE TOWER
+OF THE BRIDGE OF ALCANTARA
+
+“THE KHALIF’S CAPITALS” AT No. 13 CALLE DEL COLISEO]
+
+[Illustration: PLATE 52
+
+PERSPECTIVE OF THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 53
+
+ST. MARTIN’S BRIDGE]
+
+[Illustration: PLATE 54
+
+ST. MARTIN’S BRIDGE
+
+FAÇADE OF SANTA CRUZ]
+
+[Illustration: PLATE 55
+
+DEFENSIVE TOWERS AT THE ENTRANCE OF ST. MARTIN’S BRIDGE AND THE TOWN
+
+RESTORED POSTERIOR FAÇADE OF THE ARCH DE LA SANGRE]
+
+[Illustration: PLATE 56
+
+REMAINS OF THE AQUEDUCT (RIGHT BANK)]
+
+[Illustration: PLATE 57
+
+EAST SIDE OF ST. MARTIN’S BRIDGE]
+
+[Illustration: PLATE 58
+
+DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE BRIDGE
+
+DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE HIGHWAY]
+
+[Illustration: PLATE 59
+
+MALBARDÓN GATE. ELEVENTH CENTURY]
+
+[Illustration: PLATE 60
+
+VISAGRA GATE]
+
+[Illustration: PLATE 61
+
+UPPER PART OF THE VISAGRA GATE. BUILT IN 1550]
+
+[Illustration: PLATE 62
+
+TOWER IN THE CITY WALLS OF “THE SUBURB OF SAN ISIDORO,” NEAR THE NEW
+BRIDGE OF VISAGRA]
+
+[Illustration: PLATE 63
+
+HYDRAULIC MACHINE AND REMAINS OF THE WALLS IN THE QUARTER OF THE
+CURTIDORES, NEAR THE RIVER
+
+WALLS OF THE SUBURB OF SAN ISIDORO]
+
+[Illustration: PLATE 64
+
+ANCIENT GATE OF VISAGRA]
+
+[Illustration: PLATE 65
+
+ANCIENT GATE OF VISAGRA. THE SIDE WHICH JOINS THE WALL AND THE SIDE
+DEFENSIVE TOWER]
+
+[Illustration: PLATE 66
+
+ANCIENT GATE OF VISAGRA. DEFENSIVE AND SIDE TOWER]
+
+[Illustration: PLATE 67
+
+ANCIENT GATE OF VISAGRA. REMAINS OF THE EASTERN FAÇADE]
+
+[Illustration: PLATE 68
+
+DETAIL OF THE PRINCIPAL FAÇADE OF THE OLD GATE OF VISAGRA
+
+INTERIOR OF THE OLD GATE OF VISAGRA]
+
+[Illustration: PLATE 69
+
+ANCIENT GATE OF VISAGRA]
+
+[Illustration: PLATE 70
+
+THE TOWER CALLED “PUERTA BAJA DE LA HERRERIA,” NOW “GATE OF THE SUN”]
+
+[Illustration: PLATE 71
+
+CASTLE OF SAN SERVANDO]
+
+[Illustration: PLATE 72
+
+CASTLE OF SAN SERVANDO. ANCIENT ENTRANCE IN THE WEST FAÇADE
+
+CASTLE OF SAN SERVANDO. SOUTH-EAST ANGLE]
+
+[Illustration: PLATE 73
+
+DOOR OF THE CASTLE IN SAN SERVANDO]
+
+[Illustration: PLATE 74
+
+GATE OF VALMADRON]
+
+[Illustration: PLATE 75
+
+GATE OF CAMBRÓN]
+
+[Illustration: PLATE 76
+
+BAÑO DE LA CAVA]
+
+[Illustration: PLATE 77
+
+ENTRANCE TO CAVA BATHS]
+
+[Illustration: PLATE 78
+
+RUINS OF THE TOWER OF THE OLD BRIDGE OF BOATS, CALLED “BAÑO DE LA
+CAVA”]
+
+[Illustration: PLATE 79
+
+DETAILS OF THE CONVENT OF SANTA FE.
+
+ELEVENTH CENTURY]
+
+[Illustration: PLATE 80
+
+WEST PORTAL IN THE OLD HERMITAGE, NOW THE INN OF SANTA ANA, ON THE SISLA
+ROAD]
+
+[Illustration: PLATE 81
+
+ALTAR-PIECE OF SAN JUSTO]
+
+[Illustration: PLATE 82
+
+DETAIL OF THE CHURCH OF SAN JUSTO.
+
+FIFTEENTH CENTURY]
+
+[Illustration: PLATE 83
+
+DETAIL OF THE CHAPEL OF SANTOS JUSTO AND PASTOR]
+
+[Illustration: PLATE 84
+
+EFFIGIES OF JUAN GUAS, ARCHITECT OF SAN JUAN DE LOS REYES, AND OF HIS
+SON. CHAPEL OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO]
+
+[Illustration: PLATE 85
+
+EFFIGIES OF MARI ALVARES, WIFE OF JUAN GUAS, AND OF HER DAUGHTER. CHAPEL
+OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO]
+
+[Illustration: PLATE 86
+
+MOSQUE OF THE TORNERIAS. EXTERIOR OF THE SOUTH FAÇADE, SOUTH-WEST
+ANGLE]
+
+[Illustration: PLATE 87
+
+INTERIOR OF THE MOSQUE DE LAS TORNERIAS]
+
+[Illustration: PLATE 88
+
+ARCH OF THE “KIBLÁH” IN THE MOSQUE DE LAS TORNERIAS]
+
+[Illustration: PLATE 89
+
+MOSQUE OF THE TORNERIAS. TREFOIL ARCHED WINDOW
+
+MOSQUE OF THE TORNERIAS. HORSE-SHOE WINDOW]
+
+[Illustration: PLATE 90
+
+MOSQUE OF THE TORNERIAS. ARCHED WINDOW
+
+MOSQUE OF THE TORNERIAS. RECTANGULAR WINDOW]
+
+[Illustration: PLATE 91
+
+MOSQUE DE LAS TORNERIAS]
+
+[Illustration: PLATE 92
+
+MOSQUE OF THE TORNERIAS, BUILT OVER ROMAN REMAINS]
+
+[Illustration: PLATE 93
+
+SUPPOSED ELEVATION OF THE MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 94
+
+SUPPOSED PLAN OF THE MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 95
+
+ACTUAL SITUATION OF THE NORTH-EAST FAÇADE OF THE ANCIENT MOSQUE OF
+BIB-AL-MARDÓM, A TRANSEPT AND _MUDEJAR_ APSIS OF THE HERMITAGE OF SANTO
+CRISTO DE LA LUZ]
+
+[Illustration: PLATE 96
+
+THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO AND
+LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (RIGHT SIDE)]
+
+[Illustration: PLATE 97
+
+THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO OF
+LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (LEFT SIDE)]
+
+[Illustration: PLATE 98
+
+PRINCIPAL NAVE IN THE MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 99
+
+ARCH IN THE SOUTHERN INTERIOR OF THE MOSQUE OF BIB-AL-MARDÓM
+
+ACTUAL ENTRANCE TO THE CASTLE]
+
+[Illustration: PLATE 100
+
+MOSQUE OF BIB-AL-MARDÓM. ARCH IN THE INTERIOR WALL, SOUTH-WEST ANGLE
+
+DETAIL OF THE NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 101
+
+BIB-AL-MARDÓM. “ARCH OF THE CROSS”
+
+INTERIOR FAÇADE
+
+EXTERIOR FAÇADE]
+
+[Illustration: PLATE 102
+
+MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 103
+
+NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM (HERMITAGE OF SANTO
+CRISTO DE LA LUZ), DISCOVERED IN FEBRUARY 1899]
+
+[Illustration: PLATE 104
+
+THE EPIGRAPHIC MEDALLION ON THE NORTH-WEST FAÇADE OF THE MOSQUE OF
+BIB-AL-MARDÓM (HERMITAGE OF SANTO CRISTO DE LA LUZ), REBUILT IN THE YEAR
+370 AFTER THE HEGIRA (A.D. 980)]
+
+[Illustration: PLATE 105
+
+VISIGOTH CAPITAL IN THE OLD MOORISH PARISH CHURCH OF SAN SEBASTIAN
+
+VISIGOTH BASE WHICH SERVES AS A CAPITAL IN THE OLD MOORISH PARISH CHURCH
+OF SAN SEBASTIAN]
+
+[Illustration: PLATE 106
+
+SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 107
+
+THE HERMITAGE OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 108
+
+WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 109
+
+CHURCH OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 110
+
+WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 111
+
+ANCIENT MOSQUE, NOW THE HERMITAGE OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 112
+
+EXTERIOR OF THE HERMITAGE OF SANTO CRISTO DE LA LUZ, AND TOWERS OF
+VARIOUS CHURCHES]
+
+[Illustration: PLATE 113
+
+DETAIL OF THE TRANSITO (SYNAGOGUE), BUILT IN 1360 AT THE EXPENSE OF
+SAMUEL LEVI]
+
+[Illustration: PLATE 114
+
+DETAILS OF THE INTERIOR DECORATION OF THE CHURCH OF THE TRANSITO
+(ANCIENT SYNAGOGUE)]
+
+[Illustration: PLATE 115
+
+DETAILS OF THE INTERIOR DECORATION OE THE CHURCH OF THE TRANSITO
+(ANCIENT SYNAGOGUE)]
+
+[Illustration: PLATE 116
+
+DETAILS OF THE TRANSITO (SYNAGOGUE)]
+
+[Illustration: PLATE 117
+
+DETAILS OF THE TRANSITO (SYNAGOGUE)]
+
+[Illustration: PLATE 118
+
+DETAILS OF THE TRANSITO (SYNAGOGUE)]
+
+[Illustration: PLATE 119
+
+ENTRANCE ARCH IN THE BUILDING CALLED TALLER DEL MORO]
+
+[Illustration: PLATE 120
+
+DETAIL OF DECORATION IN THE MOORISH WORKSHOP]
+
+[Illustration: PLATE 121
+
+DETAILS OF THE PALACE OF THE AYALAS]
+
+[Illustration: PLATE 122
+
+DETAILS OF THE PALACE OF THE AYALAS]
+
+[Illustration: PLATE 123
+
+EXTERIOR OF THE CHAPEL OF SANTO CRISTO DE LA VEGA]
+
+[Illustration: PLATE 124
+
+DOOR AND EXTERIOR OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 125
+
+SECTIONS AND DETAILS OF THE ANCIENT SYNAGOGUE, NOW THE CHURCH OF SANTA
+MARIA LA BLANCA]
+
+[Illustration: PLATE 126
+
+PART OF THE LONGITUDINAL SECTION OF THE ANCIENT SYNAGOGUE, NOW THE
+CHURCH OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 127
+
+INTERIOR OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 128
+
+INTERIOR OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 129
+
+INTERIOR OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 130
+
+CÁRCEL DE SANTA HERMANDAD]
+
+[Illustration: PLATE 131
+
+A GOTHIC DOORWAY]
+
+[Illustration: PLATE 132
+
+A DOORWAY]
+
+[Illustration: PLATE 133
+
+ST. MICHAEL’S TOWER. FOURTEENTH CENTURY]
+
+[Illustration: PLATE 134
+
+HOUSE OF THE TOLEDOS]
+
+[Illustration: PLATE 135
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 136
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 137
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 138
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 139
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 140
+
+THE FOUNTAIN OF CALERAHIGO]
+
+[Illustration: PLATE 141
+
+ARAB DETAILS]
+
+[Illustration: PLATE 142
+
+VISIGOTH CROWNS AND CROSSES OF GUARRAZAR]
+
+[Illustration: PLATE 143
+
+VISIGOTH CROWNS AND CROSSES OF GUARRAZAR]
+
+[Illustration: PLATE 144
+
+VISIGOTH CROWNS AND CROSSES FOUND AT TOLEDO AND NOW IN THE ROYAL ARMOURY
+AT MADRID]
+
+[Illustration: PLATE 145
+
+SAN PEDRO MARTIN
+
+CALLE DE SANTO TOMÉ]
+
+[Illustration: PLATE 146
+
+ALCAZAR ROYAL PALACE. REPRODUCTION OF THE ENGRAVING MADE IN 1566 FOR
+BRAUN’S “CIVITATES ORBI TERRARUM”]
+
+[Illustration: PLATE 147
+
+PERSPECTIVE OF THE ALCAZAR IN 1845. EAST AND NORTH FAÇADES. REPRODUCTION
+OF AN ENGRAVING IN THE WORK “TOLEDO PINTORESCA”]
+
+[Illustration: PLATE 148
+
+THE ALCAZAR. TAKEN FROM THE PLAZA DE ZOCODOVER]
+
+[Illustration: PLATE 149
+
+SOUTH FAÇADE OF THE ALCAZAR]
+
+[Illustration: PLATE 150
+
+THE ALCAZAR. WEST FAÇADE AFTER THE LATEST RESTORATION]
+
+[Illustration: PLATE 151
+
+THE ALCAZAR]
+
+[Illustration: PLATE 152
+
+ALCAZAR. PRINCIPAL FAÇADE ON THE NORTH]
+
+[Illustration: PLATE 153
+
+THE ALCAZAR. EAST FAÇADE, AFTER THE LATEST RESTORATION]
+
+[Illustration: PLATE 154
+
+GENERAL VIEW OF THE ALCAZAR]
+
+[Illustration: PLATE 155
+
+THE ALCAZAR. THE PRINCIPAL STAIRCASE]
+
+[Illustration: PLATE 156
+
+THE ALCAZAR. PRINCIPAL NORTH PORTAL]
+
+[Illustration: PLATE 157
+
+THE ALCAZAR. COURT AND PLAN]
+
+[Illustration: PLATE 158
+
+COURT OF THE ALCAZAR]
+
+[Illustration: PLATE 159
+
+COURT IN THE ALCAZAR. AFTER THE LATEST RESTORATION]
+
+[Illustration: PLATE 160
+
+THE ALCAZAR. PLAN AND DETAILS. NORTH FAÇADE]
+
+[Illustration: PLATE 161
+
+DETAILS OF THE NORTH FAÇADE OF THE ALCAZAR]
+
+[Illustration: PLATE 162
+
+DOOR OF THE HALL OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 163
+
+DETAILS OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 164
+
+DETAILS OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 165
+
+DETAILS OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 166
+
+DETAILS OF THE HALL OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 167
+
+DETAILS OF THE HALL OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 168
+
+DETAILS OF THE HALL OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 169
+
+DETAILS OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 170
+
+DOORWAY OF THE COLLEGE OF THE INFANTES. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 171
+
+DOORWAY OF THE PALACE OF THE MARTINEZ]
+
+[Illustration: PLATE 172
+
+ROMAN TOWER OF SAN JUAN DE LOS REYES
+
+CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 173
+
+EXTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 174
+
+SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 175
+
+PLAN OF THE CHURCH AND PROCESSIONAL CLOISTER OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 176
+
+DOORWAY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 177
+
+GOTHIC DOORWAY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 178
+
+EXTERIOR OF THE ARCH OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 179
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 180
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 181
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 182
+
+LONGITUDINAL SECTION OF THE CHURCH OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 183
+
+INTERIOR, SAN JUAN DE LOS REYES
+
+RETABLO, SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 184
+
+GALLERY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 185
+
+GALLERY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 186
+
+DETAILS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 187
+
+DETAILS OF GALLERY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 188
+
+DETAILS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 189
+
+SAN JUAN DE LOS REYES. WALL IN THE PRESBYTERY]
+
+[Illustration: PLATE 190
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 191
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 192
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 193
+
+SAN JUAN DE LOS REYES. DECORATION IN THE TRANSVERSE NAVE]
+
+[Illustration: PLATE 194
+
+SAN JUAN DE LOS REYES. DETAILS OF THE ARMS OF ISABELLA THE CATHOLIC]
+
+[Illustration: PLATE 195
+
+DETAILS OF THE TRANSEPT OF THE CHURCH OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 196
+
+SAN JUAN DE LOS REYES. INTERIOR]
+
+[Illustration: PLATE 197
+
+A DOME IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 198
+
+REMAINS OF WINDOWS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 199
+
+DETAILS OF THE CROSS-AISLE IN THE CHURCH OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 200
+
+ALTAR OF SAN JUAN DE LOS REYES
+
+ALTAR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 201
+
+DETAILS OF THE ALTAR-PIECE IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 202
+
+COPY OF THE ORIGINAL DRAWING OF THE ARCH AND CROSS-AISLE OF SAN JUAN DE
+LOS REYES]
+
+[Illustration: PLATE 203
+
+LONGITUDINAL SECTION OF THE CLOISTER OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 204
+
+CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 205
+
+SAN JUAN DE LOS REYES. THE CLOISTERS]
+
+[Illustration: PLATE 206
+
+CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 207
+
+CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 208
+
+DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 209
+
+COMPARTMENT OF THE CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 210
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 211
+
+DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 212
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 213
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 214
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 215
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 216
+
+CHURCH OF SAN JUAN DE LOS REYES. COURTYARD]
+
+[Illustration: PLATE 217
+
+COURT IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 218
+
+DOORWAY OF THE MUSEUM OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 219
+
+SAN JUAN DE LOS REYES. DETAILS ABOVE DOOR OF MUSEUM]
+
+[Illustration: PLATE 220
+
+PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 221
+
+DETAILS OF THE PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 222
+
+FAÇADE OF THE PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 223
+
+DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 224
+
+DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 225
+
+THE CATHEDRAL]
+
+[Illustration: PLATE 226
+
+GENERAL VIEW OF THE CATHEDRAL]
+
+[Illustration: PLATE 227
+
+THE CATHEDRAL]
+
+[Illustration: PLATE 228
+
+SECTION OF THE CATHEDRAL]
+
+[Illustration: PLATE 229
+
+LONGITUDINAL SECTION OF THE CATHEDRAL]
+
+[Illustration: PLATE 230
+
+TRANSVERSE SECTION OF THE CATHEDRAL]
+
+[Illustration: PLATE 231
+
+PRINCIPAL FAÇADE OF THE CATHEDRAL AND TOWER]
+
+[Illustration: PLATE 232
+
+THE CATHEDRAL. DETAIL OF THE EXTERIOR]
+
+[Illustration: PLATE 233
+
+THE CATHEDRAL. PORTAL OF THE PRINCIPAL FAÇADE]
+
+[Illustration: PLATE 234
+
+THE CATHEDRAL. PRINCIPAL GATE]
+
+[Illustration: PLATE 235
+
+THE CATHEDRAL. THE GATE OF THE LIONS]
+
+[Illustration: PLATE 236
+
+THE CATHEDRAL. PORCH OF THE PRINCIPAL FAÇADE]
+
+[Illustration: PLATE 237
+
+THE CATHEDRAL
+
+THE LION DOOR
+
+THE LION DOOR]
+
+[Illustration: PLATE 238
+
+DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 239
+
+THE CATHEDRAL. DOOR OF THE LOST CHILD]
+
+[Illustration: PLATE 240
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DE LA FERIA]
+
+[Illustration: PLATE 241
+
+CATHEDRAL. GATE OF THE CONCEPTION]
+
+[Illustration: PLATE 242
+
+THE CATHEDRAL. ORNAMENTAL DETAILS OF THE GATES]
+
+[Illustration: PLATE 243
+
+THE CATHEDRAL
+
+CENTRAL NAVE
+
+TOMB OF ALONSO DE CARRILLO]
+
+[Illustration: PLATE 244
+
+THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR]
+
+[Illustration: PLATE 245
+
+THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR]
+
+[Illustration: PLATE 246
+
+THE CATHEDRAL. INTERIOR]
+
+[Illustration: PLATE 247
+
+THE CATHEDRAL. INTERIOR]
+
+[Illustration: PLATE 248
+
+WINDOWS IN THE PRINCIPAL NAVE OF THE CATHEDRAL]
+
+[Illustration: PLATE 249
+
+THE CATHEDRAL. GRATING OF THE PRINCIPAL CHAPEL. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 250
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 251
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 252
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 253
+
+THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 254
+
+THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 255
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 256
+
+THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 257
+
+THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 258
+
+THE CATHEDRAL. ALTAR-PIECE OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 259
+
+THE CATHEDRAL. DETAIL OF THE ALTAR-PIECE OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 260
+
+THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR]
+
+[Illustration: PLATE 261
+
+THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR]
+
+[Illustration: PLATE 262
+
+THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR]
+
+[Illustration: PLATE 263
+
+THE CATHEDRAL. DETAILS OF THE ALTAR-PIECE]
+
+[Illustration: PLATE 264
+
+THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 265
+
+THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 266
+
+THE CATHEDRAL. DETAIL OF THE FRONTAL OF THE HIGH ALTAR]
+
+[Illustration: PLATE 267
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 268
+
+THE CATHEDRAL. SEPULCHRE OF CARDINAL MENDOZA IN THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 269
+
+THE CATHEDRAL. DOME OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 270
+
+THE CATHEDRAL. EXTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 271
+
+THE CATHEDRAL. EXTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 272
+
+THE CATHEDRAL. DETAILS OF THE EXTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 273
+
+THE CATHEDRAL. EXTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 274
+
+THE CATHEDRAL. CHOIR STALLS]
+
+[Illustration: PLATE 275
+
+THE CATHEDRAL. CHOIR STALLS]
+
+[Illustration: PLATE 276
+
+THE CATHEDRAL. CHOIR STALLS]
+
+[Illustration: PLATE 277
+
+THE CATHEDRAL. DETAILS OF THE CHOIR STALLS, REPRESENTING THE RE-CONQUEST
+OF GRANADA BY FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 278
+
+THE CATHEDRAL. INTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 279
+
+THE CATHEDRAL. DETAILS OF THE CHOIR]
+
+[Illustration: PLATE 280
+
+THE CATHEDRAL. DETAILS OF THE CHOIR]
+
+[Illustration: PLATE 281
+
+THE CATHEDRAL. THE ARCHBISHOP’S THRONE, REPRESENTING THE
+TRANSFIGURATION. BY BERRUGUETE]
+
+[Illustration: PLATE 282
+
+THE CATHEDRAL. VIRGIN OF THE LANEROS]
+
+[Illustration: PLATE 283
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 284
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 285
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 286
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 287
+
+THE CATHEDRAL. DETAIL OF CHOIR STALLS. THE CAPTURE OF ALHAMA BY
+FERDINAND AND ISABELLA, 1482. RE-CONQUEST OF GRANADA]
+
+[Illustration: PLATE 288
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 289
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 290
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 291
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 292
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 293
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 294
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 295
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 296
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 297
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 298
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 299
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 300
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 301
+
+THE CATHEDRAL. MASONRY IN THE CHOIR]
+
+[Illustration: PLATE 302
+
+THE CATHEDRAL. EXTERIOR OF THE PRESBYTERY]
+
+[Illustration: PLATE 303
+
+THE CATHEDRAL. INTERIOR OF THE CHAPEL OF THE NEW KINGS WITH THE
+SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE]
+
+[Illustration: PLATE 304
+
+THE CATHEDRAL. SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE IN THE
+CHAPEL OF THE NEW KINGS]
+
+[Illustration: PLATE 305
+
+THE CATHEDRAL. SEPULCHRE OF CARDINAL TAVERA IN THE CHAPEL OF THE NEW
+KINGS]
+
+[Illustration: PLATE 306
+
+THE CATHEDRAL. SEPULCHRE OF DON JUAN I. IN THE CHAPEL OF THE NEW KINGS]
+
+[Illustration: PLATE 307
+
+THE CATHEDRAL. SEPULCHRE OF DOÑA LEONOR, WIFE OF DON JUAN I., IN THE
+CHAPEL OF THE NEW KINGS]
+
+[Illustration: PLATE 308
+
+THE CATHEDRAL. CHAPEL OF THE DESCENT OF THE VIRGIN]
+
+[Illustration: PLATE 309
+
+THE CATHEDRAL. MUZARABIC CHAPEL]
+
+[Illustration: PLATE 310
+
+THE CATHEDRAL. DETAILS OF THE CHAPEL OF THE VIRGEN DE LA ANTIGUA]
+
+[Illustration: PLATE 311
+
+THE CATHEDRAL. CHAPEL OF THE VIRGEN DE LA ANTIGUA. FOURTEENTH CENTURY]
+
+[Illustration: PLATE 312
+
+THE CATHEDRAL. DOORWAY OF THE CHAPEL OF THE CANONS]
+
+[Illustration: PLATE 313
+
+ALTAR-PIECE OF SANTA ISABEL
+
+ALTAR-PIECE OF SANTA CATALINA]
+
+[Illustration: PLATE 314
+
+ALTAR-PIECE OF SANTA CATALINA]
+
+[Illustration: PLATE 315
+
+ALTAR-PIECE OF SANTA CATALINA]
+
+[Illustration: PLATE 316
+
+ALTAR-PIECE OF SANTA CATALINA]
+
+[Illustration: PLATE 317
+
+CHAPEL OF SANTA CATALINA. FOUNDED BY THE COUNTS OF CEDILLO]
+
+[Illustration: PLATE 318
+
+THE CATHEDRAL. CHAPEL OF SANTIAGO, CONTAINING THE SEPULCHRES OF DON
+ALVARO DE LUNA AND THAT OF HIS WIFE DOÑA JUANA. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 319
+
+THE CATHEDRAL. SEPULCHRE OF DON JUAN DE ZEREZUELA IN THE CHAPEL OF
+SANTIAGO. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 320
+
+CUPOLA OF THE CHAPEL “DE LOS REYES NUEVOS” IN THE CATHEDRAL
+
+CUPOLA OF THE “CAPILLA DE SANTIAGO,” CALLED “DE DON ALVARO DE LUNA” IN
+THE CATHEDRAL]
+
+[Illustration: PLATE 321
+
+THE CATHEDRAL. SEPULCHRE OF DON GIL CARRILLO DE ALBORNOZ IN THE CHAPEL
+OF SAN ILDEFONSO]
+
+[Illustration: PLATE 322
+
+THE CATHEDRAL. SEPULCHRE OF GIL DE ALBORNOZ IN THE CHAPEL OF SAN
+ILDEFONSO]
+
+[Illustration: PLATE 323
+
+THE CATHEDRAL. ENTRANCE TO THE CHAPTER ROOM. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 324
+
+THE CATHEDRAL. CHAPTER ROOM]
+
+[Illustration: PLATE 325
+
+THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS]
+
+[Illustration: PLATE 326
+
+THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS]
+
+[Illustration: PLATE 327
+
+THE CATHEDRAL. DETAILS IN THE CHAPTER ROOM]
+
+[Illustration: PLATE 328
+
+THE CATHEDRAL. CHAPTER ROOM]
+
+[Illustration: PLATE 329
+
+THE CATHEDRAL. DOORWAY OF THE CHAPTER ROOM]
+
+[Illustration: PLATE 330
+
+THE CATHEDRAL. DETAIL OF A DOORWAY IN THE CHAPTER ROOM]
+
+[Illustration: PLATE 331
+
+THE CATHEDRAL. CUPBOARD MADE BY GREGORIO PARDO (1549-1551), FOR THE
+ANTECHAMBER OF THE CHAPTER HOUSE]
+
+[Illustration: PLATE 332
+
+CUPBOARD IN THE CATHEDRAL]
+
+[Illustration: PLATE 333
+
+THE CATHEDRAL. A RICH AND GOSSAMER CARVED CEILING IN THE CHAPTER HALL
+SIXTEENTH CENTURY]
+
+[Illustration: PLATE 334
+
+THE CATHEDRAL. CEILING IN THE CHAPTER HALL]
+
+[Illustration: PLATE 335
+
+THE CATHEDRAL. A CEILING IN THE ANTE-ROOM]
+
+[Illustration: PLATE 336
+
+THE CATHEDRAL CLOISTERS]
+
+[Illustration: PLATE 337
+
+THE CATHEDRAL CLOISTERS]
+
+[Illustration: PLATE 338
+
+PRESENTATION PORTAL IN THE CLOISTER OF THE CATHEDRAL]
+
+[Illustration: PLATE 339
+
+EXTERIOR, BY THE CLOISTERS OF THE CHAPEL, OF THE PLACE OF SEPULTURE
+BUILT BY HENRY II. FOR HIS TOMB]
+
+[Illustration: PLATE 340
+
+THE CATHEDRAL. PICTURE BY BAYEU IN THE CLOISTERS]
+
+[Illustration: PLATE 341
+
+PORTAL OF ST. CATHARINE IN THE CLOISTER OF THE CATHEDRAL]
+
+[Illustration: PLATE 342
+
+THE CATHEDRAL. DETAILS OF THE GATE OF THE PRESENTATION IN THE CLOISTER]
+
+[Illustration: PLATE 343
+
+THE CATHEDRAL. RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO]
+
+[Illustration: PLATE 344
+
+THE CATHEDRAL. DETAIL OF THE RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO]
+
+[Illustration: PLATE 345
+
+THE CATHEDRAL. A BYZANTINE RELIQUARY]
+
+[Illustration: PLATE 346
+
+SEPULCHRES IN THE CATHEDRAL]
+
+[Illustration: PLATE 347
+
+SCULPTURE IN THE CATHEDRAL]
+
+[Illustration: PLATE 348
+
+THE CATHEDRAL. BRONZE LECTERN AND BOOKS OF HOLY OFFICE]
+
+[Illustration: PLATE 349
+
+THE CATHEDRAL. A BRONZE PULPIT]
+
+[Illustration: PLATE 350
+
+THE CATHEDRAL. DETAIL OF A PULPIT]
+
+[Illustration: PLATE 351
+
+PULPIT IN THE CATHEDRAL]
+
+[Illustration: PLATE 352
+
+CATHEDRAL BELLS WHICH RING WHEN THE HOST IS ELEVATED]
+
+[Illustration: PLATE 353
+
+THE CATHEDRAL. STATUE OF DON JUAN II. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 354
+
+THE CATHEDRAL. ST. FRANCIS OF ASSISI]
+
+[Illustration: PLATE 355
+
+THE CATHEDRAL. A PICTURE BY BAYEU]
+
+[Illustration: PLATE 356
+
+DETAILS IN THE CATHEDRAL]
+
+[Illustration: PLATE 357
+
+THE CATHEDRAL. COVER OF A MISSAL]
+
+[Illustration: PLATE 358
+
+THE CATHEDRAL. SILVER SALVER, “THE ABDUCTION OF THE SABINE WOMEN” BY
+BENVENUTO CELLINI]
+
+[Illustration: PLATE 359
+
+THE CATHEDRAL. CHALICE AND PATEN]
+
+[Illustration: PLATE 360
+
+THE CATHEDRAL. A SHIP THAT BELONGED TO QUEEN JUANA LA LOCA]
+
+[Illustration: PLATE 361
+
+MONSTRANCE IN THE CATHEDRAL]
+
+[Illustration: PLATE 362
+
+THE CATHEDRAL. SWORD OF ALFONSO VI.]
+
+[Illustration: PLATE 363
+
+THE CATHEDRAL. THE ADORATION OF THE KINGS (SILK)]
+
+[Illustration: PLATE 364
+
+THE CATHEDRAL. THE VEIL OF SANTA LEOCADIA (SILK)]
+
+[Illustration: PLATE 365
+
+THE CATHEDRAL. THE ASSUMPTION (SILK)]
+
+[Illustration: PLATE 366
+
+THE CATHEDRAL. THE BEHEADING OF SAN EUGENIO (SILK)]
+
+[Illustration: PLATE 367
+
+KUFIC ENTABLATURE IN THE CATHEDRAL]
+
+[Illustration: PLATE 368
+
+THE CATHEDRAL. A DALMATIC EMBROIDERED IN GOLD AND SILK. SIXTEENTH
+CENTURY]
+
+[Illustration: PLATE 369
+
+THE CATHEDRAL. A CHASUBLE EMBROIDERED IN GOLD AND SILK. SIXTEENTH
+CENTURY]
+
+[Illustration: PLATE 370
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ]
+
+[Illustration: PLATE 371
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ]
+
+[Illustration: PLATE 372
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ]
+
+[Illustration: PLATE 373
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ]
+
+[Illustration: PLATE 374
+
+EFFIGIES OF JUAN GUAS (ARCHITECT OF SAN JUAN DE LOS REYES), HIS WIFE,
+AND CHILDREN]
+
+[Illustration: PLATE 375
+
+SCULPTURE IN SAN ANDRES]
+
+[Illustration: PLATE 376
+
+BANNER OF THE SALADO]
+
+[Illustration: PLATE 377
+
+ST. PETER NATANO AND ST. THERESA SCULPTURED IN WOOD]
+
+[Illustration: PLATE 378
+
+PLAN OF THE SANTA IGLESIA PRIMADA]
+
+[Illustration: PLATE 379
+
+SANTA ISABEL. SIDE ALTAR-PIECE]
+
+[Illustration: PLATE 380
+
+SANTA ISABEL. DETAIL OF AN ALTAR-PIECE]
+
+[Illustration: PLATE 381
+
+PARISH CHURCH OF SANTIAGO]
+
+[Illustration: PLATE 382
+
+EXTERIOR OF SANTIAGO DEL ARRABAL. THIRTEENTH CENTURY]
+
+[Illustration: PLATE 383
+
+PULPIT IN THE CHURCH OF SANTIAGO DEL ARRABAL, FROM WHICH SAN VICENTE DE
+FERRER PREACHED AGAINST THE JEWS]
+
+[Illustration: PLATE 384
+
+PAROCHIAL CHURCH OF SANTIAGO DEL ARRABAL]
+
+[Illustration: PLATE 385
+
+CHURCH OF SAN TOMÉ]
+
+[Illustration: PLATE 386
+
+DETAIL OF AN ALTAR-PIECE IN THE CHURCH OF THE TRINITY]
+
+[Illustration: PLATE 387
+
+SEPULCHRES IN THE CHURCH OF ST. PETER THE MARTYR]
+
+[Illustration: PLATE 388
+
+DETAILS OF A SEPULCHRE IN THE CHURCH OF ST. PETER THE MARTYR]
+
+[Illustration: PLATE 389
+
+CHURCH OF ST. PETER THE MARTYR. STATUE OF A KNEELING CANON]
+
+[Illustration: PLATE 390
+
+CHAPEL IN SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 391
+
+CHAPEL IN SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 392
+
+DETAILS OF SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 393
+
+SEPULCHRE IN SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 394
+
+SEPULCHRE IN SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 395
+
+DETAIL OF THE CONVENT OF SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 396
+
+DETAILS OF THE CONVENT OF SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 397
+
+CONVENT OF SANTO DOMINGO]
+
+[Illustration: PLATE 398
+
+CONVENT OF SANTO DOMINGO]
+
+[Illustration: PLATE 399
+
+CONVENT OF SANTO DOMINGO]
+
+[Illustration: PLATE 400
+
+ANCIENT SEPULCHRE IN THE CONVENT OF SANTO DOMINGO]
+
+[Illustration: PLATE 401
+
+SANTO DOMINGO EL REAL, PRINCIPAL ALTAR-PIECE]
+
+[Illustration: PLATE 402
+
+DOORWAY OF THE CONVENT OF SAN ANTONIO]
+
+[Illustration: PLATE 403
+
+PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE]
+
+[Illustration: PLATE 404
+
+PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE]
+
+[Illustration: PLATE 405
+
+DETAIL OF THE INTERIOR OF THE CONVENT OF SAN CLEMENTE]
+
+[Illustration: PLATE 406
+
+PORTAL OF SANTA CRUZ]
+
+[Illustration: PLATE 407
+
+PORTAL OF SANTA CRUZ]
+
+[Illustration: PLATE 408
+
+PORCH OF SANTA CRUZ
+
+THE HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 409
+
+COURT OF SANTA CRUZ]
+
+[Illustration: PLATE 410
+
+COURTYARD OF THE HOSPITAL]
+
+[Illustration: PLATE 411
+
+COURT OF SANTA CRUZ]
+
+[Illustration: PLATE 412
+
+COURT OF SANTA CRUZ]
+
+[Illustration: PLATE 413
+
+DETAIL OF THE PORTAL OF THE HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 414
+
+DETAILS OF SANTA CRUZ]
+
+[Illustration: PLATE 415
+
+HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 416
+
+PORTALS IN THE VESTIBULE OF THE ANCIENT HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 417
+
+HOSPITAL OF SANTA CRUZ. PORTRAIT OF THE FOUNDER, CARDINAL MENDOZA]
+
+[Illustration: PLATE 418
+
+HOSPITAL DE AFUERA. THE COURT]
+
+[Illustration: PLATE 419
+
+HOSPITAL DE AFUERA]
+
+[Illustration: PLATE 420
+
+HOSPITAL OF ST. JOHN BAPTIST]
+
+[Illustration: PLATE 421
+
+HOSPITAL DE AFUERA. SEPULCHRE OF CARDINAL TAVERA. 1557. ALONZO
+BERRUGUETE]
+
+[Illustration: PLATE 422
+
+THE UNIVERSITY
+
+THE UNIVERSITY]
+
+[Illustration: PLATE 423
+
+DETAILS OF THE HOUSE OF MUNÁRRIZ]
+
+[Illustration: PLATE 424
+
+GATE OF AL MARDÓM
+
+ALTAR OF THE CHURCH OF SAN JUSTO]
+
+[Illustration: PLATE 425
+
+PORTAL OF THE ARCHBISHOP’S PALACE
+
+IN THE TOWN HALL]
+
+[Illustration: PLATE 426
+
+CLOISTERS OF SAN JUAN DE LOS REYES
+
+VIEW OF ST. MARTIN’S BRIDGE, LOOKING DOWN THE RIVER]
+
+[Illustration: PLATE 427
+
+GALLERY OF SAN JUAN DE LOS REYES
+
+A MOORISH WORKSHOP]
+
+[Illustration: PLATE 428
+
+HOTEL CASTILLA]
+
+[Illustration: PLATE 429
+
+DETAIL OF THE COURTYARD OF THE HOTEL CASTILLA]
+
+[Illustration: PLATE 430
+
+VISIGOTH CAPITALS IN THE CHURCH OF SAN SEBASTIAN]
+
+[Illustration: PLATE 431
+
+NATIONAL ARCHÆOLOGICAL MUSEUM
+
+CAPITAL, FOURTH CENTURY AFTER THE HEGIRA
+
+CAPITAL OF SANTIAGO DE LOS CABALLEROS NEAR THE ALCAZAR. FOURTH CENTURY
+AFTER THE HEGIRA]
+
+[Illustration: PLATE 432
+
+CAPITAL IN THE ARCHÆOLOGICAL MUSEUM]
+
+[Illustration: PLATE 433
+
+FRAGMENT OF DADO FOUND NEAR THE BASILICA OF SANTA LEOCADIA
+
+WINDOW OF SAN GINÉS
+
+NATIONAL ARCHÆOLOGICAL MUSEUM]
+
+[Illustration: PLATE 434
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE TABLE IN WHITE MARBLE,
+BELONGING TO THE ALJAMA MOSQUE OF TOLEDO
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE FRAGMENT FOUND AT THE
+“MIRADERO.” CARVED IN WHITE MARBLE]
+
+[Illustration: PLATE 435
+
+CAPITAL IN THE SOUTH-WEST ANGLE, BELONGING TO THE OLD MOSQUE, NOW THE
+HERMITAGE OF SANTO CRISTO DE LA LUZ
+
+THE FIFTH OF THE VISIGOTH CAPITALS OF THE HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 436
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. SKY-LIGHT OR ORNAMENT FOUND AT TOLEDO
+
+VISIGOTH CAPITAL IN THE PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 437
+
+ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD IN THE PARISH CHURCH OF
+SAN ROMÁN]
+
+[Illustration: PLATE 438
+
+ARCHITECTURAL PIECES OF THE VISIGOTH PERIOD EXISTING IN THE CITY]
+
+[Illustration: PLATE 439
+
+ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD]
+
+[Illustration: PLATE 440
+
+CAPITAL OF THE SOUTH-EAST ANGLE BELONGING TO THE ANCIENT MOSQUE, NOW THE
+HERMITAGE OF SANTO CRISTO DE LA LUZ
+
+VISIGOTH CAPITAL OF THE OLD PARISH CHURCH OF SAN SEBASTIAN]
+
+[Illustration: PLATE 441
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. VISIGOTH CAPITALS OF THE CHURCH OF SANTA
+EULALIA. FRAGMENT OF THE DADO OF THE BASILICA OF SANTO LEOCADIA]
+
+[Illustration: PLATE 442
+
+CAPITALS IN THE ARCHÆOLOGICAL MUSEUM]
+
+[Illustration: PLATE 443
+
+PROVINCIAL MUSEUM. CAPITAL OF THE FOURTH CENTURY AFTER THE HEGIRA
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. ARAB ASTROLABE MADE AT TOLEDO IN THE YEAR
+459 AFTER THE HEGIRA (A.D. 1067)]
+
+[Illustration: PLATE 444
+
+ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD]
+
+[Illustration: PLATE 445
+
+ARCHITECTURAL FRAGMENTS ANTERIOR TO THE MAHOMETAN IRRUPTION, No. 1]
+
+[Illustration: PLATE 446
+
+ARCHITECTURAL PARTS AND DECORATIVE REMAINS ANTERIOR TO THE MAHOMETAN
+IRRUPTION, No. 2]
+
+[Illustration: PLATE 447
+
+ARCHITECTURAL PARTS AND DECORATIVE FRAGMENTS ANTERIOR TO THE MAHOMETAN
+IRRUPTION, No. 3]
+
+[Illustration: PLATE 448
+
+ARCHES OF VARIOUS CHURCHES OF THE FOURTEENTH AND FIFTEENTH CENTURIES]
+
+[Illustration: PLATE 449
+
+DENUDATION OF OUR LORD BEFORE THE CRUCIFIXION
+
+EL GRECO
+
+SACRISTY OF THE CATHEDRAL]
+
+[Illustration: PLATE 450
+
+THE VIRGIN, ST. ANNE, THE CHILD JESUS AND ST. JOHN
+
+EL GRECO
+
+CHAPEL OF ST. ANNE]
+
+[Illustration: PLATE 451
+
+OUR LADY OF SORROWS
+
+EL GRECO
+
+SACRISTY OF THE NEW KINGS, IN THE CATHEDRAL]
+
+[Illustration: PLATE 452
+
+PENTECOST
+
+EL GRECO
+
+CHURCH OF THE TRINITY]
+
+[Illustration: PLATE 453
+
+JESUS AND ST. JOHN
+
+EL GRECO
+
+CHURCH OF ST. JOHN THE BAPTIST]
+
+[Illustration: PLATE 454
+
+THE ASSUMPTION
+
+EL GRECO
+
+CHAPEL OF SAN JOSÉ]
+
+[Illustration: PLATE 455
+
+ST. MARTIN
+
+EL GRECO
+
+CHAPEL OE SAN JOSÉ]
+
+[Illustration: PLATE 456
+
+THE HOLY EUCHARIST. BY EL GRECO CHURCH OF SAN JOSÉ]
+
+[Illustration: PLATE 457
+
+SAN JOSÉ AND THE CHILD JESUS
+
+EL GRECO
+
+PARISH CHURCH OF THE MAGDALENE]
+
+[Illustration: PLATE 458
+
+THE INTERMENT OF COUNT DE ORGAZ
+
+EL GRECO
+
+CHURCH OF SANTO TOMÉ]
+
+[Illustration: PLATE 459
+
+DETAIL OF THE INTERMENT OF COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 460
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 461
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 462
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 463
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 464
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ]
+
+[Illustration: PLATE 465
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 466
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 467
+
+THE ANNUNCIATION
+
+EL GRECO
+
+PARISH CHURCH OF SAN NICHOLÁS]
+
+[Illustration: PLATE 468
+
+THE CRUCIFIXION
+
+EL GRECO
+
+SAN NICHOLÁS]
+
+[Illustration: PLATE 469
+
+SAN PEDRO NOLASCO
+
+EL GRECO
+
+PARISH CHURCH OF SAN NICHOLÁS]
+
+[Illustration: PLATE 470
+
+THE ASSUMPTION
+
+EL GRECO
+
+PARISH CHURCH OF SAN VICENTE]
+
+[Illustration: PLATE 471
+
+SAN EUGENIO
+
+EL GRECO
+
+PARISH CHURCH OF SAN VICENTE]
+
+[Illustration: PLATE 472
+
+ST. PETER
+
+EL GRECO
+
+PARISH CHURCH OF SAN VICENTE]
+
+[Illustration: PLATE 473
+
+JESUS AND THE VIRGIN
+
+EL GRECO
+
+PARISH CHURCH OF SAN VICENTE]
+
+[Illustration: PLATE 474
+
+THE ASCENSION
+
+EL GRECO
+
+SANTO DOMINGO EL ANTIGUA]
+
+[Illustration: PLATE 475
+
+A SAINT (? SANTO DOMINGO EL ANTIGUA)
+
+EL GRECO]
+
+[Illustration: PLATE 476
+
+THE BIRTH OF JESUS
+
+EL GRECO
+
+SANTO DOMINGO EL ANTIGUA]
+
+[Illustration: PLATE 477
+
+SANTA VERONICA WITH THE SUDARIUM
+
+EL GRECO
+
+SANTO DOMINGO EL ANTIGUA]
+
+[Illustration: PLATE 478
+
+ST. JOHN BAPTIST
+
+EL GRECO
+
+SANTO DOMINGO EL ANTIGUA]
+
+[Illustration: PLATE 479
+
+ST. JOHN THE EVANGELIST
+
+EL GRECO
+
+CHURCH OF SANTO DOMINGO]
+
+[Illustration: PLATE 480
+
+ALTAR-PIECE OF THE CONVENT OF SANTO DOMINGO
+
+EL GRECO]
+
+[Illustration: PLATE 481
+
+ST. FRANCIS OF ASSISI
+
+EL GRECO
+
+COLLEGE OF NOBLE LADIES]
+
+[Illustration: PLATE 482
+
+THE BAPTISM OF JESUS
+
+EL GRECO
+
+HOSPITAL OF ST. JOHN BAPTIST]
+
+[Illustration: PLATE 483
+
+PORTRAIT OF CARDINAL TAVERA
+
+EL GRECO
+
+HOSPITAL OF ST. JOHN BAPTIST]
+
+[Illustration: PLATE 484
+
+VIEW OF THE HIGH ALTAR OF THE TAVERA HOSPITAL
+
+EL GRECO]
+
+[Illustration: PLATE 485
+
+GENERAL VIEW OF TOLEDO (LEFT HALF)
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 486
+
+GENERAL VIEW OF TOLEDO (RIGHT HALF)
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 487
+
+VIEW OF TOLEDO
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 488
+
+PORTRAIT OF ANTONIO COVARRUBIAS
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 489
+
+PORTRAIT OF THE SON OF COVARRUBIAS
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 490
+
+THE CRUCIFIXION
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 491
+
+ALLEGORY OF THE VIRGIN
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 492
+
+PORTRAIT OF JUAN DE AVILA
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 493
+
+OUR SAVIOUR
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 494
+
+ST. JOHN THE EVANGELIST
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 495
+
+ST. PETER
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 496
+
+ST. MATTHIAS
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 497
+
+ST. PHILIP
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 498
+
+ST. ANDREW
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 499
+
+ST. THOMAS
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 500
+
+ST. SIMON
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 501
+
+ST. MATTHEW
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 502
+
+ST. JUDE TADEO
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 503
+
+AN APOSTLE
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 504
+
+AN APOSTLE
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 505
+
+AN APOSTLE
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 506
+
+THE ANNUNCIATION
+
+EL GRECO]
+
+[Illustration: PLATE 507
+
+THE DREAM OF PHILIP II.
+
+EL GRECO
+
+CHAPTER HALL OF THE ESCORIAL]
+
+[Illustration: PLATE 508
+
+ST. MAURICE AND THE THEBAN LEGION
+
+EL GRECO
+
+CHAPTER HALL OF THE ESCORIAL]
+
+[Illustration: PLATE 509
+
+PORTRAIT OF EL GRECO BY HIMSELF
+
+SEÑOR A. DE BERUETE, MADRID]
+
+[Illustration: PLATE 510
+
+CHRIST DRIVING THE MONEY-CHANGERS FROM THE TEMPLE
+
+EL GRECO
+
+SEÑOR DE BERUETE, MADRID]
+
+[Illustration: PLATE 511
+
+PORTRAIT OF A STUDENT (EL GRECO?)
+
+EL GRECO
+
+DON PABLO BOSCH, MADRID]
+
+       *       *       *       *       *
+
+THE
+
+SPANISH SERIES
+
+Edited by ALBERT F. CALVERT
+
+
+A new and important series of volumes, dealing with Spain in its various
+aspects, its history, its cities and monuments. Each volume will be
+complete in itself in a uniform binding, and the number and excellence
+of the reproductions from pictures will justify the claim that these
+books comprise the most copiously illustrated series that has yet been
+issued, some volumes having over 300 pages of reproductions of pictures,
+etc.
+
+
+Crown 8vo         Price 3/6 net
+
+ 1   GOYA                          with 600 illustrations
+ 2   TOLEDO                          “  510     “
+ 3   MADRID                          “  450     “
+ 4   SEVILLE                         “  300     “
+ 5   MURILLO                         “  165     “
+ 6   CORDOVA                         “  160     “
+ 7   EL GRECO                        “  140     “
+ 8   VELAZQUEZ                       “  142     “
+ 9   THE PRADO                       “  223     “
+10   THE ESCORIAL                    “  278     “
+11   ROYAL PALACES OF SPAIN          “  200     “
+12   GRANADA AND ALHAMBRA            “  460     “
+13   SPANISH ARMS AND ARMOUR         “  386     “
+14   LEON, BURGOS AND SALAMANCA      “  462     “
+15   VALLADOLID, OVIEDO, SEGOVIA }
+     ZAMORA, AVILA AND ZARAGOZA  }   “  390     “
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+MURILLO
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
+
+
+While the names of Murillo and Velazquez are inseparably linked in the
+history of Art as Spain’s immortal contribution to the small band of
+world-painters, the great Court-Painter to Philip IV. has ever received
+the lion’s share of public attention. Many learned and critical works
+have been written about Murillo, but whereas Velazquez has been
+familiarised to the general reader by the aid of small, popular
+biographies, the niche is still empty which it is hoped that this book
+will fill.
+
+In this volume the attempt has been made to show the painter’s art in
+its relation to the religious feeling of the age in which he lived, and
+his own feeling towards his art. Murillo was the product of his
+religious era, and of his native province, Andalusia. To Europe in his
+lifetime he signified little or nothing. He painted to the order of the
+religious houses in his immediate vicinity; his works were immured in
+local monasteries and cathedrals, and, passing immediately out of
+circulation, were forgotten or never known.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+SPANISH ARMS AND ARMOUR
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
+ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY
+SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN
+
+
+Although several valuable and voluminous catalogues of the Spanish Royal
+Armoury have, from time to time, been compiled, this “finest collection
+of armour in the world” has been subjected so often to the disturbing
+influences of fire, removal, and re-arrangement, that no hand catalogue
+of the Museum is available, and this book has been designed to serve
+both as a historical souvenir of the institution and a record of its
+treasures.
+
+The various exhibits with which the writer illustrates his narrative are
+reproduced to the number of nearly 400 on art paper, and the selection
+of weapons and armour has been made with a view not only to render the
+series interesting to the general reader, but to present a useful text
+book for the guidance of artists, sculptors, antiquaries, costumiers,
+and all who are engaged in the reproduction or representation of
+European armoury.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+THE ESCORIAL
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
+MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
+FROM PICTURES AND PHOTOGRAPHS
+
+
+The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
+its gaunt, grey walls in one of the bleakest but most imposing districts
+in the whole of Spain, was erected to commemorate a victory over the
+French in 1557. It was occupied and pillaged by the French two and
+a-half centuries later, and twice it has been greatly diminished by
+fire; but it remains to-day, not only the incarnate expression of the
+fanatic religious character and political genius of Philip II., but the
+greatest mass of wrought granite which exists on earth, the leviathan of
+architecture, the eighth wonder of the world.
+
+In the text of this book the author has endeavoured to reconstitute the
+glories and tragedies of the living past of the Escorial, and to
+represent the wonders of the stupendous edifice by reproductions of over
+two hundred and seventy of the finest photographs and pictures
+obtainable. Both as a review and a pictorial record it is hoped that the
+work will make a wide appeal among all who are interested in the
+history, the architecture, and the art of Spain.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+TOLEDO
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
+510 ILLUSTRATIONS
+
+
+The origin of Imperial Toledo, “the crown of Spain, the light of the
+world, free from the time of the mighty Goths,” is lost in the
+impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
+city has been described by Wörmann as “a gigantic open-air museum of the
+architectural history of early Spain, arranged upon a lofty and
+conspicuous table of rock.”
+
+But while some writers have declared that Toledo is a theatre with the
+actors gone and only the scenery left, the author does not share the
+opinion. He believes that the power and virility upon which Spain built
+up her greatness is reasserting itself. The machinery of the theatre of
+Toledo is rusty, the pulleys are jammed from long disuse, but the
+curtain is rising steadily if slowly, and already can be heard the
+tuning-up of fiddles in its ancient orchestra.
+
+In this belief the author of this volume has not only set forth the
+story of Toledo’s former greatness, but has endeavoured to place before
+his readers a panorama of the city as it appears to-day, and to show
+cause for his faith in the greatness of the Toledo of the future.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+SEVILLE
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
+
+
+Seville, which has its place in mythology as the creation of Hercules,
+and was more probably founded by the Phœnicians, which became
+magnificent under the Roman rule, was made the capital of the Goths,
+became the centre of Moslem power and splendour, and fell before the
+military prowess of St. Ferdinand, is still the Queen of Andalusia, the
+foster-mother of Velazquez and Murillo, the city of poets and pageantry
+and love.
+
+Seville is always gay, and responsive and fascinating to the receptive
+visitor, and all sorts of people go there with all sorts of motives. The
+artist repairs to the Andalusian city to fill his portfolio; the lover
+of art makes the pilgrimage to study Murillo in all his glory. The
+seasons of the Church attract thousands from reasons of devotion or
+curiosity. And of all these myriad visitors, who go with their minds
+full of preconceived notions, not one has yet confessed to being
+disappointed in Seville.
+
+The author has here attempted to convey in the illustrations an
+impression of this laughing city where all is gaiety and mirth and
+ever-blossoming roses, where the people pursue pleasure as the serious
+business of life in an atmosphere of exhilarating enjoyment.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+THE PRADO
+
+A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
+WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY
+SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG
+
+
+This volume is an attempt to supplement the accurate but formal notes
+contained in the official catalogue of a picture gallery which is
+considered the finest in the world. It has been said that the day one
+enters the Prado for the first time is an important event like marriage,
+the birth of a child, or the coming into an inheritance; an experience
+of which one feels the effects to the day of one’s death.
+
+The excellence of the Madrid gallery is the excellence of exclusion; it
+is a collection of magnificent gems. Here one becomes conscious of a
+fresh power in Murillo, and is amazed anew by the astonishing apparition
+of Velazquez; here is, in truth, a rivalry of miracles of art.
+
+The task of selecting pictures for reproduction from what is perhaps the
+most splendid gallery of old masters in existence, was one of no little
+difficulty, but it is believed that the collection is representative,
+and that the letterpress will form a serviceable companion to the
+visitor to The Prado.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+GRANADA AND THE ALHAMBRA
+
+A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
+ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
+MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION
+TO H.I.M. THE EMPRESS EUGÉNIE
+
+
+This volume is the third and abridged edition of a work which the author
+was inspired to undertake by the surpassing loveliness of the Alhambra,
+and by his disappointment in the discovery that no such thing as an even
+moderately adequate illustrated souvenir of “this glorious sanctuary of
+Spain” was obtainable. Keenly conscious of the want himself, he essayed
+to supply it, and the result is a volume that has been acclaimed with
+enthusiasm alike by critics, artists, architects, and archæologists.
+
+In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
+may be likened to an exquisite opera which can only be appreciated to
+the full when one is under the spell of its magic influence. But as the
+witchery of an inspired score can be recalled by the sound of an air
+whistled in the street, so--it is my hope--the pale ghost of the Moorish
+fairy-land may live again in the memories of travellers through the
+medium of this pictorial epitome.”
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+EL GRECO
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140
+OF HIS PICTURES
+
+
+In a Series such as this, which aims at presenting every aspect of
+Spain’s eminence in art and in her artists, the work of Domenico
+Theotocópuli must be allotted a volume to itself. “El Greco,” as he is
+called, who reflects the impulse, and has been said to constitute the
+supreme glory of the Venetian era, was a Greek by repute, a Venetian by
+training, and a Toledan by adoption. His pictures in the Prado are still
+catalogued among those of the Italian School, but foreigner as he was,
+in his heart he was more Spanish than the Spaniards.
+
+El Greco is typically, passionately, extravagantly Spanish, and with his
+advent, Spanish painting laid aside every trace of Provincialism, and
+stepped forth to compel the interest of the world. Neglected for many
+centuries, and still often misjudged, his place in art is an assured
+one. It is impossible to present him as a colourist in a work of this
+nature, but the author has got together reproductions of no fewer than
+140 of his pictures--a greater number than has ever before been
+published of El Greco’s works.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+VELAZQUEZ
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
+
+
+Diego Rodriguez de Silva y Velazquez--“our Velazquez,” as Palomino
+proudly styles him--has been made the subject of innumerable books in
+every European language, yet the Editor of this Spanish Series feels
+that it would not be complete without the inclusion of yet another
+contribution to the broad gallery of Velazquez literature.
+
+The great Velazquez, the eagle in art--subtle, simple, incomparable--the
+supreme painter, is still a guiding influence of the art of to-day. This
+greatest of Spanish artists, a master not only in portrait painting, but
+in character and animal studies, in landscapes and historical subjects,
+impressed the grandeur of his superb personality upon all his work.
+Spain, it has been said, the country whose art was largely borrowed,
+produced Velazquez, and through him Spanish art became the light of a
+new artistic life.
+
+The author cannot boast that he has new data to offer, but he has put
+forward his conclusions with modesty; he has reproduced a great deal
+that is most representative of the artist’s work; and he has endeavoured
+to keep always in view his object to present a concise, accurate, and
+readable life of Velazquez.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+ROYAL PALACES OF SPAIN
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
+THE SPANISH KINGS. PROFUSELY ILLUSTRATED
+
+
+Spain is beyond question the richest country in the world in the number
+of its Royal Residences, and while few are without artistic importance,
+all are rich in historical memories. Thus, from the Alcazar at Seville,
+which is principally associated with Pedro the Cruel, to the Retiro,
+built to divert the attention of Philip IV. from his country’s decay;
+from the Escorial, in which the gloomy mind of Philip II. is perpetuated
+in stone, to La Granja, which speaks of the anguish and humiliation of
+Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
+Rio Frio, and from El Pardo, darkened by the agony of a good king, to
+Miramar, to which a widowed Queen retired to mourn: all the history of
+Spain, from the splendid days of Charles V. to the present time, is
+crystallised in the Palaces that constitute the patrimony of the Crown.
+
+The Royal Palaces of Spain are open to visitors at stated times, and it
+is hoped that this volume, with its wealth of illustrations, will serve
+the visitor both as a guide and a souvenir.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS
+
+
+The glory of Valladolid has departed, but the skeleton remains, and
+attached to its ancient stones are the memories that Philip II. was born
+here, that here Cervantes lived, and Christopher Columbus died. In this
+one-time capital of Spain, in the Plaza Mayor, the fires of the Great
+Inquisition were first lighted, and here Charles V. laid the foundation
+of the Royal Armoury, which was afterwards transferred to Madrid.
+
+More than seven hundred years have passed since Oviedo was the proud
+capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
+though no longer great, has still all the appurtenances of greatness,
+and with her granite massiveness and austerity, she remains an
+aristocrat even among the aristocracy of Spanish cities. Zamora, which
+has a history dating from time almost without date, was the key of Leon
+and the centre of the endless wars between the Moors and the Christians,
+which raged round it from the eighth to the eleventh centuries.
+
+In this volume the author has striven to re-create the ancient greatness
+of these six cities, and has preserved their memories in a wealth of
+excellent and interesting illustrations.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+LEON, BURGOS AND SALAMANCA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS
+
+
+In Leon, once the capital of the second kingdom in Spain; in Burgos,
+which boasts one of the most magnificent cathedrals in Spain, and the
+custodianship of the bones of the Cid; and in Salamanca, with its
+university, which is one of the oldest in Europe, the author has
+selected three of the most interesting relics of ancient grandeur in
+this country of departed greatness.
+
+Leon to-day is nothing but a large agricultural village, torpid, silent,
+dilapidated; Burgos, which still retains traces of the Gotho-Castilian
+character, is a gloomy and depleting capital: and Salamanca is a city of
+magnificent buildings, a broken hulk, spent by the storms that from time
+to time have devastated her.
+
+Yet apart from the historical interest possessed by these cities, they
+still make an irresistible appeal to the artist and the antiquary. They
+are content with their stories of old-time greatness and their
+cathedrals, and these ancient architectural splendours, undisturbed by
+the touch of a modernising and renovating spirit, continue to attract
+the visitor.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+MADRID
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450
+ILLUSTRATIONS
+
+
+Madrid is at once one of the most interesting and most maligned cities
+in Europe. It stands at an elevation of 2,500 feet above the sea level,
+in the centre of an arid, treeless, waterless, and wind-blown plain; but
+whatever may be thought of the wisdom of selecting a capital in such a
+situation, one cannot but admire the uniqueness of its position, and the
+magnificence of its buildings, and one is forced to admit that, having
+fairly entered the path of progress, Madrid bids fair to become one of
+the handsomest and most prosperous of European cities.
+
+The splendid promenades, the handsome buildings, and the spacious
+theatres combine to make Madrid one of the first cities of the world,
+and the author has endeavoured with the aid of the camera, to place
+every feature and aspect of the Spanish metropolis before the reader.
+Some of the illustrations reproduced here have been made familiar to the
+English public by reason of the interesting and stirring events
+connected with the Spanish Royal Marriage, but the greater number were
+either taken by the author, or are the work of photographers specially
+employed to obtain new views for the purpose of this volume.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+GOYA
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS
+PICTURES
+
+
+The last of the old masters and the first of the moderns, as he has been
+called, Francisco José de Goya y Lucientes is not so familiarised to
+English readers as his genius deserves. He was born at a time when the
+tradition of Velazquez was fading, and the condition of Spanish painting
+was debased almost beyond hope of salvation; he broke through the
+academic tradition of imitation; “he, next to Velazquez, is to be
+accounted as the man whom the Impressionists of our time have to thank
+for their most definite stimulus, their most immediate inspiration.”
+
+The genius of Goya was a robust, imperious, and fulminating genius; his
+iron temperament was passionate, dramatic, and revolutionary; he painted
+a picture as he would have fought a battle. He was an athletic, warlike,
+and indefatigable painter; a naturalist like Velazquez; fantastic like
+Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
+Spanish genius.
+
+It is impossible to reproduce his colouring; but in the reproductions of
+his works the author has endeavoured to convey to the reader some idea
+of Goya’s boldness of style, his mastery of frightful shadows and
+mysterious lights, and his genius for expressing all terrible emotions.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+CORDOVA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
+CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS
+
+
+Gay-looking, vivacious in its beauty, silent, ill-provided, depopulated,
+Cordova was once the pearl of the West, the city of cities, Cordova of
+the thirty suburbs and three thousand mosques; to-day she is no more
+than an overgrown village, but she still remains the most Oriental town
+in Spain.
+
+Cordova, once the centre of European civilisation, under the Moors the
+Athens of the West, the successful rival of Baghdad and Damascus, the
+seat of learning and the repository of the arts, has shrunk to the
+proportions of a third-rate provincial town; but the artist, the
+antiquary and the lover of the beautiful, will still find in its streets
+and squares and patios a mysterious spell that cannot be resisted.
+
+       *       *       *       *       *
+
+BY ALBERT F. CALVERT
+
+LIFE OF CERVANTES
+
+A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY
+OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND
+REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”
+
+Size Crown 8 vo.      150 pp.       Price 3/6 net
+
+
+PRESS NOTICES
+
+“A popular and accessible account of the career of Cervantes.”--_Daily
+Chronicle._
+
+“A very readable and pleasant account of one of the great writers of all
+time.”--_Morning Leader._
+
+“Mr. CALVERT is entitled to the gratitude of book-lovers for
+his industrious devotion at one of our greatest literary
+shrines.”--_Birmingham Post._
+
+“It is made trebly interesting by the very complete set of Cervantes’
+portraits it contains, and by the inclusion of a valuable
+bibliography.”--_Black and White._
+
+“We recommend the book to all those to whom Cervantes is more than a
+mere name.”--_Westminster Gazette._
+
+“A most interesting résumé of all facts up to the present time
+known.”--_El Nervion de Bilbao, Spain._
+
+“The most notable work dedicated to the immortal author of _Don Quixote_
+that has been published in England.”--_El Graduador, Spain._
+
+“Although the book is written in English no Spaniard could have written
+it with more conscientiousness and enthusiasm.”--_El Defensor de
+Granada, Spain._
+
+       *       *       *       *       *
+
+BY ALBERT F. CALVERT
+
+THE ALHAMBRA
+
+OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE
+REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS,
+TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE
+AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND
+NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY
+PERMISSION TO H.M. KING ALFONSO XIII.
+
+Size 10 x 7½.        Price £2 2s. net
+
+
+PRESS NOTICES
+
+“It is hardly too much to say that this is one of the most magnificent
+books ever issued from the English Press.”--_Building World._
+
+“One is really puzzled where to begin and when to stop in praising the
+illustrations.”--_Bookseller._
+
+“The most complete record of this wonder of architecture which has ever
+been contemplated, much less attempted.”--_British Architect._
+
+“A treasure to the student of decorative art.”--_Morning Advertiser._
+
+“Mr. CALVERT has given us a Book Beautiful.”--_Western Daily Press._
+
+“It is the last word on the subject, no praise is too
+high.”--_Nottingham Express._
+
+“May be counted among the more important art books which have been
+published during recent years.”--_The Globe._
+
+“Has a pride of place that is all its own among the books of the
+month.”--_Review of Reviews._
+
+“Has in many respects surpassed any books on the Alhambra which up to
+the present have appeared in our own country or abroad.”--_El Graduador,
+Spain._
+
+“It is one of the most beautiful books of modern times.”--_Ely Gazette._
+
+“One of the most artistic productions of the year.”--_Publishers’
+Circular._
+
+“The most beautiful book on the Alhambra issued in England.”--_Sphere._
+
+“The standard work on a splendid subject.”--_Daily Telegraph._
+
+“A remarkable masterpiece of book production.”--_Eastern Daily Press._
+
+“A perfect treasure of beauty and delight.”--_Keighley News._
+
+“A magnificent work.”--_Melbourne Age, Australia._
+
+“Immense collection of fine plates.”--_The Times._
+
+“A standard work, the compilation of which would credit a life’s
+labour.”--_Hull Daily Mail._
+
+       *       *       *       *       *
+
+BY ALBERT F. CALVERT
+
+MOORISH REMAINS IN SPAIN
+
+BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE
+PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND
+DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY
+COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS,
+ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.
+
+Crown 4to. (7½ × 10 ins.)       Price £2 2s. net
+
+
+PRESS NOTICES
+
+“The making of this book must surely have been a veritable labour of
+love; and love’s labour has certainly not been lost.”--_Pall Mall
+Gazette._
+
+“The best age of Moorish architecture in Spain is shown with remarkable
+vividness and vitality.”--_The Scotsman._
+
+“A most gorgeous book.... We cheerfully admit Mr. CALVERT into the ranks
+of those whom posterity will applaud for delightful yet unprofitable
+work.”--_Outlook._
+
+“A large and sumptuous volume.”--_Tribune._
+
+“The illustrations are simply marvels of reproduction.”--_Dundee
+Advertiser._
+
+“One of the books to which a simple literary review cannot pretend to do
+justice.”--_Spectator._
+
+“A special feature of a work of peculiar interest and value are the
+illustrations.”--_Newcastle Chronicle._
+
+“The illustrations are given with a minuteness and faithfulness of
+detail, and colour, which will be particularly appreciated and
+acknowledged by those who are most acquainted with the subject
+themselves.”--_Liverpool Post._
+
+“It is impossible to praise too highly the care with which the
+illustrations have been prepared.”--_Birmingham Daily Post._
+
+“It is illustrated with so lavish a richness of colour that to turn its
+pages gives one at first almost the same impression of splendour as one
+receives in wandering from hall to hall of the Alcazar of Seville; and
+this is probably the highest compliment we could pay to the book or its
+author.”--_Academy._
+
+“It is certainly one of the most interesting books of the
+year.”--_Crown._
+
+“The occasional delicacy of design and harmony of colour can scarcely be
+surpassed ... a valuable and profusely illustrated volume.”--_Guardian._
+
+“An excellent piece of work.”--_The Times._
+
+“Mr. CALVERT has performed a useful work.”--_Daily Telegraph._
+
+“A truly sumptuous volume.”--_The Speaker._
+
+“Mr. CALVERT has given a very complete account of the evolution of
+Moresco art.”--_The Connoisseur._
+
+
+FOOTNOTES:
+
+[A] This spelling of his name resembles most that used by himself.
+
+[B] The exact contents are as follows:
+
+“AL CARD. FARNESE--Viterbo.
+
+                                           “A’ di 16 di Nouembre, 1570.
+
+“E’ capitato in Roma un giouane Candiotto discepolo di Titiano, che
+á mio giuditio parmi raro nella pittura; e fra l’altre cose egli ha
+fatto un ritratto da se stesso, che fa stupire tutti questi Pittori di
+Roma. Io vorrei tratenerlo sotto l’ombra de V.S. Illma. et Revma. senza
+spesa altra del vivere, ma solo de una stanza nell Palazzo Farnese per
+qualche poco di tempo, cioé per fin che egli si venghi ad accomodare
+meglio. Pero La prego et supplico sia contenta di scrivere al Conte
+Lodovico suo Maiordomo, che lo provegghi nel detto Palazzo di qualche
+stanza ad alto; che V.S. Illma. fará un’ opera virtuosa degna di Lei, e
+io gliene terro obligo. Et le bascio con reverenza le mani.
+
+“Di V.S. Illma. et Revma. humilissimo servitore.
+
+                                                        “JULIO CLOVIO.”
+
+
+[C] The record of his burial, discovered by Señor de Beruete in the
+register of the parish church of Santo Tomé, is brief: “Libro de
+entierros de Santo Tomé de 1601-1614, en siete del Abril del 1614
+falescio Domeniko Greco. No hizo testamento, recibo los sacramentos, en
+teroso en Santo Domingo el Antigua.”
+
+[D] Two judges were appointed to settle the dispute, which arose from
+the introduction of the three Marys into the picture. The Chapter
+objected to their presence. El Greco’s defence was characteristic
+enough--What did it matter? and, besides, the women were a long way
+off. The judges disagreed; whereupon the dispute was settled by Alezo
+de Montoyo as follows:
+
+“Having seen the said painting which has been executed by the said
+Domeniko, and the appraisements of the judge appointed by both parties,
+and other persons who understand the said painting, its execution and
+admirable finish; and the reasons which the said judges have given;
+and seeing that the said painting is one of the best that I have seen;
+and that, if it were to be estimated for all its valuable qualities,
+it would be valued at a much higher sum, which but few would care to
+pay for it; but, in view of the nature of the times and the price paid
+generally for the paintings of great artists in Castile; and in view
+of, and taking into consideration all the above and all other points
+that were necessary, I find that I must order, and I do order, that for
+the said painting the said Garcia de Loaysa, in the name of the said
+Holy Church, shall give and pay to the said Domeniko Theotokopuli three
+thousand and five hundred reals: and above this sum the said Domeniko
+Theotokopuli cannot ask, nor must he ask, for anything more for the
+said painting; and as regards the judges for the said workers, they
+say that it is improper for the Marys to be introduced into the story;
+as regards this I am sending the declaration of it to some theologians
+versed in such matters, that they may decide upon it.”
+
+[E] This is another rendering of the same picture; and still another is
+in the collection of Señor de Beruete, Madrid.
+
+[F] This picture passed into the collection of the Infanta Doña Isabel
+Farnese, and is now in the Museo del Prado. The ‘Assumption’ in the
+Church of Santo Domingo el Antigua is a poor copy of the original
+picture.
+
+[G] The picture was painted for the altar of St. Maurice, but it was
+rejected by Philip II., and the commission given to a third-rate
+Italian. To-day the picture hangs in the Sala Capitulare.
+
+[H] This likeness is more striking even in another ‘Coronation of the
+Virgin,’ by El Greco, in the collection of Colonel P. Bosch, Madrid.
+
+[I] Some authorities name these saints Sta. Inez and Sta. Feda.
+
+*** END OF THE PROJECT GUTENBERG EBOOK 64900 ***
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+  The Project Gutenberg eBook of Toledo, by Albert F. Calvert.
+</title>
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+  </head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 64900 ***</div>
+<hr class="full" />
+
+<div class="figcenter">
+<a href="images/frontcover.jpg">
+<img src="images/frontcover.jpg" height="550" alt="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><a href="#CONTENTS">Contents.</a></p>
+
+<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span></p>
+
+<p class="c">THE SPANISH SERIES<br /><br /><br />
+TOLEDO
+<span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
+
+<div class="bxx">
+<p class="c">THE SPANISH SERIES<br /><br />
+<small><i>EDITED BY ALBERT F. CALVERT</i></small></p>
+
+<table summary="">
+<tr><td>
+<span class="smcap">Goya</span><br />
+<span class="smcap">Toledo</span><br />
+<span class="smcap">Madrid</span><br />
+<span class="smcap">Seville</span><br />
+<span class="smcap">Murillo</span><br />
+<span class="smcap">Cordova</span><br />
+<span class="smcap">El Greco</span><br />
+<span class="smcap">Velazquez</span><br />
+<span class="smcap">The Prado</span><br />
+<span class="smcap">The Escorial</span><br />
+<span class="smcap">Royal Palaces of Spain</span><br />
+<span class="smcap">Granada and Alhambra</span><br />
+<span class="smcap">Spanish Arms and Armour</span><br />
+<span class="smcap">Leon, Burgos and Salamanca</span><br />
+<span class="smcap">Valladolid, Oviedo, Segovia</span><br />
+<span class="smcap">&nbsp; &nbsp; Zamora, Avila and Zaragoza</span><br />
+</td></tr>
+</table>
+
+</div>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
+
+<h1><span class="redd">TOLEDO</span></h1>
+
+<div class="pt"><div class="ptt">
+AN &nbsp; &nbsp; HISTORICAL &nbsp; &nbsp;AND &nbsp; DE-<br />SCRIPTIVE
+&nbsp; &nbsp; ACCOUNT &nbsp;  &nbsp; OF<br />
+THE “CITY OF GENERATIONS,”<br />
+BY ALBERT F. CALVERT, WITH<br />
+OVER&nbsp;  &nbsp; 500&nbsp;  &nbsp; ILLUSTRATIONS<br />
+</div></div>
+
+<p class="c"><span class="redd">
+LONDON: JOHN LANE, THE BODLEY HEAD</span><br />
+NEW YORK: JOHN LANE COMPANY MCMVII<br />
+</p>
+
+<p><span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>&nbsp; </p>
+
+<p class="c"><small>
+Printed by <span class="smcap">Ballantyne &amp; Co. Limited</span><br />
+Tavistock Street, London<br /></small>
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span><br />
+<br />
+TO<br /><br />
+S.A. INFANTA MARIA TERESA<br /><br />
+IN WHOSE SYMPATHY<br /><br />
+THE ANCIENT GRANDEUR IS LINKED WITH<br /><br />
+THE FUTURE GREATNESS OF SPAIN<br /><br />
+THIS VOLUME<br /><br />
+WITH AN ASSURANCE OF SINCERE ESTEEM<br /><br />
+IS DEDICATED<br />
+<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p class="nind"><span class="smcap">The</span> author would, in the ordinary way, be hard put to it to frame a
+reasonable apology for compiling a new volume on the subject of the
+ancient and royal city of Toledo. Artists have reproduced its wonder of
+imposing and picturesque detail; archæologists have explored its many
+monuments; historians have discovered in its archives a record which,
+for many centuries, represents the log-book of Spain. There is no
+secret, apart from the impenetrable mystery of its origin, which has not
+been revealed; its chronicle is a well-thumbed volume. The beginnings of
+Spanish history go no further back than the earliest references we have
+to the natural stronghold founded on the seven rocks on the banks of the
+Tagus, and Spanish tradition claims for the citadel an antiquity coeval
+with the sun and stars. Both the history and the legends have been
+transcribed in many languages, yet, in a series which is intended to
+embrace all Spain in its compendious design, the inclusion of the
+twice-told tale of the “city of generations” carries with it an
+unquestionable justification.</p>
+
+<p>The ambition of the author has not been to throw fresh light on a
+well-worn subject, nor to<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span> supplement the work of earlier and more
+erudite writers with new facts or theories, but simply, as in the case
+of the earlier volumes in this series, to equip the illustrations with a
+brief, explanatory text. It would be futile to attempt to even outline
+the story of Toledo in some hundred and fifty pages of letterpress, but
+I hope it may be found that in this limited space sufficient detail has
+been given to convey to the reader a general idea of the changing
+fortunes and unchanging character of the city, which Padilla has
+described as “the crown of Spain, the light of the world, free from the
+time of the mighty Goths.”</p>
+
+<p>The impression of grandeur and melancholy, of strength and silence,
+which the traveller receives from a visit to the one-time capital of the
+Peninsula, cannot be suggested by the written word, but it may be that
+the illustrations will recall, if they do not suggest, the feeling which
+the city inspires. Toledo is mediæval in its architecture and its
+atmosphere. The Moorish occupation has left no more than a scratch upon
+its Gothic character; the spirit of modernity has been defied by its
+virile antiquity. But the Moslem remains have been made a feature of the
+illustrations, and, as in the volumes devoted to Seville, Cordova, and
+Granada in this series, the intricacies of Arabian decoration have been
+extensively reproduced.</p>
+
+<p>Many of the plates are included here by the<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span> courtesy of Messrs.
+Alguacil, Rafael Garzon, Hauser and Menet, and Moreno, and to these
+gentlemen I tender my sincere thanks for the permission accorded me to
+reproduce them. I have also to acknowledge my indebtedness to Mr. E. B.
+d’Auvergne for the assistance rendered by him in the compilation, and to
+Messrs. Martin and Gamoneda for their kindness in allowing me to make
+use of the matter and illustrations contained in the volume on <i>Toledo</i>
+which they have published in the new series of the <i>Monumentos
+Arquitectónicos de España</i>.</p>
+
+<p>I venture to hope that no apology is needed for including the chapter on
+El Greco, and the selection of his pictures, which appear in this
+volume. A separate book, devoted entirely to this subject, which will be
+issued in this series, cannot be ready for some time, and as so little
+has been written about Domeniko Theotokopouli, and so few of his
+pictures have been reproduced, I have decided to incorporate these brief
+notes concerning the Cretan painter, whose association with Toledo
+extended over a period of nearly forty years.</p>
+
+<p class="r">
+A. F. C.<br />
+</p>
+
+<p class="hang">
+“<span class="smcap">Royston</span>,”<br />
+<span class="smcap">Swiss Cottage</span>,<br />
+&nbsp; &nbsp; N.W.<br />
+<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span><span class="pagenum"><a name="page_x" id="page_x">{x}</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+<tr><td>&nbsp;</td><td class="rt"><small>PAGE</small></td></tr>
+<tr><td valign="top" class="smcap"><a href="#THE_CHILDHOOD_OF_THE_CITY">The Childhood of the City</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#THE_CITY_UNDER_THE_VISIGOTH">The City under the Visigoths</a></td><td class="rt" valign="bottom"><a href="#page_8">8</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#TOLEDO_UNDER_THE_MOOR">Toledo under the Moor</a></td><td class="rt" valign="bottom"><a href="#page_29">29</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#TOLEDO_THE_CAPITAL_OF_CASTILE">Toledo the Capital of Castile</a></td><td class="rt" valign="bottom"><a href="#page_59">59</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#BUILDINGS_OF_THE_CASTILIAN_PERIOD">Buildings of the Castilian Period</a></td><td class="rt" valign="bottom"><a href="#page_83">83</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#THE_CATHEDRAL">The Cathedral</a></td><td class="rt" valign="bottom"><a href="#page_101">101</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#THE_DECLINE_OF_THE_CITY">The Decline of the City</a></td><td class="rt" valign="bottom"><a href="#page_130">130</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#EL_GRECO">El Greco</a></td><td class="rt" valign="bottom"><a href="#page_147">147</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span>&nbsp; </p>
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" style="margin:auto auto;
+max-width:85%;" summary="">
+
+<tr><td><small>TITLE</small></td>
+<td class="rt"><small>PLATE</small></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_1">Toledo. (<i>Specially drawn for The Spanish Series</i>)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_1">1</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_2">General View of Toledo from the South-east</a></td>
+<td class="rt" valign="bottom"><a href="#plt_2">2</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_3">View of Toledo from the South-east</a></td>
+<td class="rt" valign="bottom"><a href="#plt_3">3</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_4">General View of Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_4">4</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_5">View of Toledo from the Campo del Rey</a></td>
+<td class="rt" valign="bottom"><a href="#plt_5">5</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_6">General View of Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_6">6</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_7">State of the Ruins of the Circo Maximo in the Year 1848, according to the “Album Artistico”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_7">7</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_8">The River Tagus</a></td>
+<td class="rt" valign="bottom"><a href="#plt_8">8</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_9">Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_9">9</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_10">Perspective of St. Martin’s Bridge and the Direction of the Fortified Lines</a></td>
+<td class="rt" valign="bottom"><a href="#plt_10">10</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_11">Perspective View of the Site of the Aqueduct</a></td>
+<td class="rt" valign="bottom"><a href="#plt_11">11</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_12">Environs of Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_12">12</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_13">Plaza de Zocodover</a></td>
+<td class="rt" valign="bottom"><a href="#plt_13">13</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_14">The Town Hall</a></td>
+<td class="rt" valign="bottom"><a href="#plt_14">14</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_15">The Market-place</a></td>
+<td class="rt" valign="bottom"><a href="#plt_15">15</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_16">The Market-place</a></td>
+<td class="rt" valign="bottom"><a href="#plt_16">16</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_17">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_17">17</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_18">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_18">18</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_19">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_19">19</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_20">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_20">20</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_21">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_21">21</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_22">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_22">22</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_23">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_23">23</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_24">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_24">24</a>
+<span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_25">Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_25">25</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_26">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_26">26</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_27">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_27">27</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_28">Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_28">28</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_29">Alcantara Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_29">29</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_29">Alcantara Portal and Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_29">29</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_30">Exterior of the Northern City Walls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_30">30</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_31">Fortifications of the old Bridge of Boats, replaced by the Bridge of St. Martin</a></td>
+<td class="rt" valign="bottom"><a href="#plt_31">31</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_32">Remains of the City Walls of “Al-Hizém,” from the Gate of the Doce Cantos to the Plaza de Armas of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_32">32</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_33">Remains of the City Walls, south-west, rebuilt at the Time of the Reconquest</a></td>
+<td class="rt" valign="bottom"><a href="#plt_33">33</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_34">Remains of the Roman Ramparts of the first Enclosure of the City</a></td>
+<td class="rt" valign="bottom"><a href="#plt_34">34</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_35">Remains of the Roman Ramparts of the first Enclosure of the City. (Plaza de Armas of the Bridge of Alcantara)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_35">35</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_35">Visigoth Capital transformed into a Fountain Basin. (No. 9, Callejon de la Lamparilla)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_35">35</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_36">Principal Entrance to the House of the Baths of Aben-Ya-Yix Bajada al Colegio del Infantes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_36">36</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_36">Sepulchral Arch of the Infante don Fernando Perez in the Belen Chapel in the Convent of the Comendadora de Santiago</a></td>
+<td class="rt" valign="bottom"><a href="#plt_36">36</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_37">Ruins of Polan Castle. Fourteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_37">37</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_38">Guadamar Castle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_38">38</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_39">Remains of the Roman Ramparts of the first Enclosure of the City</a></td>
+<td class="rt" valign="bottom"><a href="#plt_39">39</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_40">The Exterior Walls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_40">40</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_40">Remains of the Fortifications in the Jewish Suburb</a></td>
+<td class="rt" valign="bottom"><a href="#plt_40">40</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_41">Gate of the “Almofala” (Bib-al-Mojadha) rebuilt in the Fourteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_41">41</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_41">“The Abbot’s Tower” in the Northern Walls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_41">41</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_42">Ruins of the Aquaria Tower, commonly called “Horno del Vidrio”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_42">42</a>
+<span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_43">Remains of the Aqueduct (left bank of the river)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_43">43</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_43">Remains of the Aqueduct (right bank of the river)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_43">43</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_44">Remains of the Roman Construction in the Tower of the Plaza de Armas of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_44">44</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_45">Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_45">45</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_46">East Side of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_46">46</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_47">Posterior Façade of the defensive Tower of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_47">47</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_48">Defensive Tower of the Bridge of Alcantara. Anterior Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_48">48</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_49">Alcantara Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_49">49</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_50">Commemorative Inscription in the Avenue of the Defensive Tower of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_50">50</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_51">Coat-of-Arms of the Catholic Sovereigns in front of the Defensive Tower of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_51">51</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_51">“The Khalif’s Capitals” at No. 13 Calle del Coliseo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_51">51</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_52">Perspective of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_52">52</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_53">St. Martin’s Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_53">53</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_54">St. Martin’s Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_54">54</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_54">Façade of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_54">54</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_55">Defensive Towers at the Entrance of St. Martin’s Bridge and the Town</a></td>
+<td class="rt" valign="bottom"><a href="#plt_55">55</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_55">Restored Posterior Façade of the Arch de La Sangre</a></td>
+<td class="rt" valign="bottom"><a href="#plt_55">55</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_56">Remains of the Aqueduct (right bank)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_56">56</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_57">East Side of St. Martin’s Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_57">57</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_58">Defensive Tower of St. Martin’s Bridge. Façade seen from the Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_58">58</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_58">Defensive Tower of St. Martin’s Bridge. Façade seen from the Highway</a></td>
+<td class="rt" valign="bottom"><a href="#plt_58">58</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_59">Malbardón Gate. Eleventh Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_59">59</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_60">Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_60">60</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_61">Upper Part of the Visagra Gate. Built in 1550</a></td>
+<td class="rt" valign="bottom"><a href="#plt_61">61</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_62">Tower in the City Walls of “The Suburb of San Isidoro,” near the new Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_62">62</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_63">Hydraulic Machine and Remains of the Walls in the Quarter of the Curtidores, near the River</a></td>
+<td class="rt" valign="bottom"><a href="#plt_63">63</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_63">Walls of the Suburb of San Isidore</a></td>
+<td class="rt" valign="bottom"><a href="#plt_63">63</a>
+<span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_64">Ancient Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_64">64</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_65">Ancient Visagra Gate. The Side which joins the Wall and the side Defensive Tower</a></td>
+<td class="rt" valign="bottom"><a href="#plt_65">65</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_66">Ancient Visagra Gate. Defensive and Side Tower</a></td>
+<td class="rt" valign="bottom"><a href="#plt_66">66</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_67">Ancient Visagra Gate. Remains of the Eastern Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_67">67</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_68">Detail of the Principal Façade of the old Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_68">68</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_68">Interior of the old Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_68">68</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_69">Ancient Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_69">69</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_70">The Tower called “Puerta Baja de la Herreria,” now “Gate of the Sun”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_70">70</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_71">Castle of San Servando</a></td>
+<td class="rt" valign="bottom"><a href="#plt_71">71</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_72">Castle of San Servando. Ancient Entrance in the West Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_72">72</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_72">Castle of San Servando. South-east Angle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_72">72</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_73">Door of the Castle in San Servando</a></td>
+<td class="rt" valign="bottom"><a href="#plt_73">73</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_74">Gate of Valmadron</a></td>
+<td class="rt" valign="bottom"><a href="#plt_74">74</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_75">Gate of Cambrón</a></td>
+<td class="rt" valign="bottom"><a href="#plt_75">75</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_76">Los Baños de Florinda de Cava</a></td>
+<td class="rt" valign="bottom"><a href="#plt_76">76</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_77">Entrance to Los Baños</a></td>
+<td class="rt" valign="bottom"><a href="#plt_77">77</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_78">Ruins of the Tower called “Los Baños de Florinda de Cava”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_78">78</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_79">Details of the Convent of Santa Fe. Eleventh Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_79">79</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_80">West Portal in the old Hermitage, now the Inn of Santa Ana, on the Sisla road</a></td>
+<td class="rt" valign="bottom"><a href="#plt_80">80</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_81">Altar-piece of San Justo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_81">81</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_82">Detail of the Church of San Justo. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_82">82</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_83">Detail of the Chapel of Santos Justo and Pastor</a></td>
+<td class="rt" valign="bottom"><a href="#plt_83">83</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_84">Effigies of Juan Guas, architect of San Juan de Los Reyes, and of his son. Chapel of Christ at the Column, in the Parish Church of San Justo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_84">84</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_85">Effigies of Mari Alvares, wife of Juan Guas, and of her Daughter. Chapel of Christ at the Column, in the Parish Church of San Justo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_85">85</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_86">Mosque of the Tornerias. Exterior of the South Façade, South-west Angle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_86">86</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_87">Interior of the Mosque de las Tornerias</a></td>
+<td class="rt" valign="bottom"><a href="#plt_87">87</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_88">Arch of the “Kibláh” in the Mosque de las Tornerias</a></td>
+<td class="rt" valign="bottom"><a href="#plt_88">88</a>
+
+<span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_89">Mosque of the Tornerias. Trefoil Arched Window</a></td>
+<td class="rt" valign="bottom"><a href="#plt_89">89</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_89">Mosque of the Tornerias. Horse-shoe Window</a></td>
+<td class="rt" valign="bottom"><a href="#plt_89">89</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_90">Mosque of the Tornerias. Arched Window</a></td>
+<td class="rt" valign="bottom"><a href="#plt_90">90</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_90">Mosque of the Tornerias. Rectangular Window</a></td>
+<td class="rt" valign="bottom"><a href="#plt_90">90</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_91">Mosque de las Tornerias</a></td>
+<td class="rt" valign="bottom"><a href="#plt_91">91</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_92">Mosque of the Tornerias, built over Roman Remains</a></td>
+<td class="rt" valign="bottom"><a href="#plt_92">92</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_93">Supposed Elevation of the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_93">93</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_94">Supposed Plan of the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_94">94</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_95">Actual Situation of the North-east Façade of the Ancient Mosque of Bib-al-Mardóm, a Transept and <i>Mudejar</i> Apsis of the Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_95">95</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_96">The Mosque of Bib-al-Mardóm, Horse-shoe Arch and Remains of the Dado and Little Arches and Windows in the North-east Façade (right side)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_96">96</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_97">The Mosque of Bib-al-Mardóm, Horse-shoe Arch and Remains of the Dado of Little Arches and Windows in the North-east Façade (left side)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_97">97</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_98">Principal Nave in the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_98">98</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_99">Arch in the Southern Interior of the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_99">99</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_99">Actual Entrance to the Castle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_99">99</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_100">Mosque of Bib-al-Mardóm. Arch in the Interior Wall, South-west Angle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_100">Detail of the North-west Façade of the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_101">Bib-al-Mardóm. “Arch of the Cross,” Interior Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_101">Bib-al-Mardóm. “Arch of the Cross,” Exterior Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_102">Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_102">102</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_103">North-west Façade of the Mosque of Bib-al-Mardóm (Hermitage of Santo Cristo de la Luz), discovered in February 1899</a></td>
+<td class="rt" valign="bottom"><a href="#plt_103">103</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_104">The Epigraphic Medallion on the North-west Façade of the Mosque of Bib-al-Mardóm (Hermitage of Santo Cristo de la Luz), rebuilt in the year 370 after the Hegira (<small>A.D.</small> 980)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_104">104</a>
+
+<span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_105">Visigoth Capital in the old Moorish Parish Church of San Sebastian</a></td>
+<td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_105">Visigoth Base which serves as a Capital in the old Moorish Parish Church of San Sebastian</a></td>
+<td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_106">Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_106">106</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_107">The Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_107">107</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_108">Wall-Paintings of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_108">108</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_109">Church of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_109">109</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_110">Wall-Paintings of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_110">110</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_111">Ancient Mosque, now the Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_111">111</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_112">Exterior of the Hermitage of Santo Cristo de la Luz, and Towers of various Churches</a></td>
+<td class="rt" valign="bottom"><a href="#plt_112">112</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_113">Detail of the Transito (Synagogue), built in 1360 at the expense of Samuel Levi</a></td>
+<td class="rt" valign="bottom"><a href="#plt_113">113</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_114">Details of the Interior Decoration of the Church of the Transito (Ancient Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_114">114</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_115">Details of the Interior Decoration of the Church of the Transito (Ancient Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_115">115</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_116">Details of the Transito (Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_116">116</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_117">Details of the Transito (Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_117">117</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_118">Details of the Transito (Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_118">118</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_119">Entrance Arch in the Building called Taller Del Moro</a></td>
+<td class="rt" valign="bottom"><a href="#plt_119">119</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_120">Detail of Decoration in the Moorish Workshop</a></td>
+<td class="rt" valign="bottom"><a href="#plt_120">120</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_121">Details of the Palace of the Ayalas</a></td>
+<td class="rt" valign="bottom"><a href="#plt_121">121</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_122">Details of the Palace of the Ayalas</a></td>
+<td class="rt" valign="bottom"><a href="#plt_122">122</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_123">Exterior of the Chapel of Santo Cristo de la Vega</a></td>
+<td class="rt" valign="bottom"><a href="#plt_123">123</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_124">Door and Exterior of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_124">124</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_125">Sections and Details of the Ancient Synagogue, now the Church of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_125">125</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_126">Part of the Longitudinal Section of the Ancient Synagogue, now the Church of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_126">126</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_127">Interior of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_127">127</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_128">Interior of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_128">128</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_129">Interior of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_129">129</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_130">Cárcel de Santa Hermandad</a></td>
+<td class="rt" valign="bottom"><a href="#plt_130">130</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_131">A Gothic Doorway</a></td>
+<td class="rt" valign="bottom"><a href="#plt_131">131</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_132">A Doorway</a></td>
+<td class="rt" valign="bottom"><a href="#plt_132">132</a>
+
+<span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_133">St. Michael’s Tower. Fourteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_133">133</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_134">House of the Toledos</a></td>
+<td class="rt" valign="bottom"><a href="#plt_134">134</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_135">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_135">135</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_136">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_136">136</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_137">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_137">137</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_138">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_138">138</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_139">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_139">139</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_140">The Fountain of Calerahigo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_140">140</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_141">Arab Details</a></td>
+<td class="rt" valign="bottom"><a href="#plt_141">141</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_142">Visigoth Crowns and Crosses of Guarrazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_142">142</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_143">Visigoth Crowns and Crosses of Guarrazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_143">143</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_144">Visigoth Crowns and Crosses found at Toledo and now in the Royal Armoury at Madrid</a></td>
+<td class="rt" valign="bottom"><a href="#plt_144">144</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_145">San Pedro Martin</a></td>
+<td class="rt" valign="bottom"><a href="#plt_145">145</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_145">Calle de Santo Tomé</a></td>
+<td class="rt" valign="bottom"><a href="#plt_145">145</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_146">Alcazar Royal Palace. Reproduction of the Engraving made in 1566 for Braun’s “Civitates Orbi Terrarum”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_146">146</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_147">Perspective of the Alcazar in 1845. East and North Façades. Reproduction of an Engraving in the Work “Toledo Pintoresca”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_147">147</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_148">The Alcazar. Taken from the Plaza de Zocodover</a></td>
+<td class="rt" valign="bottom"><a href="#plt_148">148</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_149">South Façade of the Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_149">149</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_150">The Alcazar. West Façade after the latest Restoration</a></td>
+<td class="rt" valign="bottom"><a href="#plt_150">150</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_151">The Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_151">151</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_152">Alcazar. Principal Façade on the North</a></td>
+<td class="rt" valign="bottom"><a href="#plt_152">152</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_153">The Alcazar. East Façade, after the latest Restoration</a></td>
+<td class="rt" valign="bottom"><a href="#plt_153">153</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_154">General View of the Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_154">154</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_155">The Alcazar. The Principal Staircase</a></td>
+<td class="rt" valign="bottom"><a href="#plt_155">155</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_156">The Alcazar. Principal North Portal</a></td>
+<td class="rt" valign="bottom"><a href="#plt_156">156</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_157">The Alcazar. Court and Plan</a></td>
+<td class="rt" valign="bottom"><a href="#plt_157">157</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_158">Court of the Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_158">158</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_159">Court in the Alcazar. After the latest Restoration</a></td>
+<td class="rt" valign="bottom"><a href="#plt_159">159</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_160">The Alcazar. Plan and Details. North Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_160">160</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_161">Details of the North Façade of the Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_161">161</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_162">Door of the Hall of the House of the Mesa (the Table)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_162">162</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_163">Details of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_163">163</a>
+
+<span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_164">Details of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_164">164</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_165">Details of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_165">165</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_166">Details of the Hall of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_166">166</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_167">Details of the Hall of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_167">167</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_168">Details of the Hall of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_168">168</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_169">Details of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_169">169</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_170">Doorway of the College of the Infantes. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_170">170</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_171">Doorway of the Palace of the Martinez</a></td>
+<td class="rt" valign="bottom"><a href="#plt_171">171</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_172">Roman Tower of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_172">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_173">Exterior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_173">173</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_174">San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_174">174</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_175">Plan of the Church and Processional Cloister of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_175">175</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_176">Doorway in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_176">176</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_177">Gothic Doorway in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_177">177</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_178">Exterior of the Arch of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_178">178</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_179">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_179">179</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_180">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_180">180</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_181">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_181">181</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_182">Longitudinal Section of the Church of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_182">182</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_183">Interior, San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_183">Retablo, San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_184">Gallery in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_184">184</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_185">Gallery in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_185">185</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_186">Details of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_186">186</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_187">Details of Gallery in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_187">187</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_188">Details of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_188">188</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_189">San Juan de los Reyes. Wall in the Presbytery</a></td>
+<td class="rt" valign="bottom"><a href="#plt_189">189</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_190">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_190">190</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_191">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_191">191</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_192">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_192">192</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_193">San Juan de los Reyes. Decoration in the Transverse Nave</a></td>
+<td class="rt" valign="bottom"><a href="#plt_193">193</a>
+
+<span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_194">San Juan de los Reyes. Details of the Arms of Isabella the Catholic</a></td>
+<td class="rt" valign="bottom"><a href="#plt_194">194</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_195">Details of the Transept of the Church of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_195">195</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_196">San Juan de los Reyes. Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_196">196</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_197">A Dome in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_197">197</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_198">Remains of Windows of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_198">198</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_199">Details of the Cross-Aisle in the Church of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_199">199</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_200">Altar of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_200">Altar of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_201">Details of the Altar-piece in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_201">201</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_202">Copy of the original Drawing of the Arch and Cross-Aisle of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_202">202</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_203">Longitudinal Section of the Cloister of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_203">203</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_204">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_204">204</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_205">San Juan de los Reyes. The Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_205">205</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_206">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_206">206</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_207">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_207">207</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_208">Details of the Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_208">208</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_209">Compartment of the Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_209">209</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_210">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_210">210</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_211">Details of the Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_211">211</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_212">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_212">212</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_213">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_213">213</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_214">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_214">214</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_215">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_215">215</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_216">Church of San Juan de los Reyes. Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_216">216</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_217">Court in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_217">217</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_218">Doorway of the Museum of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_218">218</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_219">San Juan de los Reyes. Details above Door of Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_219">219</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_220">Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_220">220</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_221">Details of the Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_221">221</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_222">Façade of the Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_222">222</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_223">Doorway of the Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_223">223</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_224">Doorway of the Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_224">224</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_225">The Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_225">225</a>
+
+<span class="pagenum"><a name="page_xxii" id="page_xxii">{xxii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_226">General View of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_226">226</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_227">The Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_227">227</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_228">Section of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_228">228</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_229">Longitudinal Section of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_229">229</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_230">Transverse Section of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_230">230</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_231">Principal Façade of the Cathedral and Tower</a></td>
+<td class="rt" valign="bottom"><a href="#plt_231">231</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_232">The Cathedral. Detail of the Exterior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_232">232</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_233">The Cathedral. Portal of the Principal Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_233">233</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_234">The Cathedral. Principal Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_234">234</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_235">The Cathedral. The Gate of the Lions</a></td>
+<td class="rt" valign="bottom"><a href="#plt_235">235</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_236">The Cathedral. Porch of the Principal Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_236">236</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_237">The Cathedral. The Lion Door</a></td>
+<td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_237">The Cathedral. The Lion Door</a></td>
+<td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_238">Door of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_238">238</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_239">The Cathedral. Door of the Lost Child</a></td>
+<td class="rt" valign="bottom"><a href="#plt_239">239</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_240">The Cathedral. Details of the Puerta de la Feria</a></td>
+<td class="rt" valign="bottom"><a href="#plt_240">240</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_241">The Cathedral. Gate of the Conception</a></td>
+<td class="rt" valign="bottom"><a href="#plt_241">241</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_242">The Cathedral. Ornamental Details of the Gates</a></td>
+<td class="rt" valign="bottom"><a href="#plt_242">242</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_243">The Cathedral. Central Nave</a></td>
+<td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_243">The Cathedral. Tomb of Alonso de Carrillo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_244">The Cathedral. General View of the Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_244">244</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_245">The Cathedral. General View of the Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_245">245</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_246">The Cathedral. Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_246">246</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_247">The Cathedral. Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_247">247</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_248">Windows in the Principal Nave of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_248">248</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_249">The Cathedral. Grating of the Principal Chapel. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_249">249</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_250">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_250">250</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_251">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_251">251</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_252">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_252">252</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_253">The Cathedral. Details of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_253">253</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_254">The Cathedral. Details of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_254">254</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_255">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_255">255</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_256">The Cathedral. Details of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_256">256</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_257">The Cathedral. Details of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_257">257</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_258">The Cathedral. Altar-piece of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_258">258</a>
+
+<span class="pagenum"><a name="page_xxiii" id="page_xxiii">{xxiii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_259">The Cathedral. Detail of the Altar-piece of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_259">259</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_260">The Cathedral. Exterior of the High Altar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_260">260</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_261">The Cathedral. Exterior of the High Altar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_261">261</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_262">The Cathedral. Exterior of the High Altar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_262">262</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_263">The Cathedral. Details of the Altar-piece</a></td>
+<td class="rt" valign="bottom"><a href="#plt_263">263</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_264">The Cathedral. Frontal of the High Altar. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_264">264</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_265">The Cathedral. Frontal of the High Altar. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_265">265</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_266">The Cathedral. Detail of the Frontal of the High Altar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_266">266</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_267">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_267">267</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_268">The Cathedral. Sepulchre of Cardinal Mendoza in the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_268">268</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_269">The Cathedral. Dome of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_269">269</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_270">The Cathedral. Exterior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_270">270</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_271">The Cathedral. Exterior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_271">271</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_272">The Cathedral. Details of the Exterior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_272">272</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_273">The Cathedral. Exterior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_273">273</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_274">The Cathedral. Choir Stalls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_274">274</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_275">The Cathedral. Choir Stalls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_275">275</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_276">The Cathedral. Choir Stalls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_276">276</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_277">The Cathedral. Details of the Choir Stalls, representing the Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_277">277</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_278">The Cathedral. Interior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_278">278</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_279">The Cathedral. Details of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_279">279</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_280">The Cathedral. Details of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_280">280</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_281">The Cathedral. The Archbishop’s Throne, representing the Transfiguration. By Berruguete</a></td>
+<td class="rt" valign="bottom"><a href="#plt_281">281</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_282">The Cathedral. Virgin of the Laneros</a></td>
+<td class="rt" valign="bottom"><a href="#plt_282">282</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_283">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_283">283</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_284">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_284">284</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_285">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_285">285</a>
+
+<span class="pagenum"><a name="page_xxiv" id="page_xxiv">{xxiv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_286">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_286">286</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_287">The Cathedral. Detail of Choir Stalls. The Capture of Alhama by Ferdinand and Isabella, 1482. Re-conquest of Granada</a></td>
+<td class="rt" valign="bottom"><a href="#plt_287">287</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_288">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_288">288</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_289">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_289">289</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_290">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_290">290</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_291">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_291">291</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_292">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_292">292</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_293">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_293">293</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_294">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_294">294</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_295">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_295">295</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_296">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_296">296</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_297">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_297">297</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_298">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_298">298</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_299">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_299">299</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_300">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_300">300</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_301">The Cathedral. Masonry in the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_301">301</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_302">The Cathedral. Exterior of the Presbytery</a></td>
+<td class="rt" valign="bottom"><a href="#plt_302">302</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_303">The Cathedral. Interior of the Chapel of the New Kings with the Sepulchres of Don Henry the Bastard and his Wife</a></td>
+<td class="rt" valign="bottom"><a href="#plt_303">303</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_304">The Cathedral. Sepulchres of Don Henry the Bastard and his Wife in the Chapel of the New Kings</a></td>
+<td class="rt" valign="bottom"><a href="#plt_304">304</a>
+
+<span class="pagenum"><a name="page_xxv" id="page_xxv">{xxv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_305">The Cathedral. Sepulchre of Cardinal Tavera in the Chapel of the New Kings</a></td>
+<td class="rt" valign="bottom"><a href="#plt_305">305</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_306">The Cathedral. Sepulchre of Don Juan I. in the Chapel of the New Kings</a></td>
+<td class="rt" valign="bottom"><a href="#plt_306">306</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_307">The Cathedral. Sepulchre of Doña Leonor, Wife of Don Juan I., in the Chapel of the New Kings</a></td>
+<td class="rt" valign="bottom"><a href="#plt_307">307</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_308">The Cathedral. Chapel of the Descent of the Virgin</a></td>
+<td class="rt" valign="bottom"><a href="#plt_308">308</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_309">The Cathedral. Muzarabic Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_309">309</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_310">The Cathedral. Details of the Chapel of the Virgen de la Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_310">310</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_311">The Cathedral. Chapel of the Virgen de la Antigua. Fourteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_311">311</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_312">The Cathedral. Doorway of the Chapel of the Canons</a></td>
+<td class="rt" valign="bottom"><a href="#plt_312">312</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_313">Altar-piece of Santa Isabel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_313">313</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_313">Altar-piece of Santa Catalina</a></td>
+<td class="rt" valign="bottom"><a href="#plt_313">313</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_314">Altar-piece of Santa Catalina</a></td>
+<td class="rt" valign="bottom"><a href="#plt_314">314</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_315">Altar-piece of Santa Catalina</a></td>
+<td class="rt" valign="bottom"><a href="#plt_315">315</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_316">Altar-piece of Santa Catalina</a></td>
+<td class="rt" valign="bottom"><a href="#plt_316">316</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_317">Chapel of Santa Catalina. Founded by the Counts of Cedillo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_317">317</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_318">The Cathedral. Chapel of Santiago, containing the Sepulchres of Don Alvaro de Luna and that of his Wife Doña Juana. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_318">318</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_319">The Cathedral. Sepulchre of Don Juan de Zerezuela in the Chapel of Santiago. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_319">319</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_320">Cupola of the Chapel “de los Reyes Nuevos” in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_320">320</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_320">Cupola of the “Capilla de Santiago,” called “De Don Alvaro de Luna” in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_320">320</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_321">The Cathedral. Sepulchre of Don Gil Carrillo de Albornoz in the Chapel of San Ildefonso</a></td>
+<td class="rt" valign="bottom"><a href="#plt_321">321</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_322">The Cathedral. Sepulchre of Gil de Albornoz in the Chapel of San Ildefonso</a></td>
+<td class="rt" valign="bottom"><a href="#plt_322">322</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_323">The Cathedral. Entrance to the Chapter Room. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_323">323</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_324">The Cathedral. Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_324">324</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_325">The Cathedral. Various Portraits of Cardinals</a></td>
+<td class="rt" valign="bottom"><a href="#plt_325">325</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_326">The Cathedral. Various Portraits of Cardinals</a></td>
+<td class="rt" valign="bottom"><a href="#plt_326">326</a>
+
+<span class="pagenum"><a name="page_xxvi" id="page_xxvi">{xxvi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_327">The Cathedral. Details in the Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_327">327</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_328">The Cathedral. Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_328">328</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_329">The Cathedral. Doorway of the Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_329">329</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_330">The Cathedral. Detail of a Doorway in the Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_330">330</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_331">The Cathedral. Cupboard made by Gregorio Pardo (1549-1551), for the Antechamber of the Chapter House</a></td>
+<td class="rt" valign="bottom"><a href="#plt_331">331</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_332">Cupboard in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_332">332</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_333">The Cathedral. A Rich and Gossamer-carved Ceiling in the Chapter Hall. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_333">333</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_334">The Cathedral. Ceiling in the Chapter Hall</a></td>
+<td class="rt" valign="bottom"><a href="#plt_334">334</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_335">The Cathedral. A Ceiling in the Ante-room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_335">335</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_336">The Cathedral Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_336">336</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_337">The Cathedral Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_337">337</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_338">Presentation Portal in the Cloister of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_338">338</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_339">Exterior, by the Cloisters of the Chapel, of the Place of Sepulchre built by Henry II. for his Tomb</a></td>
+<td class="rt" valign="bottom"><a href="#plt_339">339</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_340">The Cathedral. Picture by Bayeu in the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_340">340</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_341">Portal of St. Catherine in the Cloister of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_341">341</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_342">The Cathedral. Details of the Gate of the Presentation in the Cloister</a></td>
+<td class="rt" valign="bottom"><a href="#plt_342">342</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_343">The Cathedral. Reliquary of San Sebastian in the Octavo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_343">343</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_344">The Cathedral. Detail of the Reliquary of San Sebastian in the Octavo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_344">344</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_345">The Cathedral. A Byzantine Reliquary</a></td>
+<td class="rt" valign="bottom"><a href="#plt_345">345</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_346">Sepulchres in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_346">346</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_347">Sculpture in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_347">347</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_348">The Cathedral. Bronze Lectern and Books of the Holy Office</a></td>
+<td class="rt" valign="bottom"><a href="#plt_348">348</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_349">The Cathedral. A Bronze Pulpit</a></td>
+<td class="rt" valign="bottom"><a href="#plt_349">349</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_350">The Cathedral. Detail of a Pulpit</a></td>
+<td class="rt" valign="bottom"><a href="#plt_350">350</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_351">Pulpit in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_351">351</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_352">Cathedral Bells which Ring when the Host is Elevated</a></td>
+<td class="rt" valign="bottom"><a href="#plt_352">352</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_353">The Cathedral. Statue of Don Juan II. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_353">353</a>
+
+<span class="pagenum"><a name="page_xxvii" id="page_xxvii">{xxvii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_354">The Cathedral. St. Francis of Assisi</a></td>
+<td class="rt" valign="bottom"><a href="#plt_354">354</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_355">The Cathedral. A Picture by Bayeu</a></td>
+<td class="rt" valign="bottom"><a href="#plt_355">355</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_356">Details in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_356">356</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_357">The Cathedral. Cover of a Missal</a></td>
+<td class="rt" valign="bottom"><a href="#plt_357">357</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_358">The Cathedral. Silver Salver, “The Abduction of the Sabine Women,” by Benvenuto Cellini</a></td>
+<td class="rt" valign="bottom"><a href="#plt_358">358</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_359">The Cathedral. Chalice and Paten</a></td>
+<td class="rt" valign="bottom"><a href="#plt_359">359</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_360">The Cathedral. A Ship that belonged to Queen Juana la Loca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_360">360</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_361">Monstrance in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_361">361</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_362">The Cathedral. Sword of Alfonso VI.</a></td>
+<td class="rt" valign="bottom"><a href="#plt_362">362</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_363">The Cathedral. The Adoration of the Kings (silk)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_363">363</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_364">The Cathedral. The Veil of Santa Leocadia (silk)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_364">364</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_365">The Cathedral. The Assumption (silk)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_365">365</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_366">The Cathedral. The Beheading of San Eugenio (silk)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_366">366</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_367">Kufic Entablature in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_367">367</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_368">The Cathedral. A Dalmatic embroidered in Gold and Silk. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_368">368</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_369">The Cathedral. A Chasuble embroidered in Gold and Silk. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_369">369</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_370">The Cathedral. Details of the Puerta del Reloj</a></td>
+<td class="rt" valign="bottom"><a href="#plt_370">370</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_371">The Cathedral. Details of the Puerta del Reloj</a></td>
+<td class="rt" valign="bottom"><a href="#plt_371">371</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_372">The Cathedral. Details of the Puerta del Reloj</a></td>
+<td class="rt" valign="bottom"><a href="#plt_372">372</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_373">The Cathedral. Details of the Puerta del Reloj</a></td>
+<td class="rt" valign="bottom"><a href="#plt_373">373</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_374">Effigies of Juan Guas (architect of San Juan de los Reyes), his Wife, and Children</a></td>
+<td class="rt" valign="bottom"><a href="#plt_374">374</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_375">Sculpture in San Andrés</a></td>
+<td class="rt" valign="bottom"><a href="#plt_375">375</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_376">Banner of the Salado</a></td>
+<td class="rt" valign="bottom"><a href="#plt_376">376</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_377">St. Peter Natano and St. Theresa sculptured in Wood</a></td>
+<td class="rt" valign="bottom"><a href="#plt_377">377</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_378">Plan of the Santa Iglesia Primada</a></td>
+<td class="rt" valign="bottom"><a href="#plt_378">378</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_379">Santa Isabel. Side Altar-piece</a></td>
+<td class="rt" valign="bottom"><a href="#plt_379">379</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_380">Santa Isabel. Detail of an Altar-piece</a></td>
+<td class="rt" valign="bottom"><a href="#plt_380">380</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_381">Parish Church of Santiago</a></td>
+<td class="rt" valign="bottom"><a href="#plt_381">381</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_382">Exterior of Santiago del Arrabal. Thirteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_382">382</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_383">Pulpit in the Church of Santiago del Arrabal, from which San Vicente de Ferrer preached against the Jews</a></td>
+<td class="rt" valign="bottom"><a href="#plt_383">383</a>
+
+<span class="pagenum"><a name="page_xxviii" id="page_xxviii">{xxviii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_384">Parochial Church of Santiago del Arrabal</a></td>
+<td class="rt" valign="bottom"><a href="#plt_384">384</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_385">Church of San Tomé</a></td>
+<td class="rt" valign="bottom"><a href="#plt_385">385</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_386">Detail of an Altar-piece in the Church of the Trinity</a></td>
+<td class="rt" valign="bottom"><a href="#plt_386">386</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_387">Sepulchres in the Church of St. Peter the Martyr</a></td>
+<td class="rt" valign="bottom"><a href="#plt_387">387</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_388">Details of a Sepulchre in the Church of St. Peter the Martyr</a></td>
+<td class="rt" valign="bottom"><a href="#plt_388">388</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_389">Church of St. Peter the Martyr. Statue of a Kneeling Canon</a></td>
+<td class="rt" valign="bottom"><a href="#plt_389">389</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_390">Chapel in San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_390">390</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_391">Chapel in San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_391">391</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_392">Details of San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_392">392</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_393">Sepulchre in San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_393">393</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_394">Sepulchre in San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_394">394</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_395">Detail of the Convent of San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_395">395</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_396">Details of the Convent of San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_396">396</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_397">Convent of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_397">397</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_398">Convent of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_398">398</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_399">Convent of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_399">399</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_400">Ancient Sepulchre in the Convent of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_400">400</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_401">Santo Domingo el Real. Principal Altar-piece</a></td>
+<td class="rt" valign="bottom"><a href="#plt_401">401</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_402">Doorway of the Convent of San Antonio</a></td>
+<td class="rt" valign="bottom"><a href="#plt_402">402</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_403">Porch of the Church and Convent of San Clemente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_403">403</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_404">Porch of the Church and Convent of San Clemente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_404">404</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_405">Detail of the Interior of the Convent of San Clemente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_405">405</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_406">Portal of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_406">406</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_407">Portal of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_407">407</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_408">Porch of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_408">408</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_408">The Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_408">408</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_409">Court of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_409">409</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_410">Courtyard of the Hospital</a></td>
+<td class="rt" valign="bottom"><a href="#plt_410">410</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_411">Court of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_411">411</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_412">Court of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_412">412</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_413">Detail of the Portal of the Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_413">413</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_414">Details of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_414">414</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_415">Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_415">415</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_416">Portals in the Vestibule of the Ancient Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_416">416</a>
+
+<span class="pagenum"><a name="page_xxix" id="page_xxix">{xxix}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_417">Hospital of Santa Cruz. Portrait of the Founder, Cardinal Mendoza</a></td>
+<td class="rt" valign="bottom"><a href="#plt_417">417</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_418">Hospital de Afuera. The Court</a></td>
+<td class="rt" valign="bottom"><a href="#plt_418">418</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_419">Hospital de Afuera</a></td>
+<td class="rt" valign="bottom"><a href="#plt_419">419</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_420">Hospital of St. John Baptist</a></td>
+<td class="rt" valign="bottom"><a href="#plt_420">420</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_421">Hospital de Afuera. Sepulchre of Cardinal Tavera, 1557, Alonzo Berruguete</a></td>
+<td class="rt" valign="bottom"><a href="#plt_421">421</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_422">The University</a></td>
+<td class="rt" valign="bottom"><a href="#plt_422">422</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_422">The University</a></td>
+<td class="rt" valign="bottom"><a href="#plt_422">422</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_423">Details of the House of Munárriz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_423">423</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_424">Gate of Al Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_424">424</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_424">Altar of the Church of San Justo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_424">424</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_425">Portal of the Archbishop’s Palace</a></td>
+<td class="rt" valign="bottom"><a href="#plt_425">425</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_425">In the Town Hall</a></td>
+<td class="rt" valign="bottom"><a href="#plt_425">425</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_426">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_426">426</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_426">View of St. Martin’s Bridge, looking down the River</a></td>
+<td class="rt" valign="bottom"><a href="#plt_426">426</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_427">Gallery of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_427">427</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_427">A Moorish Workshop</a></td>
+<td class="rt" valign="bottom"><a href="#plt_427">427</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_428">Hotel Castilla</a></td>
+<td class="rt" valign="bottom"><a href="#plt_428">428</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_429">Detail of the Courtyard of the Hotel Castilla</a></td>
+<td class="rt" valign="bottom"><a href="#plt_429">429</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_430">Visigoth Capitals in the Church of San Sebastian</a></td>
+<td class="rt" valign="bottom"><a href="#plt_430">430</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_431">National Archæological Museum. Capital, Fourth Century after the Hegira</a></td>
+<td class="rt" valign="bottom"><a href="#plt_431">431</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_431">National Archæological Museum. Capital of Santiago de los Caballeros near the Alcazar. Fourth Century after the Hegira</a></td>
+<td class="rt" valign="bottom"><a href="#plt_431">431</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_432">Capital in the Archæological Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_432">432</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_433">National Archæological Museum. Fragment of Dado found near the Basilica of Santa Leocadia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_433">433</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_433">National Archæological Museum. Window of San Ginés</a></td>
+<td class="rt" valign="bottom"><a href="#plt_433">433</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_434">National Archæological Museum. Decorative Table in White Marble, belonging to the Aljama Mosque of Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_434">434</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_434">National Archæological Museum. Decorative Fragment found at the “Miradero.” Carved in White Marble</a></td>
+<td class="rt" valign="bottom"><a href="#plt_434">434</a>
+
+<span class="pagenum"><a name="page_xxx" id="page_xxx">{xxx}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_435">Capital in the South-west Angle, belonging to the old Mosque, now the Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_435">435</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_435">The Fifth of the Visigoth Capitals of the Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_435">435</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_436">National Archæological Museum. Skylight or Ornament found at Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_436">436</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_436">Visigoth Capital in the Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_436">436</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_437">Architectural Fragments of the Visigoth Period in the Parish Church of San Román</a></td>
+<td class="rt" valign="bottom"><a href="#plt_437">437</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_438">Architectural Pieces of the Visigoth Period existing in the City</a></td>
+<td class="rt" valign="bottom"><a href="#plt_438">438</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_439">Architectural Fragments of the Visigoth Period</a></td>
+<td class="rt" valign="bottom"><a href="#plt_439">439</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_440">Capital of the South-east Angle belonging to the ancient Mosque, now the Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_440">440</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_440">Visigoth Capital of the old Parish Church of San Sebastian</a></td>
+<td class="rt" valign="bottom"><a href="#plt_440">440</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_441">National Archæological Museum. Visigoth Capitals of the Church of Santa Eulalia. Fragment of the Dado of the Basilica of Santo Leocadia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_441">441</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_442">Capitals in the Archæological Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_442">442</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_443">Provincial Museum. Capital of the Fourth Century after the Hegira</a></td>
+<td class="rt" valign="bottom"><a href="#plt_443">443</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_443">National Archæological Museum. Arab Astrolabe made at Toledo in the year 459 after the Hegira (<small>A.D.</small> 1067)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_443">443</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_444">Architectural Fragments of the Visigoth Period</a></td>
+<td class="rt" valign="bottom"><a href="#plt_444">444</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_445">Architectural Fragments anterior to the Mahometan Irruption, No. 1</a></td>
+<td class="rt" valign="bottom"><a href="#plt_445">445</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_446">Architectural Parts and Decorative Remains anterior to the Mahometan Irruption, No. 2</a></td>
+<td class="rt" valign="bottom"><a href="#plt_446">446</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_447">Architectural Parts and Decorative Fragments anterior to the Mahometan Irruption, No. 3</a></td>
+<td class="rt" valign="bottom"><a href="#plt_447">447</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_448">Arches of various Churches of the Fourteenth and Fifteenth Centuries</a></td>
+<td class="rt" valign="bottom"><a href="#plt_448">448</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_449">Denudation of our Lord before the Crucifixion. El Greco. Sacristy of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_449">449</a><span class="pagenum"><a name="page_xxxi" id="page_xxxi">{xxxi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_450">The Virgin, St. Anne, the Child Jesus, and St. John. El Greco. Chapel of St. Anne</a></td>
+<td class="rt" valign="bottom"><a href="#plt_450">450</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_451">Our Lady of Sorrows. El Greco. Sacristy of the New Kings, in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_451">451</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_452">Pentecost. El Greco. Church of the Trinity</a></td>
+<td class="rt" valign="bottom"><a href="#plt_452">452</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_453">Jesus and St. John. El Greco. Church of St. John the Baptist</a></td>
+<td class="rt" valign="bottom"><a href="#plt_453">453</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_454">The Assumption. El Greco. Chapel of San José</a></td>
+<td class="rt" valign="bottom"><a href="#plt_454">454</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_455">St. Martin. El Greco. Chapel of San José</a></td>
+<td class="rt" valign="bottom"><a href="#plt_455">455</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_456">The Holy Eucharist, by El Greco. Church of San José</a></td>
+<td class="rt" valign="bottom"><a href="#plt_456">456</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_457">San José and the Child Jesus. El Greco. Parish Church of the Magdalene</a></td>
+<td class="rt" valign="bottom"><a href="#plt_457">457</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_458">The Interment of Count de Orgaz. El Greco. Church of Santo Tomé</a></td>
+<td class="rt" valign="bottom"><a href="#plt_458">458</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_459">Detail of the Interment of Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_459">459</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_460">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_460">460</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_461">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_461">461</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_462">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_462">462</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_463">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_463">463</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_464">Fragment of the Interment of the Count de Orgaz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_464">464</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_465">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_465">465</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_466">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_466">466</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_467">The Annunciation. El Greco. Parish Church of San Nicolás</a></td>
+<td class="rt" valign="bottom"><a href="#plt_467">467</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_468">The Crucifixion. El Greco. San Nicolás</a></td>
+<td class="rt" valign="bottom"><a href="#plt_468">468</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_469">San Pedro Nolasco. El Greco. Parish Church of San Nicolás</a></td>
+<td class="rt" valign="bottom"><a href="#plt_469">469</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_470">The Assumption. El Greco. Parish Church of San Vicente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_470">470</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_471">San Eugenio. El Greco. Parish Church of San Vicente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_471">471</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_472">St. Peter. El Greco. Parish Church of San Vicente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_472">472</a><span class="pagenum"><a name="page_xxxii" id="page_xxxii">{xxxii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_473">Jesus and the Virgin. El Greco. Parish Church of San Vicente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_473">473</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_474">The Ascension. El Greco. San Domingo el Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_474">474</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_475">A Saint (? Santo Domingo el Antigua). El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_475">475</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_476">The Birth of Jesus. El Greco. Santo Domingo el Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_476">476</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_477">Santa Veronica with the Sudarium. El Greco. Santo Domingo el Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_477">477</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_478">St. John Baptist. El Greco. Santo Domingo el Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_478">478</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_479">St. John the Evangelist. El Greco. Church of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_479">479</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_480">Altar-piece of the Convent of Santo Domingo. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_480">480</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_481">St. Francis of Assisi. El Greco. College of Noble Ladies</a></td>
+<td class="rt" valign="bottom"><a href="#plt_481">481</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_482">The Baptism of Jesus. El Greco. Hospital of St. John Baptist</a></td>
+<td class="rt" valign="bottom"><a href="#plt_482">482</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_483">Portrait of Cardinal Tavera. El Greco. Hospital of St. John Baptist</a></td>
+<td class="rt" valign="bottom"><a href="#plt_483">483</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_484">View of the High Altar of the Tavera Hospital. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_484">484</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_485">General View of Toledo (left half). El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_485">485</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_486">General View of Toledo (right half). El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_486">486</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_487">View of Toledo. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_487">487</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_488">Portrait of Antonio Covarrubias. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_488">488</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_489">Portrait of the Son of Covarrubias. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_489">489</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_490">The Crucifixion. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_490">490</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_491">Allegory of the Virgin. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_491">491</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_492">Portrait of Juan de Avila. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_492">492</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_493">Our Saviour. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_493">493</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_494">St. John the Evangelist. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_494">494</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_495">St. Peter. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_495">495</a>
+<span class="pagenum"><a name="page_xxxiii" id="page_xxxiii">{xxxiii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_496">St. Matthias. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_496">496</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_497">St. Philip. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_497">497</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_498">St. Andrew. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_498">498</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_499">St. Thomas. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_499">499</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_500">St. Simon. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_500">500</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_501">St. Matthew. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_501">501</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_502">St. Jude Tadeo. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_502">502</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_503">An Apostle. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_503">503</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_504">An Apostle. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_504">504</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_505">An Apostle. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_505">505</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_506">The Annunciation. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_506">506</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_507">The Dream of Philip II. El Greco. Chapter Hall of the Escorial</a></td>
+<td class="rt" valign="bottom"><a href="#plt_507">507</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_508">St. Maurice and the Theban Legion. El Greco. Chapter Hall of the Escorial</a></td>
+<td class="rt" valign="bottom"><a href="#plt_508">508</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_509">Portrait of El Greco by Himself. Señor A. de Beruete, Madrid</a></td>
+<td class="rt" valign="bottom"><a href="#plt_509">509</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_510">Christ driving the Money Changers from the Temple. El Greco. Señor de Beruete, Madrid</a></td>
+<td class="rt" valign="bottom"><a href="#plt_510">510</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_511">Portrait of a Student (El Greco?). El Greco. Don Pablo Bosch, Madrid</a></td>
+<td class="rt" valign="bottom"><a href="#plt_511">511</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xxxiv" id="page_xxxiv">{xxxiv}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xxxv" id="page_xxxv">{xxxv}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xxxvi" id="page_xxxvi">{xxxvi}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<p class="cb">TOLEDO</p>
+
+<h2><a name="THE_CHILDHOOD_OF_THE_CITY" id="THE_CHILDHOOD_OF_THE_CITY"></a>THE CHILDHOOD OF THE CITY</h2>
+
+<p class="nind"><span class="smcap">There</span> are spots that stand out in the ocean of time like islands
+unsubmerged. The flood of years has rolled onwards past and around them,
+and its billows have broken in vain against their shores. Such a spot is
+Toledo. It lifts its head above the ever-shifting waters of the ages,
+and looks forth unchanged, unchanging, across the sea of centuries&mdash;a
+last surviving beacon of the drowned mediæval world.</p>
+
+<p>Very old is the city. It has outgrown decay. Nor can we conceive it as
+changing. It has almost become a part of the everlasting hills on which
+it stands. The rock has grown into Toledo and Toledo into the rock.</p>
+
+<p>In a land where all is old, men marvel at the antiquity of this city.
+And when it was younger by centuries, the chroniclers, groping amid
+legends and fables the wildest and most extravagant, strove to penetrate
+the darkness of the ages and to discern the pale glimmerings of Toledo’s
+dawn. Here, surely, first trod the first man, thought the<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> ancients, and
+here was already a city when God first placed His sun exactly over it in
+the yet-dark Heavens. If this was not so, said another chronicler, then
+beyond doubt Toledo’s seven hills were the first to appear above the
+waters of the Deluge, and Tubal, the grandson of Noah, established here
+a kingdom. So stories and traditions multiplied, each historian
+inventing a fresh one. These fables of the city’s founding are quaint,
+curious, and ingenious. Iberia and Hispania of course suggested persons,
+and so we find Iberia, daughter of King Hispan, and wife of a Persian
+captain, Pyrrhus, resorting in search of health to the banks of the
+Tagus, and her husband making a bower for her on these rocky steeps.
+Hercules, who is credited with the foundation of Seville, added the
+building of Toledo to his many labours. “Dismiss these far-fetched
+fables,” cries the learned prelate De Rada, “and admit that our city was
+founded by the Consuls Tolemon and Brutus, in the reign of Ptolemy
+Evergetes.” But another conjecture as absolutely baseless as the others!
+More interesting is the legend that the town was built by Jews flying
+from Nebuchadnezzar, by whom it was named Toledoth, “the city of
+generation.” Certain it is that Jews lived in Toledo at the earliest
+periods of its history, and played a great part, as we shall see, in its
+affairs. However picturesque may be these traditions<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> and wonderings of
+the sages, we cannot resist the conclusion that the beginnings of this
+old capital of Spain were obscure and commonplace enough. Along the
+banks of the yellow Tagus savage tribesmen pastured their flocks and
+herds, and the more practical spirits among them recognised the
+advantages of the cliff above the river as a settlement. Doubtless mere
+temporary encampments succeeded each other here season after season,
+till some sentiment or necessity attached men permanently to the spot,
+and a rude cluster of huts was formed&mdash;the rough inception of our
+greatest towns.</p>
+
+<p>The Celtiberians hereabouts were known to the Romans as Carpetani (how
+ill these Latin forms seem to reproduce the uncouth designations which
+these primitive peoples really bore!) The Carthaginians were the first
+civilised nation to come in contact with them, and we hear of a Punic
+governor, Tago. It is impossible to resist the suspicion that his
+personality arose, Aphrodite-like, from the river Tagus. But a Moorish
+writer gives a plausible account of a revolt which arose among the
+Carpetani consequent on Tago’s assassination by Hasdrubal, the
+contemporary of Hannibal. This brought that great commander himself upon
+the scene. Before him the tribesmen were scattered like chaff before the
+wind.</p>
+
+<p>Did the African Phœnicians found a per<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>manent station at Toledo? It
+would not seem so. No vestige or fragment, no trace whatever of their
+domination has come down to us. Most likely this was a mere trading
+centre, where the black-bearded, keen-eyed Semites bartered the wares of
+Africa and the East against the ores and fleeces of Spain. The
+population remained almost purely Celtic. One wonders if a few
+Carthaginians settled amongst them, and if their descendants became
+confounded with their kinsmen in race, the Jews. It is a wild
+conjecture, but might not the presence of such Semitic settlers have
+given rise to the fantastic legend of the founding of Toledo by the
+Children of Israel?</p>
+
+<p>Where the Carthaginian sowed, the Roman reaped. And now the Carpetanian
+village looms in the light not of mere tradition, but of history. Livy
+tells us that in the year 193 <small>B.C.</small> the Pro-Consul Marcus Fulvius
+Nobilior defeated a host of Celtiberians, Vaccei and Vectones in this
+region, and took prisoner a king called Hilerno. In consequence of this
+victory Toledo&mdash;described as <i>urbs parva sed loco munito</i>&mdash;fell into the
+power of the conquerors. The wild rebellious Celts might henceforward
+chafe and lash themselves into impotent fury; on their necks the yoke of
+the Roman was firmly riveted, never by the natives unassisted to be
+shaken off.</p>
+
+<p>Historians have remarked on the aloofness of<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> the Toledans during the
+long winter of foreign domination. Between the various leaders and
+factions who made Spain their cock-pit, the citizens observed strict
+neutrality. They rendered no assistance to Viriathus in his magnanimous
+attempt to recover national independence. Perhaps they were not wanting
+in sympathy for their compatriots; but the conquerors had long
+recognised the military value of the town by the Tagus, and here we may
+suppose was always a strong garrison ready to stamp out the first
+efforts at revolt.</p>
+
+<p>Under the wings of the Roman eagle, the material prosperity of Toledo
+steadily increased. From a collection of wretched huts, it had become a
+<i>colonia</i>, the capital of Carpetania. As such it would have had its
+<i>arx</i>, or citadel, prætorium, forum, temples, baths, and <i>vici</i>, or long
+suburbs straggling into the country. Of all these practically no traces
+remain. But in the Vega, outside the town, may be traced a semicircular
+enclosure, formed by masses of stones and mortar, about a metre in
+thickness, but of varying height. This space has been dignified with the
+name of Circus Maximum, and is undoubtedly a Roman work. But Señor
+Amador de los Rios has demonstrated almost conclusively that the Circus
+never advanced much beyond the foundations, which we now see before us
+probably in no very different state from<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> that in which they were left
+some two thousand years ago. But though no Celtiberian captives or
+Christian martyrs here were “butchered to make a Roman holiday,” the
+consecration of the spot to the practice of cruelty bore fruit in after
+years. For the fires lit by the Inquisition were kindled here, and the
+Christian put the incompleted amphitheatre to the use for which it had
+been designed by the Pagan. To-day the men of Toledo play at <i>pelota</i> in
+the enclosure, and their cheery shouts may well scare away the ghosts of
+torturer and victim.</p>
+
+<p>This may be regarded as the most important Roman remains in the
+neighbourhood of the city. The famous Cave of Hercules, which figures so
+largely in legendary lore, was probably the crypt or substructure of a
+Temple of Jupiter; and on the cliff-side below the Alcazar are a few
+fragments of a once-important aqueduct.</p>
+
+<p>It has been conjectured from the dimensions of the projected Circus that
+the Romans had at one time thought of elevating Toledo to the rank of
+chief city of Spain. The design, if it ever was formed, was never
+carried into execution. Of what passed in the town under Latin rule we
+have but the vaguest notion. Toledo, like almost every other place in
+Europe, has its traditions of fierce persecution productive of local
+martyrs. Almost as many Christians were massacred in Spain, if<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> we
+credit these stories, as Gibbon thinks perished in the whole Roman
+Empire. Among the martyrs of Toletum, it is perhaps superfluous to say,
+was a young and lovely virgin, in this instance called Leocadia. She was
+done to death by the truculent Dacian. St. Eugenius, the first bishop of
+Toledo, is said to have been a disciple of St. Paul. He was martyred at
+Paris, and his alleged remains were obtained from Charles IX. of France
+and presented to the city by Philip II.</p>
+
+<p>In early ecclesiastical annals Toledo has less shadowy claims on
+remembrance as the seat of several councils, the most celebrated being
+those of 396, 400, 589. The minutes of the second council are preserved
+in the local archives. Miss Hannah Lynch makes merry over the fathers’
+spirited denunciations of her sex. In truth, the irreverent reader is
+reminded of those other fulminations launched in the diocese of Rheims
+against certain persons unknown, and of the poet’s surprised comment on
+their want of effect. The sex fared better at the hands of the Council,
+however, than vegetarians and mathematicians, both of whom were
+excommunicated downright. Neither class is numerous in Spain at the
+present day, so the labours of the fathers may not have been altogether
+ineffectual.<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span></p>
+
+<h2><a name="THE_CITY_UNDER_THE_VISIGOTH" id="THE_CITY_UNDER_THE_VISIGOTH"></a>THE CITY UNDER THE VISIGOTH</h2>
+
+<p class="nind"><span class="smcap">During</span> the fifth century the Toledans may well have listened with
+attention to spiritual discussions, for looking forth from their rocky
+perch, they beheld the kingdoms of the earth passing away, and all that
+had seemed stable and eternal fading like the morning mist. The final
+breaking-up of the great world-controlling power was evident. Nations,
+the very names of which the men of the south had never heard, loomed
+from out the darkness of the north, and swept like a cloud of locusts
+over the land. The whole of Spain was desolate. Toledo, ever grim and
+stubborn, stood prepared to die hard. The tide of Vandal invasion surged
+in vain round her walls; then spent its fury in the south. The Visigoths
+established themselves in southern France. Under Walya they had overrun
+Spain, but had exchanged it, willingly enough, for Aquitania. Euric the
+Balthing, who succeeded his brother Theodoric as king in 466, seems to
+have repented of the bargain. He reconquered all Spain, except Galicia,
+which was held by the Suevi, and took Toledo.<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> Where the Vandal had
+failed, the Visigoth succeeded. In the first years of the sixth century
+the Franks stripped Euric’s grandson, Amalaric, of practically all his
+possessions north of the Pyrenees, and the kingdom of the Visigoths
+became synonymous with Spain. Its capital was Narbonne during the
+troubled reigns of Theudis and Theudigisel. But in 553 Athanagild was
+elected king. His wife was the sister of the Bishop of Toledo, and
+partly on that account, perhaps, but more probably because of its
+central position, he made that city his capital. That rank it retained
+during the continuance of the Visigothic monarchy, with the brief
+interval of the reign of Liuba, who succeeded Athanagild in 567 and
+removed his Court to Narbonne.</p>
+
+<p>The history of Toledo for the next century and a half becomes, in some
+sort, the history of Spain. Under Liuba’s brother and successor
+Leovigild (more correctly Liobagilths) the monarchy was consolidated.
+The Suevi in the north-west were subdued, and the nominal suzerainty of
+the Eastern Emperor was disavowed. Despite the difference in religion
+between the Visigoths, who were Arians, and the Romanised Iberians, who
+were Catholics, the two races began to intermingle, and the fusion of
+both into a single nation commenced. Leovigild was the first of his line
+to assume the insignia and appurtenances of royalty, and struck<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> coins
+with his own likeness and the description, “King in Toledo.” The title
+is significant of the increased importance of the city. The prosperity
+of the kingdom was temporarily interrupted by the celebrated
+insurrection of the monarch’s son Ermenegild. This was the outcome of
+the marriage of that prince with Ingunthis, the daughter of the Prankish
+and Catholic king Sisebert. The wedding was solemnised in Toledo with
+great pomp, but the city shortly after became the scene of violent
+quarrels between Queen Goiswintha and her daughter-in-law. Ermenegild
+embraced his wife’s religion, and headed a revolt against his father. He
+was defeated, and paid the penalty with his life at Tarragona, after
+refusing to accept the sacrament at the hands of an Arian bishop.
+Unedifying though his conduct may appear to us, he was regarded as a
+martyr for the faith, and is enrolled among the saints of the Catholic
+Church.</p>
+
+<p>Nor does his example seem to have been without its effect upon his
+brother, Reccared, who succeeded Leovigild in 587. In the month of May
+589, Toledo was thronged with Catholic bishops and priests&mdash;many lately
+returned from exile&mdash;and with nobles from all parts of Spain, making
+their way to the Basilica of Santa Maria de la Sede Real, to assist at
+the solemn profession of the Catholic faith by the king and his queen,<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span>
+Baddo. Sixty-two prelates took part in this, the third Council of
+Toledo, the most eminent being Massona, Bishop of Merida, Leandro of
+Baetica, Santardus of Braga, Ugno of Barcelona, Megecias of Narbonne,
+and Eufemio of Toledo. It was a memorable day for Spain. The king’s
+example was soon followed by his subjects of his own race, and the
+unification of the two peoples was greatly accelerated.</p>
+
+<p>During the hundred and ten years that elapsed between the death of
+Reccared (601) and the rout of the Guadelete (711), no fewer than
+fifteen sovereigns sat on the throne of Spain. Toledo was the theatre of
+their barbaric triumphings, their violent entrances and tragic exits.
+Now the city would resound with the savage, exultant yells of the
+townsmen, as they dragged the body of the usurper Witeric up and down
+the steep, uneven streets&mdash;to cast the bleeding, shapeless thing that
+had so lately been a king, upon a dunghill. Now, the people would be
+acclaiming Wamba, greatest of the Visigoths&mdash;after the strange scene at
+Gerticos, where the crown was forced upon him at the sword’s point;
+another time, a long procession of captives would file through the
+gates, to witness to the old king’s triumph in Narbonnese Gaul. Not a
+“demise of the crown” but there would be angry mutterings among the
+townsfolk, and whispers of murder, compulsion,<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> and fraud. And while the
+kings raved and the people wept, the Church grew every day stronger&mdash;so
+strong that usurper and legitimate sovereign alike had perforce to
+obtain her sanction to his election and accession. And as the years went
+on, the spark of religious zeal in the breast of Spain was fanned into
+flame, and we read of fierce onslaughts on the Jewish citizens, and of
+merciless edicts, condemning them to penalties painful and humiliating.
+Dark days were these for the Children of Israel whose home Toledo so
+long had been; but darker still were impending for their persecutors and
+for the royal line of the Visigoths.</p>
+
+<p>An exact picture of society in Spain at this period has been preserved
+in the Etymologies of Isidore Pacense. The Visigoths were a primitive,
+barbarous people, who had imposed upon themselves the outward
+appearances of Roman, or rather of Byzantine, civilisation. The
+contemptuous reference of Hallam to this “obscure race” is undeserved.
+Even in their earlier stages of development the Goths manifested many
+noble qualities&mdash;notably, a clemency towards their enemies&mdash;which were
+not conspicuous in the more polished nations of the South. And though
+they never properly assimilated the culture of the Latins, they attained
+to a degree of refinement and civilisation which compares favourably
+with that<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> reached by contemporaries. “Spain,” remarks the author of
+“Toledo” in the “Monumentos Arquitectónicos de España,” “may then fairly
+and proudly claim that, while in Central Europe art had acquired no
+distinctive form&mdash;in the midst of the bitterness of slavery, when,
+before the abjuration of Reccared, the fusion of the races was not
+legally recognised&mdash;the Iberian Peninsula had developed a definite and
+evident artistic and literary individuality. That individuality must
+have been the result of the fortuitous conjunction and union of Latin
+traditions, more or less degenerate, with influences originally
+Byzantine and with those other transformed elements introduced by the
+Germanic hosts of Atawulf; but, even then, it remains an individuality,
+which asserts itself in the surviving examples of Visigothic culture,
+and which was transmitted to the generations succeeding the Moslem
+conquest.”</p>
+
+<p>According to the standpoint of the critic, the Gothic kings’ taste for
+pomp and luxury may be interpreted as proof of their civilised instincts
+or of their native barbarism. For of the splendour of the Court of
+Toledo we have abundant testimony. From the writings of Isidore, we
+learn that the nobles used only goblets and basins of the precious
+metals, that their garments were of superfine silk, and their ornaments
+of the richest jewels. The elaborate ceremonial of the royal<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> household
+may be inferred from the list of functionaries&mdash;the First Count, or
+Chief Butler, the <i>Escancias</i>; the Count Chamberlain, or <i>Cubiculario</i>;
+the Master of the Horse, <i>Estabulario</i>; the Major Domo, or <i>Numerario</i>;
+the Steward, or <i>Silonario</i>; the Master of the Pages, or <i>Espartarius</i>;
+the Count of the <i>Sagrarios</i>, or Sacred Things; and the Treasurer, or
+<i>Argentarios</i>. These offices were only held by the highest nobles. In
+the Cluny Museum at Paris and the Royal Armoury at Madrid are preserved
+the superb Votive Crowns discovered at Guarrazar in 1858. These
+priceless objects proclaim the wealth and munificence of the Visigothic
+monarchs. They are composed of double hoops of gold, decorated on the
+outside by three bands in relief. The outer bands are set with pearls
+and sapphires, and the middle band with the same stones in a setting of
+a red vitreous substance. The crown is suspended by four chains from a
+double gold rosette, which encloses a piece of rock crystal set in
+facets. Each chain consists of four links, shaped like the leaf of the
+pear-tree, and <i>percées à jour</i>. In its original state the crown of King
+Swinthila, now in the Madrid Armoury, had, hanging from its lower rim, a
+cross and twenty-two letters, making up the inscription, <small>SVINTHILANUS
+REX OFFERET</small>. All and each of these letters were actual jewels, set in
+the red glassy paste already mentioned, to them being attached large<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span>
+single pearls and pear-shaped sapphires. Though only twelve letters were
+remaining when the crown was discovered, the dedication was skilfully
+reconstructed by Señores de Madrazo and Amador de los Rios. The crown of
+Recceswinth in the Cluny Museum and the crown of the Abbot Theodosius at
+Madrid do not differ greatly from that of Swinthila in style and
+material. Though the workmanship is rude compared with modern specimens
+of the goldsmith’s art, these crowns still excite admiration by their
+beauty and richness. Inquiring into the origin of their style, Señor de
+Riaño arrives at the conclusion that it “must be looked for in the East;
+their manufacture was most probably Spanish. We cannot imagine the
+extraordinary magnificence of the Visigothic court, so similar to that
+of Constantinople and other contemporary ones, without the presence at
+each of a group of artists whose task was to satisfy these demands.” Not
+only the applied arts, but letters and learning were cultivated at
+Toledo. Swinthila and Recceswinth delighted in the composition of
+epistles and verses, in which, unfortunately, the taste, acquired from
+the Byzantines, for long-winded, flowery and involved phrases is
+painfully apparent. Recceswinth interested himself in the collection and
+revision of ancient manuscripts. In his reign flourished the learned and
+saintly Ildefonso, who<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> was publicly thanked for his work on the
+perpetual virginity of Mary by the martyr Saint Leocadia, who came
+expressly from Heaven for the purpose. One of Ildefonso’s successors in
+the see of Toledo, Julian, was a Jew by birth, or at least descent. He
+was renowned for his erudition and especially as a polemical writer.
+Though he narrowly escaped excommunication as a heretic, he is now
+venerated as a saint, and was buried beside St. Ildefonso.</p>
+
+<p>As the seat of a Court which did something more than ape the culture of
+the Latins (<i>pace</i> Mr. Leonard Williams), Toledo rose from an obscure
+Roman colony into a city of dignity and importance. It is supposed to
+have reached its highest stage of development in the reign of King Wamba
+(672-680), whose mutilated statue confronts the traveller on approaching
+the town from the railway-station. Most of the buildings ascribed by the
+chroniclers, however, to that king were in all probability only restored
+by his orders, and were originally constructed by his predecessors.
+Isidore Pacense enumerates among the edifices existing in his time in
+Spain, basilicas, monasteries, oratories, and hermitages; the <i>Aula
+Regia</i>, or royal residence, “distinguished before all other buildings by
+the richness of the four porticos which encircled it”; the <i>Atrii</i> of
+the nobility, which were allowed only three<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> porticos; hospitals,
+guest-houses, and <i>Repositaria</i>, or treasure-houses. It is reasonable to
+assume that the capital of Spain would have possessed buildings of all
+the kinds specified during the hundred years that elapsed between the
+death of Athanagild and the accession of Wamba.</p>
+
+<p>To the former king is attributed the foundation of the sanctuary
+converted later into the Hermitage of Cristo de la Luz, and the Church
+of Santa Justa, reconstructed in the sixteenth century. From an
+inscription on marble found in 1581, near the Convent of San Juan de la
+Penitencia, it would appear that Reccared built a church consecrated to
+the Virgin in the year 587. The text runs: <small>IN NOMINE DNI CONSECRA | TA
+ECCLESIA SCTE MARIE | IN CATHOLICO DIE PRIMO | IDUS APRILIS ANNO FELI |
+CITER PRIMO REGNI D-NI | NOSTRI GLORIOSISSIMI H | RECCAREDI REGIS ERA |
+DCXXV</small>. To Liuba II. is ascribed the erection of the Church of San
+Sebastian, where some capitals and shafts, discovered in 1899, exist to
+attest its Visigothic origin. The Basilica of Santa Leocadia dated from
+the days of Sisebut (612-621): and though the chroniclers assign no date
+to the dedication of the Church of San Ginés there can be no doubt that
+it took place in the seventh century. Wamba adorned with statuary and
+partially restored the city walls, but it is an error, based on a
+corrupt<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> text of Isidore Pacense’s, to suppose that he built them.</p>
+
+<p>The site of the Aula Regia, or Palace of the Visigothic kings, has long
+been a matter of dispute among archæologists. The author of the article
+on Toledo in the “Monumentos Arquitectónicos” decides in favour of the
+plot of ground covered by the Convents of the Concepcion and the
+Comendadores de Santiago, the ruined Hospital of Santa Cruz, and the new
+extension of the Paseo del Miradero&mdash;close to the Zocodover, in the
+north-east angle of the city. Adjacent to the palace was the Basilica of
+Saints Peter and Paul, “which seems,” says Señor Menendez y Pidal, “to
+have been the royal pantheon, opened only for the entombment of the
+sovereign and the taking the oath of allegiance to his successor.” Here
+were suspended the votive crowns, afterwards buried at Guarrazar; here
+probably were interred Athanagild, Leovigild, Reccared I., Liuba II.,
+Gundemar, Sisebut, Reccared II., Tulga, Erwig, Egica, and Witica. Their
+very dust has long since been scattered by the wind&mdash;who shall say
+where? In a hall attached to that Basilica, in similar annexes to the
+Basilicas of Santa Leocadia and Santa Maria de la Sede Real, were held
+those ecclesiastical synods which so powerfully contributed to the
+shaping of the destinies of Spain. Santa Leocadi<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span>a’s church is now known
+as the Cristo de la Vega; the Basilica de Santa Maria faced the Bridge
+of Alcantara and was in after years known as Santa Maria de Alficem.
+Here Recceswinth is said to have been crowned, the temple being
+afterwards restored by Erwig, Wamba’s successor.</p>
+
+<p>Not a single building erected by the Visigothic kings exists to-day.
+“Destroyed by man’s fury and by the vicissitudes of time,” regretfully
+observes Señor Amador de los Rios, “or altered till all trace of their
+original form has been lost, by the pious care which intended to
+preserve them, you may seek in vain in the city of Wamba for an intact
+monument of that age; not even the walls ascribed to that prince have
+remained entire. Fragments of friezes; isolated capitals, which have
+adorned later edifices, oddly out of place in the scheme of decorations,
+or cut and defaced; broken shafts, perhaps bearing some inscriptions;
+pieces of a hinge, a metope, a lintel, or an impost, perhaps some
+dedicatory tablet&mdash;this is all that has escaped at Toledo the
+devastating scythe of time.”</p>
+
+<p>These relics, however, are fortunately numerous. For a detailed
+description of the more important, the reader is referred to the
+“Monumentos Arquitectónicos de España.” Some we shall notice more
+particularly in dealing with the edifices of which they now form part.<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p>
+
+<p>Under Wamba the Visigothic monarchy reached the apex of its greatness.
+Under his four successors, Erwig, Egica, Witica, and Roderic, State and
+people are said to have become hopelessly enervated. The old Gothic
+vigour blazed up now and again in some individual ruler or statesman,
+but failed to communicate itself to the nation. The kingdom was
+tottering to its fall. The taste for display and the amenities of
+existence grew stronger in this period of decline. Never was there such
+wealth and splendour in Toledo as when it fell a prey to the hosts of
+Islam. The rapid decay of this once great and martial race is without a
+parallel in history. It is difficult to assign to it a cause. Luxury was
+the privilege only of the nobility and clergy, and could hardly have
+corrupted the whole people. Modern writers lamely attribute the final
+catastrophe to ecclesiastical influence and domination. Perhaps when all
+has been said, the state of Spain under Witica and Roderic was not much
+worse than under subsequent rulers of other dynasties; and the downfall
+may have been due, not so much to the effeminacy of the vanquished, as
+to the extraordinary military genius of the conquerors. Historians would
+have said little about the degeneracy of the Visigoths if the battle of
+the Guadalete had had a different issue.</p>
+
+<p>The Hispano-Goths, as Catholics, evinced a<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> fanatical and intolerant
+temper which had been conspicuously lacking in them as Arians. Harsh
+edicts continued to be promulgated against the Jews&mdash;then, as till a
+much later date, a most important element in the population of Toledo.
+The unlucky Children of Israel may have derived in the intervals of
+persecution some malicious consolation from the bitter quarrels between
+the king and the Catholic clergy. Witica was an enemy, or what was
+probably regarded as the same thing, a would-be reformer of the Church.
+To his impiety, indeed, monkish writers are fond of ascribing the
+destruction of the Gothic kingdom. His predecessor, Egica, did not
+hesitate to condemn to excommunication, exile, and confiscation of
+property, Sisebert, the powerful Archbishop of Toledo. Perhaps some
+clerkly chronicler, by way of retaliation for this outrage upon his
+order, invented the following discreditable story, to be found in the
+pages of Lozano.</p>
+
+<p>King Egica had conceived an ardent passion for the beautiful Doña Luz,
+who is described as the grand-daughter of Kindaswinth, and the sister of
+Roderic, afterwards king. Her love, however, was given to her uncle, Don
+Favila, Duke or Governor of Cantabria. The lovers, wearied at last by
+the king’s opposition to their union, went through a secret and
+simplified form of marriage in the lady’s bedchamber before a statue of
+the<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> Virgin. In the course of time. Doña Luz became a mother. Egica’s
+suspicions had already been enkindled, and fearing his wrath, she placed
+the new-born infant in a little ark and set it afloat on the bosom of
+the Tagus. As her maids pushed out the tiny craft from the foot of the
+steep path that leads down from Toledo, a radiance diffused itself
+around the sleeping child and for long marked his passage down the broad
+stream. The irate monarch, divining that Doña Luz must in some way have
+disposed of her child, caused a census to be taken of all the children
+born in and around the city within the past three months with the names
+of the respective fathers. The number of births was recorded at
+35,428&mdash;a very surprising total for Toledo! And, which is still more
+remarkable and highly creditable to the city, the parentage of these
+numerous infants was in every case authenticated. What then had become
+of Doña Luz’s baby? Baffled in his quest, the king suborned one of his
+minions, Melias by name, to accuse the unfortunate lady of incontinency.
+The penalty for this offence, we are told, was nothing less than death
+by fire; and for that fate Egica bade Doña Luz prepare, unless she could
+secure a defender or otherwise clear her reputation. At the eleventh
+hour, the valorous champion appeared in the person of Don Favila, who
+disproved the charge made against his lady-love to<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> the satisfaction of
+mediæval intelligences, by the simple method of running her accuser
+through the body. This, however, did not satisfy the sceptical monarch,
+who insisted on a further ordeal by combat. A knight named Bristes,
+cousin of the recreant Melias, was challenger and accuser on this
+occasion, and was quickly despatched by the doughty Favila.</p>
+
+<p>In the meantime the ark containing Pelayo, the infant child of Doña Luz
+and her champion, had reached Alcantara, where the little passenger
+almost miraculously fell into the hands of his mother’s other uncle,
+Grafeses. This benevolent prince took every care of the child,
+unsuspicious, of course, of his origin. Attracted to Court by the noise
+of these scandals and combats, he found a handkerchief in his niece’s
+room, the counterpart of one which he had discovered in the little ark.
+Doña Luz soon confessed to him the whole story, and he endeavoured to
+intercede for her with the king. Egica, probably more exasperated than
+ever, insisted on a third duel between Favila and a knight called
+Longaris. Both combatants had been wounded when a holy hermit appeared
+on the scene, and admonished the king as to his wickedness and hardness
+of heart. Egica repented and consented to the public celebration of the
+marriage of Favila and Doña Luz. Here we have a fine romantic account of
+the origin of the<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> heroic Pelayo, the restorer of the monarchy and the
+saviour of the Spanish nation.</p>
+
+<p>Wilder, more romantic still, and better known are the legends clustering
+round the last king of the Goths. The scene of most of these is laid in
+Toledo. Here was held that wonderful tournament, to which resorted all
+the crowned heads of Europe&mdash;aye, even such potentates as the Emperor of
+Constantinople and the King of Poland. A new city of palaces was reared
+in the Vega by the hospitable Roderic to accommodate his fifty thousand
+noble guests. This splendid function may have taken place before or
+after the king’s strange marriage with the bewitching Moorish princess
+Elyata (re-baptized Exilona), who had been washed ashore by the sea on
+the coast of Valencia. Lovely as was his consort, Roderic did not, as we
+all know, remain faithful to her. Here enters the mournful and very
+shadowy figure of Florinda, otherwise known as La Cava. This peerless
+damsel was confided to the care of the king by her father, the trusty
+Julian (or Illán), governor of Ceuta. Alas for the maiden! while bathing
+in the Tagus, her charms were only too well revealed to Roderic, gazing
+from his palace windows on the cliff above. A glimpse of a shapely leg
+scarce concealed by a diaphanous mantle decided the fate of
+Florinda&mdash;and of Spain. What he could not effect by persuasion,<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> the
+king effected by violence. Perhaps he hoped that the proud Julian’s
+daughter would keep silence as to her own dishonour. He was mistaken. A
+trusty page, spurring night and day, quickly bore the fatal tidings to
+the father at distant Ceuta, and the missive in which the wronged
+Florinda implored vengeance on her betrayer.</p>
+
+<p>To the no doubt conscience-stricken Roderic, seated in good old kingly
+fashion upon his throne, appeared two venerable strangers with a message
+of mysterious import. When Hercules had founded (as some men say)
+Toledo, not far from the city, among the mountains, he had reared a
+tower, of which these uncouth brethren were the guardians, as their
+ancestors, in an unbroken line, had been before them. On this tower and
+on its unknown and fearful contents, the demigod had laid a necromantic
+spell. It had been the custom of each of the Kings of Spain to affix to
+the massive doors a new lock, and now Roderic was summoned to fulfil
+this duty, for failing this and if any rash mortal should discover the
+secret of the tower, ruin, absolute and immediate, must overtake his
+kingdom. Agog with curiosity, with a brilliant cavalcade, the king
+clattered through the streets of his capital, and found the wondrous
+tower in the recesses of the hills. The aged custodians<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> besought him to
+hasten and to affix his seal to the enchanted doors. In vain! it was
+with another intention the impetuous sovereign had come hither. He burst
+open the doors and rushed in, where never man since Hercules had dared
+to tread. Before him stood a gigantic statue in bronze, which dealt
+blows with a great mace unceasingly to right and left. On its breast
+were inscribed the words, <i>I do my duty</i>. Roderic sternly adjured the
+creature of enchantment to let him pass. It obeyed. In the interior of
+the tower the King found a casket of rich workmanship. A legend thereon
+warned him of the doom that would overtake him who should open it.
+Roderic forced open the lid. He beheld a fold of linen on which were
+painted the figures of Moorish warriors in battle-array. As he gazed the
+figures seemed to move, to grow larger, to assume the proportions of
+men. He beheld a battlefield where Goths and Moors contended for the
+mastery. Breathless, he awaited the issue. The Goths were flying, and he
+saw his own white steed, Orelia, galloping through the fray&mdash;riderless.
+Affrighted, the king and his attendants rushed to the door. There lay
+the two ancient custodians, dead. Thunder rolled, a storm burst over the
+land, and Roderic and his cavaliers drew not rein till they reached the
+palace of Toledo. Next day the stout-hearted Goths reascended to<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> the
+hills. But as they approached, behold a great eagle swooped down from
+the sky holding in its talons a flaming brand! The tower blazed up like
+matchwood. Then arose a great wind which carried the ashes to every part
+of Spain; and every man on whom a portion of the ashes fell was
+afterwards slain in battle by the Moors.</p>
+
+<p>These direful portents must surely have prepared Roderic for treachery,
+conspiracies, and unpleasantness of all kinds. But when Count Julian
+arrived, smiling and deferential, to take his daughter home to Ceuta, he
+seems to have suspected nothing, feared nothing. The rest of the
+story&mdash;Julian’s invitation to the Moors, the rout of Guadalete, the
+disappearance of Roderic&mdash;relates to the history of Spain generally, not
+to that of Toledo. Dozy believes that Julian actually existed, but he
+seems to have been a Byzantine governor of Ceuta, not a Spaniard. It is
+hardly necessary to say that Florinda is as much a figment of the
+imagination as the enchanted tower. Yet near the Puente de San Martin
+(above which never king’s palace stood) some fragments of masonry are
+pointed out as the Baños de la Cava (Florinda’s Bath). They are, in
+reality, but the remains of a Moorish tomb.</p>
+
+<p>In July 711, King Roderic set out from Toledo, never to return. Upon the
+news of the rout of Guadalete, all the magnates and prelates aban<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span>doned
+the city. Its surrender to the Moorish host of the one-eyed Tarik was
+the work of the Jews, who had not forgotten the persecutions of Sisebert
+and Egica. There were Jews in the invading army under the command of
+Kaula-al-Yahudi. When Tarik appeared before the walls, a venerable
+Israelite was let down in a basket, and, approaching him, offered to
+admit him to the city if liberty and the free exercise of their religion
+were guaranteed to his race. The Berber joyfully accepted these terms,
+and on the following day proud Toledo&mdash;deserted by its Christian
+inhabitants&mdash;was annexed to the Saracen Khalifate.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p>
+
+<h2><a name="TOLEDO_UNDER_THE_MOOR" id="TOLEDO_UNDER_THE_MOOR"></a>TOLEDO UNDER THE MOOR</h2>
+
+<p class="nind"><span class="smcap">Never</span> again was Toledo to attain to the wealth and splendour it
+possessed under Wamba and his successors. The invaders, fresh from the
+conquest of the richest provinces of Africa, were dazzled by the
+magnificence of the spoils that fell to them in the dark-browed city
+above the Tagus. The Arabian historians have need of all their powers of
+hyperbole to over-estimate the richness of the treasure. There was
+enough and to spare, Al Leyth Ibn Saïd tells us, for every soldier in
+the army. The humblest troopers might have been seen staggering under
+the weight of priceless silks and garments, chains of gold, and strings
+of precious stones. The rude Berbers, fresh from their mountains, but
+ill appreciated the value of the loot, and cut the costliest fabrics in
+two or more pieces to adjust their shares. A magnificent carpet,
+composed of superb embroidery, interwoven with gold and ornamented with
+filigree work, and profusely set with gems, is said to have been treated
+in this way by the troopers into whose greedy hands it fell. It would be
+interesting to learn the place of manufacture of<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> this carpet, for from
+the silence of St. Isidore upon the subject of textile fabrics, it would
+seem that they were not made in his time in Spain.</p>
+
+<p>But, to credit the Moorish chroniclers, the rarest of exotic treasures
+had been accumulated in the Visigothic capital. Here were found the
+Psalms of David, written upon gold leaf in a fluid made from dissolved
+rubies! and most wonderful of all, the Table of Solomon made out of a
+single emerald! It was brought to Toledo&mdash;so runs one version&mdash;after the
+taking of Jerusalem, and was valued in Damascus at one hundred thousand
+dinars&mdash;equal to about £50,000. We are not surprised to hear that this
+unique piece of furniture “possessed talismanic powers”; for tradition
+affirms it was the work of genii, and had been wrought by them for King
+Solomon the Wise, the son of David. This marvellous relic was carefully
+preserved by Tarik as the most precious of all his spoils, being
+intended by him as a present to the Khalifa; and, in commemoration of
+it, the city was called by the Arabs, Medina Almyda, that is to say,
+“The City of the Table.”</p>
+
+<p>Thus far Washington Irving. With characteristic credulity, Ibn Hayyan,
+the historian, gives in the translation of Gayangos a substantially
+different account of the treasure: “The celebrated table which Tarik
+found at Toledo, although attributed to Solomon and named after him,
+never<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> belonged to the poet-king. According to the barbarian authors, it
+was customary for the nobles and men in estimation of the Gothic Court,
+to bequeath a portion of their property to the church. From the money so
+amassed the priests caused tables to be made of pure gold and silver,
+gorgeous thrones and stands on which to carry the Gospels in public
+processions, or to ornament the altars on great festivals. The so-called
+Solomon’s table was originally wrought with money derived from this
+source, and was subsequently emulously enlarged and embellished by
+successive kings of Toledo, the latest always anxious to surpass his
+predecessor in magnificence, until it became the most splendid and
+costly gem ever made for such a purpose. The fabric was of pure gold,
+set with the most precious pearls, emeralds and rubies. Its
+circumference was encrusted with three rows of these valuable stones,
+and the whole table displayed jewels so large and refulgent that never
+did human eye behold anything comparable with it.... When the Muslims
+entered Toledo it was discovered on the altar of the Christian Church,
+and the fact of such a treasure having been found soon became public and
+notorious.”</p>
+
+<p>Gibbon accounts for the presence of the Table of Solomon at
+Toledo&mdash;assuming that there ever was such a thing, and that it ever was
+there at all&mdash;by supposing it to have been carried off by<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> Titus to
+Rome, whence it may have been taken by Alaric when the Goths sacked the
+city. Whichever version of the table’s origin be accepted, it seems
+strange that it was not carried away by the clergy in their flight from
+Toledo. Of its ultimate fate nothing is known, unless we can accept the
+little that is revealed in the following history.</p>
+
+<p>Upon Musa approaching the city to supersede Tarik, the latter broke off
+and concealed one of the legs of the table. Musa was already incensed
+against his lieutenant for having deprived him of the glory of the
+conquest of Spain, and emphasised his reprimands with strokes of a whip.
+When he found that the leg of the table was missing, his anger was very
+great. Tarik assured him he had found it in that mutilated condition,
+and Musa caused the missing leg to be replaced by one of gold. His
+subordinate, however, he cast into prison, where the One-Eyed One
+remained till released by orders from the Khalifa himself. He was amply
+revenged on Musa, when upon the latter presenting the table to his
+sovereign as his own discovery, he was able triumphantly to give him the
+lie by producing the missing leg of emerald. And so the wonderful Table
+of Solomon, of emerald, or of gold, or of both, passes out of the ken of
+history.</p>
+
+<p>We hear of Musa’s son, Abd-ul-Aziz (or “Bel<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span>asis,” as he is quaintly
+termed by old Spanish writers) marrying King Roderic’s widow, Exilona,
+at Toledo. Abd-ul-Aziz, however, was Governor of Seville, where he met
+his death, and it is not unlikely, if he married the queen at all, that
+he did so in that southern city, where she may have been left by her
+first consort to await the result of the battle of the Guadalete. If
+there be any truth in the legend that Exilona was of Moorish origin
+herself, the story of this second and apparently cold-blooded union
+seems less improbable. Tradition has it that the widow of the Goth only
+consented to the match on Abd-ul-Aziz promising to observe towards her
+all the deference due to a Christian queen. He kept his promise only too
+faithfully, and his forcing his officers to bend the knee to a woman and
+an infidel, is said to have contributed to bring about his assassination
+in the mosque at Seville.</p>
+
+<p>The conquerors here, as in other parts of the kingdom, acted generously
+towards the conquered. A moderate tribute was levied on the Christians,
+who were allowed to practise their religion and be governed by their own
+laws and customs. Seven churches were allotted to their use, the names
+of these being Santa Eulalia, Santa Maria de Alficem, Santa Justa, San
+Sebastian, San Marcos, San Torcuato, and San Lucas. But these privileges
+must have hardly consoled the citizens for the loss of<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> the town’s rank
+as capital of Spain. It became, as it had been under the Romans, “a
+strong place,” of which the dominant race valued the advantages, but, in
+consequence of the rise of Cordoba and Seville it sank to the condition
+of a provincial town.</p>
+
+<p>As such its career was throughout stormy and turbulent. The spirit of
+rebellion seemed instinct in the grim fortress-like city, and infused
+itself into Mohammedan and Christian, Arab and Castilian alike. The two
+races fraternised well enough. They had a common interest: resistance to
+any external authority. This impatience of control was characteristic of
+the Toledans for centuries. Its annals during the period of Mohammedan
+occupation are a tedious record of sieges, riots, usurpations and
+massacres. Such events are only of interest when studied in the minutest
+detail. A brief <i>résumé</i> of them is, however, indispensable to a proper
+knowledge of the town.</p>
+
+<p>The citizens’ first appearance in the troubled arena of Muslim politics
+was as loyalists&mdash;an uncongenial <i>rôle</i>! In the civil wars that
+distracted the reign of Abd-ul-Malik, Toledo was held by his son Omeya,
+and vainly besieged for a month by the rebels. On the approach of
+Abd-ul-Malik, the garrison, wishful of glory, made a vigorous sortie and
+completely routed the investing force. The townsmen had tasted<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> blood.
+It took much to quench their thirst. Knowing their character, in the
+troubles fomented by the pretender Yusaf ben Debri, his partisan,
+Mohammed Abu-l-Aswad took refuge among them in the year of the Hegira
+142. The place was immediately invested by the Wizir, Al Kama, and as
+usual offered a stout resistance. Wearied of their ruler, however, the
+people played him false and betrayed the town to the Wizir. Abu-l-Aswad
+was taken prisoner and sent to Cordoba.</p>
+
+<p>A year or two later the Toledans repented of their submission. While the
+Amir, Abd-ur-Rahman, was engaged in preparations for a war in the east
+of Spain, some powerful families, led by one Hixem ben Adra al Fehri,
+rose, seized the Alcazar, and put the Wizir to flight. They released the
+notorious rebel, Kasim ben Yusuf, from prison, and raised an army of
+about ten thousand men&mdash;mostly freebooters and masterless men who seemed
+to have regarded Toledo as the best market for their peculiar talents.
+The Amir’s appearance before the walls, with a powerful army, caused
+moderate counsels to prevail among the insurgents. The citizens were
+anxious to be rid of the undesirables they had invited into their midst,
+and persuaded Hixem to visit the royal camp to solicit terms.
+Abd-ur-Rahman generously pardoned him, and once more incarcerating
+Kasim, left the town to itself.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
+
+<p>He soon had good reason to repent his forbearance. In 763 Kasim escaped
+from confinement, rallied the citizens round him, and declared the town
+subject only to the Khalifa of Damascus. The siege that followed was
+languidly conducted. The people, we read, were suffered to cultivate
+their fields, and to carry produce into the city unmolested. At this
+rate the siege might have lasted as long as that of Candia. Kasim,
+meanwhile lulled into a sense of security, abused his power, and
+alienated his unruly subjects. On the arrival of the Amir, he was given
+notice to quit. Having seen him successfully elude the royal forces,
+Toledo opened its gates to Abd-ur-Rahman. The Amir, despairing of the
+townsmen’s temper, exacted from them but a nominal obedience, but his
+successor, Hakam, thought to coerce them by a bitter lesson. As
+Governor, he sent them one Amru of Huesca, a renegade Christian, “by a
+condescension,” he wrote, “which proves our extreme solicitude for your
+interests.” The renegade’s policy was thorough. He ingratiated himself
+with the people, and posed as the champion of their liberties. It was at
+their own suggestion that he raised a fortress in their very midst. The
+place being strongly garrisoned and all being ready, the approach of a
+large army, commanded by the Amir’s son, Abd-ur-Rahman, was announced.
+At the suggestion of the Governor,<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> the prince was invited by the
+nobility into the city; and he, in return, as if to mark his sense of
+the honour conferred upon him, ordered a great feast to be made ready at
+the Castle. To this all the chief men were bidden. What followed is
+known as the Day of the Fosse. The guests were allowed to enter only one
+by one. Behind the gate stood a man with bared arm and uplifted axe. As
+each guest entered there was a sweep of the arm, a flash of steel, and a
+head rolled into the ditch already prepared. Without, nothing was heard,
+nothing was seen, nothing suspected. The episode reminds one of the
+famous Blood Bath of Stockholm. The butchery is said at last to have
+been revealed to those waiting outside the wall by the thick vapour
+issuing from the gate. A physician, who had been watching for hours, and
+who had noticed that none of the numerous guests who had entered, had
+issued forth, was the first to raise the alarm. “Men of Toledo,” he
+shouted, “I vow that yonder vapour is not the smoke of a feast, but
+rises from the blood of our butchered brethren!”</p>
+
+<p>This ghastly tragedy occurred in 807, and has given rise to a proverbial
+expression current in Spanish&mdash;<i>una noche Toledana</i>, applied to a night
+disagreeably passed in sleeplessness or pain.</p>
+
+<p>The blow struck by the ferocious Amru was of the kind that alone met
+with the approval of<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> Macchiavelli: it not only intimidated, but it
+crushed. For a quarter of a century we hear no more of tumults or
+dissensions in the City by the Tagus. Meantime it prospered. Arts and
+letters flourished. In the year 827 we have to record the death “of the
+very learned alfaqui, Isa ben Dinar el Ghafeki, a native of that city
+and a disciple of Malik ben Anas. He was a man beloved by all&mdash;friendly
+in manner, admirable in conversation, and upright of life: such as were
+taught by Isa ben Dinar acquired their learning with delight. He was in
+the habit of practising some few observances that were considered
+extraordinary: he made, for example, the prayer of the dawn with the
+preparation and ablutions proper to that of the evening twilight.”</p>
+
+<p>The opulence of the Jews and Christians decided the Wali, Aben Mafût ben
+Ibrahim, to increase their tribute. This led to the outbreak of 832. A
+wealthy young citizen, named Hakam el Atiki, otherwise known as El
+Durrete, or “the striker of blows,” had been insulted by the Wali, and
+used the discontent of the people as a means of avenging his injuries.
+He distributed money freely among the more inflammable sections of the
+populace, and collected about him a body of lawless followers. One of
+these was seized in the Soko, or market-place (the Zocodover) by one of
+the Wali’s officers, and a tumult at once uprose.<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> In the end the
+Alcazar fell into the hands of the rebels, and the Wali barely escaped
+with his life. Hakam, however, was shortly afterwards obliged to abandon
+his conquest, and spread abroad the report that he had left the country.
+The vigilance of the garrison becoming in consequence relaxed, he seized
+the city by a <i>coup de main</i>, and held it for some years. He was
+wounded, taken prisoner, and beheaded in 837, by Abd-el-Raf, his head
+being suspended from the gate of Bisagra.</p>
+
+<p>So far the risings at Toledo had been mainly political, and the townsmen
+had sunk their religious and racial differences to make common cause
+against the stranger. The cause of the insurrection of 854 was, by
+exception, an outburst of fanaticism on the part of the Muzarabes or
+Christians, who practised the ritual of the Spanish Goths. It was at
+this time that the Catholics of Cordoba and Seville, subject to some
+extraordinary aberration, had in great numbers earned the doubtful
+honour of martyrdom by blaspheming Mohammed. To Toledo, as the most
+likely spot at which to create a disturbance, came Eulogius and stirred
+the Christians to avenge the “wrongs” of their co-religionists. Under
+the leadership of Sindola, they dispossessed their Moorish governors,
+and carrying the war into the enemy’s own country, defeated the Amir’s
+forces at Andujar. Ordoño<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> King of Leon, now came to the assistance of
+the citizens, who, hitherto, had shown no eagerness to call in the help
+of the Christians of the north. Mohammed, the Amir, presently appeared
+before Toledo, and drew the allied forces into an ambush. The Christians
+were totally defeated&mdash;almost annihilated. Nothing daunted, the
+Toledans, later on, insulted their sovereign by electing Eulogius to the
+vacant archiepiscopal see. Mohammed, by way of reprisal, inveigled a
+large force of Christians on to a bridge which he had undermined. It was
+the Day of the Fosse over again.</p>
+
+<p>In the year 873, we find the independence of Toledo, subject to his
+suzerainty, nominally acknowledged by the Amir, who was probably glad to
+make any terms that promised peace with vassals so turbulent. In the
+reign of the Amir Al Mundhir even this faint shadow of outside authority
+was shaken off by the city, which again asserted its complete
+independence, in 886, under Ibn Hafsûn. The town was besieged by the
+royal forces under the Wizir Haksim. The wily Ibn Hafsûn, seeing that
+the stronghold must fall, proposed to the opposing general that he
+should allow him to evacuate the place and transport his army to the
+frontier of Valencia, on a train of beasts of burden to be provided by
+the besiegers. Haksim joyfully assented to this capitulation, and on the
+day appointed, what was supposed to be<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> the entire army of the rebel
+chief issued from the gates of the city and wended their way, with the
+train of packhorses, eastwards. Leaving what he considered a sufficient
+garrison in Toledo, Haksim drew off the greater part of his forces and
+went to Cordoba. Meanwhile the crafty Hafsûn swiftly retraced his steps,
+and with the aid of the considerable detachment he had left concealed in
+the town, put the garrison to the sword, and once more hurled defiance
+at the Amir. Great was Al Mundhir’s wrath on the receipt of this
+intelligence, and before nightfall, the head of Haksim lay severed from
+his body.</p>
+
+<p>Ibn Hafsûn proved a formidable antagonist. The Amir lead an army against
+him in 888 and was defeated and killed. Twenty years later Hafsûn died,
+bequeathing what was practically an independent sovereignty to his son.
+The great Khalifa, Abd-ur-Rahman III., now sat on the throne of Cordoba.
+He determined to put an end to the arrogant pretensions of the unruly,
+untameable city. His summons to capitulate being contemptuously
+rejected, he took the field in 930. For eight years the siege went on,
+varied by exploits and incidents, which might prove matter for a Moorish
+Iliad. Famine stalked abroad in the obstinate city, but the Hafsûns
+would not hear of surrender. When at last it became plain that the
+people would yield, the<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> leaders and their partisans, to the number of
+four thousand, made a last desperate sortie. Two thousand cavaliers,
+with a foot-soldier clutching firmly hold of each horse’s girth, they
+broke through Abd-ur-Rahman’s camp, and got clean away. Almost joyfully
+the townsmen opened their gates to the great Amir&mdash;to be firmly bitted
+and bridled during the remainder of his reign.</p>
+
+<p>That the town was still subject to the central authority in the year
+979, we gather from this incident. The Governor, Abd-ul-Malik Ibn Merwân
+having some difference with the Wali of Medina Selim (Medinaceli),
+challenged him to single combat and slew him. For this, without more
+ado, he was removed from office by orders from Cordoba.</p>
+
+<p>In the first quarter of the eleventh century, Toledo recovered her
+freedom, on the break-up of the Umeyyah empire. Under her sultan,
+Ismail, in 1023, she was able to boast that she knew no other lord or
+ruler under the blue heavens. After Ismail came Abu-l-Hasan Yahya al
+Ramân who reigned till 1075, and was then succeeded by Yahya Kadir, who
+lost his throne in 1085.</p>
+
+<p>Before relating the incidents of the reconquest of Toledo by the
+Christians and its incorporation in the steadily expanding kingdom of
+Leon, we will take a glance at the city as it was under its<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> Mohammedan
+rulers. Of its affluence, importance, and strength, the foregoing
+cursory sketch of its history has afforded us some idea. It ranked as
+the metropolis of the Christian element in the Amir’s dominions, and its
+prelates early obtained recognition from their Paynim sovereigns as
+dignitaries of the highest standing. Among them were such notable men as
+Wistremir and Eulogius. One of the archbishops of Toledo, Elipando,
+embraced the heresy of Nestorius, and went the length of excommunicating
+his fellow bishops. Upon his death, however, an orthodox successor was
+chosen. The Christians were wealthy and arrogant. They were classed in
+congregations, dependent on their various churches, each division
+including certain families irrespective of their domiciles. Toledo,
+during the three and a half centuries of Mohammedan dominion, never
+seems to have lost the outward character of a Christian town. Moorish
+influence she felt, and it served to soften and chasten her rough
+features, but Moorish she never became as did Seville and Cordoba. Yet
+in every corner of the old city the guides are prone to point out the
+buildings and remains that they fondly believe to be of Arabic
+workmanship. In reality, very few monuments of the Mohammedan period
+have survived. It is not by what we see but by what we read<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> that we can
+form an idea of the city as it was in those days.</p>
+
+<p>It was renowned for its clepsydras or water-clocks, invented by
+Abu-l-Kasim. These are described as follows in an Arabic document: “But
+what is marvellous and surprising in Toledo, and what we believe no
+other town in all the world has anything to equal, are its water-clocks.
+It is said that Az-Zagral [Abu-l-Kasim] hearing of a certain talisman
+which is in the city of Arin, of Eastern India, and which shows the
+hours by means of <i>aspas</i> or hands, from the time the sun rises till it
+sets, determined to fabricate an artifice by means of which the people
+could know the hour of day or night, and calculate the day of the moon.
+He made two great ponds in a house on the bank of the Tagus, near the
+Gate of the Tanners, making them so that they should be filled with
+water or emptied according to the rise and fall of the moon.” The water
+began to flow into the ponds as soon as the moon became visible, and at
+dawn they were four-sevenths full. The water rose by one-seventh every
+twenty-four hours, and were full at full moon. As the luminary waned,
+the water fell in exact proportion. The exact working of these
+contrivances was lost when an astronomer, deputed by Alfonso el Sabio to
+examine them, broke parts of the intricate machinery.<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span></p>
+
+<p>The chroniclers relate wonders of the palace of An Naôra, so called from
+its celebrated <i>noria</i> or hydraulic apparatus. The apartments were so
+splendid as to rival those of the palace of the Amir himself, and “were
+resplendent as the sun at noonday, and the moon at the full.” In the
+luxurious gardens was the lake or albuhera, in the centre of which rose
+a pavilion of glass, where Al Ramân-bil-Lah, the last sovereign of
+Toledo, used to pass the night. “The clever architects”&mdash;we quote from
+the “Monumentos Arquitectónicos”&mdash;who made the lake, not only raised the
+waters from the river in order to fill it, but raised them above the
+cupola of the pavilion, over and around which they flowed incessantly,
+forming around it a diaphanous and crystalline mantle. Not a drop could
+penetrate the structure or touch the persons within. With the sonorous
+murmur of these waters mingled that produced by the fountains that
+gushed forth from the mouths of the lions in metal guarding this
+wonderful pavilion. Illumined inside with lamps of various colours,
+without it presented a fantastic appearance, which was reflected back
+from the waters of the lake, and which the people of Toledo contemplated
+with admiration through the dense foliage.”</p>
+
+<p>Of this exquisite pleasaunce, no trace remains. Nor is anything left of
+the other palace of Al<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> Hizem, built by Ismaîl, the first admittedly
+independent Sultan of Toledo&mdash;afterwards inhabited by the Christian
+kings. The principal building in Moorish times was, of course, the
+Aljama, or Chief Mosque. This seems to have been erected at the same
+time as the great Mezquita at Cordoba, in the reign of Abd-ur-Rahman
+II., and to have been richly embellished and enlarged under the third
+and greatest Khalifa of that name. We read that in the fourth century of
+the Hegira, the architect Fatho ben Ibrahim el Caxevi built two
+sumptuous mosques, called, the one, Adabejin, the other Gebel Berida;
+but where these were situated, or what was the real Arabic spelling of
+the names, we have no means of knowing.</p>
+
+<p>Happily a few specimens of the local architecture of that epoch remain.
+Of these one of the learned compilers of the “Monumentos
+Arquitectónicos” writes: “In spite of their varying degrees of
+integrity, and although greatly damaged and changed by later
+restorations, these works possess an extreme importance, and suffice to
+manifest the peculiar physiognomy of the secondary religious edifices of
+this part of the Peninsula at the most glorious epoch of the
+Khalifate&mdash;a physiognomy strikingly different from that of the principal
+religious structures, or Aljamas, equivalent to our cathedrals, and
+different also from that of the same buildings in the south. They show,
+furthermore, decora<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span>tive processes believed to have been unknown in
+Spain at that epoch.”</p>
+
+<p>The most complete and remarkable of these buildings is the Mosque of
+Bib-el-Mardom, now known as the Cristo de la Luz. It is situated to the
+north of the city, between the Puerta del Sol and the Puerta Bisagra.
+Here Alfonso VI., on entering Toledo on May 25, 1085, halted and caused
+Mass to be celebrated, leaving his shield behind him as a memento of the
+incident.</p>
+
+<p>The exterior of this most interesting building is unpromising. It is
+thus described by Mr. Street: “The exterior face of the walls is built
+of brick and rough stone. The lower part of the side wall is arcaded
+with three round arches, within the centre of which is a round horseshoe
+arch for a doorway; above is a continuous sunk arcade of cusped arches,
+within which are window openings with round horse-shoe heads. The lower
+part of the walls is cut with single courses of brick, alternating with
+rough stonework; the piers and arches of brick, with projecting labels
+and strings also of unmoulded brick. The arches of the upper windows are
+built with red and green bricks alternated.” Restorations carried out in
+1899 brought to light a most interesting pierced frieze running round
+the north-eastern façade, and serving as a sort of ventilator. Above was
+deciphered the following<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> inscription in Arabic characters: “In the name
+of God, the Compassionate, the Merciful. This mosque was rebuilt ... the
+renewal of its upper part, proposing to render it more beautiful, and
+[the restoration] was finished, with the help of God, under the
+direction of Musa Ibn Ali, the architect, and of Saada. It was completed
+in the Muharram of the year 370” [July 17, 979, to August 15, 980 <small>A.D.</small>]
+The whole façade of the edifice has been much disfigured by successive
+reconstructions, coatings of plaster, &amp;c., and has undergone much more
+serious transformation than the interior.</p>
+
+<p>Entering when the eyes have become accustomed to the obscurity, we make
+out the details of a very small and curious structure. Again to quote
+Mr. Street, the nave is only “21 ft. 7¼ in. by 20 ft. 2 in., and this
+space is subdivided into nine compartments by four very low circular
+columns, which are about a foot in diameter. Their capitals are all
+different. The arches, of which four spring from each capital, are all
+of the round horseshoe form; above them is a string-course, and all the
+intermediate walls are carried up to the same height as the main walls.
+They are all pierced above the arches with arcades of varied design,
+generally cusped in very Moorish fashion, and supported on shafts; and
+above these each of the nine divisions is crowned with<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> a little vault,
+formed by intersecting cusped ribs, thrown in the most fantastic way
+across each other, and varied in each compartment. The scale of the
+whole work is so diminutive that it is difficult, no doubt, to
+understand how so much is done in so small a space; but looking to the
+early date of the work it is impossible not to feel very great respect
+for the workmen who built it, and for the ingenious intricacy which has
+made their work look so much larger and important than it really is.”
+After the Reconquest, the loftier portion of the temple, consisting of
+apse and transept, and containing the altar, was added. Looking closer
+into the details of the Moorish portion, one is struck by the contrast
+presented by rude shafts and capitals, evidently of Visigothic
+workmanship, with the general elegance and delicacy of the whole. On
+making a careful study of these features, it is difficult to resist the
+conclusion (supported, indeed, by tradition) that they formed part of an
+earlier and less skilfully constructed mosque, itself merely a
+restoration or adaptation of a Visigothic church. Señor Amador de los
+Rios is of opinion that the existing structure constituted only the
+inner portion or <i>maksurah</i> of the temple, and believes that the
+southern wall is the only part of the outer or enclosing <i>enceinte</i>
+remaining. In this he finds traces of the <i>kiblah</i> or sanctuary,
+<i>membar</i>, and other features peculiar<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> to Mohammedan worship. The mosque
+consisted originally, in all probability, in addition to the fabric we
+now see, of naves extending on each side of those still standing, from
+north-east to south-west. Even thus the mosque must have been very
+small. The exact configuration and plan of the original building is
+still a matter of great perplexity to archæologists, and a great many
+more discoveries remain to be made before anything can be positively
+stated under this head.</p>
+
+<p>The newer, or Christian, portion of the mosque contains some remarkable
+mural paintings, discovered in 1871. They date from about the close of
+the twelfth century, and exhibit pronounced Byzantine influence. It
+seems satisfactorily established that two of the four female figures
+represent Saints Eulalia and Martiana; and the other two, in all
+probability, the martyrs Leocadia and Obdulia. The fifth figure&mdash;that of
+a man&mdash;represents a prelate. It may be, as Mr. Leonard Williams thinks,
+the Archbishop Bernardo, who figures largely in the annals of the
+Reconquest; or the prelate’s patron saint. It is not to that archbishop,
+however, but to one of his successors&mdash;possibly Don Gonzalo Perez
+(1182-1193)&mdash;that the remodelling of the building into a Christian place
+of worship should be ascribed.</p>
+
+<p>This intensely interesting monument is the<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> subject of several curious
+and entertaining legends. In the days of Athanagild (and it is not
+impossible, as we know, that the church may have existed at that time) a
+crucifix, greatly venerated by the citizens, hung over the door. Two
+evil-minded Jews, Sacao and Abishai by name, to express their hatred for
+Christianity, drove a lance into the side of the figure. Instantly blood
+gushed forth. The terrified Israelites hid the miraculous object in
+their own home, but were traced by the stains of blood, and (it is
+hardly necessary to add) torn to pieces. This irritated their
+co-religionists, who, to avenge them, poisoned the feet of the statue.
+This resulted in a second miracle, for when a devout woman was about to
+kiss the feet, they were withdrawn&mdash;to the discovery and undoing, once
+more, of the villainous Jews. The right foot of the image remains
+withdrawn to the present day, that all men may know the truth of the
+story.</p>
+
+<p>Now we come to the explanation of the name “Cristo de la Luz.” When the
+Moors were about to take the city, the Christians walled up the
+miraculous crucifix, with a lamp burning before it. Three hundred and
+seventy years passed; and on the glorious May 25, 1085, Alfonso VI. and
+his Christian chivalry came riding into reconquered Toledo. Among the
+cavaliers was the Cid, Ruy Diaz de Bivar. The warrior’s horse,<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> on
+passing the mosque, stumbled, or, as others have it, knelt. With
+preternatural acuteness, the Cid suspected some unusual circumstance,
+and had the adjacent wall broken down. Then was discovered the crucifix
+with the lamp still burning brightly, as when placed there nearly four
+centuries before. The mosque was reconsecrated on the spot; and the King
+left his shield as a memento. There it hangs to-day, above the central
+arch, bearing a white cross on a crimson ground. Whether it is authentic
+or not, we cannot say, but below it one may read: <i>Esto es el escudo que
+dejo en esta ermita el Rey Don Alfonso VI., cuando ganó á Toledo y se
+dijo aqui la primera misa.</i></p>
+
+<p>The Cristo de la Luz is no longer a church, and is now classed among the
+national monuments of Spain.</p>
+
+<p>Hardly less interesting, but very far from being as well known, is the
+ancient mosque in the Calle de las Tornerias. It is contained in the
+upper part of the private houses numbered 27, 29, and 31. The mosque
+having been built against a steep incline, it was raised on a
+substructure of galleries, which now form the ground floor of the modern
+houses. The mosque was never converted to Christian uses, and retains
+its original physiognomy almost unimpaired. In the opinion of Spanish
+archæologists, it belongs to the same period as the Cristo de la Luz;
+but<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> Street does not share this view, and thinks it a later work. Like
+the other mosque, it is built more or less in the form of a square, and
+has likewise Visigothic columns and capitals, pointing to the existence
+of a previous structure. Here, also, we find the horseshoe arch and the
+cupola, and evidences of the position of the kiblah. Recent restorations
+have shown that the walls are composed of the finest brickwork,
+unsurpassed for smoothness and regularity. But so far no trace has been
+revealed of any texts from the Koran, or inscription commemorating the
+architect’s name, such as were usual in the Mohammedan temples of Spain.</p>
+
+<p>The Puerta Antigua de Bisagra, or ancient gate of Bisagra&mdash;not to be
+confounded with the new gate of the same name built by Charles V.&mdash;is
+dilapidated and falling to pieces. In Moorish times it was the principal
+entrance to the city. The name was probably originally Bib-Sahla. It
+dates from about the beginning of the tenth century, but to the
+primitive structure only the foundations of the gate belong. A
+reconstruction seems to have been carried out at the time of the
+Reconquest, and to that epoch the arch, or gate, properly speaking, may
+be assigned. The upper portion of the time-worn fabric belongs to a
+still later period. This is the only one remaining of the fifteen gates
+with which the walls of Toledo<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> appear to have been furnished during the
+Mohammedan occupation.</p>
+
+<p>The celebrated Puente de Alcantara, as it exists to-day, must be
+regarded as the work of the Christians. It took the place of a
+structure, built or restored by the Musulmans, and regarded by the
+writers of their time and nation as one of the wonders of Spain.
+According to an inscription on the bridge tower, the work dated from the
+year 997 <small>A.D.</small>, and was built by “Alif, son of Mohammed Al Ameri,
+Governor of Toledo, under the great Wizir, Al Mansûr.” With it, no
+doubt, were incorporated the remains of previous Gothic and Roman
+constructions. It was almost entirely swept away in a great flood in the
+year 1258, after having already undergone extensive repairs and
+restorations since the Reconquest. Thus we may conclude that there can
+be few if any traces of the Moorish bridge in the actual Puente de
+Alcantara. On the other side of the town there was probably a wooden
+bridge or bridge of boats, where the Puente de San Martin now spans the
+river. A little below it is a brick tower, with open arches, the
+horseshoe curve of which, and other features, bespeak its Moorish
+origin. Legend places here the incident of the Bath of Florinda. In
+later times the work was believed to be the remains of a bridge. But an
+Arabic inscription, recently redeciphered and<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> translated, goes to prove
+that the tower formed part of a very different monument: “In the Name of
+God, the Merciful, the Compassionate! Oh, men, believe that the promises
+of God are certain and let not yourselves be seduced by the flattery of
+the world, nor be lured away from God by the deceits of the Evil One!
+This is the tomb of Hosàm (?)-ben-Abd ... [He confessed that there is no
+other God but] God. He died [may God have mercy on him] ... the year
+eight ... and four hundred.” The Baños de la Cava may now be safely
+regarded as a Musulman sepulchral monument of the fifth century after
+the Hegira.</p>
+
+<p>We have now briefly considered the only monuments of interest to any but
+the most ardent archæologists that can be ascribed, so far as their
+general structure is concerned, to the Moslem lords of Toledo. Admitting
+that the most important buildings of that time have long since
+disappeared, it remains clear that the city could never have presented
+the Oriental aspect of the Andalusian seats of Islam.</p>
+
+<p>The history of the city as an independent State is soon told. Under
+Ismail and his son Al Mamûn, Toledo became the most powerful Musulman
+State in Spain. The lesser principalities having been disposed of, a
+fierce struggle for supremacy was waged between Al Mamûn and the Amir
+of<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> Seville. A desperate battle before the walls of Murcia decided the
+issue in favour of the Toledan, and gave Valencia into his hands. But,
+as is often the case with men of all ranks, Al Mamûn’s strength and
+wisdom were undone and rendered unavailing by his fatal trait of
+magnanimity.</p>
+
+<p>Alfonso of Leon, dispossessed of his kingdom by his brother, threw
+himself upon the protection of the Amir of Tolaitola. The noble Muslim
+bestowed upon the fugitive prince a palace near his own, an oratory, and
+a garden “wherein to recreate himself”; and allowed him to establish a
+miniature Court for himself and his followers at Brihuega. Lands were
+assigned to him as a source of revenue, and he became the most intimate
+and honoured friend of the Amir. It is said that in return an oath was
+exacted of Alfonso that he would assist his host against all men, and
+never war upon him or his son. That some such pledge should have been
+asked for in return for such magnificent hospitality seems very
+probable. The Archbishop Don Rodrigo relates that one day Al Mamûn found
+himself with his most trusty counsellors in a wood from which a full
+view of the city could be obtained. The Moorish sovereign fell to
+discoursing upon the defences of the place and the best means of
+attacking it. These words were overheard by Alfonso, who chanced to be
+by, and who at once feigned sleep beneath<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> a tree. Here he was presently
+discovered by the Moors, to their great dismay. Some among them asked
+leave of Al Mamûn to slay him. On this permission being indignantly
+refused, they dropped hot lead on the Leonese prince’s hand to see if he
+were really asleep. Alfonso did not stir, which would have convinced
+most people that he was feigning sleep. The Muslims, on the contrary,
+retired, satisfied that he had heard nothing and seen nothing.</p>
+
+<p>Before returning to his kingdom, the Christian prince renewed his vows
+of loyalty and friendship to Al Mamûn, with whom personally, indeed, he
+never broke faith. The Moor’s son, Yahya, reaped the reward of the
+father’s generosity. A weak and incapable sovereign, addicted to luxury
+and despised for his devotion to superstitious practices, he was
+detested by his own subjects, who on one occasion drove him out of the
+city, to take refuge at Cuenca. His authority was restored only with the
+help of his natural foes, the Castilians. Alfonso, unmindful of his vow,
+forgetful of the dead Al Mamûn’s princely generosity, could not resist
+this opportunity of adding to his dominions the old capital of the Kings
+of Spain. For six years he laid waste the frontiers of the Amirate, and
+in the seventh year&mdash;carefully availing himself, no doubt, of the
+information unwittingly communicated by his old benefactor&mdash;invested
+Toledo itself.<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> Famine accomplished what arms could not, Yahya asked for
+terms. They were onerous enough. They involved the cession of all the
+Moorish King’s dominions, except Valencia, the Muslims who elected to
+remain in Toledo being guaranteed the free exercise of their religion,
+their property, and liberty. They were to be subject to their own laws
+and tribunals and to retain their mosques. The terms, as remarks
+Quadrado, were, in fact, almost the same as those granted to the
+Christians by the Arabs three hundred and seventy years before. Only the
+Alcazar, the bridges, gates, and the garden called the Huerta del Rey,
+were reserved to Alfonso himself. The capitulation completed, Yahya and
+his court took the road to Valencia, and Alfonso VI. entered Toledo by
+the Bib-el-Mardom on Sunday, May 25, 1085.</p>
+
+<p>“May God renew her past splendour, and inscribe once more the name of
+Toledo on the list of the cities of Islâm!” This was the devout
+aspiration of a Muslim chronicler, but in neither particular has it ever
+been fulfilled.<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
+
+<h2><a name="TOLEDO_THE_CAPITAL_OF_CASTILE" id="TOLEDO_THE_CAPITAL_OF_CASTILE"></a>TOLEDO THE CAPITAL OF CASTILE</h2>
+
+<p class="nind"><span class="smcap">The</span> incorporation of the haughty city of the Visigoths with the kingdom
+of Castile was, when the first wave of enthusiasm had subsided, regarded
+with coldness and misgiving by its people. The Toledans were as
+tenacious as ever of their peculiar customs and privileges which they
+had hoped to maintain intact. Even with the powerful assistance of the
+Cid, whom he appointed Alcalde, Alfonso found the ordering of the
+affairs of his new capital a difficult and dangerous task. The
+population included (remarks Don Jose Quadrado) “the conquered and
+resigned Musulman, the Israelite ever submissive and industrious, the
+Mozarabe ennobled by his ancient lineage and constancy in his faith, the
+Castilian, proud of his conquests, the foreigner rewarded for his
+prowess, or attracted from remote countries by signal privileges; and
+this multiplicity of races and diversity of creeds demanded as many
+separate systems of law and administrations.” The Jews, Musulmans and
+foreigners continued subject to their own codes and tribunals; but while
+the<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> Mozarabe or native of Toledo clung to the old Fuero Juzgo or
+Visigothic law, inherited from his fathers, the Castilians and Leonese
+expected to be ruled according to the ruder, rougher code of their
+warrior counts and kings. Alfonso dealt with these two peoples of common
+race and language as with the other more widely distinct races. Each had
+an Alcalde of its own, subject, however, to the Alcalde Mayor named by
+the king. A compromise, too, was arrived at, the Castilians being
+subject to their own law in civil cases, and to the Mozarabe in criminal
+matters. On the whole, the tendency of these measures was to conciliate
+the Toledans. But we find evidence of jealousies between them and their
+conquerors or deliverers from the North for many years afterwards.</p>
+
+<p>Alfonso’s honour had not gone unstained in regard to his taking the city
+of his old friend and benefactor, and the Moors must have been sanguine
+indeed if they looked forward to a scrupulous fulfilment of the pledges
+given them by the conqueror while he was <i>outside</i> the walls. The clause
+that entitled the Muslims to the free and exclusive use of their mosques
+was particularly obnoxious to the rabid ecclesiastics and crusaders who
+accompanied the king. With increasing irritation they compared the noble
+proportions of the Mohammedan mezquita with those of the<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> humble
+provisional Catholic Cathedral of Santa Maria de Alficem. While Alfonso
+was absent in Leon, he left the city in charge of his queen, Constancia,
+a Frenchwoman, and of her countryman, Bernard, now bishop, and formerly
+a monk of Cluny. This prelate took advantage of his sovereign’s absence
+to burst one night into the coveted mosque with an armed party, and
+having “purified” it, suspended bells in the minarets, which announced
+at dawn the celebration of the Christian rite. When word was brought to
+the King of this infamous violation of the treaty, he set out for
+Toledo, announcing his intention of burning the bishop alive. Moved
+either by that magnanimity which in the person of Al Mamûn had
+contributed to their downfall, or, as Spanish writers say, by a
+far-seeing prudence, the Moors went out in a body to meet the monarch,
+and besought him to forgive the highly placed thieves. Alfonso, with a
+show of reluctance, acquiesced in their prayer, and the Christians were
+most undeservedly confirmed in the possession of a church they had no
+hand in creating. The Alfaqui, or headman of the Muslims, was
+munificently rewarded for his generosity, his statue being placed in the
+Capilla Mayor of the new cathedral, which was solemnly consecrated in
+1087. No nation has shown a very nice sense of honesty in respect of
+church property, yet it needs no subtle intelligence<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> to perceive that a
+church is as much the property of the particular sect for whose special
+use it was designed by members of that sect, as any private house is of
+its private owner.</p>
+
+<p>The sturdy Toledans were attached, not only to their laws and customs,
+but (which was of more importance in those days) to their own Gothic or
+Mozarabic ritual. This differs in what are considered important
+particulars from the Roman. The host is divided into nine parts,
+representing the Incarnation, Epiphany, Circumcision, Passion, Death,
+Resurrection, Ascension, and Eternal Kingdom of Christ. Of these
+fragments, seven are arranged to form a cross. Because it is not Roman,
+English writers are fond of extolling the beauty and simplicity of this
+liturgy. It was a stumbling-block to Queen Constance and the zealous
+French bishop, who were anxious to reduce all things in Spain to
+Catholic uniformity. The King ordered the question to be decided by
+ordeal of single combat. The Mozarabic champion remained the victor. The
+bishop then demanded the ordeal of fire. The two missals were
+accordingly thrown into a great blazing pile, and the local favourite,
+having probably been saturated with some incombustible preparation,
+remained unconsumed. Another version has it that neither book was
+injured by the flames. Alfonso, after his fashion, clinched<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> the
+controversy by ordering the Mozarabic ritual to be confined to the two
+parish churches allotted to the Christians by their Moorish rulers,
+whilst everywhere else Mass was to be celebrated according to the Roman
+office.</p>
+
+<p>Alfonso VI. had to fight hard to keep possession of Toledo. The
+Almoravide invasion had burst like a tidal wave over Southern Spain.
+Everywhere the Musulmans were recovering their spirits and their
+strength. The Castilian king fled, wounded, from the bloody field of
+Zalaca, with only five hundred followers, leaving behind him twenty
+thousand slain. Toledo could have had no pleasant associations for its
+latest conqueror. Here died three of his <i>six</i> wives&mdash;Constancia of
+Burgundy, Isabel of France, and Zayda of Seville. At Ucles was slain his
+only son, while yet a mere child. “Where is your prince?” asked the
+unhappy father of the warriors escaped from the rout. “Where is the
+light of my eyes and the staff of my age?” All were silent. “He is dead
+and you live!” bitterly exclaimed the king. “Yes,” replied Alvar Fañez
+sternly, “we live to save the throne, the country, and the lands
+acquired with our blood and sweat.” But the Alcazar re-echoed to the
+mournful plaint, “Sancho! Sancho, my son!” till Alfonso VI. passed away
+in July 1109. The stones of which the church altars were built had<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span>
+miraculously distilled tears in token of his approaching death. Before a
+year had passed the Vega was blackened by the advancing hordes of Islam.
+The Castle of Azeca, the monastery of San Servando, fell into their
+hands; but the City of the Goths, thanks to the leadership of Archbishop
+Bernard and of Alvar Fañez, hurled back the hosts of Ali and was held
+fast for Spain.</p>
+
+<p>The accession of Alfonso VII. el Batallador brought brighter days to his
+capital, but it was assailed during the twelfth century with a
+succession of calamities that might have broken down the patience of
+Job. The year 1113 was marked by an earthquake and disastrous
+overflowing of the Tagus; 1116, by a fire on a large scale; in 1117, the
+price of wheat rose, to fourteen soldos the bushel; in 1168, the Tagus
+was again in flood; again in 1181 and 1200; between 1187 and 1200, all
+the grocery stores were burnt (how or why, we are not told), the Tagus
+was frozen over in 1191, and there was a famine the following year.
+Eclipses of the sun were of the commonest occurrence: we hear of them in
+1114, 1162, 1177, 1191, and 1207. We can easily imagine the Mohammedan
+denizens shaking their heads and ascribing these phenomena, especially
+the last, to the change of government, and extolling the good old times
+of Al Mamûn when earth, river, and sun kept their places and behaved
+according to rule.<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
+
+<p>Yet Toledo flourished, and her citizens were never more in their element
+than in the spring of the year 1212, when their town became the
+rallying-point and base of the great crusading army, destined to achieve
+the crowning mercy of the Navas de Tolosa. The dominant personality of
+that time was the Archbishop Rodrigo Jimenez de Rada. A writer of
+history, a valiant soldier, a sagacious statesman, princely in his
+magnificence, and angelic in his charity, he was a tower of strength in
+Spain, and especially for Toledo, in the dreadful years of famine and
+brigandage that followed the victory over the Moor. His name will be for
+ever remembered as practically the founder of the great cathedral which
+is the city’s crowning glory and title to fame.</p>
+
+<p>The century of floods, earthquakes, and eclipses passed away, and found
+Toledo a hotbed of civil strife and internecine discord. As in Italian
+cities at the same time, rival families and factions fought in the
+streets, turned their houses into fortresses, and set the civic
+authorities at defiance. The hidalgos of Toledo would hurry home from
+warring with the infidel to plunge their swords into the bosoms of their
+fellow townsmen. Laras and Castros waged pitched battles for the
+possession of the capital of Castile. At last the royal power asserted
+itself, and with terrible effect. We read that “the King Ferdinand came
+to Toledo, and<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> hanged many men and boiled others alive in cauldrons.
+Era MCCLXII. (1224).” This boiler of his fellow men is known as <i>Saint</i>
+Ferdinand. His father, Alfonso IX. of Leon, is also mentioned as having
+broiled his rebellious subjects, and flayed others alive. But such
+performances are not considered by a certain class of writers even now
+to argue any real depravity of character.</p>
+
+<p>The sainted king’s severity on another occasion is more creditable to
+him. On his entry into the town, two young women threw themselves at his
+feet and implored vengeance on their betrayer, Fernandez Gonzalo&mdash;the
+Alcalde himself. The high rank of the offender did not save him from
+instant decapitation, and his head was within an hour gazing down on the
+scene of his amours from the Puerta del Sol. Whether the betrayed
+damsels or any one else were benefited by these drastic measures, the
+panegyrists of the righteous king forgot to tell us.</p>
+
+<p>Still it was an age when strong measures were called for; and
+recognising this, the citizens themselves instituted the famous Santa
+Hermandad or Holy Brotherhood for the maintenance of public order and
+suppression of brigandage. The organisation received the royal sanction,
+and was endowed with many privileges. It supplied the place of a regular
+police force for all Castile for at least three centuries, and readers
+will remember<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> the frequent references to it in the pages of “Don
+Quixote.”</p>
+
+<p>Toledo had not yet become a capital in the sense of being the permanent
+residence of the sovereign. Saint Ferdinand and his immediate
+predecessors and successors were essentially soldiers. Their Court was
+the camp, and in the unremitting war of reconquest it was necessarily
+transferred from place to place, from one confine of the ever-expanding
+kingdom to the other. When at Toledo the king resided at the
+Alcazar&mdash;which in Moorish days had been a fortress constructed of
+<i>tapia</i> (a species of concrete), and which was fortified with masonry by
+Alfonso VI. The building was enlarged and embellished, and made more
+suitable for a royal residence by Sancho el Bravo (1284-1295). But the
+state of affairs in what may be termed the Epoch of the Reconquest
+(1085-1252), was obviously not favourable to the development of the
+building arts. Toledo possesses few memorials of these days, for such
+edifices as may have been founded at or before that time have undergone
+such transformations as to render them practically the products of later
+ages. Such supplies and energies as were not absorbed by the
+all-important business of war were naturally diverted to the building of
+the cathedral, which was not, as we shall see, completed for another two
+centuries.<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span></p>
+
+<p>Mediæval history concerns itself almost exclusively with kings and
+princes, battles and treaties. Of the life of the people in Spain, as
+elsewhere, we hear very little. From stray references in the records we
+glean the information that the streets of Toledo were filthy and
+unpaved, and frequently encumbered with the carcases of beasts. Over the
+gates the heads of malefactors were ever rotting, poisoning the already
+vitiated air. We have concise details, too, of no particular interest,
+as to the municipal constitution of the city. Beyond this meagre
+information, we know something of the history of Toledo only so far as
+it was also the history of Spain.</p>
+
+<p>Pedro I., the Cruel (1350-1368), had no liking for the gloomy, turbulent
+town, and during his reign Seville might have been called the seat of
+government. However much he may have endeared himself to the
+Andalusians, the ferocious king was no favourite with the Toledans. When
+the ill-used queen, Blanche of Bourbon, escaped from her prison in the
+Alcazar and claimed the right of sanctuary in the cathedral, the city
+rose in her behalf, and a thousand native blades sprung from their
+scabbards to protect her. An alliance was concluded with Talavera and
+Cuenca, and the gates opened to Don Enrique of Trastamara, the king’s
+half-brother. It is said that Pedro’s faction held the bridge of San
+Martin, expecting<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> the rebel prince to enter that way, while his
+supporters introduced his troops into the town by the opposite bridge of
+Alcantara. The Trastamara partisans attacked the Jewish quarter, the
+Israelites being especial favourites of Don Pedro, and a frightful
+massacre ensued. Soon the king’s party gained the upper hand, and the
+unfortunate Blanche was removed from the city, wherein she had found
+such staunch friends, to the castle of Sigüenza.</p>
+
+<p>This is not the first time we read of a massacre of Jews at Toledo. Yet
+the town was for many centuries one of the strongholds of Jewry in
+Europe, and a centre of Hebrew culture and activity. The story of the
+Jews of Toledo is, in fact, one of the most interesting chapters in the
+history of the city and of Spain.</p>
+
+<p>Jews were settled in the Peninsula at a remote period. The author of
+“The Moorish Empire in Europe” (S. P. Scott) thinks their arrival in
+that country “antedated the Christian Era by at least a thousand years.”
+As we know, legend actually ascribes the foundation of Toledo to the
+race. This may, we think, be due to a confusion of the Israelites with
+Phœnician settlers. At the time of Christ, the Jews of Spain were very
+numerous and opulent. Another legend tells how their chief men addressed
+a letter to the Sanhedrim at Jerusalem, protesting against the<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span>
+Crucifixion. A document&mdash;altogether spurious, it need hardly be
+said&mdash;has been produced in support of this story. After the destruction
+of Jerusalem by Titus, there seems to have been a large influx of Hebrew
+refugees into Spain. So long as the Visigoths remained Arians, they
+remained tolerant; but Reccared, soon after his conversion to
+Catholicism, levelled the severest enactments against the Israelites. He
+set a bad precedent. With Sisebut began the long era of persecution. His
+harsh edicts, forcing the Jews to choose between baptism and banishment,
+are still to be found in the Fuero Juzgo. Swinthila, Kindila,
+Recceswinth, Erwig, and Egica followed the same policy. Among the
+tyrannical enactments of this time is the grotesque command that the
+Jews of Toledo should eat pork! Under these circumstances it is not to
+be wondered that the Spanish Jews beheld with dawning hope the
+successful progress of the Mohammedans in Northern Africa. A secret
+intelligence was established with these Semitic conquerors of a newer
+faith, and thanks to the constant intercourse between the Jews of Africa
+and those of Spain, Musa and Tarik were fully supplied with the most
+minute particulars of the Visigothic State.</p>
+
+<p>The period of the Khalifate was the Golden Age of Spanish Jewry. The
+numbers of the race,<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> depleted by persecution, were increased by the
+advent of upwards of twelve thousand Yemenite Jews, invited by the
+Moorish conquerors. Never since the days of Solomon had the Children of
+Israel known such peace and prosperity. Possessed already of a
+remarkably high degree of culture, they communicated their knowledge to
+the Arabs, who showed themselves generous patrons and protectors. Nor
+were the new rulers of Spain slow to perceive the advantages to be
+derived from the subject race’s commercial enterprise and talent for
+affairs. Though the versatility of the Jew at this time was one of his
+most remarkable characteristics, it was above all as a physician that he
+was esteemed by Muslims and Christians alike. In this capacity he became
+the indispensable and most trusted companion of sovereigns and prelates,
+and penetrated into the very arcana of power. From Court physician to
+Minister the transition in those days of personal government was easy,
+and we find Hasdai ben Isaac Ibn Shaprut occupying both positions under
+Abd-ur-Rahman I.</p>
+
+<p>As far as was consistent with their religious beliefs, the Jews of
+Toledo assimilated themselves with the conquerors. The minutes of the
+congregation were kept in Arabic down to the end of the thirteenth
+century, and that language was sedulously cultivated and almost
+exclusively<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> employed by the brilliant succession of Jewish theologians
+and humanists who made the city a centre of literary and scholastic
+activity.</p>
+
+<p>We have it on the authority of Mr. S. P. Scott that, under the Muslim
+dominion, the Jews were allowed to elect a king, always a prince of the
+House of Judah, “who, while not openly invested with the insignia of
+royalty, received the homage and tribute of his subjects.” It is
+illustrative of the respect of the race for learning that the erudite
+Rabbi Moses, when recognised exposed as a slave at Cordoba, was
+immediately elected to this dubious royalty.</p>
+
+<p>The Jews of Toledo must have viewed with unpleasant apprehensions the
+re-establishment of the Catholic monarchy. Yet at first it seemed they
+had no cause for alarm. Alfonso VI., as we know, granted to them the
+liberal privileges by which the Muslims also benefited. But in the
+charter confirming the customs of the Mozarabes (1091) it was made plain
+that no penalty would be exacted of a Christian for the murder of a Jew
+or Muslim. The result might have been foreseen. Seventeen years after,
+the people rose in savage fury, broke into the synagogues and butchered
+the rabbis in their pulpits, burnt and pillaged every Jewish house, and
+slaughtered the luckless objects of their animosity without mercy. But
+it was the people, rather than the governing classes,<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> who manifested
+this violent racial prejudice. As in every other land, in spite of
+persecution, the Chosen People grew in wealth and abated not their
+industry and commercial activity. It was they who brought to the grim
+Gothic city the choicest products of the East; they alone who could
+combat the ravages of disease; they alone who could supply the needy
+king and nobles with the coin for which in Italy men paid as much as one
+hundred and twenty per cent. interest. Spain hated the Jew, but could
+not as yet do without him.</p>
+
+<p>The rule of Alfonso VI.’s successors could not have been excessively
+harsh, for many Jewish families, hounded out of Southern Spain by an
+unusual manifestation of Mohammedan bigotry, took refuge within the
+walls of Toledo. Thanks to the influence of Fermosa, the Jewish mistress
+of Alfonso VIII., many of her race exercised important functions at the
+Court. But the fanatical temper of the populace attributed to the favour
+shown these unbelievers the disaster of Alarcos, and the beautiful
+favourite and her friends were murdered in the very presence of the
+king.</p>
+
+<p>“At the beginning of the thirteenth century,” says Mr. Joseph Jacobs,
+B.A., in the “Jewish Encyclopædia,” “the Shushans, the Al-Fakhkhars, and
+the Alnaquas, were among the chief Jewish families of Toledo, Samuel Ibn
+Shushan being nasi [the chief of Sanhedrim] about 1204. His<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> son built a
+synagogue which attracted the attention of Abraham ben Nathan of Lunel,
+who settled in Toledo before 1205. During the troubles brought upon
+Castile by the men of ‘Ultrapuertos’ in 1211-12, Toledo suffered a riot;
+and this appears to have brought the position of the Jews more closely
+to the attention of the authorities. In 1219 the Jewish inhabitants
+became more strictly subject to the jurisdiction of the Archbishop of
+Toledo, who imposed upon every Jew over twenty years old an annual
+poll-tax of one-sixth of a gold mark; and any dispute about age was to
+be settled by a jury of six elders, who were probably supervised by the
+nasi, at that time Solomon ben Joseph Ibn Shushan. In the same year
+papal authority also interfered with the affairs of the Toledo Jews,
+ordering them to pay tithes on houses bought by them from Christians,
+‘as otherwise the Church would be a considerable loser.’<span class="lftspc">”</span></p>
+
+<p>A significant phrase! But not only houses and land all over the country
+were mortgaged to the Jews, but also church plate and even the sacred
+vessels. Jewish usurers were said to drink out of the chalices used for
+the Precious Elements. The exasperation of the Christians was
+disregarded by Alfonso X. the Learned, who entertained a profound
+respect for the erudition and traditions of the Jews. A Hebrew, Don Zag
+Ibn Said, directed<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> the compilation of the famous Alfonsine Tables; and
+under the patronage of the monarch, Toledo became famous for its
+translations from the Arabic into Hebrew, Latin, and Spanish. The rabbis
+distinguished themselves in medicine and astronomy. While doing his
+utmost to draw the oppressed race within the fold of the Catholic
+church, the Learned King granted permission to the Jews of Toledo to
+erect that beautiful synagogue which, under the name of Santa Maria la
+Blanca, ranks to-day among the national monuments of Spain.</p>
+
+<p>“The Spanish Jews,” says Mr. Scott, “by reason of the peculiarities of
+their situation, the hostility of their rulers&mdash;which their pecuniary
+resources and natural acuteness often baffled, but never entirely
+overcame&mdash;and their successive domination by races of different origin,
+faith, and language, were impressed with mental peculiarities and
+characteristics not to be met with in their brethren of other countries.
+Their religious formalism was proverbial, and the Hebrew of Toledo
+observed more conscientiously the precepts of the Pentateuch and Talmud
+than the Hebrew of Damascus or Jerusalem.” Thus we find the Jews of
+Toledo siding against the rationalising theories of the great
+Maimonides, himself a native of Cordoba, and whose tomb is a conspicuous
+landmark on the western shore of the Sea of Galilee.<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span></p>
+
+<p>Don Amador de los Rios reproduces an ancient record for the year 1290,
+stating the amount of tribute payable by the various Jewish communities
+of Castile. Out of a total of 2,801,345 maravedis the Israelites of the
+city of Toledo contributed 216,500, and those in the entire archdiocese
+1,062,902 maravedis. The pomp of Catholic public worship and the wealth
+of the clergy are partially accounted for by these figures.</p>
+
+<p>Up till then, always the most valuable (from a European point of view)
+and the most prosperous element of the population of Toledo, the Jews
+assumed yet greater prominence in the reign of Pedro I. That prince was
+declared by his numerous enemies to be the substituted child of a
+Jewess, and his Court was reviled as a Jewish Court. He showed favour to
+the race in many ways. His treasurer and confidential adviser was the
+famous Don Samuel Ha Levi. Whether or not the Jewish statesman’s
+administration was in the interests of Castile, it is too late in the
+day to say; but there can be no doubt that he was a loyal servant of his
+king and a devoted friend of his own people. He it was who caused to be
+erected Toledo’s other great synagogue, now called the Transito. He was
+a warm ally of the beautiful Maria de Padilla, Pedro’s gentle mistress,
+and for years, with consummate astuteness, defended himself against the
+insidious and violent attacks<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> of his innumerable enemies. His enormous
+wealth&mdash;honestly or dishonestly acquired&mdash;brought about his downfall. In
+the very year (1360) the synagogue was completed, Samuel was seized at
+Seville, and, by order of the king, placed upon the rack. The haughty
+Hebrew is said to have died of sheer indignation. Pedro shed crocodile
+tears over his ill-starred Minister’s fate, and greedily confiscated his
+property. His fortune was found to consist of 70,000 doubloons, 4000
+silver marks, twenty chests filled with treasure, and eighty Moorish
+slaves. The property of all Levi’s relatives was also forfeited to the
+Crown, and was valued at 300,000 doubloons. Pedro did not, however,
+withdraw his favour from the Jews as a race. It had been well for them
+if he had. Their loyalty to the Bluebeard King earned for them the
+detestation of the partisans of Enrique de Trastamara, and brought
+about, as we have seen, the massacre of 1355, in which 1200 Jews
+perished.</p>
+
+<p>The new king, Enrique, took advantage of a riot said to have been
+excited by the arrogance of the converted Jews in 1367, and in which
+1600 houses were burnt to the ground, to impose a tribute of no less
+than twenty thousand gold doubloons on the afflicted people.</p>
+
+<p>It was possibly due to the presence of a large Israelite population that
+Toledo, very much against<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> its will, had been held for King Pedro in
+1369. It was, in consequence, fiercely assailed by its own archbishop,
+Don Gomez Manrique, while Pedro sent an army largely composed of
+Saracens to its relief. The city was a prey to famine, internecine
+warfare, pestilence, and to every description of calamity. The killing
+of Pedro and the accession of Enrique were hailed as an ineffable boon
+by the wretched citizens. But from that hour the position of the Jews
+grew more and more pitiable. Their prosperity waned, and with it the
+prosperity of the old city in which they had so long been unwelcome
+guests.</p>
+
+<p>Their final ruin as a community was effected mainly at the instance of
+St. Vicente Ferrer, the Dominican. Visiting the city in 1391 he so
+inflamed the devout populace with apostolic zeal that they burst into
+the larger of the two Juderias or Ghettos, put practically the whole of
+its inhabitants&mdash;including the venerable rabbis, Judah ben Asher and
+Israel Alnaqua&mdash;to the sword, sacked the quarter from end to end, and
+demolished most of the synagogues. The saintly Ferrer reappeared at
+Toledo twenty years later, but there were nominally no Jews left to
+massacre. The Hebrews that remained had been “converted.” The good friar
+did what he could, and induced the Toledans to confiscate the synagogue
+built in Alfonso X.’s reign and convert it into the<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> Christian Church of
+Santa Maria la Blanca. We suggest that it should have been renamed San
+Vicente del Sangre.</p>
+
+<p>The work of destruction was done thoroughly, and henceforward we hear
+little in the story of Toledo of the Children of Israel. But their names
+have not been altogether forgotten. Mr. Jacobs gives a long list of
+members of that luckless congregation, famous for their learning and
+science. He enumerates theologians, physicians, astronomers,
+grammarians, satirists, poets and astrologers. Toledo, thanks to these
+latter, achieved an unenviable reputation as a centre of the magic art.
+Indeed, this was known at one time as the Arte Toledana. “It is said”
+(we quote Mr. Jacobs) “that Michael Scott learned his magic from a
+Toledo Jew named Andreas, who translated works on magic from the
+Arabic.” The same writer elsewhere says: “The Spanish Jews differed but
+little from the Christian population with regard to customs and
+education. They were fond of luxury, and the women wore costly garments
+with long trains, also valuable jewellery; this tended to increase the
+hatred of the population towards them. They were quarrelsome and
+inclined to robbery, and often attacked and insulted one another even in
+their synagogues and prayer-houses, frequently inflicting wounds with
+the rapier or sword they were accustomed to carry.<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span>” With royal
+permission a Jew might have two wives.</p>
+
+<p>Deprived of the more legitimate pastime of Jew-baiting, the Toledans
+began to turn their swords against each other and their sovereign.
+“Never,” remarks Gamero, “had the nobility shown itself so arrogant and
+rebellious as during the reign of Juan II.” Envy of that great man and
+powerful Minister, Don Alvaro de Luna, was mainly the cause of this. The
+leading families took different sides, and the streets frequently were
+slippery with the blood of the citizens. The Alcalde, Pero Lopez de
+Ayala, declared against the great Constable and held the town as an
+independent seigneurie against the king’s forces for five years. King
+Juan had deserved better things of his lieges of Toledo, for in 1431 he
+had entertained them on his return from his campaign in Andalusia with
+festivities and pageants of the gayest character. The people took part
+in bull fights and games in the Zocodover, while the knights and
+<i>ricoshombres</i> jousted and feasted in the Vega. The Alcazar re-echoed to
+the music of lute and lyre, and the songs of the minstrels. But Toledo
+was not to be subdued with kindness. The artisan class presently
+revolted on the imposition of a new tax, the tumult being the occasion
+of the saying, <i>Soplara il odrero, y alborozarse la Toledo</i> (Let the
+ironmonger blow and Toledo will rise).<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> Next, the cruel and miserly
+governor, Pedro Sarmiento, followed Ayala’s example, and demanded of the
+king the dismissal of the noble Constable. The royal forces were set at
+defiance, and a pitched battle was fought below the walls. The fortune
+of the day remained with the rebels, and Sarmiento was able for a time
+to dictate to his sovereign. He was at last crushed, but was able to
+carry off an enormous amount of treasure loaded on two hundred mules.</p>
+
+<p>These events had produced a permanent feud between the families of Ayala
+and Silva, only terminated by the marriage of the heir and heiress of
+the respective houses. Toledo, during the first three-quarters of the
+fifteenth century, was a prey to incessant warfare. Sometimes the whole
+town would be contending against external foes for or against the king,
+sometimes it would be the nobles contending with the people, or the
+church with the nobles. Toledo, as a whole, supported its archbishop,
+Carrillo, when in 1465 he pronounced sentence of dethronement on Enrique
+IV. Three years later that unlucky monarch managed, by winning over the
+Ayalas to his side, to make his entry into the city. The proud chief of
+the family was himself obliged to flee from the town in 1471. The king
+was besieged in the Alcazar; the balance inclined sometimes to this
+party, sometimes to that. The old animosities between the<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> Ayalas and
+the Silvas blazed up again from time to time; and under its weak
+sovereign Toledo had its fill of fighting. But those brave days were
+drawing to a close, and in 1474, came one before whom even Toledans had
+to bend the knee and whom, recognising in her a stronger spirit, they
+afterwards delighted to honour. The accession of Isabel the Catholic on
+the death of Enrique IV., and to the exclusion of the rightful heiress,
+Juana, calumniously nicknamed La Beltraneja, marks the beginning of a
+new era in the history of Spain, and therefore of Toledo.<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span></p>
+
+<h2><a name="BUILDINGS_OF_THE_CASTILIAN_PERIOD" id="BUILDINGS_OF_THE_CASTILIAN_PERIOD"></a>BUILDINGS OF THE CASTILIAN PERIOD</h2>
+
+<p class="nind"><span class="smcap">The</span> earliest specimens of post-Moorish architecture in Toledo partake
+more or less of the character of fortifications. For many years, as we
+have seen, after the Reconquest the Christians’ hold upon the city was
+precarious, and the first efforts of the Castilian kings was naturally
+towards strengthening its defences. The history of the walls of Toledo
+is obscure and confused; but it seems certain that a wall has always
+extended within historic times across the northern side of the loop
+formed by the river. The Conqueror Alfonso VI. strengthened and added to
+this defence by the erection of the newer or outer wall, inclosing the
+suburb or Arrabal del Antequeruela. He also appears to have restored the
+inner or Moorish wall, and has left traces on the magnificent Puerta del
+Sol, a Moorish work which must have been quite new in his day. Indeed,
+it may possibly have been built by Moorish masons after the Reconquest.
+It is a noble and impressive portal to the grand old city, and most
+powerfully impresses the beholder. Quadrado will<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> have it that so
+dignified a monument can have been the work only of a ruling race, in
+the days of its liberty and glory; it could not have been the mere
+afterglow of the ascendency and taste of a nation now subjugated. We
+may, however, be permitted to doubt whether the political decadence of a
+people becomes <i>instantly</i> manifested in its artistic life. The gateway
+forms a high tower with two flanking turrets, one square and abutting on
+the wall, the other rounded and finishing off the <i>enceinte</i>. The portal
+is composed of a succession of four arches, all being of the horseshoe
+shape, though the outer arches are more pointed than the inner ones.
+Above the outermost arch is a double row of arcades of brickwork, the
+arches intersecting. Over the second arch is a circular medallion in
+relief, representing the Virgin offering the chasuble to St. Ildefonsus.
+Another relief in marble is supposed to represent the summary punishment
+of Fernan Gonzalez by St. Ferdinand, for the seduction of two young
+women. The battlements are of a type common enough in Spanish Christian
+architecture, but which Mr. Street thinks was derived originally from
+the Moors. Another writer, Mr. O’Shea, remarks: “This gate with its warm
+orange tints, that contrast so admirably with the lapis-lazuli azure of
+the cloudless sky, its battlement fringing the top, and opening vistas<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span>
+of most novel aspect, is a treasure for an artist.” The exceeding
+quaintness and majesty of this gateway have moved many writers to
+express themselves almost too rapturously. Toledo’s other gates&mdash;the
+Puerta Nueva de Visagra and the Puerta del Cambrón&mdash;date from a much
+later period.</p>
+
+<p>The rude, dismantled pile of the Castle of San Servando, which crowns
+the height opposite to the Bridge of Alcantara, marks the site of a
+monastery, erected by Alfonso VI. in gratitude for his escape from the
+rout of Sacralias (1086). It was peopled by Benedictines from Sahagun
+and Cluny. These holy men soon found by the defensive works with which
+their new home was provided that their duties would not be entirely of a
+clerical description. Yusuf-ben-Tashfin, the Almoravide leader, almost
+destroyed the building during his abortive siege of Toledo, and Alfonso
+subsequently gave the establishment the aspect and features of a
+fortress. As such it bore the brunt of the repeated Saracen onslaughts
+in the first half of the twelfth century. It was abandoned in
+consequence by the monks, and was bestowed by Alfonso VIII. on the
+Knights Templars. It continued in their possession till the suppression
+of the Order in 1312. It seems to have fallen into ruins soon after, and
+was rebuilt about 1386, on the initiative of the great archbishop,
+Tenorio.<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> It is not a very interesting monument. It is built of masonry,
+with facings of red brick here and there. Three of its four sides are
+standing, and the same number of towers. These bear a resemblance to the
+outer or circular tower of the Puerta del Sol. The windows and arches
+exhibit Moorish, or rather Mudejar, influence. The castle in its day
+must have been a fine specimen of the mediæval stronghold. To-day its
+ruin is complete. It serves as a home to the owl and the bat, and the
+very ghosts of monks and templars seem to have deserted it as
+uninhabitable.</p>
+
+<p>The castle is referred to by Calderon and other writers, and seems at
+one time to have been a favourite spot for duels.</p>
+
+<p>The increased importance of Toledo as the capital of Castile
+necessitated the improvement of its communications with the outside
+world. The Bridge of Alcantara was, at the time of the Reconquest, the
+only permanent traject across the Tagus, and the bridge of boats on the
+western side of the town having been swept away, Alfonso X. (1252-1289)
+decreed the construction of a stone bridge now known as the Puente de
+San Martin. It was built of five arches and lasted till the reign of
+Pedro I., when it was blown up by that king’s partisans to obstruct the
+entry of Enrique de Trastamara. It continued in a practically demolished
+condition for twenty years,<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> when the great archbishop, Pedro Tenorio,
+determined to restore the missing arches at his own expense. It is said
+that the architect entrusted with the work found, to his dismay, the
+night before the day fixed for the opening, that, owing to some
+oversight in his calculations, the whole fabric would collapse on the
+removal of the scaffolding. He made known the cause of his anxiety to
+his wife; and she rose at dead of night, and setting fire to the whole
+structure preserved her husband’s reputation and, not impossibly, his
+life. The reconstructed bridge was, of course, without fault or flaw. A
+final reconstruction took place in 1690. On the town side, the Puente de
+San Martin is defended by two square towers. Above the archway are two
+inscriptions relating to the works executed by order of Charles II. The
+further extremity of the bridge is defended by another square
+battlemented tower with a horseshoe arch. Its two bridges are among the
+most picturesque features of Toledo.</p>
+
+<p>With the obvious exception of the cathedral, the most interesting
+monuments of what we may term the middle age of Toledo are the two
+synagogues, now styled Santa Maria la Blanca and El Transito. The Jews,
+as we have seen, everywhere loom large in the annals of Toledo.</p>
+
+<p>The first-named of these temples derives its<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> actual name from a
+tradition that a Christian church occupied the site in Visigothic times,
+to account for the dedication of which a legend is repeated similar to
+that of Santa Maria ad Nives at Rome. It is situated on what was once
+the Jewry or Ghetto, on the western side of the city, not far from the
+Puente de San Martin. Its foundation&mdash;as a synagogue&mdash;is variously
+ascribed to the period of the Reconquest, to the last days of the
+Moorish dominion, and to the latter period of the Khalifate. The first
+date seems the most probable. It continued to be used for the Jewish
+worship till 1405, when, as has been already told, it was seized and
+converted into a Catholic church. It has long since become a merely
+secular monument. The exterior, approached through the most miserable
+and sordid neighbourhood, is very far from reflecting the splendour the
+Jews enjoyed at its foundation. The façade, mean and dilapidated like
+the rest of the exterior, is probably of much more recent construction
+also. Within, a strange, fantastic impression is created. The phrase,
+“How are the mighty fallen!” involuntarily rises to the lips as one
+contemplates the traces of grandeur and elegance subsisting amid ruin
+and decay. The temple is symbolical of the race: exotic, reminiscent of
+a lost glory, depressed, oppressed. There is, however, no trace or
+suggestion of the primitive Hebrew architectural style<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> about the
+building. The traditions of Jerusalem were either unknown to, or had
+been forgotten by, those who reared these walls&mdash;likely enough Moors,
+whose skill was always at the disposal of Christian and Jew. In fact,
+the synagogue may be taken as a fine example of late Saracenic work. The
+plan consists of a nave with two aisles on each side. The nave was
+prolonged in the seventeenth century so as to form a chancel. The
+building is 81 feet long by 63 feet wide. The nave reaches to a height
+of 60 feet, and is 15 feet broad, while the aisles measure only 12 feet
+and rise from 40 to 50 feet high. The nave and aisles are separated by
+four rows of octagonal columns, from which spring bold horseshoe arches
+of the true Moorish type. The capitals are of stucco and elaborately
+designed with floral devices, in which the fir-cone is conspicuous;
+there is a vague suggestion of Byzantine influence. Mr. Street imagines
+them to be much later than the original capitals which they overlay.
+“All the Moorish decorative work seems to have been executed in the same
+way in plaster. This was of very fine quality, and was evidently cut and
+carved as if it had been stone, and seldom, if ever, I think, stamped or
+moulded, according to the mistaken practice of the present day. The
+consequence is that there is endless variety of design everywhere
+and&mdash;wherever it was desired&mdash;any amount of<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> undercutting. The spandrels
+above the arches are filled in with arabesque patterns, and there is a
+cusped wall arcade below the roof.” All this stucco work appears to date
+from about the time of Alfonso X., or perhaps from a later restoration.
+Above the nave is an exquisite frieze in low relief, formed of lines
+interlacing and crossing each other. The roof is of pine-wood, and <i>not</i>
+of Lebanon cedar, as at one time alleged. Mr. Street thinks “the
+pavement is very good, but must be about the date of the conversion of
+the synagogue into a church. It is divided into compartments by border
+tiles laid down the length of the church on either side of the columns.
+The spaces between them are filled in with a rich diaper of encaustic
+and plain red tiles, whilst the general area between these richer bands
+is paved with large red, relieved by an occasional encaustic, tiles. The
+latter have patterns in white, dark blue, and yellow, and in all cases
+they are remarkable for the beautiful inequality of the colours of the
+surface of the design. Both colour and material are in themselves better
+than the work of our tile manufacturers of the present day and
+illustrate very well the difference between hand-work and machinework.”
+The Catholics added three altars in the plateresque style, which, it is
+unnecessary to say, do not harmonise with the rest of the edifice. One
+of the retablos is attributed to Berruguete.<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p>
+
+<p>Comparing this old Jewish meeting-place with the other and later
+synagogue, Miss Hannah Lynch remarks: “As a religious temple, as the
+expression of solemn worship rooted in the strange and mysterious East,
+the former is by far the more imposing, the more earnest and harmonious.
+Prayer in the <i>Transito</i> seems a matter of graceful and artistic
+dilettanteism; here it appears a great racial cry of the soul.”</p>
+
+<p>The later vicissitudes of this synagogue are curious. About the middle
+of the sixteenth century it was converted by Cardinal Siliceo into an
+asylum for the professional frail ones of Toledo; but about half a
+century later the establishment ceased to exist&mdash;whether because there
+was no more frailty in Toledo or no more repentance, we are not told.
+Subsequently it was turned into a barracks, and then (O’Shea says) into
+a dancing-hall.</p>
+
+<p>The Transito (so called after the Transit of the Blessed Virgin, <i>i.e.</i>,
+the Assumption) is situated in the same quarter. We have already told
+the story of its foundation by Samuel Ha Levi, the powerful treasurer of
+Pedro I. Upon the expulsion of the Jews from Spain in 1492, it was
+handed over to the Order of Calatrava, who dedicated it to St. Benedict
+(San Benito). This synagogue is also purely Moorish in style, but of the
+later or Granadan period. Its plan differs radically from that of Santa
+Maria la Blanca. It constitutes a<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> parallelogram, undivided into naves
+and aisles, 76 feet by 31 feet, and 44 feet high. The effect is simple
+and graceful. The side walls are quite plain up to the height of about
+twenty feet, where a broad frieze of stucco runs round the building,
+with floral and star pattern designs, and bordered by inscriptions in
+Hebrew. Above this is an arcade with double shafts, and extremely rich
+capitals. The arches are of the horseshoe form, cusped into seven
+points. Eight of the arches contain lattice-work of the most beautiful
+design. Indeed, the whole of the arcading is rich and graceful beyond
+all praise. The western wall, where was formerly the Rabbinical chair,
+and is now the altar, is profusely decorated with patterns,
+inscriptions, and coats of arms, down to within seven feet of the floor.
+In the opposite wall windows have been pierced, breaking into the
+frieze. The roof is of cedar, and a fine specimen of <i>artesonado</i> work.
+Across it run tie-beams, superfluous in this case, but of which the
+Moorish builders were fond. The rafters slope down equally to a deep
+cornice, which is carried right across the angles, “so as to give
+polygonal ends to the roof.”</p>
+
+<p>On either side of the altar are long Hebrew inscriptions now illegible,
+and the precise meaning of which has been a subject of fierce and
+perpetual controversy. The text on the Epistle<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> side may be translated:
+“The mercies which God hath shown us, raising up amongst us judges and
+princes to deliver us from our enemies and oppressors.... And we of this
+land have built this house with a strong and mighty arm. The day that it
+was built was great and delightful for the Jews, who, attracted by the
+fame of these things, came from the ends of the earth to see ... if a
+ruler should be given us who should be as a tower of strength ... to
+govern our commonwealth.... And there was raised up to help us, Samuel
+[Levi,] and God was with him and with us, and who found for us grace and
+mercy. He was a man of peace, powerful among all the people, and a great
+builder. These things were accomplished in the reign of the King Don
+Pedro; may God be his helper, enlarge his dominions, prosper him and
+succour him, and place his seat over all princes. May God be with him
+and all his house, and may every man be humbled before him ... and let
+those who hear his name rejoice to hear it in all the Kingdoms, and let
+it be manifest that he has been unto Israel a defender and a shield.”
+The inscription on the Gospel side proclaims the Rabbi Myir Abdali as
+the architect and extols his pre-eminent virtues, and pathetically
+celebrates the return of good and prosperous times&mdash;times not destined
+to last for the luckless race!<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span></p>
+
+<p>In the neighbourhood of the synagogue exists the skeleton of the palace
+built by the great Jewish treasurer. It afterwards passed into the hands
+of the Marquises of Villena, and is associated with Don Enrique de
+Aragon, uncle of Juan II., a very interesting personality. He was a man
+of vast learning, and was, probably in consequence, reputed to be a
+magician and in league with the Evil One. Indeed, his magnificent
+library, including his own writings, was, in after years, burnt by order
+of the Inquisition. Beneath the mansion are still to be found various
+subterranean chambers, which popular superstition declares to have been
+the scene of Don Enrique’s conferences with Satan and his satellites.
+This necromancer was indeed Marquis of Villena, but it is by no means
+certain that he inhabited this house, which afterwards became the
+property of another family (the Pachecos), on whom the title was
+conferred by Enrique IV. The palace was deliberately burnt by its owner,
+the Duque de Escalona, in the reign of Charles V., it having been
+contaminated, as he thought, by the temporary residence within its walls
+of the Constable de Bourbon, then in arms against his own country. The
+Castilian grandee’s sense of honour was not a mere pose. The building is
+now the property of the Marquis de la Vega, who has tastefully restored
+it. It receives additional interest from<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span> its having been, as is now
+believed, the home of El Greco.</p>
+
+<p>Two ruinous structures are pointed out as the palaces of Don Pedro and
+of Enrique de Trastamara respectively. The latter probably belonged to
+one of the Counts of Trastamara, not to the king who bore that title. It
+is in the Moorish style, with horseshoe arches, friezes, and <i>ajimeces</i>.
+The so-called palace of Don Pedro is of the same class of architecture,
+but has much less to show&mdash;a horseshoe arch, a dado, and an almost
+illegible Arabic inscription which reads, “Lasting glory and perpetual
+prosperity to the master of this house.”</p>
+
+<p>Better examples of the Mudejar (or late Moorish) style are the Casa del
+Mesa and the Taller del Moro. The former is situated close to the church
+of San Román, and was built soon after the Reconquest by that prominent
+Toledan, Esteban Illán. The saloon is one of the very best examples of
+this style of architecture. It is 60 feet long by 22 feet wide, and 36
+feet high. The artesonado ceiling is thus described by Street: “The
+patterns are formed by ribs (square in section) of dark wood with a
+white line along the centre of the soffit of each. The sides of the ribs
+are painted red, and the recessed panels have lines of white beads
+painted at their edges, and in the centre an arabesque on a dark blue
+ground. The<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> colours are so arranged as to mark out as distinctly as
+possible the squares and patterns into which it is divided, and the
+sinking of some panels below the others allows the same pattern to be
+used for borders and grounds with very varied effect. The reds are
+rather crimson in tone, and the blues very dark.” The entrance&mdash;of a
+slightly horseshoe pattern&mdash;is framed in exquisite and luxuriant
+traceries. So also is the opposite <i>ajimez</i> window, but here the designs
+show Gothic influence. A high dado of <i>azulejos</i> and a very deep cornice
+and frieze of delicate workmanship complete the decoration of this very
+beautiful hall.</p>
+
+<p>The Taller del Moro is (quite without foundation) said to occupy the
+site of the massacre of the <i>Noche Toledana</i>. It was so called because
+it was used as a workshop during the building of the cathedral. There is
+a conflict of opinion as to its age, but it probably dates from about
+the time of the Reconquest. The Arabic inscriptions, however, imply that
+it was intended for the habitation of a Moor, the Latin texts being
+doubtlessly added by later owners. The Taller consists of a large hall,
+54 feet long by 23 feet wide, and of two adjacent smaller apartments. It
+exhibits the artesonado ceiling, the delicate stucco-work and friezes
+with star-like and floral designs we are led to expect in specimens of
+Mudejar architecture. Street doubts if the stucco-<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span>work dates further
+back than 1350. The portal is in good Gothic style, and was added by
+Cardinal Mendoza.</p>
+
+<p>As in all other Spanish cities, after their reacquisition by the
+Christians, in Toledo, for many, many years, Moorish architects and
+masons continued to be employed even in the construction of sacred
+edifices. This accounts for the mixed Christian and Saracenic style of
+several of the churches, even where these had not originally been
+mosques. The interesting church of San Román had been a Mohammedan
+temple remodelled to the requirements of Christian worship, while the
+tower or steeple is a Mudejar work added by Esteban Illán, and (to quote
+Mr. Street), “the finest example of its class to be seen here.” The
+steeple is of rough stone and brick, of a warm brown tone, and quite
+plain for more than half its height. The upper stages are pierced with
+windows which exhibit a very ungraceful trefoiled variation of the
+horseshoe arch&mdash;then fast dying out. Notwithstanding, the steeple has a
+noble and rugged appearance, like most things Toledan. The church itself
+has been so often restored, that it is hard to assign it to any one
+epoch. The Capilla Mayor is of the sixteenth century, and of the
+plateresque style. One of the altars has a front of black stone, carved
+at the edges in imitation of an altar-cloth with embroidery and lace.<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>
+Here and there traces may be detected of the original mosque. The
+steeples of the churches of Santa Magdalena, Santo Tomé, San Pedro
+Martir, San Miguel, Santa Leocadia, and La Concepcion, resemble that of
+San Román, but differ greatly in size.</p>
+
+<p>The minor churches of Toledo are not specially interesting. Without the
+walls, however, is one with noteworthy characteristics. The little
+“basilica” of the Cristo de la Vega occupies the site of the famous
+church of St. Leocadia, built by the Visigothic King, Sisebuth, in the
+seventh century, to mark the place of the virgin saint’s martyrdom.
+Several of the great councils were held here. The story is told that the
+saint appeared in person here to St. Ildefonso, in the presence of King
+Recceswinth, and having expressed her satisfaction at the theologian’s
+masterly defence of the virginity of the Blessed Virgin, allowed him,
+with the royal dagger, to cut off a piece of her veil as a souvenir of
+her visit. This event naturally raised the “basilica” in the estimation
+of the devout. It was demolished by the Moors, and restored in 1162. It
+underwent many restorations and was finally ruined by the French during
+the War of Independence. The present edifice represents little more than
+the apse of the chapel of the Cristo de la Vega. There was a miraculous
+crucifix, attached to which<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> is a particularly silly legend. Two lovers
+had plighted their troth before the image, and the man afterwards denied
+the promise. The girl adjured the Christ to bear witness to the truth of
+her statement, and the figure obligingly extended a wooden arm while a
+voice from on high proclaimed, “<i>I testify.</i>” Another version has it
+that the figure testified in favour of a Christian who (<i>mirabile
+dictu</i>) had lent money to a Jew; and yet another, that it expressed
+approbation of the magnanimity of a cavalier who had pardoned his enemy
+under extraordinary circumstances. Whatever it may have done, the
+crucifix has long since disappeared. An Arabic inscription deduces that
+Mohammed ben Rahman, first King of Toledo, was buried here, <small>A.D.</small> 743. As
+there was no king in the city of that year, and as the first independent
+sovereign was otherwise named, the inscription must be apocryphal or
+else the word “king” must signify in the original merely <i>Vali</i> or
+governor.</p>
+
+<p>A legend, better known and rather less silly than that of the Cristo de
+la Vega, deals with the love affairs of an imaginary Moorish princess,
+called Galiana “la mora mas celebrada de toda la moreria,” the daughter
+of an equally mythical king, called Galafre. <i>He</i> is linked up with
+history by some writers alleging him to have been the nephew of the
+wicked Count Julian, Galiana was<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> the apple of her parent’s eye, and for
+her delectation he built a palace abounding in all conceivable delights.
+The young lady had, in some way, compromised herself with a gigantic
+Moor, Bradamante by name; and to rid her of this truculent wooer, no
+less a personage than Charlemagne appeared on the scene. All, of course,
+ended happily (except for Bradamante) by the conversion of the lovely
+princess and her marriage to the gallant Frank. In the Puerta del Rey,
+outside the town, may still be seen a building dilapidated, let out in
+tenements, which is pointed out as the Palace of Galiana. The place was
+a mansion of the great Guzman family and exhibits traces of fine Moorish
+work&mdash;horseshoe arches, twin-windows, a defaced inscription or two, some
+tiling, and arabesques&mdash;enough, in short, to conjure up a splendid
+Moorish palace, which, however, need not have antedated the Reconquest.</p>
+
+<p>The building is the property of H.I.M. the Empress Eugénie, and it is
+somewhat to be regretted that her attention has not been directed to its
+present condition and to the chance here presented of retarding the
+decay of a valuable monument of antiquity.<span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p>
+
+<h2><a name="THE_CATHEDRAL" id="THE_CATHEDRAL"></a>THE CATHEDRAL</h2>
+
+<p class="nind"><span class="smcap">Transcending</span> in importance all the other monuments of Toledo and,
+indeed, of Castile, is the Cathedral&mdash;one of the noblest specimens of
+Gothic architecture the world affords. The metropolitan church of Spain,
+it is sumptuous without gaudiness, austere without gloominess, admirably
+interpreting the spirit of Spanish Catholicism before it withered under
+the chilling influence of Philip II. and the Inquisition. The Cathedral
+of Toledo does not impress the foreigner as typically national. Indeed
+it corresponds no longer to the temper of the nation. And it was raised
+as a protest against those Moorish influences which have passed into the
+life and art of Spain, and without which nothing can be taken as
+representatively Spanish.</p>
+
+<p>The Cathedral of Toledo, then, is Gothic, and may be said to embody the
+ideals of old Spain&mdash;of the young fighting nation that looked forward,
+not backward. Splendid as the Mosque seized by Archbishop Bernard and
+converted to Christian uses may have been, it was the work of the
+infidel. In 1227 King Ferdinand III. and the<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> Archbishop Don Rodrigo de
+Rada were able at last to give effect to a determination arrived at some
+years before; and on August 14 the first stone of a new temple, which
+should never have been contaminated by Muslim rites, was laid with
+solemn ceremony. The name of the architect continues to be a matter of
+controversy. An epitaph in the sacristy of the Capilla de los Doctores
+affords some clue to his identity. It runs as follows:</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">Agni: jacet: Petrus Petri: magister<br /></span>
+<span class="i0">Eclesia: Scte: Marie: Toletani: fama:<br /></span>
+<span class="i0">Per exemplum: pro more: huic: bona:<br /></span>
+<span class="i0">Crescit: qui presens: templum: construxit<br /></span>
+<span class="i0">Et hic quiescit: quod: quia: tan: mire:<br /></span>
+<span class="i0">Fecit: vili: sentat: ire: ante: Dei:<br /></span>
+<span class="i0">Vultum: pro: quo: nil: restat: multum:<br /></span>
+<span class="i0">Et sibi: sis: merce: qui solus: cuncta:<br /></span>
+<span class="i0">Coherce: obiit: x dias de Novembris:<br /></span>
+<span class="i0">Era: de M: et CCCXXVIII (<small>A.D.</small> 1290).<br /></span>
+</div></div>
+</div>
+
+<p>“Petrus Petri” is interpreted by Spanish writers “Pedro Perez,” but we
+incline to Mr. Street’s view that the correct rendering is probably
+Pierre le Pierre, the architect having been, as the name implies, a
+Frenchman. “This, at any rate,” continues Mr. Street, “is certain: the
+first architect of Toledo, whether he were French or Spanish, was
+thoroughly well acquainted with the best French churches, and<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span> could not
+otherwise have done what he did. In Spain, there was nothing to lead
+gradually to the full development of the Pointed style. We find, on the
+contrary, buildings, planned evidently by foreign hands, rising suddenly
+without any connection with other buildings in their own district, and
+yet with most obvious features of similarity to works in other countries
+erected just before them. Such is the case with the cathedrals at
+Burgos, at Leon, and at Santiago, and such even more decidedly is the
+case here. Moreover, in Toledo, if anywhere, was such a circumstance to
+be expected. In this part of Spain there was in the thirteenth century
+no trained school of native artists. Even after the conquest the Moors
+continued to act as architects for Christian buildings whether secular
+or ecclesiastical, and, indeed, to monopolise all the art and science of
+the country which they no longer ruled. In such a state of things I can
+imagine nothing more natural than that, though the Toledans may have
+been well content to employ Mohammedan art in their ordinary works, yet,
+when it came to be a question of rebuilding their cathedral on a scale
+vaster than anything which had as yet been attempted, they would be
+anxious to adopt some distinctly Christian form of art; and lacking
+entirely any school of their own, would be more likely to secure the
+services of a Frenchman than<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> one of any other nation.... But however
+this may have been, the church is thoroughly French in its ground-plan
+and equally French in all its details for some height from the ground;
+and it is not until we reach the triforium of the Choir that any other
+influence is visible; but even here the work is French work, only
+slightly modified by some acquaintance with Moorish art....”</p>
+
+<p>The stupendous fabric, once begun, whether by French or Spanish hands,
+took two hundred and sixty-six years to finish. From the death of the
+first architect in 1270 to the year 1425 the names of the architects
+have been lost. During this period, the successive styles of
+architecture naturally influenced the original scheme and found
+expression in the building. It was in January 1493 that the roof was
+finished and the main structure completed. Certain chapels, such as the
+Reyes Nuevos, Sagrario, &amp;c., were later additions. Among the later
+architects we find Rodrigo Alfonso, Alvar Gomez, Martin Sanchez, and
+Juan Guas. The stone employed inside (according to O’Shea) was quarried
+at Oliguelas, some nine miles from the city. It becomes harder with age.
+“The external portion is all of Berroqueña stone, save the ornamentation
+of the portals, which is also of Oliguelas white stone.”</p>
+
+<p>The Cathedral forms an oblong, semicircular at the eastern end, and
+lying east and west. In<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> width it is exceeded only by the Cathedrals of
+Milan and Seville, measuring 178 feet broad by 395 feet long. On the
+north side are the cloisters and additional chapels and sacristies. From
+the eastern side project the chapels of the Reyes Nuevos, San Ildefonso,
+and Santiago, and the Winter Chapter-room. The plan of the interior is
+easy of comprehension. The nave extends from the western entrance to the
+Capilla Mayor: on either side of it are two aisles which are continued
+round and behind this chapel in a semicircular sweep. Street extols the
+skill with which this arrangement has been carried out. Between the
+Choir and the Capilla Mayor a transept extends across the church, not
+projecting, however, beyond the outer walls of the farther aisles. The
+eighty-eight pillars which support the fabric and mark off these
+divisions are composed each of from eight to sixteen light columns,
+standing on the same base. The capitals are moulded in plain foliage.
+The arches resting on these pillars make up the seventy-two vaults of
+which the roof is composed. The aisles rise gradually in towards the
+central nave, which is 116 feet high. The crypt or substructure
+corresponds in its divisions and the number of its piers to the edifice
+above. The pavement is of bluish white marble arranged in chequers.</p>
+
+<p>In the original plan no side-chapels appear to<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span> have been contemplated.
+But the chapel of Santa Lucia was added by Archbishop de Rada in memory
+of Alfonso VI. And, in addition to chapels built since the rest of the
+church, the spaces between the buttresses in the outer aisles have been
+railed off so as to form twenty-three chapels of various styles and
+periods. The interior is lit by 750 stained-glass windows of rich hues
+that delight the spectator. They depict episodes from the Scriptures,
+and are said to have been as carefully designed as if intended for close
+inspection. Among the artists were Dolfin (1418), De Vergara, Albert of
+Holland, Maese Cristobal, Juan de Campos, Vasco Troya, and Pedro
+Francés. The effect of the light falling in rays of richest colour on
+the pavement and columns is magical. The walls are denuded of colour and
+rudely whitewashed.</p>
+
+<p>The centre of the Cathedral is occupied by the choir (<i>Coro</i>), to the
+east of which, separated by the transept, is the Capilla Mayor. The
+choir is enclosed by walls and cloisters, except on the side facing the
+Capilla Mayor, where it is railed in by the magnificent reja, designed
+by Domingo de Cespedes and Hernando Bravo (1548). Like the corresponding
+railing of the High Chapel opposite, this work was formerly heavily
+silver-plated and gilded, but at the time of the French invasion it was
+recoated with iron to secure it<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> from spoliation. Unfortunately, no
+means have yet been discovered of restoring the reja to its original
+state. Among the elaborate ornamentation may be noticed the arms of
+Cardinal Siliceo and of the Ayala family, with the interwoven
+inscriptions <i>Procul esto prophani</i> and <i>Psale et psile</i>. The Choir is
+paved with white marble inlaid with dark. The vaulting above the Choir
+itself rises to the height of a hundred feet, the aisle round it to
+ninety feet, and the outer aisle to thirty-five feet. In the outer aisle
+are small chapels placed between the buttresses. Mr. Street describes
+this part of the building in great detail and considers that the
+original scheme of the Cathedral is only to be seen here. The triforium,
+formed of an arcade of cusped arches, in the outer wall of the inner
+aisle exhibits Moorish influence. “It would be impossible,” writes the
+authority just mentioned, “to imagine any circumstance which could
+afford better evidence of the foreign origin of the first design than
+this slight concession to the customs of the place in a slightly later
+portion of the works. An architect who came from France, bent on
+designing nothing but a French church, would be very likely, after a few
+years’ residence in Toledo, somewhat to change in his views, and to
+attempt something in which the Moorish work, which he was in the habit
+of seeing, would have its influence. The detail<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> of this triforium is,
+notwithstanding, all pure and good....”</p>
+
+<p>The Choir is enriched by a magnificent screen, lecterns, and stalls. The
+screen, or <i>respaldo</i>, which at one time seems to have been continued
+right across the transept, encloses the Choir on three sides, and
+consists of an arcade carried on fifty-two columns of jasper and marble,
+and supporting and enclosing admirable statuary and sculpture. Above the
+capitals of the columns is a series of fifty-six medallions in high
+relief, dating from 1380, and representing scenes from the Old
+Testament. These reliefs are worthy of close study, and are beautiful
+examples of simple and faithful mediæval treatment. The series is
+supplemented by a medallion with a bust by Berruguete and the statues of
+Innocence and Sin, by Nicolas de Vergara&mdash;works on which Street outpours
+the vials of his wrath.</p>
+
+<p>Of the wonderful Choir Stalls of Toledo everyone has heard. They are
+unsurpassed triumphs of the carver’s art. The lower tier, including
+fifty seats, is the work of Maese Rodrigo, and dates from 1495. The
+stalls are of walnut wood, and the carving portrays the campaign against
+Granada by the Catholic Sovereigns. The carving being almost
+contemporary with the events illustrated has given these reliefs an
+historical as well as an artistic value. The names of the<span class="pagenum"><a name="page_109" id="page_109">{109}</a></span> fortresses
+are here and there indicated by labels, and the designs are somewhat
+marred by the introduction of fanciful monsters. The whole breathes very
+much of the mediæval spirit, and we can, therefore, hardly complain of a
+certain stiffness and lack of variety. They form an admirable contrast
+to the finer, more finished work of the upper tier of stalls, executed
+fifty years later by Berruguete and Philip of Burgundy, surnamed
+Vigarni. Thirty-five seats, including the Primate’s, are the work of the
+Spaniard, the thirty-six opposite exhibiting the skill of the
+Burgundian. “They were wrought,” says O’Shea, “in rivalry of each other,
+and finished in 1543; and as Cardinal Tavera’s inscription runs:
+‘Certaverunt turn artificum ingenia; certabunt semper spectatorum
+judicia.’<span class="lftspc">”</span> The stalls are placed in recesses of alabaster, and separated
+by fine red jasper columns, with capitals in white marble. Over the
+recesses is a series of alabaster figures in low relief of the prophets
+and patriarchs. The carvings on the stalls themselves depict episodes
+from both the New and Old Testaments. The work breathes the spirit of
+the Renaissance, interpreted by Berruguete and his colleague with a
+skill, it has been truly observed, worthy of Benvenuto Cellini himself.
+Berruguete was a pupil of Michelangelo. His work is more vigorous than
+that of Vigarni,<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span> who excels in elegance and softness of outline.
+Street’s denunciations of these triumphs of the carver’s art are a
+curious instance of the length to which an artistic bias may lead a
+clever writer and critic. The reliefs representing the visits of the
+Blessed Virgin to Purgatory and to St. Ildefonso are not by Philip of
+Burgundy, but by his brother Gregorio.</p>
+
+<p>Very fine are the reading-desks, with friezes of gilded bronze, executed
+by the two Vergaras in the middle of the sixteenth century. Those on the
+Epistle side are carved in low relief with the stories of David and
+Saul, the Blessed Virgin and St. Ildefonso, and the Apocalypse; those on
+the Gospel side, the stories of St. Ildefonso, the Ark of the Covenant,
+and the Passage of the Red Sea. In the centre of the Choir is a
+magnificent brass lectern upheld by a great eagle with wings outspread;
+its eyes are of red stones and it crushes with its talons a struggling
+dragon. It was executed in 1646 by Salinas. The pedestal on which it
+stands is older by two hundred years, and is thoroughly Gothic in
+character, with buttresses, pinnacles, and statuary. The work is said to
+be German. The pedestal is borne by six lions, finely sculptured.</p>
+
+<p>The northern entrance to the transept, which separates the Choir from
+the Capilla Mayor, affords the best and least interrupted view of the<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span>
+Cathedral. That view impressed the writer with its calm majesty and
+sanctity, but by way of contrast it is worth while recording the
+impressions of a traveller only lately returned (Mr. Stewart Dick): “My
+first feeling was one of disappointment&mdash;a feeling that even now has
+hardly worn away.</p>
+
+<p>“It is vast and cold. A white expanse. Huge pillars towering up to a
+great height. A blaze of harsh daylight. In the middle, blocking up the
+view down the nave, the tawdry gilt of the Coro. Doors opening and
+banging all round, people promenading, sitting on the bases of the
+pillars and talking with undropped voices. You ask yourself with
+amazement, Is this a church? The form is here, but where is the spirit?</p>
+
+<p>“In fact, it is only in the evening that Toledo Cathedral comes into its
+own. It is quiet and peaceful then. The promenaders have all gone away,
+the blaring of the organ has ceased, and through the open door you hear
+the twittering of birds in the cloisters. The shadows darken among the
+pillars, the beautiful windows begin to glow, and a soft light fills the
+upper part of the church. It is like the opening of a flower.</p>
+
+<p>“Then at last you begin to feel the impressiveness and the dignity of
+those avenues of mighty pillars. The trivialities that annoyed you are
+lost, the effects are broad, grand, and majestic, and at<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> last the
+building is a temple; it seems as if the Holy Spirit had entered with
+the fall of the twilight.”</p>
+
+<p>The Capilla Mayor, or High Chapel, occupies the eastern end of the nave,
+the aisles sweeping round behind it. The hinder portion was originally
+the Capilla de los Reyes Viejos, the chapel in which were entombed
+Sancho el Bravo, Sancho el Deseado, Alfonso VII., and others. In the
+year 1498 the two chapels were thrown into one by Cardinal Cisneros, who
+left the royal tombs for a time undisturbed. The High Chapel, according
+to O’Shea, measures 56 feet in length, 50 feet in breadth, and 116 feet
+in height. The piers are sculptured with the effigies of kings,
+prelates, and saints, and with “a multitude of angels playing on
+different instruments, and with outspread wings, that want but incense
+to raise them again from the spot where they have alighted.” The walls
+of the chapel are pierced or of open-work, the stone in parts being
+almost transparent, and thus adding to the brightness of the effect. Two
+rows of statuary enhance the beauty of the stonework, which is among the
+earliest portions of the fabric. But these walls, for all their
+magnificence, are put in the shade by the superb reja or railing, facing
+that of the Choir, and contemporary with it. This work is thus described
+by Señor Riaño: ‘The reja is 42 feet wide by 19 inches high; it<span class="pagenum"><a name="page_113" id="page_113">{113}</a></span> rests
+on a pediment of marble ornamented with masks and bronze work upon which
+rises the reja, which is divided horizontally by means of a frieze of
+ornamentation, and this again vertically into five compartments. In each
+vertical division there is a pilaster of four sides formed of <i>repoussé</i>
+plates, carved with a fine ornamentation in the Renaissance style; this
+is again terminated with life-size figures in high relief of bronze. The
+second compartment rises upon the band which divides it in a horizontal
+sense; it follows the same decoration in its pilasters, and is
+terminated by a series of coats of arms, torches, angels, and a variety
+of foliage which finishes the upper part. Upon the centre, hanging from
+a thick chain, supported from the roof, is suspended a life-size Rood of
+admirable effect, which completes the decoration. In several spots there
+are labels with mottoes in Latin; in one of them appears the following
+inscription, and the date of 1548, when the splendid work was finished:
+‘Anno MDXLVIII. Paul III. P.M. Carol. V. Imper. Rege. Joannes Martinez
+Siliccus Archiepiscopus Tolet. Hispaniae Primat.’ The railings of the
+reja are silvered, and the reliefs and salient points gilt. The artist
+who made it was Francisco Villalpando, a native of Valladolid; this
+model was chosen in preference to those of several artists, who
+presented their plans in competition before the ecclesiastical<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span>
+authorities; it is calculated that ten years elapsed before it was
+finally finished, Villalpando was greatly distinguished likewise as a
+sculptor and architect.” By him are the gilt pulpits in the plateresque
+style, made from the bronze tomb that the Great Constable, De Luna, had
+caused to be designed for himself. On a pier at the extremity of the
+chapel is the statue of the celebrated shepherd, Martin Alhaga, who is
+said to have, semi-miraculously, guided Alfonso VIII. and his army to
+the rear of the Moorish forces at Las Navas de Tolosa&mdash;thus securing the
+victory to the Christians. The king, who alone saw his features, is said
+to have designed the statue. Opposite is the figure of the Moorish
+Alfaqui, Abu Walid, whose intercession secured the old mosque to the
+Catholics, in the manner already narrated.</p>
+
+<p>The splendour of the High Altar, with its jasper and bronzes, renders a
+detailed description impossible and inadequate. Its magnificent retablo,
+rising to the very roof, is the richest gem of the Cathedral. Designed
+by Philip Vigarni (Borgoña), and painted and gilded by his brother Juan,
+numerous other masters contributed to its excellences. We may name
+Maître Petit Jean (of France or Aragon), Almonacid (a converted Moor),
+Copin (a Dutchman), Francesco of Antwerp, Fernando del Rincon, Egas, and
+Pedro Gumiel. The retablo is of wood and<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span> divided into five compartments
+by gorgeous columns. The subjects are from the New Testament, and are
+worked out with immense and ornate elaboration. The whole is crowned
+with a colossal Calvary. Behind the High Altar is placed that
+extraordinary example of eighteenth-century bad taste, the too famous
+<i>Transparente</i>. The whole architecture, painting, statues, carving and
+bronze is the work of the same person, Narciso Thomé who completed it in
+1734. Much as we may denounce the taste (or rather the lack of it) of
+this triumph of the Churrigueresque style, we are obliged to admire the
+wonderful execution of this misdirected genius.</p>
+
+<p>The royal tombs lie around the High Altar. They were placed in recesses,
+sculptured in the Gothic style by Diego Copin of Holland, by order of
+Cardinal Cisneros in 1507. The arches are peculiarly graceful and light.
+The tombs themselves date from much earlier times. Here sleep their last
+sleep Alfonso VII., Sancho el Bravo, Sancho el Deseado, and several
+Infantes. To the left of the altar is the sepulchre, more glorious than
+any king’s, of the great Cardinal Mendoza, erected by order of Isabel
+the Catholic, who owed so much to him. It was the work of Covarrubias,
+and is all of precious marbles. One side is formed by the sarcophagus
+with its recumbent effigy, the other by an altar. Above this<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span> last is a
+medallion representing the Archbishop Adoring the Cross. Part of the
+wall was demolished to make room for this stately mausoleum. Beneath the
+Capilla Mayor is a subterranean chapel, not of special interest. It
+contains a Burial of Christ by Copin, deserving of an inspection that in
+the dim light is well-nigh impossible, and some pictures by Ricci.</p>
+
+<p>At the eastern extremity of the Cathedral, behind the Capilla Mayor and
+projecting beyond the general outline, is the chapel of San Ildefonso.
+Erected by Archbishop de Rada, it remains the last important
+middle-pointed feature of the building, though considerably modified by
+Cardinal Albornoz in the latter part of the fourteenth century. It is
+eight-sided, and has beautiful traceried windows, and arches richly
+moulded and decorated. In arched recesses, beneath gabled and pinnacled
+canopies, are the tombs of Cardinal Albornoz, and several members of his
+family. There is much beautiful detail on the tomb of Don Iñigo de
+Mendoza, who fell at Granada in 1491; and the sepulchre of the Bishop of
+Avila by Tejada is a noble temple of the plateresque. The altar is
+modern. St. Ildefonso was the prelate who distinguished himself by his
+advocacy of the doctrine of the Immaculate Conception. In return he is
+said to have received signal marks of favour from the Blessed Virgin,
+who invested<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> him with a cassock, came down to attend Matins in his
+company, and so forth.</p>
+
+<p>To the north of this chapel is the larger Capilla de Santiago, likewise
+projecting beyond the original ground plan, and dating from 1435. It was
+built by order of the Great Constable, Alvaro de Luna, to be the place
+of sepulchre of himself and wife, on the site of an earlier chapel
+dedicated to St. Thomas à Becket. The plan is similar to that of the
+last chapel described. Outside, the flat-pitched tile roof is finished
+with a battlement and circular turrets at the angles. The most
+conspicuous features of the chapel are the tombs, in Carrara marble, of
+the Constable Alvaro de Luna and his wife Doña Juana Pimentel. The
+Constable is shown in full armour, and at each corner of his tomb kneels
+a knight of Santiago, of which order he was Grand Master. Four
+Franciscan monks attend on his lady. In niches in the wall repose
+kinsmen of the ill-fated Constable, the tombs all having been executed
+by permission of Isabel the Catholic, by Pablo Ortiz in 1488,
+thirty-five years after De Luna’s death on the scaffold at Valladolid.
+The tombs designed for the Constable in his lifetime were to have been
+furnished with life-size figures in bronze, which, by mechanical
+contrivance, were to have risen each time Mass was celebrated, and to
+have remained during the service in a<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> kneeling posture. These figures
+were destroyed by the Infante Don Enrique, and the bronze was used by
+Villalpando for the pulpits in the Capilla Mayor. The retablo of the
+High Altar reveals the portraits of the founder and his wife by Juan de
+Segovia. “The chapel,” says Mr. Street, “bears evidence in the
+‘perpendicular’ character of its panelling, arcading and crocketing, of
+the poverty of the age in the matter of design. At this period, indeed,
+the designers were sculptors rather than architects, and thought of
+little but the display of their own manual dexterity.”</p>
+
+<p>Passing down a corridor between this chapel and that of Santa Leocadia
+we reach the Capilla de los Reyes Nuevos, lying quite outside the
+original plan of the Cathedral. It was founded by Enrique II. of
+Trastamara, and contains his tomb, his wife’s, and the sepulchres of
+Enrique III., his Queen, Katharine of Lancaster, Juan I. and Queen
+Leonor, and the effigy of Juan II., who is buried near Burgos. The
+chapel is a fine specimen of the Renaissance style, reconstructed by
+Alfonso de Covarrubias in 1534. The portal is fine, and is guarded by
+two kings armed and bearing escutcheons. During Mass, a gorgeously
+apparelled functionary holds upright a mace, crowned and jewelled, and
+with the arms of Spain.</p>
+
+<p>The side-chapels of the Cathedral are not, on<span class="pagenum"><a name="page_119" id="page_119">{119}</a></span> the whole, as interesting
+as one would expect in a building of such antiquity and associations. To
+the south of the Capilla de San Ildefonso is the Capilla de la Trinidad;
+next comes the entrance to the Chapter House or Sala Capitular, an early
+sixteenth-century work with an artesonado ceiling in red, blue, and
+gold, excelling anything of the kind in Andalusia. The thirteen frescoes
+adorning the walls of the Chapter House are by Juan de Borgoña, who was
+also responsible for the earlier series of portraits of the archbishops.
+Copin’s work is to be recognised in the archiepiscopal throne, the other
+stalls being by Francisco de Lara. Returning to the church through a
+portal in the Moorish style, we find on the left the chapel of San
+Nicolas, followed by the chapels of San Gil, San Juan Bautista, Santa
+Ana, and the Reyes Viejos, founded in 1290 as the Capilla del Espritu
+Santo, with a fine reja by Céspedes. The chapel of Santa Lucia, founded
+by Archbishop de Rada, is, of course, in the best Gothic style, and has
+“an extremely rich recessed arch in stucco, of late Moorish work&mdash;a
+curious contrast to the fine pointed work of the chapel.”</p>
+
+<p>The Capilla de San Eugenio contains the alabaster effigy of Bishop del
+Castillo (1521), and the tomb in the Mudejar style of the Alguacil
+Fernan Gudiel (1278). The statue of the saint is by Copin,<span class="pagenum"><a name="page_120" id="page_120">{120}</a></span> the
+paintings on the retablo by Juan de Borgoña. Adjacent to the chapel is
+the colossal figure of Saint Christopher, usually seen in Spanish
+churches. This figure is probably coeval with the fabric, but was
+restored in 1638. A primitive style of art is also to be seen in the
+altar-piece of the Capilla de San Martin. The next two chapels&mdash;de la
+Epifania and de la Concepcion&mdash;do not present any features of special
+interest.</p>
+
+<p>In the south-west angle of the church is the interesting Mozárabic
+Chapel, built in 1504 by Enrique de Egas, under the orders of the famous
+Cardinal Ximenes de Cisneros. It is devoted to the celebration of Mass
+and the offices of the church according to the Mozárabic ritual, which
+till the middle of the last century was followed in six of the parish
+churches. The Cupola dates from 1626, and was the work of Jorge Manuel
+Theotocopuli. The porch is Gothic, and the reja in good Renaissance
+style, executed by Juan Frances in 1524. The frescoes, of no great
+value, painted by Juan de Borgoña, represent the expedition against
+Oran, in which the great Cardinal took part. Miss Hannah Lynch gives a
+vigorously worded account of a service in this chapel according to its
+peculiar rite: “The quaint old ritual may be heard every morning at 9
+<small>A.M.</small>, and will be found extremely puzzling to follow. The canons, in a
+sombre, flat<span class="pagenum"><a name="page_121" id="page_121">{121}</a></span> monotone, chant responses to the officiating priest at the
+altar. The sound combines the enervating effect of the hum of wings,
+whirr of looms, wooden thud of pedals, the boom and rush of immense
+wings circling round and round. After the first stupefaction, I have
+never heard anything more calculated to produce headache, nervous
+irritation, or the contrary soporific effect. In summer, it must be
+terrible.”</p>
+
+<p>At the opposite, or north-west, angle of the church is the Chapel of San
+Juan or of the Canons, so called because Mass can be celebrated here
+only by those dignitaries. It was built in 1537 by Covarrubias in the
+Renaissance style, and occupies the site of the old tower chapel, called
+the Quo Vadis. The ceiling is of artesonado, in gold and black, with
+carved flowers and figures. Since 1870 this chapel has been the
+repository of the Cathedral Treasure, styled Las Alhajas, or the Jewels.
+Here is kept the gorgeous <i>custodia</i>, or portable tabernacle, made by
+order of Cardinal Cisneros by Juan de Arfe, who began it in 1517 and
+completed it without assistance in 1524. This triumph of the
+silversmith’s craft is in the form of a Gothic temple, eight feet high,
+with all the architectural details, such as columns, arches, and
+vaultings, the whole resembling delicate lacework. Scenes from the life
+of our Saviour are illustrated in reliefs. There are no fewer than<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span> two
+hundred and sixty statues of various sizes, all exhibiting the same
+skill. The tabernacle was gilded over in 1595 by Valdivieso and Morino.
+The <i>viril</i> inside, in which the Host is exposed, was made of the first
+gold brought from America, is completely covered with precious stones,
+and weighs twenty-nine pounds. In the Treasure is also included the
+mantle of the Virgen del Sagrario, considered by Señor de Riaño the most
+remarkable specimen of embroidery that exists in Spain. It is described
+in the following manner: “It is made of twelve yards of cloth of silver,
+entirely covered with gold and precious stones. In the centre is an
+ornament of amethysts and diamonds. Eight other jewels appear on each
+side of enamelled gold, emeralds, and large rubies; a variety of other
+jewels are placed at intervals round the mantle, and at the lower part
+are the arms of Cardinal Sandoval [seventeenth century] enamelled on
+gold and studded with sapphires and rubies. The centre of this mantle is
+covered with flowers and pomegranates embroidered in seed-pearls of
+different sizes. Round the borders are rows of large pearls. Besides the
+gems which are employed in this superb work of art, no less than 257
+ounces of pearls of different sizes, 300 ounces of gold thread, 160
+ounces of small pieces of enamelled gold, and eight ounces of emeralds
+were used.” The beautiful dish,<span class="pagenum"><a name="page_123" id="page_123">{123}</a></span> repoussé in silver, the designs on
+which represent the Rape of the Sabines and the Death of Darius, was
+believed to be the work of Benvenuto Cellini, but is now ascribed to the
+Flemish artist, Mathias Méline. Among the Alhajas are also four
+geographical globes, with large silver figures, gleaming with
+gems&mdash;eighteenth-century work. Of historical interest is the sword, said
+to have been worn by Alfonso VI. on his entry into Toledo, and the
+original letter written by St. Louis of France to the Chapter, bestowing
+sacred relics obtained from the Great Emperor: “Given at Etampes, the
+year of our Lord, 1248, month of May.” Other objects of value are the
+Cope of Cardinal Albornoz and the Cruz de la Manga, made in the
+sixteenth century by Gregorio de Varona, a native of the city. Here,
+also, are the archiepiscopal cross, planted by Cardinal Mendoza on the
+summit of the Alhambra in 1492, and the Golden Bible in three volumes,
+dating from the twelfth century. It is to be doubted if the accumulation
+of these splendid objects, intended for diverse practical uses, in one
+collection, serves to show any of them to the best advantage.</p>
+
+<p>On the north aisle are the chapels of Teresa de Haro, Nuestra Señora de
+la Antigua&mdash;where the Spanish colours used in the Moorish campaigns were
+blessed&mdash;of the Pila Bautismál, with a<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> beautiful bronze font, and a
+reja by Céspedes; and the large Capilla de San Pedro, built in 1442 in
+the Gothic style by Archbishop de Rojas. The founder’s fine monument was
+placed here in the eighteenth century. On the other side of the Puerta
+del Reloj is the Capilla de la Virgen del Sagrario, noted for a statue
+of the Blessed Virgin, which she is said to have kissed on her visit to
+St. Ildefonso. The statue is of dark-coloured wood, and was formerly
+clothed in a mantle embroidered by Felipe Corral; and composed of gold,
+rubies, emeralds, and pearls, now kept in the Treasury. In this chapel
+the degree of doctor is conferred on licentiates. The two small chapels
+of the Cristo and of Santa Leocadia are adjacent to the entrance to the
+Capilla de los Reyes Nuevos.</p>
+
+<p>Adjoining the Chapel of the Virgen del Sagrario are a set of apartments,
+built with it upon the site of an old hospital, by Nicolas de Vergara,
+junior, at the close of the sixteenth century. These rooms are the
+Sacristia, Vestuario, Cuarto de la Custódia, and Ochavo. The Sacristia,
+entered through a portal 26 feet high, contains paintings by El Greco,
+to be noticed in the chapter on that master; the ‘Betrayal of Christ,’
+by Goya; and a ceiling fresco by Luca Giordano, representing the Miracle
+of San Ildefonso. The Vestuario contains pictures by several Italian
+masters, among them ‘Paul III.’ by Titian; a<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span> replica of the portrait at
+Naples; a ‘Madonna’ by Rubens; and a ‘St. Francis’ by El Greco. The
+Custodia was till lately the Cathedral Treasury. The Ochavo, at the back
+of the Capilla de la Virgen, is richly adorned and contains the
+collection of relics, among them massive silver caskets, wonderfully
+wrought, for the bones of the saints Leocadia and Eugenius.</p>
+
+<p>The vestments preserved here, to the number of forty sets, belong mostly
+to the fifteenth and sixteenth centuries, and are of the most splendid
+description. “Each set [says Riaño] generally includes a chasuble,
+dalmatic, cope, altar frontal, covers for the gospel stands, and other
+smaller pieces. The embroideries on the orphreys, which are formed of
+figures of saints, are as perfect as the miniatures on illuminated MSS.”</p>
+
+<p>The Cloisters to the north-west of the church were built by Cardinal
+Tenorio in 1389. They are not, as Miss Lynch observes, to be compared
+with those of Burgos, of Santiago, or of Oviedo. The garden they enclose
+lends a brighter, gayer note to the columned and arched galleries than
+is found in those other cathedrals. The frescoes in the lower cloister
+were painted by Francisco Bayeu, and illustrate the lives of St.
+Eugenius and the legend of the <i>Niño perdido</i>.</p>
+
+<p>We should, perhaps, have described the exterior of the Cathedral first,
+but from the sight<span class="pagenum"><a name="page_126" id="page_126">{126}</a></span>seer’s point of view the interior is, of course, more
+important. It is a general subject of complaint that it is extremely
+difficult to obtain a good view of any considerable part of the fabric
+from the outside, nor does it stand out as conspicuously from a distance
+as its imposing dimensions would lead one to suppose. The best view is
+to be obtained from the church of Nuestra Señora de la Valle, above the
+Puente de San Martin. The exterior, with its flying buttresses, finials,
+and rose-windows, reflects the Gothic spirit of the interior. The west
+façade is flanked by two towers, that above the Chapel of the Canons
+alone being complete. It is 295 feet high, and was begun by order of
+Archbishop Tenorio, in 1380, by Rodrigo Alfons, and completed under
+Archbishop Contreras in 1440 by Alvar Gomez. On the summit is a small
+spire, surmounted by a cross, a vane, and an arrow. Here are hung the
+bells, among them the famous Campana Gorda, weighing nearly two tons,
+and whose note reaches to Madrid. The tower also contains a peal called
+the Matraca, worked continuously by mechanism from Maundy Thursday till
+Easter Saturday. The view from the summit is far-reaching and inspiring.</p>
+
+<p>Among the finest features of this noble church are its eight principal
+entrances. In the western façade are three portals&mdash;the Puerto del
+Perdon<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> in the centre, flanked by the Puertas de los Escribános and de
+la Torre. All date from the first half of the fifteenth century and are
+in the Gothic style. The Puerta del Perdon forms a noble arch, richly
+ornamented, and divided into two smaller arches by a column surmounted
+by the figure of Christ, above which are the Twelve Apostles. Above
+these again is a relief in the Renaissance style representing the gift
+of the Chasuble to San Ildefonso. The smaller doors are in single
+arches, and are sculptured with statues of angels and patriarchs. The
+Puerta de los Escribános is so called because through it the notaries
+enter the church to take their oaths. It is also called the Puerta del
+Juicio. Above it is a long inscription commemorating the taking of
+Granada and the expulsion of the Jews. Above the portals the façade is
+adorned with a colossal sculpture of the Last Supper, the Saviour and
+the Apostles being seated each in a niche, and the table reaching from
+buttress to buttress. The façade is pierced with a beautiful rose-window
+thirty feet across with a glazed arcade beneath.</p>
+
+<p>On the south side are the Puertas Llana and de los Leones. The former in
+the classic style, was made by Ignacio Haám in 1800. The Puerta de los
+Leones gives access to the transept, and is a magnificent Gothic work,
+erected in 1460 by the Fleming, de Egas, and ornamented by Juan<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span> Alemán.
+The sculpture of the portal is perfect. The six columns of the atrium
+are surmounted by six lions holding shields. Here are the famous bronze
+doors, wrought by Villalpando and Ruy Diaz del Corral in 1545. The
+wood-carving and decoration employed a great many masters, among whom
+may be mentioned Velasco, Troyas, and the two Copins. Between them was
+divided the sum of 68,672 maravedis. At the opposite or northern end of
+the transept is the Puerta del Reloj, dating from the beginning of the
+fifteenth century, and so named from the clock above it. The door is of
+bronze and above it is a fine rose-window of about the same period. It
+is considered by Street the best example of stained glass now remaining
+in the Cathedral. West of this, the Puerta de Santa Catalina leads into
+the eastern cloister. The decoration is profuse. St. Catharine, and the
+instruments of her martyrdom, are shown, with the arms of Spain and the
+Tenorio family. The Puerta de la Presentacion, also leading into the
+cloister, is in the Renaissance style, and dates from 1565. Pedro
+Castañeda, Juan Vasquez, Torribio Rodriguez, Juan Manzano, and Andrés
+Hernandez are named as the designers of this very fine portal. The
+cloisters are entered from the west side next to the tower, by the
+Puerta del Mollete, so called because <i>molletes</i> or rolls were or are
+distributed to the poor here.<span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
+
+<p>The chapel and cloister of San Bias on the north side of the cloisters
+are the most important additions made to the structure in the fifteenth
+century. The chapel contains the monument of the founder, Cardinal
+Tenorio, and “in the cloister walls,” says Street, “a door which, in the
+capricious cusping and crocketing of its traceried work, illustrates the
+extremes into which Spanish architects of this age ran in their
+elaboration of detail and affectation of novelty.<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span>”</p>
+
+<h2><a name="THE_DECLINE_OF_THE_CITY" id="THE_DECLINE_OF_THE_CITY"></a>THE DECLINE OF THE CITY</h2>
+
+<p class="nind"><span class="smcap">Toledo</span>, up till then hardly distinguished for its loyalty to the Crown,
+loved Isabel the Catholic, and on her account, perhaps, rendered
+obedience to her Aragonese husband. The Catholic sovereigns liked the
+city, and generally held their Court there. The magnificent Cardinal
+Mendoza was the prime mover in the expedition against Granada, and
+planted the Cross on the summit of the Alhambra. The power of the
+primacy was in no way diminished by the consolidation of the monarchy,
+and Toledo still looked rather to its archbishop than to its king for
+guidance and governance. Under Ferdinand and Isabel it prospered
+exceedingly. The arts of peace were studied, industries flourished, and
+the more adventurous and restless spirits found an outlet for their
+energies in colonial enterprises beyond the seas instead of cutting each
+other’s throats in the byways of the city. Toledo became courtly and
+urbane. The luckless princess, Juana, was born at the Alcazar in 1479;
+and here the Infanta Isabel was married on April 29, 1498, to the King
+of Portugal. Only a few months later her corpse<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span> was brought hither from
+Zaragoza, to be laid in the convent of Santa Isabel.</p>
+
+<p>The death of Queen Isabel, and the proclamation of Juana and Felipe I.
+on May 22, 1502, put an end to the long spell of peace. Toledo sided at
+first with Ferdinand against his son-in-law, and was held by the Silvas
+against the latter’s forces under the Marquis de Villena. In the
+following year (1506) the Ayalas, supported by the townsmen generally,
+took possession of the town, and resolved to maintain its liberties
+against the Flemish favourites and centralising tendencies of the new
+<i>régime</i>. The Silvas, as a matter of course, ranged themselves on the
+opposite side, and the streets ran red with blood. Toledo was herself
+again.</p>
+
+<p>The accession of the Flemish prince, Charles, afterwards emperor,
+determined the Castilians to make a stand for national independence.
+What city had so good a claim to be the headquarters of the movement,
+the focus of anti-foreign agitation, as Toledo the turbulent? In 1520
+occurred the outbreak of the <i>Comuneros</i> movement. At its head were four
+gentlemen of Toledo: Hernando Dávalos, Gonzalo Gaytan, Pedro de Ayala,
+and (greatest of all) Juan de Padilla. Twenty thousand citizens rallied
+to the cry of “Padilla y Comunidad!” and the movement spread from the
+Tagus to Salamanca and west<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span>wards to the frontiers of Portugal. To
+Juana, imprisoned at Tordesillas, herself a Toledan, protestations of
+loyalty and devotion were addressed. But denounce her son’s fraudulently
+obtained sovereignty she would not. Meanwhile Charles’s forces were not
+idle. The Alcaide, Clemente de Aguayo, held the tower of San Martin, and
+Don Juan de Silva, the Alcazar, against the insurgents. But the townsmen
+were victorious. Padilla, however, was defeated at Villalar, and
+executed, with his brave lieutenants, Juan Bravo and Maldonado.</p>
+
+<p>In the Comunero leader’s dauntless wife, Maria de Pacheco, liberty found
+a new champion and Spain a new heroine. “She was found praying at the
+foot of the Cross,” says Miss Lynch, “when her servants brought her the
+news of Padilla’s defeat and death. She rose, robed herself in black,
+and walked to the Alcazar between her husband’s lieutenants, Dávalos and
+Acuña, who bore a standard representing Padilla’s execution. They named
+her captain of the insurgents, and found her implacable and violent, but
+still a sovereign commander.” For sixteen months under this Castilian
+Joan of Arc the old city of the Visigoths held out against the armies of
+Charles V. Routed in a bloody sortie on October 16, 1521, by Zuñiga,
+prior of San Juan, the Comuneros were obliged, ten days later, to<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span>
+abandon the gates to the besiegers. A truce was agreed to, while the
+demands of the citizens should be presented to the Emperor. Maria
+remained in her own house, as in a fortress, guarded by her faithful
+troops. But on February 3 the murder of a citizen brought on a renewal
+of the conflict. Desperate battle waged in every street and lane. Maria,
+assailed and valiantly defended in her stronghold, at last cut her way
+through, and retired to Portugal, dying at Oporto years afterwards. The
+townsmen were worsted, and sullenly submitted. Toledo had fought her
+last fight.</p>
+
+<p>Her day was over. Charles V. forgave her, and would come at times to
+live in the Alcazar. She was still the capital of Spain. But her haughty
+temper and the arrogance of her clergy matched ill with the policy of
+Philip II. In 1560 Madrid&mdash;upstart, provincial Madrid&mdash;was proclaimed
+the <i>única corte</i>. Less important than under the Khalifate, Toledo
+became a mere provincial town. But the Church did not desert her. She is
+still the metropolitan see of Spain.</p>
+
+<p>Let us see what the monarchs of United Spain did for the old city, and
+what monuments remain of the days when it was Court and capital.</p>
+
+<p>The church of San Juan de los Reyes, near the Puente de San Martin, was
+built in 1476 by Ferdinand and Isabel, in thanksgiving for the victory
+of Toro gained over the Portuguese allies of Juana,<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span> nicknamed “la
+Beltraneja.” The first architect was a Fleming, Juan Guas, one of the
+builders of the cathedral. The church was intended to receive the ashes
+of the royal founders, but after the capture of Granada it was decided
+to establish the mausoleum in that city, and the completion of San Juan
+de los Reyes was delayed till the seventeenth century. In consequence,
+the architecture exhibits the transition from the Late Gothic to the
+Late Renaissance style. “Nothing,” remarks Street, “can be more
+elaborate than much of the detail of this church, yet I have seen few
+buildings less pleasing or harmonious.” The exterior is unpromising, and
+is decorated, if we can use the word in such a connection, with festoons
+of rusty chains which fettered the limbs of the Christians in Moorish
+prisons. The chief entrance, to the north, was completed by Covarrubias
+in 1610, and is in the decadent style of architecture. It is adorned
+with inferior statuary, and the arms and initials of the Catholic
+sovereigns.</p>
+
+<p>The interior is composed of a single nave, two hundred feet long and
+from forty-three to seventy feet wide. There are four chapels on one
+side and three on the other. At the east end of the church is a shallow
+five-sided apse, forming the Capilla Mayor. Over the junction of the
+nave and transept is an octagonal cupola, resting on four fine pillars,
+with a pointed dome and a window in each<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span> face. At the west end of the
+church is a deep gallery, containing the choir. The altar dates from the
+Renaissance period, and is brought well forward into the nave. It came
+from the suppressed church of Santa Cruz. Above it is a blue velvet
+canopy, embroidered with the eagle, the symbol of St. John. The whole
+fabric is enriched with statuary, tracery, carving, and heraldic devices
+in almost reckless profusion. The yoke and the arrows&mdash;the devices of
+the Catholic sovereigns&mdash;and their coats of arms are repeated again and
+again. Among the inscriptions is one commemorating the foundation of the
+church. It runs: “Este monasterio é églesia mandaron hacer los muy
+esclarecidos Principes é señores D. Hernando é Doña Isabel, Rey y Reina
+de Castilla, de Leon, de Aragon, de Sicilia, los cuales señores por
+bienaventurado matrimonio y uñaron los dichos Reinos, seyendo el dicho
+rey y señor natural de los reinos de Aragon y Sicilia, y seyendo la
+dicha señora Reina y señora natural de los Reinos de Castilla y Leon; el
+cual fundaron á gloria de nuestro señor Dios, y de la bienaventurada
+Madre suya, nuestra Señora la Virgén Maria, y por especial devocion que
+le ovieron.”</p>
+
+<p>Admirable as is the church in its general structure, and in the detail
+and execution of its ornamentation, it is garish and ostentatious. There
+is a superabundance of light and luxury. Here<span class="pagenum"><a name="page_136" id="page_136">{136}</a></span> there is no dim religious
+light, no suggestion of mystery or devotion. Prayer would seem
+incompatible with the whole character of the edifice. More favourable
+was the opinion of Théophile Gautier, who declared that “Gothic art
+never produced anything more suave, more elegant, or more fine.”</p>
+
+<p>Attached to the church is the convent, bestowed on the Franciscans, and
+pillaged by the French in 1808. It has been converted into a museum,
+which does not contain much of great interest. The most important
+exhibits are fragments of Visigothic inscriptions and Moorish tile-work.</p>
+
+<p>The cloister of San Juan de los Reyes is a gem of florid Gothic, and the
+finest part of the whole fabric. There are two galleries, one above the
+other, the lower with traceried openings, the upper with large open
+arches. As in the church, there is here an excess of decoration, hardly
+a square inch on pillar, arch, and vaulting being free from sculptured
+ornamentation. There is a bewildering profusion of statues of angels,
+men, and animals, of scroll-work and foliage, heraldic devices and
+inscriptions. The whole is dazzlingly white&mdash;more like a temple of the
+Sun than a shrine of “the pale Galilean.” The original effect, perhaps,
+was less crude, for the church and cloisters have been recently
+restored, and, it must be confessed, not too skilfully.<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p>
+
+<p>A most beautiful specimen of azulejo work has been built into the
+north-west wall. It comes from the suppressed monastery of the Calced
+Augustines, and is said to have been a part of the ornamentation of the
+ancient palace of Don Rodrigo&mdash;wherever that may have been situated.</p>
+
+<p>Before the finishing touches had been put to San Juan de los Reyes, the
+last important Gothic work of Toledo, the erection of one of the two
+earliest examples of the Renaissance style in Spain had been begun. The
+hospital of Santa Cruz was built between the years 1494 and 1514 by
+Enrique de Egas, of Brussels, some ten years after he had completed the
+college of the same name at Valladolid. The hospital was designed by the
+founder, the mighty Cardinal Mendoza, as an asylum for foundlings. He
+died in 1495, and left 75,000 ducats to the queen for the completion of
+the work. Isabel it was who chose the site overlooking the bridge of
+Alcantara, where formerly the palace of the legendary King Galafre is
+fabled to have stood. Among other stories connected with the spot is
+that of a Leonese princess wedded against her will to a Moorish prince,
+her union with whom was prevented by the intervention of an angel. As in
+all the early specimens of Spanish Renaissance architecture, the
+groundwork of the building approximates to the Gothic, the new ideas
+manifesting themselves in the deco<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span>ration and carving. The portal is
+superb. The reliefs represent the Adoration of the Cross by St. Helena,
+St. Peter, St. Paul, and the founder, Cardinal Mendoza, two pages also
+appearing, bearing mitre and helmet. Other reliefs, exquisitely
+chiselled, have for subjects the espousals of St. Joachim and St. Anne,
+and Charity. The four cardinal virtues are shown, and everywhere, amidst
+a maze of ornamentation, occur Mendoza’s arms and device. The
+plateresque windows, with their rejas in the local style, are deserving
+of admiration. Entering, we find a vast <i>patio</i>, enclosed by a double
+arcaded gallery of marble, and, crossing it, ascend a grand staircase
+with a fine ceiling of the <i>artesonado</i> kind. The chapel, in the form of
+a Maltese cross, has also a fine ceiling, and Gothic pillars,
+beautifully carved, that attest the splendid appearance once presented
+by this dismantled building. Some of the columns adorning Santa Cruz
+were brought from the Visigothic church of Santa Leocadia.</p>
+
+<p>To the same period belongs the Franciscan convent and church of San Juan
+de la Penitencia, begun by order of Cisneros in 1514, and finished by
+his secretary, Fray Francisco Ruiz, Bishop of Avila. The semi-Moorish
+palace of the Pantojas was utilised in its construction, and the whole
+building bears traces of Arabic, or rather Mudejar, workmanship.
+Entering the chapel by a porch<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> adorned with the great Cardinal’s arms
+and foliations in the Gothic style, we find ourselves in a sombre
+edifice of a single nave, revealing a curious medley of styles. The roof
+is a fine example of the artesonado. Over the transept, which is divided
+from the nave by a plateresque reja, is a cupola with a stalactite roof
+of the Moorish pattern. The principal retablo is early Renaissance, and
+several of the altars may be classed as Baroque. The most interesting
+feature of the church is the tomb of the Bishop of Avila, who died in
+1528. It is in the Renaissance style, and was the work of a Lombard
+artist. It is wrought in Sicilian marble, and is thus described by Ponz:
+“Above a large stone divided by three pilasters to form three pedestals
+there are an equal number of statues seated, representing Faith, Hope,
+and Charity. Between the pilasters are the arms of the Bishop&mdash;five
+castles. In a framed recess are the urn, couch, and recumbent figure. In
+front of the urn are seen two weeping children, and within the recess
+four angels draw aside the curtains. On either side are two Doric
+pillars supporting the frieze, which is inscribed, ‘Beati mortui qui in
+Domino moriantur.’ On the edge are two antique columns admirably
+executed. Between these columns and pilasters are statues, St. James and
+St. Andrew, and above, the figures of children. Over all is a bas-relief
+of the<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> Annunciation, with the statues of St. John the Divine and St.
+John Baptist, one-half the size of the Virtues below.”</p>
+
+<p>The Emperor-King Charles V. had, as we have seen, small reason to love
+Toledo, but he did something for the permanent embellishment of the
+city, and the last architectural monuments reared on its craggy
+peninsula belong to his era.</p>
+
+<p>It is difficult to ascribe the Alcazar, to which reference has so often
+been made, to any one epoch. It has undergone so many vicissitudes, so
+many reconstructions, that the name, as we have employed it, must be
+understood to represent a site rather than the actual palace. A
+stronghold of some sort has always been here&mdash;possibly, in Roman times,
+the Arx, where tradition avers the martyr Leocadia suffered death. The
+Arabian geographer, Jerif al Edris, writing in 1154, describes Toledo as
+“a town great in extent and population, extremely strong, with fine
+ramparts, and an Alcazaba, fortified and impregnable.” This citadel was
+doubtless the Alcazar, which was strengthened and rebuilt by successive
+Castilian kings, and is said to have been the residence of the Cid, the
+first Christian Alcaide. Added to, reconstructed, partially demolished
+and repeatedly restored, it must have presented an aspect rude and
+heterogeneous enough when, in 1538, Charles V. ordered Alonso de
+Covarrubias<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span> and Luis de Vega to rebuild the palace entirely on the
+lines of the new Alcazar of Granada. The Flemish Emperor may, then,
+fairly be considered the founder of the present fortress-palace, though
+it has since his time undergone radical transformations. It was burnt
+down during the War of Succession in 1710, restored sixty years later,
+destroyed again by the French in 1810, and devastated by a third
+conflagration as late as 1887. Since 1882 it has been the seat of the
+Royal Military Academy.</p>
+
+<p>The northern façade was constructed after the designs of Covarrubias,
+and looks on the square created by Ferdinand and Isabel in 1502. The
+reconstruction was so complete that probably no stone of the older
+façade was left in its place. The façade is severe and majestic,
+revealing classical influence, though not without important traces of
+the plateresque. It is flanked by towers, and adorned with a handsome
+portal&mdash;the work of Enrique de Egas, brother-in-law of Covarrubias. Over
+the door are the Imperial arms, supported by the figures of two heralds
+or mace-bearers. The fortress-like eastern façade is believed to be a
+part of the original Alcazar as restored by Alfonso X.; the western side
+of the building dates from the reign of the Catholic sovereigns, and the
+southern, with massive Doric pillars and square turrets, was built after
+designs by Juan de Herrera.<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span></p>
+
+<p>The inner court, or <i>patio</i>, is described by a Spanish writer as
+“solemn, grandiose, full of majesty ... constructed for the
+dwelling-place of the August Cæsar.” It forms a spacious parallelogram
+and is enclosed by an arcade in two storeys with columns of the
+Corinthian order. Above the capitals are displayed the escutcheons of
+the various kingdoms ruled over by Charles. The modern restorers of the
+palace have adorned the court with a statue of the Emperor in the Roman
+costume in which he was so fond of being represented.</p>
+
+<p>The finest feature of the palace must have been the staircase, designed
+by Villalpando and Herrera, which has been to some extent restored after
+its destruction by Stahremberg in 1710. One of the widest staircases in
+the world, “it ends,” says Miss Hannah Lynch “in the void!” In truth,
+the Alcazar is not to-day a very interesting building. It is, in
+reality, quite impossible to identify the scenes of the romantic and
+historical episodes which we know occurred in one or other of the
+successive Alcazars. But the room in which Alfonso VI. died and the
+window at which the hapless Blanche de Bourbon wept, <i>pace</i> the local
+guides, must have disappeared to the last stone and fragment ages ago.
+All that can be said of the palace to-day is that it forms an imposing
+landmark, and affords from its northern terrace one of the finest views
+of Toledo.<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p>
+
+<p>To the age of Charles V. (or Carlos I. as in Spain he would properly be
+called) belongs the Hospital de San Juan Bautista, styled the Hospital
+de Afuera (outside) in the suburb of Covachuelas. The building was begun
+in 1541 by order of Archbishop Juan de Tavera, who died on his return
+from the baptism of Prince Carlos at Valladolid. The building was
+carried on after Bustamente’s death by the two Vergaras, and completed
+about 1600. The façade dates from the eighteenth century and is still
+unfinished. The courtyard, spacious and imposing, is divided into two
+and enclosed by colonnades. A fine Renaissance portal by Berruguete
+leads into the large chapel, which is in the form of a cross and
+surmounted by a dome. The pavement is of black and white marble. Before
+the altar is the tomb of Archbishop Tavera by Berruguete. This is one of
+the finest monuments in Spain. It was finished by Berruguete when he was
+over eighty years old, in 1561, his death taking place the same year in
+one of the rooms under the great clock. His sons received nearly a
+million maravedis for the work. “The Cardinal,” says Théophile Gautier,
+“is stretched out upon his tomb in his pontifical habit. Death has
+pinched his nose with its strong fingers, and the last contraction of
+the muscles, in their endeavour to retain the soul about to leave the
+body for ever, puckers up the corners of the mouth and lengthens the
+chin;<span class="pagenum"><a name="page_144" id="page_144">{144}</a></span> never was there a cast taken after death more horribly true; and
+yet the beauty of the work is such, that you forget any amount of
+repulsiveness that the subject may possess. Little children in attitudes
+of grief support the plinth and the Cardinal’s coat of arms. The most
+supple and softest clay could not be more easy or more pliant; it is not
+carved, it is kneaded!”</p>
+
+<p>The hospital contains some of El Greco’s most notable work, which will
+be noticed in the chapter on that master.</p>
+
+<p>To Charles V. Toledo also owes the grand New Gate of Visagra, built in
+1550, and restored in 1575. It consists of two separate structures, or
+gateways, enclosing a <i>patio</i>. On the exterior of the north gate is
+shown the double eagle with the Spanish arms and a Latin
+inscription&mdash;all in sculptured granite. On the inside is a fine statue
+of St. Eugenio, variously attributed to Berruguete and Monegro. The
+statues of Gothic kings, a life-sized angel with unsheathed sword,
+elegant capitals and balconies, combine to make this gateway one of the
+finest approaches possessed by any city in the world.</p>
+
+<p>The Ayuntamiento, or town hall, of Toledo was erected in the time of
+Ferdinand and Isabel by the corregidor Gomez Manrique, and enlarged and
+restored between 1576 and 1618 by the corregidor Juan Tello, under the
+supervision of El Greco. The façade is composed of two storeys,<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> the
+first consisting of nine arches with Doric columns which spring from
+massive pillars, the second of as many arches with Ionic columns. The
+edifice is surmounted by two towers, crowned with steeples and
+weather-vanes. On the fine staircase may be read in letters of gold on a
+blue ground this admonition to the civic dignitaries of Toledo:</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">Nobles, discretes varones,<br /></span>
+<span class="i0">Que gobernais á Toledo,<br /></span>
+<span class="i0">En aquellas escalones,<br /></span>
+<span class="i0">Desechad las aficiones,<br /></span>
+<span class="i0">Codicio temor, y miedo,<br /></span>
+<span class="i0">For los comunes provechos,<br /></span>
+<span class="i0">Dejad los particulares;<br /></span>
+<span class="i0">Pues vos fizo Dios pilares<br /></span>
+<span class="i0">De tan riquisimos techos,<br /></span>
+<span class="i0">Estad firmes y derechos.<br /></span>
+</div></div>
+</div>
+
+<p>The Summer Council Chamber is handsomely decorated with <i>azulejos</i>, and
+contains some battle pictures. The portraits of Carlos II. and his wife
+are the work of Carreño.</p>
+
+<p>The celebrated Bridge of Alcantara, of which mention has so often been
+made in these pages, belongs indifferently to all the epochs of Toledo’s
+history, so no apology is needed for mentioning it here. “It constitutes
+to-day as in the past,” writes Amador de los Rios, “the principal
+entrance to the city, and, constructed very wisely on one of the
+narrowest parts of the river, it is formed of a great central arch of
+more than twenty-eight metres in<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> breadth, resting on the right on a
+solid pile, often demolished, behind which is a smaller semicircular
+arch, which is, in turn, sustained by the bridge head, founded on the
+rock and pierced by a still smaller arch or passage, where several
+Visigothic remains have been discovered.” At the outer or country end of
+the historic bridge formerly stood a fortified tower, which was in 1787
+replaced by the existing structure. This is in a pretentious style, and
+is decorated with various inscriptions, among them one commemorating the
+building by order of Philip V. The majestic hexagonal tower on the town
+side, with its picturesque turrets, dates probably from 1259. Above it
+is a statue of St. Ildefonso, by Berruguete. Over the archway are
+sculptured the badges of Ferdinand and Isabel (the yoke and bundle of
+arrows), commemorating the restoration of the tower, in 1489, by Gomez
+Manrique. A noble bridge is this of Alcantara; old&mdash;old as the city&mdash;the
+work of all Toledo’s rulers, and like Toledo, grim, stern, rude,
+destined, it would seem, to endure for ever. Romans, Visigoths, Moors
+and Castilians have lingered on it, triumphed on it, fled across it,
+fought upon it, and across it to-day must walk every traveller entering
+with reverence this great temple of the mediæval and bygone.<span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
+
+<h2><a name="EL_GRECO" id="EL_GRECO"></a>EL GRECO</h2>
+
+<p>BY</p>
+
+<p><span class="smcap">Albert F. Calvert and C. Gasquoine Hartley</span></p>
+
+<p>Domeniko Theotokopuli,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> known to us to-day as El Greco, was the first
+great painter of Spain, and in his strange and fascinating art, the
+Spanish School compels for the first time the attention of the world.
+And El Greco was not Spanish. He was born in Crete, it would seem about
+the year 1548, and died at Toledo in 1614. Learning his art in Venice,
+in his early manner he is a pure Venetian, owing much to the work of the
+Bassani, and more to the inspiration of Tintoretto, but in Toledo he
+became Spanish and himself, developing there a manner in which the
+special temper of the race finds an expression passionate enough, not
+equalled again, indeed, until the advent of Goya.</p>
+
+<p>There will always be some men imaginative, entirely personal, who, like
+El Greco, seek to express themselves, and in so doing, quite unwittingly
+probably, express the life of their age. Having<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> the
+interpretative&mdash;creative would perhaps be the truer word&mdash;genius, their
+work becomes, as it were, a mirror, which reflects not the man alone,
+but the circumstances that have formed his life. For, after all, what
+the artist does is to use up what he has seen.</p>
+
+<p>This is why El Greco seems to chronicle for us our impressions of
+Toledo, and of Spain.</p>
+
+<p>Surely no other painter has lived in a city in such strong agreement
+with his spirit. Think of the place&mdash;wind-swept, heat-dried,
+extraordinarily austere, yet flushed with colour, ochre-red shading to
+unusual greens; heaped upon its rocky throne above the yellow flowing
+Tagus, its rugged silhouette straight cut against a sky hard and clear
+as enamel; and, beyond, the sierra like a great brown sea in which it
+all stands as an island starting from the waves. A suggestion of
+strenuousness seems to linger everywhere, a spirit, personal and keen,
+cruel almost as the sword-blades the city fashions. The very buildings,
+placed upon the crags beneath the great hulk of the Alcazar, repeat this
+impression, they rise in sharp upward and downward lines like an
+arrangement of swords, and make their appeal by the strange strength of
+their aspect. The streets are a tortuous net of steep-rising
+passage-ways. A city strongly itself that has suffered no change,
+fantastic as a city seen in a dream.<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
+
+<p>Yes, to those who know Toledo, the impression of the character of the
+city upon El Greco will bring no surprise. His art corresponds perfectly
+with its setting. Everywhere his work is around you, for El Greco is one
+of those painters who has but a single home. He built churches and other
+buildings&mdash;the classic façade of the Ayuntamiento, for instance, was
+modelled on his design; he carved statues, he painted pictures, there
+are canvases of his in the museum, in the cathedral, and in many of the
+churches. And in all this mass of work, it is the living force behind it
+that is the first impression that you gain; a kind of driving power that
+fascinates you, just as Toledo fascinates you, by reason of its power.
+El Greco was a painter able to create&mdash;that is the secret of it all.
+And, be it remembered, the artist does not find his matter straight from
+the springs of his brain, what he is able to see he sets down, and that
+is all. His art is great in exact measure as it is able to transfer this
+vision from him to us. In this way El Greco, to whom vision seems to
+have been the whole of life, does in his pictures transfer to us the
+entire impression of Toledo, so that it is difficult to speak of his art
+without making Toledo the refrain.</p>
+
+<p>And as we wait with his pictures and note, after the first surprise has
+left us, the qualities of the work, throughout they confirm this. The
+very<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> form of his composition is moulded upon Toledo. Just as its
+buildings cluster around the Alcazar, almost as bees swarming about
+their queen, so he groups everything around a central figure. Never,
+after he came to Toledo, did El Greco use Italian backgrounds. And in
+his long, lithe figures, so fantastic in their hard outlines, sometimes
+we catch that suggestion of the sword that haunts Toledo. Then when we
+come to more tangible things, we find to-day El Greco’s models in the
+dark peasants of Toledo. Nowhere else can we quite believe in the
+reality of those coldly fervent, self-absorbed, ecstatic men, who greet
+us with such fascination from his canvases, their lean, long profiles
+suggesting again that aspect of a sword.</p>
+
+<p>Then, El Greco’s colour was drawn from the landscape around him. And
+colour, if we may credit the truth of the conversation recounted by
+Pacheco, was to him the one quality in painting, form, drawing, all
+else, being of secondary significance. This, too, was learnt in Toledo,
+where colour has an allurement&mdash;illusive and insistent. Toledo it was
+showed him the existence of cold tones, and the fascination of its greys
+and livid greens led him to anticipate modern colour, at a time when
+every one else was painting warm tonalities. In the Convent of San Juan
+de los Reyes, now the Museo Provincial, is that ‘Bird’s-Eye View<span class="pagenum"><a name="page_151" id="page_151">{151}</a></span> of
+Toledo,’ the picture in which we have a portrait of George Manuel
+Theotokopuli, El Greco’s son. At first you will be astonished, it is the
+strangest landscape in the world. But wait with the picture&mdash;always the
+danger with El Greco is that you will not linger enough. The painter who
+sees for himself must be studied, not dismissed as he who but sets down
+the common vision of things. And El Greco does give us the real Toledo
+in this fantastic landscape. Do you doubt this? Then go when night falls
+upon the city to some such vantage-point as the Puerta del Cambón, where
+beneath the dome of the evening sky you will see Toledo, heaped roof
+against roof, tower against tower. You will forget the strangeness of
+the picture’s statement, as you come to see that it is just this effect
+that El Greco has caught. Now you will recognise the reality of those
+bluish whites, those tones of green that surprised you, and, in
+gladness, you will yield to the truth, the beauty&mdash;are not the two the
+same?&mdash;of the painter’s vision, and avow how much he has taught you to
+see.</p>
+
+<p>Always El Greco’s pictures leave an impression of their own upon the
+spectator; and this is the test of vital work. It is personality that
+counts in art. Whether he paints the visible truth of outward things, as
+in his portraits&mdash;that wonderful series in the Prado, for instance, in<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span>
+which he startles us with his revelation of his model&mdash;or pure fancies
+of the mind, as ‘The Vision of Philip II.,’ in the Escorial, a picture
+that would seem to have no conscious reference to things seen, one feels
+that he had something definite to express. And although his style at
+first may have been formed largely on that of the great Venetian
+painters, of Tintoretto especially&mdash;a “sort of shorthand of the
+Venetian,” Mr. Ricketts calls it&mdash;in all his pictures there is but one
+personality&mdash;that of himself. At the back of his art was a force of
+passionate character&mdash;unbalanced? Yes! capricious and arbitrary; a
+tyrannical need that compelled expression. But in spite of his singular
+conventions and, from a theorist’s point of view, the strangeness and
+exaggeration of his qualities, he does convey his meaning, splendidly
+effective, if not the best. And because of this intensity of vision we
+have those pictures of exaggerated statement that give credit to the
+fable of the painter’s madness, such as the ‘St. John the Baptist,’ in
+the Hospital San Juan Bautista, a picture which many have found ugly,
+while the few see in its new conception a striving for personal
+utterance, and find many things in its suggestion.</p>
+
+<p>El Greco stumbled in his methods maybe, never in his purpose, which was,
+it would seem to us, the significance of movement. All his strange<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span>
+skill, the power of his imagination, his new knowledge of colour and
+light, are used in this service, to bring home to us the vision of
+movement that everywhere he saw. Even in his portraits it is this that
+holds us. There is something more in them than the outward likeness;
+there is a power of reaching to and showing us the unquiet spirit
+within. He makes his portraits live and speak. This quality is present
+in all his work. Every picture is built up by its effect; and this
+effect is movement&mdash;life. By concentrating on a particular passage, by a
+contempt for detail and peddling accuracy, he directs our minds to this
+principal thing. His interest, as it were, compels ours; he realises his
+vision and makes us share in his imagination.</p>
+
+<p>But it may be said that in many of these pictures the effect is forced;
+in the ‘St. Maurice,’ the rejected altar-piece of the Escorial, for
+instance, in the ‘Baptism of Christ’ and the ‘Descent of the Holy
+Spirit,’ in the Prado, and in many pictures in Toledo, easily
+recognised, in which realities are replaced by a series of conventions.
+It is not necessary to wait to particularise examples. Certainly one
+does not see in the pictures of other painters those greens, those ashen
+whites and crimsons, those livid blacks; El Greco’s use of colour is
+unusual and his own. Light is not used as he uses it, as a quantity<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span> for
+emotional appeal; those faces, so elongated or contracted, and with such
+extravagant expressions, those figures with hard anatomical outlines, do
+not correspond with life as we see it. Yes, this is true. But look
+longer at these pictures.... Well, would it be possible to gain their
+<i>effects</i> without the <i>defects</i>? If things are forced out of harmony it
+is for the sake of “telling strongly.” All this search for expression is
+done quite consciously. El Greco throughout was strong enough to be true
+to himself and to his imagination. He knew that no system of art is
+final, that the achievements of artists are, in truth, the stones
+wherewith the Temple of Art is built. Imagination does not see
+commonplaces. And we recall the statement of Blake&mdash;he, too, a painter
+of visions of the mind: “He who does not imagine in stronger and better
+lineaments, and in stronger and better light, than his perishing mortal
+eye can see, does not imagine at all.”</p>
+
+<p>El Greco might have said these words.</p>
+
+<p>And the man? There is a portrait Domeniko Theotokopuli has left of
+himself now in the Museum of Seville. In it we see the long, striking
+profile, with its large, strong nose, restless eyes and straight mouth,
+cruel slightly, framed by the great white ruff that forms such fitting
+setting to the fine head. The forehead is high, the dark hair scant upon
+the temples. We may read in<span class="pagenum"><a name="page_155" id="page_155">{155}</a></span> the face, and still more in the perfectly
+shaped hands&mdash;the left holds a square palette upon which are the five
+primary colours, white, black, yellow-ochre, vermilion, and lake, the
+colours he used most frequently&mdash;the fastidiousness of the artist, the
+instinct for beauty; we may read a peculiar suggestion of mysticism and
+ardour; self-assertion, too, and impatience&mdash;both wait in those long,
+nervous fingers. It is a face of genius, but of a kind restless,
+unbalanced, decadent perhaps. And we understand the driving energy that
+burned to fever, so that at times the balance was lost between the
+painter’s aim and the result, and we realise that the work of such a man
+must be introspective, experimental, neurotic.</p>
+
+<p>We know nothing almost of El Greco’s life, and if external happenings
+were all, the most original painter of Spain would remain an unexplained
+personality. His very name is uncertain, and contemporary writers,
+disregarding the Theotokopuli, speak of him as Domeniko Greco. We do not
+know the year in which he was born, for the information given by
+Palomino in “El Museo” must certainly be questioned, no register of his
+birth as yet having been found among the Cretan archives, or in the
+parochial books of the Greek colony in Venice, the city in which it
+seems certain that he lived&mdash;a pupil, we may well think, of Tintoretto,
+rather than of Titian; and this in<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span> spite of the letter of his friend
+and compatriot the miniature-painter, Clovio,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> in which Clovio speaks
+of the young Greek painter’s skill, tells of his coming to Rome, and,
+after commending him to the patronage of the Cardinal Nepote Farnese,
+refers to his having learnt his art from the greatest Venetian. But the
+testimony of his work gives more truth than this statement; his early
+pictures, their authorship so long unknown, again and again have been
+attributed to Tintoretto, to Bassano, to Veronese even, never to Titian.</p>
+
+<p>That El Greco was a Cretan we know by his signature, always in Greek, on
+many pictures, Λομήνικος Θεοτοκόπουλος Κρήσεποίει&mdash;the ‘San<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span> Maurice,’
+in the Escorial, is one. And again, when called, in 1582, by the
+Tribunal of the Inquisition to act as interpreter in the case of a
+Cretan accused of being a Morisco, he describes himself as “Domeniko
+Theotokopuli, native of Candia, painter, resident in Toledo,” as we
+learn from a document discovered by Señor Cossio, to whose research, and
+to that of Señor Foradada and of Señor de Beruete, we owe the few
+discovered facts of El Greco’s life.</p>
+
+<p>We know that Domeniko Greco came to Toledo some time before 1577, and in
+that year he was at work in the convent of Santo Domingo el Antigua,
+where the Church was built and its statues carved by him, and where he
+painted the screens of the fine retablo; that further, he would seem
+never to have left Toledo; that he married there, and had a son, George
+Manuel, who was architect and sculptor to the cathedral from 1628 to his
+death in 1631, and also a daughter, whose portrait figures in several
+pictures&mdash;in ‘Christ Despoiled of his Vestments,’ in the cathedral, for
+one; that he died in Toledo, and was buried in Santo Domingo el Antigua
+on April 7, 1614<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a>
+<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span>
+&mdash;and that is about all. We have record of much
+work&mdash;Toledo still has more than fifty Grecos&mdash;and there were pictures
+painted for the small town of Illescas, and also for Madrid. We read of
+two lawsuits, one undertaken to compel the Cathedral Chapter to pay in
+full for the ‘Expolio,’<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> the second to vindicate the painter’s right
+to sell his pictures without paying the tax levied upon merchandise.
+These lawsuits, his pictures, with their dates and signatures, certain
+contracts and receipts, are the few facts to be reported.</p>
+
+<p>It would seem that this strange, self-contained life wished to be
+silent; for it is perhaps not too fanciful to read this meaning into
+that answer given by El Greco when asked, in connection<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span> with the writ
+served on him for the ‘Expolio,’ whether he had been brought to Toledo
+to paint the retablo of Santo Domingo: “I am neither bound to say why I
+came to this city nor to answer the other questions put to me.” Here we
+gain hints of certain very real traits of character.</p>
+
+<p>And, if the facts of his life are meagre enough, we can find suggestions
+of this same temper, silent, yet passionate, in that visit of Pacheco to
+the Toledan painter when he was old, in 1611, of which we have spoken
+before. Pacheco tells us that El Greco was a student of many things, a
+writer on art, a great philosopher given to witty sayings, a sculptor
+and architect as well as a painter. He writes of much work that<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span> he saw,
+and speaks in particular of a cupboard in which were models in clay of
+each picture El Greco had finished. The two painters talked on many
+subjects, of colour and its supreme quality in painting, of Michael
+Angelo and his failure as a colourist. But in all the account of
+Pacheco, always so minutely laborious, it is significant to note in one
+sentence the impression he formed of Domeniko Greco: “He was in all
+things as singular as in his painting.”</p>
+
+<p>Nor will it do to overlook the testimony of Giuseppe Martinez, whose
+“Practical Letters on the Art of Painting,” though not printed until
+1866, were written a century before. He too speaks of Domeniko Greco as
+of extravagant disposition, and in proof recounts that he engaged
+musicians to play to him that he might “enjoy an additional luxury
+during meals.” The prudent Aragonese condemns this “too much
+ostentation,” but we capture again some fresh clues and hints of this
+strangely effective personality&mdash;a fanatic of life, a fanatic of
+painting.</p>
+
+<p>But we have not settled the account of genius when we have called it
+unusual, fanatic, or decadent. It is the solution of the dull that
+genius is extravagant consciously. El Greco can have had no desire, no
+power, to repeat the easy, the commonplace. If strange, exaggerated
+even, his art is without a trace of affectation. When he<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span> painted a
+vision he felt it natural to symbolise his idea in the way that he did.
+In colour, in form, he painted only what his imagination saw, gaining in
+colour fresh harmonies for himself, and a new suggestion of movement in
+his imaginative compositions, to which our imagination must find answer.</p>
+
+<p>El Greco understood all nature as a Living Presence; his art was a
+series of experiments to express this. And every one must be struck with
+the peculiar development of this special personality in his art from
+stage to stage&mdash;stages that with sufficient accuracy may be divided into
+three periods.</p>
+
+<p>The first is the pupil’s search for truth; the Venetian stage, in which
+we find a consciousness of tradition, showing itself in the
+still-fettered design, in the attitudes of the figures, in the use of
+warm colour, in a flowing quality in the paint, and, especially perhaps,
+in the landscape backgrounds, so Venetian with palaces and marble-paved
+piazzas; yet mingled with all this tradition is an emphatic personality,
+an ardour of expression, very difficult to define, seen in such early
+pictures as ‘The Blind Man,’ in the Parma Gallery, or ‘The Cardinal,’ in
+the National Gallery, both painted before 1577. Over the whole Venetian
+period the influence of Tintoretto is obvious; while the portraits of
+these years<span class="pagenum"><a name="page_162" id="page_162">{162}</a></span> recall in their method the work of the Bassani; and of the
+pre-Spanish pictures, as, for instance, the ‘Cleansing of the
+Temple,’<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a> now in the possession of the Countess of Yarborough, and the
+replica of the same subject on a small scale, in the Cook collection at
+Richmond, Surrey, a picture of real beauty that testifies to El Greco’s
+skill in miniature&mdash;these, and many other works, were thought until
+quite recently to be the work of the Venetians, the first being
+attributed to Paul Veronese, the latter to Tintoretto, and this in spite
+of their marked character.</p>
+
+<p>And the Venetian influence remained in the first years in Toledo. It is
+seen in the beautiful Virgin in the early ‘Assumption,’ painted for the
+central altar-screen of Santo Domingo el Antigua, but now in the
+Prado.<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a> But the chief work of this period is the ‘Christ Despoiled of
+His Vestments,’ still in the sacristy of the cathedral in Toledo, for
+which it was painted in 1577. Here, perhaps, in the fine simplicity of
+the grouping, in the dignity of the inspired head of the Saviour, in the
+rich and strong colour and in the vivid light and shade,<span class="pagenum"><a name="page_163" id="page_163">{163}</a></span> we have the
+best results of all El Greco learnt in Venice. But even in this
+beautiful picture we see the development, or rather the co-existence, of
+his two styles: on the one hand carefully and thoroughly worked-out
+qualities, a balanced art remembered from Venice, but with it all a
+power that was his own, that seized the elements in the picture and gave
+them life&mdash;his life. And again, we have in the excessive height of the
+Christ, in the hands of many of the figures in this picture and in the
+‘Assumption,’ first hints of the special conventions with which the name
+of El Greco is certainly most associated.</p>
+
+<p>We come to the second stage, in which the painter, forgetting tradition,
+seeks to set down his vision in his own way; it is the period of
+experiment, as we see it first in the ‘St. Maurice,’<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> painted in 1581,
+that strange picture, rejected, as we may so well believe, by Philip
+II., who, misunderstanding, as many have done since, the intensity of
+feeling that animates the work, attributed its exaggerated expression to
+madness. Here, and in other pictures of this time, in the seizing
+‘Vision of Philip II.’ and in the ‘St. John the Baptist’ in particular,
+we have splendid<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span> examples of imaginative work. Maybe the details are
+impossible, perhaps absurd&mdash;many have found them so&mdash;but for others the
+inspiration of the painter triumphs, and the longer they gaze at these
+visions the more they are impelled. For, be it remembered, the idea
+should be the starting-point in all imaginative pictures, and should
+control both the design and its treatment, and these Greco’s are
+splendid in this respect. Whether the imagination is exaggerated and
+perverted in wilful experiment, whether from an uncertain technical
+equipment, or whether it is, as we would think, the natural and true
+expression of intense dramatic vision, it is not easy to say. Who shall
+decide whether to call these mad pictures or visions that breathe the
+sublime? That is a question hard to answer in much of El Greco’s
+characteristic work. Perhaps the truth is that we dislike too readily
+what we do not easily understand. El Greco goes back to first principles
+and speaks in symbols with which we are not familiar. Those spectres of
+human kind that surprise us in so many of his pictures in Toledo, in
+those in the Prado, as well as in these two in the Escorial, do not
+suggest life as we see it; but they are inspired&mdash;they do convey his
+meaning. This painter’s method is a real enigma; he essayed surprising
+effects by separating colour into its original values; he used light as
+a means of emotional appeal, giving us some<span class="pagenum"><a name="page_165" id="page_165">{165}</a></span>times most delicate
+harmonies, sometimes discordant contrasts. Domeniko Greco had to teach
+his world to see what he saw, and in this way he came, it may seem to
+some, to over-emphasise what to him was truth.</p>
+
+<p>And his third stage was a fevered expression of his imaginative vision.
+We have entered a new world of extraordinary restlessness, the
+restlessness that must exist when spirit struggles from the bonds of the
+flesh. Toledo, the ardent arid city, burnt fiercely in El Greco’s blood,
+and, more and more, he seems to have felt that it was not enough to
+record facts; to have cared less to give æsthetic pleasure; but that the
+object of his art should be to clothe abstract ideas with life. It is
+something of all this that we find in his later pictures. In each there
+is emphasis&mdash;or, if you like, exaggeration&mdash;of statement; in the
+‘Coronation of the Virgin’ in San José, for instance, a picture that in
+a strange, left-handed way carries us forward to the picture by
+Velazquez<a name="FNanchor_H_8" id="FNanchor_H_8"></a><a href="#Footnote_H_8" class="fnanchor">[H]</a> on the same subject. The exaggeration is equally visible in
+the ‘Assumption’ in San Vicente, more beautiful, and the most
+interesting of these rare visions, a picture in which we have
+movement&mdash;the very sensation of a figure<span class="pagenum"><a name="page_166" id="page_166">{166}</a></span> passing through the air as we
+have, perhaps, in no other picture. It is even stronger in the group of
+pictures in Madrid, the ‘Baptism,’ the ‘Descent of the Holy Spirit,’ the
+‘Resurrection,’ and the ‘Christ Dead in the Arms of God’; it meets us
+again in the ‘St. Joseph with the Child Jesus,’ and in the ‘Virgin and
+Child with Saints Justa and Gertrude,’<a name="FNanchor_I_9" id="FNanchor_I_9"></a><a href="#Footnote_I_9" class="fnanchor">[I]</a> both in San José, the church
+that is the museum of so much of the master’s work&mdash;pictures all similar
+in their intense sentiment; while emphasis burns to a white flame of
+ardent expression in the famed ‘St. John the Baptist,’ the wonderful
+picture of which we have spoken already. It is there, too, in the
+‘Christ Crucified,’ one in the Prado, one in San Nicolas, surely the
+most terrible realisation possible of that scene of sacrifice, in which
+the agony of spirit so outweighs the agony of the flesh, and sky and
+earth seem to take their share in the struggle.</p>
+
+<p>It is impossible to translate the effect of these animated religious
+pictures into words. El Greco was not content to embody the old myths in
+fresh forms, but he gave fresh forms to the ideas that are, as it were,
+the soul of each myth&mdash;that which lives when the form of the stories
+change. Even in his pictures with few figures, such for instance, as the
+‘Mary and Jesus,’ in San Vicente, the<span class="pagenum"><a name="page_167" id="page_167">{167}</a></span> ‘St. Francis,’ of which there are
+four replicas in Toledo, or that earlier picture, a beautiful rendering
+of a difficult theme, ‘La Veronica,’ one of the series painted for the
+Santo Domingo el Antigua in 1575-76, we have this exaggeration. Then,
+sometimes, exaggeration, which in each picture, after all, only
+emphasises the idea, disappears altogether, and we are given figures of
+singular beauty, as the ‘San Martin,’ in San José, or the really fine
+Madonnas&mdash;dark, oval-faced angels that surprise us at times with a
+beauty of type we hardly expect from El Greco. But, as a rule, in the
+pictures of this period, roughly marked by the painting of that
+experimental picture the ‘St. Maurice,’ there is this intensity of
+expression; and especially we find a new, and often strange, use of
+colour; colour, as well as form, being used as a means of dramatic
+statement, with a result that to many is exaggeration. For El Greco
+learnt first, perhaps, from the Venetians, and afterwards certainly in
+Toledo, many new possibilities of colour&mdash;that it has a quality that
+speaks, and further that the appeal of a picture depends first of all on
+the tone of its colour. It is for this reason he used colour as a means
+of emotional appeal; it was another quality by which to convey his idea
+to the world. For El Greco held truly that the province of art is to
+interpret, not to imitate. Every development of his art<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span> seems to have
+come from his own mind, hardly at all from the work of other painters;
+from the first he was true to his ideals. And always his pictures seem
+to be more the work of his soul than of his hand; which, in other words,
+is to say that he was greater as an artist than as a painter.</p>
+
+<p>Domeniko Greco, like so many of the painters of Spain, was great in
+portraiture; and some of his portraits, such as those of Antonio
+Covarrubias and of Juan de Alava, in the Museo de San Juan de Los Reyes,
+that of Cardinal Tavera, in the Hospital de Afuera, the whole series in
+the Prado, and many others not possible to name, are as fine portraits
+as have ever been done in the world. In his earliest portraits even, in
+that of Julio Clovio, in the Museum of Naples, or that of ‘A Student,’ a
+portrait, it well may be, of the young painter himself, we have the
+qualities of his later work; always it is the spirit of his model that
+he seeks.</p>
+
+<p>And this inward interpretation of life is seen, too, in that picture
+which is accounted rightly the most interesting, though not perhaps the
+most typical, of his work, ‘The Burial of Gonzalo Ruiz, Count of Orgaz,’
+still in the Church of Santo Tomé, where it was painted in 1584. Look at
+this gallery of living portraits, all the life of Toledo&mdash;the life of
+Spain&mdash;is reflected back from those ardent faces. In St. Augustine,
+splendid in ecclesiastical robes, is the magnificent<span class="pagenum"><a name="page_169" id="page_169">{169}</a></span> opulence of the
+Catholic Church; in the livid face of the dead count, in the cowled monk
+and two priests is the fervid piety of a people who have felt themselves
+in mystical communion with God; in the young, warm beauty of St. Stephen
+and the lovely acolyte is the full joy and rich colour of Spain; and
+lastly, in the long line of mourners who stand behind the group of the
+principal figures, and where the painter’s own nervous face is the sixth
+portrait counting from the right side, you have types unchanged in
+Castile to-day. And how individual is the rendering of the upper section
+of the picture in which Christ awaits in the heavens the spirit of the
+dead saint. Yes, this picture is one of the greatest pictures in Spain;
+it is always interesting.</p>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span>&nbsp; </p>
+
+<div class="figcenter" id="plt_1"><span class="smcap">Plate</span> 1
+<br />
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>TOLEDO</p>
+
+<p><i>Specially drawn for The Spanish Series</i></p>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
+
+<div class="figcenter" id="plt_2"><span class="smcap">Plate</span> 2
+<br />
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO FROM THE SOUTH-EAST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
+
+<div class="figcenter" id="plt_3"><span class="smcap">Plate</span> 3
+<br />
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF TOLEDO FROM THE SOUTH-EAST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<div class="figcenter" id="plt_4"><span class="smcap">Plate</span> 4
+<br />
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<div class="figcenter" id="plt_5"><span class="smcap">Plate</span> 5
+<br />
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF TOLEDO FROM THE CAMPO DEL REY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p>
+
+<div class="figcenter" id="plt_6"><span class="smcap">Plate</span> 6
+<br />
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
+
+<div class="figcenter" id="plt_7"><span class="smcap">Plate</span> 7
+<br />
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>STATE OF THE RUINS OF THE CIRCO MAXIMO IN THE YEAR 1848, ACCORDING TO
+THE “ALBUM ARTISTICO”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p>
+
+<div class="figcenter" id="plt_8"><span class="smcap">Plate</span> 8
+<br />
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE RIVER TAGUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p>
+
+<div class="figcenter" id="plt_9"><span class="smcap">Plate</span> 9
+<br />
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCANTARA BRIDGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p>
+
+<div class="figcenter" id="plt_10"><span class="smcap">Plate</span> 10
+<br />
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PERSPECTIVE OF ST. MARTIN’S BRIDGE AND THE DIRECTION OF THE FORTIFIED
+LINES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p>
+
+<div class="figcenter" id="plt_11"><span class="smcap">Plate</span> 11
+<br />
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PERSPECTIVE VIEW OF THE SITE OF THE AQUEDUCT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<div class="figcenter" id="plt_12"><span class="smcap">Plate</span> 12
+<br />
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ENVIRONS OF TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<div class="figcenter" id="plt_13"><span class="smcap">Plate</span> 13
+<br />
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PLAZA DE ZOCODOVER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p>
+
+<div class="figcenter" id="plt_14"><span class="smcap">Plate</span> 14
+<br />
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<div class="figcenter" id="plt_15"><span class="smcap">Plate</span> 15
+<br />
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE MARKET-PLACE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<div class="figcenter" id="plt_16"><span class="smcap">Plate</span> 16
+<br />
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE MARKET-PLACE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figcenter" id="plt_17"><span class="smcap">Plate</span> 17
+<br />
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p>
+
+<div class="figcenter" id="plt_18"><span class="smcap">Plate</span> 18
+<br />
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p>
+
+<div class="figcenter" id="plt_19"><span class="smcap">Plate</span> 19
+<br />
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p>
+
+<div class="figcenter" id="plt_20"><span class="smcap">Plate</span> 20
+<br />
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<div class="figcenter" id="plt_21"><span class="smcap">Plate</span> 21
+<br />
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<div class="figcenter" id="plt_22"><span class="smcap">Plate</span> 22
+<br />
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<div class="figcenter" id="plt_23"><span class="smcap">Plate</span> 23
+<br />
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
+
+<div class="figcenter" id="plt_24"><span class="smcap">Plate</span> 24
+<br />
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p>
+
+<div class="figcenter" id="plt_25"><span class="smcap">Plate</span> 25
+<br />
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISAGRA GATE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p>
+
+<div class="figcenter" id="plt_26"><span class="smcap">Plate</span> 26
+<br />
+<a href="images/plt_026.jpg">
+<img src="images/plt_026.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p>
+
+<div class="figcenter" id="plt_27"><span class="smcap">Plate</span> 27
+<br />
+<a href="images/plt_027.jpg">
+<img src="images/plt_027.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p>
+
+<div class="figcenter" id="plt_28"><span class="smcap">Plate</span> 28
+<br />
+<a href="images/plt_028.jpg">
+<img src="images/plt_028.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p>
+
+<div class="figcenter" id="plt_29"><span class="smcap">Plate</span> 29
+<br />
+<a href="images/plt_029-a.jpg">
+<img src="images/plt_029-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCANTARA GATE</p>
+
+<br />
+<a href="images/plt_029-b.jpg">
+<img src="images/plt_029-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCANTARA PORTAL AND BRIDGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
+
+<div class="figcenter" id="plt_30"><span class="smcap">Plate</span> 30
+<br />
+<a href="images/plt_030.jpg">
+<img src="images/plt_030.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE NORTHERN CITY WALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<div class="figcenter" id="plt_31"><span class="smcap">Plate</span> 31
+<br />
+<a href="images/plt_031.jpg">
+<img src="images/plt_031.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FORTIFICATIONS OF THE OLD BRIDGE OF BOATS, REPLACED BY THE BRIDGE OF ST.
+MARTIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p>
+
+<div class="figcenter" id="plt_32"><span class="smcap">Plate</span> 32
+<br />
+<a href="images/plt_032.jpg">
+<img src="images/plt_032.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE CITY WALLS OF “AL-HIZÉM,” FROM THE GATE OF THE DOCE
+CANTOS TO THE “PLAZA DE ARMAS” OF THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
+
+<div class="figcenter" id="plt_33"><span class="smcap">Plate</span> 33
+<br />
+<a href="images/plt_033.jpg">
+<img src="images/plt_033.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE CITY WALLS, SOUTH-WEST, REBUILT AT THE TIME OF THE
+RECONQUEST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<div class="figcenter" id="plt_34"><span class="smcap">Plate</span> 34
+<br />
+<a href="images/plt_034.jpg">
+<img src="images/plt_034.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
+
+<div class="figcenter" id="plt_35"><span class="smcap">Plate</span> 35
+<br />
+<a href="images/plt_035-a.jpg">
+<img src="images/plt_035-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE ROMAN RAMPART OF THE FIRST ENCLOSURE OF THE CITY. (PLAZA
+DE ARMAS DEL PUENTE DE ALCANTARA)</p>
+
+<br />
+<a href="images/plt_035-b.jpg">
+<img src="images/plt_035-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CAPITAL TRANSFORMED INTO A FOUNTAIN BASIN. (No. 9 CALLEJON DE
+LA LAMPARILLA)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
+
+<div class="figcenter" id="plt_36"><span class="smcap">Plate</span> 36
+<br />
+<a href="images/plt_036-a.jpg">
+<img src="images/plt_036-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL ENTRANCE TO THE HOUSE OF THE BATHS OF ABEN-YA-YIX BAJADA AL
+COLEGIO DEL INFANTES</p>
+
+<br />
+<a href="images/plt_036-b.jpg">
+<img src="images/plt_036-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>SEPULCHRAL ARCH OF THE INFANTE DON FERNANDO PEREZ IN THE BELEN CHAPEL IN
+THE CONVENT OF THE COMENDADORA DE SANTIAGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<div class="figcenter" id="plt_37"><span class="smcap">Plate</span> 37
+<br />
+<a href="images/plt_037.jpg">
+<img src="images/plt_037.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>RUINS OF POLAN CASTLE. FOURTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<div class="figcenter" id="plt_38"><span class="smcap">Plate</span> 38
+<br />
+<a href="images/plt_038.jpg">
+<img src="images/plt_038.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GUADAMAR CASTLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<div class="figcenter" id="plt_39"><span class="smcap">Plate</span> 39
+<br />
+<a href="images/plt_039.jpg">
+<img src="images/plt_039.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p>
+
+<div class="figcenter" id="plt_40"><span class="smcap">Plate</span> 40
+<br />
+<a href="images/plt_040-a.jpg">
+<img src="images/plt_040-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE EXTERIOR WALLS</p>
+<br />
+<a href="images/plt_040-b.jpg">
+<img src="images/plt_040-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>REMAINS OF THE FORTIFICATIONS IN THE JEWISH SUBURB</p>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<div class="figcenter" id="plt_41"><span class="smcap">Plate</span> 41
+<br />
+<a href="images/plt_041-a.jpg">
+<img src="images/plt_041-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF THE “ALMOFALA” (BIB-AL-MOJADHA) REBUILT IN THE FOURTEENTH
+CENTURY</p>
+<br />
+<a href="images/plt_041-b.jpg">
+<img src="images/plt_041-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>“THE ABBOT’S TOWER” IN THE NORTHERN WALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" id="plt_42"><span class="smcap">Plate</span> 42
+<br />
+<a href="images/plt_042-a.jpg">
+<img src="images/plt_042-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<a href="images/plt_042-b.jpg">
+<img src="images/plt_042-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>RUINS OF THE AQUARIA TOWER, COMMONLY CALLED “HORNO DEL VIDRIO”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
+
+<div class="figcenter" id="plt_43"><span class="smcap">Plate</span> 43
+<br />
+<a href="images/plt_043-a.jpg">
+<img src="images/plt_043-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE AQUEDUCT (LEFT BANK OF THE RIVER)</p>
+<br />
+<a href="images/plt_043-b.jpg">
+<img src="images/plt_043-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>REMAINS OF THE AQUEDUCT (RIGHT BANK OF THE RIVER)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<div class="figcenter" id="plt_44"><span class="smcap">Plate</span> 44
+<br />
+<a href="images/plt_044.jpg">
+<img src="images/plt_044.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE ROMAN CONSTRUCTION IN THE TOWER OF THE PLAZA DE ARMAS OF
+THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<div class="figcenter" id="plt_45"><span class="smcap">Plate</span> 45
+<br />
+<a href="images/plt_045.jpg">
+<img src="images/plt_045.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p>
+
+<div class="figcenter" id="plt_46"><span class="smcap">Plate</span> 46
+<br />
+<a href="images/plt_046.jpg">
+<img src="images/plt_046.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EAST SIDE OF THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<div class="figcenter" id="plt_47"><span class="smcap">Plate</span> 47
+<br />
+<a href="images/plt_047.jpg">
+<img src="images/plt_047.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>POSTERIOR FAÇADE OF THE DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
+
+<div class="figcenter" id="plt_48"><span class="smcap">Plate</span> 48
+<br />
+<a href="images/plt_048.jpg">
+<img src="images/plt_048.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA. ANTERIOR FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p>
+
+<div class="figcenter" id="plt_49"><span class="smcap">Plate</span> 49
+<br />
+<a href="images/plt_049.jpg">
+<img src="images/plt_049.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCANTARA GATE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
+
+<div class="figcenter" id="plt_50"><span class="smcap">Plate</span> 50
+<br />
+<a href="images/plt_050.jpg">
+<img src="images/plt_050.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COMMEMORATIVE INSCRIPTION IN THE AVENUE OF THE DEFENSIVE TOWER OF THE
+BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<div class="figcenter" id="plt_51"><span class="smcap">Plate</span> 51
+<br />
+<a href="images/plt_051-a.jpg">
+<img src="images/plt_051-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COAT OF ARMS OF THE CATHOLIC SOVEREIGNS IN FRONT OF THE DEFENSIVE TOWER
+OF THE BRIDGE OF ALCANTARA</p>
+<br />
+<a href="images/plt_051-b.jpg">
+<img src="images/plt_051-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>“THE KHALIF’S CAPITALS” AT No. 13 CALLE DEL COLISEO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<div class="figcenter" id="plt_52"><span class="smcap">Plate</span> 52
+<br />
+<a href="images/plt_052.jpg">
+<img src="images/plt_052.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PERSPECTIVE OF THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<div class="figcenter" id="plt_53"><span class="smcap">Plate</span> 53
+<br />
+<a href="images/plt_053.jpg">
+<img src="images/plt_053.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MARTIN’S BRIDGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p>
+
+<div class="figcenter" id="plt_54"><span class="smcap">Plate</span> 54
+<br />
+<a href="images/plt_054-a.jpg">
+<img src="images/plt_054-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MARTIN’S BRIDGE</p>
+<br />
+<a href="images/plt_054-b.jpg">
+<img src="images/plt_054-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>FAÇADE OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
+
+<div class="figcenter" id="plt_55"><span class="smcap">Plate</span> 55
+<br />
+<a href="images/plt_055-a.jpg">
+<img src="images/plt_055-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DEFENSIVE TOWERS AT THE ENTRANCE OF ST. MARTIN’S BRIDGE AND THE TOWN</p>
+<br />
+<a href="images/plt_055-b.jpg">
+<img src="images/plt_055-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>RESTORED POSTERIOR FAÇADE OF THE ARCH DE LA SANGRE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<div class="figcenter" id="plt_56"><span class="smcap">Plate</span> 56
+<br />
+<a href="images/plt_056.jpg">
+<img src="images/plt_056.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE AQUEDUCT (RIGHT BANK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<div class="figcenter" id="plt_57"><span class="smcap">Plate</span> 57
+<br />
+<a href="images/plt_057.jpg">
+<img src="images/plt_057.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EAST SIDE OF ST. MARTIN’S BRIDGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
+
+<div class="figcenter" id="plt_58"><span class="smcap">Plate</span> 58
+<br />
+<a href="images/plt_058-a.jpg">
+<img src="images/plt_058-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE BRIDGE</p>
+<br />
+<a href="images/plt_058-b.jpg">
+<img src="images/plt_058-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE HIGHWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
+
+<div class="figcenter" id="plt_59"><span class="smcap">Plate</span> 59
+<br />
+<a href="images/plt_059.jpg">
+<img src="images/plt_059.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MALBARDÓN GATE. ELEVENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p>
+
+<div class="figcenter" id="plt_60"><span class="smcap">Plate</span> 60
+<br />
+<a href="images/plt_060.jpg">
+<img src="images/plt_060.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISAGRA GATE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p>
+
+<div class="figcenter" id="plt_61"><span class="smcap">Plate</span> 61
+<br />
+<a href="images/plt_061.jpg">
+<img src="images/plt_061.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>UPPER PART OF THE VISAGRA GATE. BUILT IN 1550</p>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<div class="figcenter" id="plt_62"><span class="smcap">Plate</span> 62
+<br />
+<a href="images/plt_062.jpg">
+<img src="images/plt_062.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER IN THE CITY WALLS OF “THE SUBURB OF SAN ISIDORO,” NEAR THE NEW
+BRIDGE OF VISAGRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<div class="figcenter" id="plt_63"><span class="smcap">Plate</span> 63
+<br />
+<a href="images/plt_063-a.jpg">
+<img src="images/plt_063-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HYDRAULIC MACHINE AND REMAINS OF THE WALLS IN THE QUARTER OF THE
+CURTIDORES, NEAR THE RIVER</p>
+<br />
+<a href="images/plt_063-b.jpg">
+<img src="images/plt_063-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>WALLS OF THE SUBURB OF SAN ISIDORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" id="plt_64"><span class="smcap">Plate</span> 64
+<br />
+<a href="images/plt_064.jpg">
+<img src="images/plt_064.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<div class="figcenter" id="plt_65"><span class="smcap">Plate</span> 65
+<br />
+<a href="images/plt_065.jpg">
+<img src="images/plt_065.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA. THE SIDE WHICH JOINS THE WALL AND THE SIDE
+DEFENSIVE TOWER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span></p>
+
+<div class="figcenter" id="plt_66"><span class="smcap">Plate</span> 66
+<br />
+<a href="images/plt_066.jpg">
+<img src="images/plt_066.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA. DEFENSIVE AND SIDE TOWER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span></p>
+
+<div class="figcenter" id="plt_67"><span class="smcap">Plate</span> 67
+<br />
+<a href="images/plt_067.jpg">
+<img src="images/plt_067.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA. REMAINS OF THE EASTERN FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span></p>
+
+<div class="figcenter" id="plt_68"><span class="smcap">Plate</span> 68
+<br />
+<a href="images/plt_068-a.jpg">
+<img src="images/plt_068-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE PRINCIPAL FAÇADE OF THE OLD GATE OF VISAGRA</p>
+<br />
+<a href="images/plt_068-b.jpg">
+<img src="images/plt_068-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>INTERIOR OF THE OLD GATE OF VISAGRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p>
+
+<div class="figcenter" id="plt_69"><span class="smcap">Plate</span> 69
+<br />
+<a href="images/plt_069.jpg">
+<img src="images/plt_069.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span></p>
+
+<div class="figcenter" id="plt_70"><span class="smcap">Plate</span> 70
+<br />
+<a href="images/plt_070.jpg">
+<img src="images/plt_070.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE TOWER CALLED “PUERTA BAJA DE LA HERRERIA,” NOW “GATE OF THE SUN”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
+
+<div class="figcenter" id="plt_71"><span class="smcap">Plate</span> 71
+<br />
+<a href="images/plt_071.jpg">
+<img src="images/plt_071.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CASTLE OF SAN SERVANDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" id="plt_72"><span class="smcap">Plate</span> 72
+<br />
+<a href="images/plt_072-a.jpg">
+<img src="images/plt_072-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CASTLE OF SAN SERVANDO. ANCIENT ENTRANCE IN THE WEST FAÇADE</p>
+<br />
+<a href="images/plt_072-b.jpg">
+<img src="images/plt_072-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>CASTLE OF SAN SERVANDO. SOUTH-EAST ANGLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" id="plt_73"><span class="smcap">Plate</span> 73
+<br />
+<a href="images/plt_073.jpg">
+<img src="images/plt_073.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF THE CASTLE IN SAN SERVANDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" id="plt_74"><span class="smcap">Plate</span> 74
+<br />
+<a href="images/plt_074.jpg">
+<img src="images/plt_074.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF VALMADRON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<div class="figcenter" id="plt_75"><span class="smcap">Plate</span> 75
+<br />
+<a href="images/plt_075.jpg">
+<img src="images/plt_075.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF CAMBRÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<div class="figcenter" id="plt_76"><span class="smcap">Plate</span> 76
+<br />
+<a href="images/plt_076.jpg">
+<img src="images/plt_076.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BAÑO DE LA CAVA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p>
+
+<div class="figcenter" id="plt_77"><span class="smcap">Plate</span> 77
+<br />
+<a href="images/plt_077.jpg">
+<img src="images/plt_077.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE TO CAVA BATHS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
+
+<div class="figcenter" id="plt_78"><span class="smcap">Plate</span> 78
+<br />
+<a href="images/plt_078.jpg">
+<img src="images/plt_078.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>RUINS OF THE TOWER OF THE OLD BRIDGE OF BOATS, CALLED “BAÑO DE LA
+CAVA”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p>
+
+<div class="figcenter" id="plt_79"><span class="smcap">Plate</span> 79
+<br />
+<a href="images/plt_079.jpg">
+<img src="images/plt_079.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CONVENT OF SANTA FE.</p>
+
+<p>ELEVENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span></p>
+
+<div class="figcenter" id="plt_80"><span class="smcap">Plate</span> 80
+<br />
+<a href="images/plt_080.jpg">
+<img src="images/plt_080.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>WEST PORTAL IN THE OLD HERMITAGE, NOW THE INN OF SANTA ANA, ON THE SISLA
+ROAD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span></p>
+
+<div class="figcenter" id="plt_81"><span class="smcap">Plate</span> 81
+<br />
+<a href="images/plt_081.jpg">
+<img src="images/plt_081.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SAN JUSTO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<div class="figcenter" id="plt_82"><span class="smcap">Plate</span> 82
+<br />
+<a href="images/plt_082.jpg">
+<img src="images/plt_082.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE CHURCH OF SAN JUSTO.</p>
+
+<p>FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<div class="figcenter" id="plt_83"><span class="smcap">Plate</span> 83
+<br />
+<a href="images/plt_083.jpg">
+<img src="images/plt_083.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE CHAPEL OF SANTOS JUSTO AND PASTOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<div class="figcenter" id="plt_84"><span class="smcap">Plate</span> 84
+<br />
+<a href="images/plt_084.jpg">
+<img src="images/plt_084.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EFFIGIES OF JUAN GUAS, ARCHITECT OF SAN JUAN DE LOS REYES, AND OF HIS
+SON. CHAPEL OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p>
+
+<div class="figcenter" id="plt_85"><span class="smcap">Plate</span> 85
+<br />
+<a href="images/plt_085.jpg">
+<img src="images/plt_085.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EFFIGIES OF MARI ALVARES, WIFE OF JUAN GUAS, AND OF HER DAUGHTER. CHAPEL
+OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span></p>
+
+<div class="figcenter" id="plt_86"><span class="smcap">Plate</span> 86
+<br />
+<a href="images/plt_086.jpg">
+<img src="images/plt_086.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF THE TORNERIAS. EXTERIOR OF THE SOUTH FAÇADE, SOUTH-WEST
+ANGLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<div class="figcenter" id="plt_87"><span class="smcap">Plate</span> 87
+<br />
+<a href="images/plt_087.jpg">
+<img src="images/plt_087.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE MOSQUE DE LAS TORNERIAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p>
+
+<div class="figcenter" id="plt_88"><span class="smcap">Plate</span> 88
+<br />
+<a href="images/plt_088.jpg">
+<img src="images/plt_088.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH OF THE “KIBLÁH” IN THE MOSQUE DE LAS TORNERIAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p>
+
+<div class="figcenter" id="plt_89"><span class="smcap">Plate</span> 89
+<br />
+<a href="images/plt_089-a.jpg">
+<img src="images/plt_089-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF THE TORNERIAS. TREFOIL ARCHED WINDOW</p>
+<br />
+<a href="images/plt_089-b.jpg">
+<img src="images/plt_089-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>MOSQUE OF THE TORNERIAS. HORSE-SHOE WINDOW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p>
+
+<div class="figcenter" id="plt_90"><span class="smcap">Plate</span> 90
+<br />
+<a href="images/plt_090-a.jpg">
+<img src="images/plt_090-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF THE TORNERIAS. ARCHED WINDOW</p>
+<br />
+<a href="images/plt_090-b.jpg">
+<img src="images/plt_090-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>MOSQUE OF THE TORNERIAS. RECTANGULAR WINDOW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p>
+
+<div class="figcenter" id="plt_91"><span class="smcap">Plate</span> 91
+<br />
+<a href="images/plt_091.jpg">
+<img src="images/plt_091.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE DE LAS TORNERIAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<div class="figcenter" id="plt_92"><span class="smcap">Plate</span> 92
+<br />
+<a href="images/plt_092.jpg">
+<img src="images/plt_092.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF THE TORNERIAS, BUILT OVER ROMAN REMAINS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<div class="figcenter" id="plt_93"><span class="smcap">Plate</span> 93
+<br />
+<a href="images/plt_093.jpg">
+<img src="images/plt_093.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SUPPOSED ELEVATION OF THE MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" id="plt_94"><span class="smcap">Plate</span> 94
+<br />
+<a href="images/plt_094.jpg">
+<img src="images/plt_094.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SUPPOSED PLAN OF THE MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<div class="figcenter" id="plt_95"><span class="smcap">Plate</span> 95
+<br />
+<a href="images/plt_095.jpg">
+<img src="images/plt_095.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ACTUAL SITUATION OF THE NORTH-EAST FAÇADE OF THE ANCIENT MOSQUE OF
+BIB-AL-MARDÓM, A TRANSEPT AND <i>MUDEJAR</i> APSIS OF THE HERMITAGE OF SANTO
+CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span></p>
+
+<div class="figcenter" id="plt_96"><span class="smcap">Plate</span> 96
+<br />
+<a href="images/plt_096.jpg">
+<img src="images/plt_096.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO AND
+LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (RIGHT SIDE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<div class="figcenter" id="plt_97"><span class="smcap">Plate</span> 97
+<br />
+<a href="images/plt_097.jpg">
+<img src="images/plt_097.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO OF
+LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (LEFT SIDE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<div class="figcenter" id="plt_98"><span class="smcap">Plate</span> 98
+<br />
+<a href="images/plt_098.jpg">
+<img src="images/plt_098.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL NAVE IN THE MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<div class="figcenter" id="plt_99"><span class="smcap">Plate</span> 99
+<br />
+<a href="images/plt_099-a.jpg">
+<img src="images/plt_099-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH IN THE SOUTHERN INTERIOR OF THE MOSQUE OF BIB-AL-MARDÓM</p>
+<br />
+<a href="images/plt_099-b.jpg">
+<img src="images/plt_099-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>ACTUAL ENTRANCE TO THE CASTLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p>
+
+<div class="figcenter" id="plt_100"><span class="smcap">Plate</span> 100
+<br />
+<a href="images/plt_100-a.jpg">
+<img src="images/plt_100-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF BIB-AL-MARDÓM. ARCH IN THE INTERIOR WALL, SOUTH-WEST ANGLE</p>
+<br />
+<a href="images/plt_100-b.jpg">
+<img src="images/plt_100-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>DETAIL OF THE NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p>
+
+<div class="figcenter" id="plt_101"><span class="smcap">Plate</span> 101
+<br />
+<a href="images/plt_101-a.jpg">
+<img src="images/plt_101-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BIB-AL-MARDÓM. “ARCH OF THE CROSS”</p>
+<br />
+<a href="images/plt_101-b.jpg">
+<img src="images/plt_101-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>INTERIOR FAÇADE</p>
+
+<p>EXTERIOR FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p>
+
+<div class="figcenter" id="plt_102"><span class="smcap">Plate</span> 102
+<br />
+<a href="images/plt_102.jpg">
+<img src="images/plt_102.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p>
+
+<div class="figcenter" id="plt_103"><span class="smcap">Plate</span> 103
+<br />
+<a href="images/plt_103.jpg">
+<img src="images/plt_103.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM (HERMITAGE OF SANTO
+CRISTO DE LA LUZ), DISCOVERED IN FEBRUARY 1899</p>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<div class="figcenter" id="plt_104"><span class="smcap">Plate</span> 104
+<br />
+<a href="images/plt_104.jpg">
+<img src="images/plt_104.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE EPIGRAPHIC MEDALLION ON THE NORTH-WEST FAÇADE OF THE MOSQUE OF
+BIB-AL-MARDÓM (HERMITAGE OF SANTO CRISTO DE LA LUZ), REBUILT IN THE YEAR
+370 AFTER THE HEGIRA (<small>A.D.</small> 980)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<div class="figcenter" id="plt_105"><span class="smcap">Plate</span> 105
+<br />
+<a href="images/plt_105-a.jpg">
+<img src="images/plt_105-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CAPITAL IN THE OLD MOORISH PARISH CHURCH OF SAN SEBASTIAN</p>
+<br />
+<a href="images/plt_105-b.jpg">
+<img src="images/plt_105-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VISIGOTH BASE WHICH SERVES AS A CAPITAL IN THE OLD MOORISH PARISH CHURCH
+OF SAN SEBASTIAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p>
+
+<div class="figcenter" id="plt_106"><span class="smcap">Plate</span> 106
+<br />
+<a href="images/plt_106.jpg">
+<img src="images/plt_106.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<div class="figcenter" id="plt_107"><span class="smcap">Plate</span> 107
+<br />
+<a href="images/plt_107.jpg">
+<img src="images/plt_107.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE HERMITAGE OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p>
+
+<div class="figcenter" id="plt_108"><span class="smcap">Plate</span> 108
+<br />
+<a href="images/plt_108.jpg">
+<img src="images/plt_108.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
+
+<div class="figcenter" id="plt_109"><span class="smcap">Plate</span> 109
+<br />
+<a href="images/plt_109.jpg">
+<img src="images/plt_109.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<div class="figcenter" id="plt_110"><span class="smcap">Plate</span> 110
+<br />
+<a href="images/plt_110.jpg">
+<img src="images/plt_110.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<div class="figcenter" id="plt_111"><span class="smcap">Plate</span> 111
+<br />
+<a href="images/plt_111.jpg">
+<img src="images/plt_111.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT MOSQUE, NOW THE HERMITAGE OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p>
+
+<div class="figcenter" id="plt_112"><span class="smcap">Plate</span> 112
+<br />
+<a href="images/plt_112.jpg">
+<img src="images/plt_112.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE HERMITAGE OF SANTO CRISTO DE LA LUZ, AND TOWERS OF
+VARIOUS CHURCHES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<div class="figcenter" id="plt_113"><span class="smcap">Plate</span> 113
+<br />
+<a href="images/plt_113.jpg">
+<img src="images/plt_113.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE TRANSITO (SYNAGOGUE), BUILT IN 1360 AT THE EXPENSE OF
+SAMUEL LEVI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
+
+<div class="figcenter" id="plt_114"><span class="smcap">Plate</span> 114
+<br />
+<a href="images/plt_114.jpg">
+<img src="images/plt_114.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE INTERIOR DECORATION OF THE CHURCH OF THE TRANSITO
+(ANCIENT SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figcenter" id="plt_115"><span class="smcap">Plate</span> 115
+<br />
+<a href="images/plt_115.jpg">
+<img src="images/plt_115.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE INTERIOR DECORATION OE THE CHURCH OF THE TRANSITO
+(ANCIENT SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<div class="figcenter" id="plt_116"><span class="smcap">Plate</span> 116
+<br />
+<a href="images/plt_116.jpg">
+<img src="images/plt_116.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE TRANSITO (SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" id="plt_117"><span class="smcap">Plate</span> 117
+<br />
+<a href="images/plt_117.jpg">
+<img src="images/plt_117.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE TRANSITO (SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<div class="figcenter" id="plt_118"><span class="smcap">Plate</span> 118
+<br />
+<a href="images/plt_118.jpg">
+<img src="images/plt_118.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE TRANSITO (SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<div class="figcenter" id="plt_119"><span class="smcap">Plate</span> 119
+<br />
+<a href="images/plt_119.jpg">
+<img src="images/plt_119.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE ARCH IN THE BUILDING CALLED TALLER DEL MORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<div class="figcenter" id="plt_120"><span class="smcap">Plate</span> 120
+<br />
+<a href="images/plt_120.jpg">
+<img src="images/plt_120.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF DECORATION IN THE MOORISH WORKSHOP</p>
+</div>
+
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p>
+
+<div class="figcenter" id="plt_121"><span class="smcap">Plate</span> 121
+<br />
+<a href="images/plt_121.jpg">
+<img src="images/plt_121.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PALACE OF THE AYALAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<div class="figcenter" id="plt_122"><span class="smcap">Plate</span> 122
+<br />
+<a href="images/plt_122.jpg">
+<img src="images/plt_122.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PALACE OF THE AYALAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<div class="figcenter" id="plt_123"><span class="smcap">Plate</span> 123
+<br />
+<a href="images/plt_123.jpg">
+<img src="images/plt_123.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE CHAPEL OF SANTO CRISTO DE LA VEGA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" id="plt_124"><span class="smcap">Plate</span> 124
+<br />
+<a href="images/plt_124.jpg">
+<img src="images/plt_124.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR AND EXTERIOR OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" id="plt_125"><span class="smcap">Plate</span> 125
+<br />
+<a href="images/plt_125.jpg">
+<img src="images/plt_125.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SECTIONS AND DETAILS OF THE ANCIENT SYNAGOGUE, NOW THE CHURCH OF SANTA
+MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" id="plt_126"><span class="smcap">Plate</span> 126
+<br />
+<a href="images/plt_126.jpg">
+<img src="images/plt_126.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PART OF THE LONGITUDINAL SECTION OF THE ANCIENT SYNAGOGUE, NOW THE
+CHURCH OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<div class="figcenter" id="plt_127"><span class="smcap">Plate</span> 127
+<br />
+<a href="images/plt_127.jpg">
+<img src="images/plt_127.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p>
+
+<div class="figcenter" id="plt_128"><span class="smcap">Plate</span> 128
+<br />
+<a href="images/plt_128.jpg">
+<img src="images/plt_128.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<div class="figcenter" id="plt_129"><span class="smcap">Plate</span> 129
+<br />
+<a href="images/plt_129.jpg">
+<img src="images/plt_129.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<div class="figcenter" id="plt_130"><span class="smcap">Plate</span> 130
+<br />
+<a href="images/plt_130.jpg">
+<img src="images/plt_130.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CÁRCEL DE SANTA HERMANDAD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<div class="figcenter" id="plt_131"><span class="smcap">Plate</span> 131
+<br />
+<a href="images/plt_131.jpg">
+<img src="images/plt_131.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A GOTHIC DOORWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<div class="figcenter" id="plt_132"><span class="smcap">Plate</span> 132
+<br />
+<a href="images/plt_132.jpg">
+<img src="images/plt_132.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A DOORWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<div class="figcenter" id="plt_133"><span class="smcap">Plate</span> 133
+<br />
+<a href="images/plt_133.jpg">
+<img src="images/plt_133.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MICHAEL’S TOWER. FOURTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p>
+
+<div class="figcenter" id="plt_134"><span class="smcap">Plate</span> 134
+<br />
+<a href="images/plt_134.jpg">
+<img src="images/plt_134.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE OF THE TOLEDOS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p>
+
+<div class="figcenter" id="plt_135"><span class="smcap">Plate</span> 135
+<br />
+<a href="images/plt_135.jpg">
+<img src="images/plt_135.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" id="plt_136"><span class="smcap">Plate</span> 136
+<br />
+<a href="images/plt_136.jpg">
+<img src="images/plt_136.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<div class="figcenter" id="plt_137"><span class="smcap">Plate</span> 137
+<br />
+<a href="images/plt_137.jpg">
+<img src="images/plt_137.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<div class="figcenter" id="plt_138"><span class="smcap">Plate</span> 138
+<br />
+<a href="images/plt_138.jpg">
+<img src="images/plt_138.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" id="plt_139"><span class="smcap">Plate</span> 139
+<br />
+<a href="images/plt_139.jpg">
+<img src="images/plt_139.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" id="plt_140"><span class="smcap">Plate</span> 140
+<br />
+<a href="images/plt_140.jpg">
+<img src="images/plt_140.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE FOUNTAIN OF CALERAHIGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<div class="figcenter" id="plt_141"><span class="smcap">Plate</span> 141
+<br />
+<a href="images/plt_141.jpg">
+<img src="images/plt_141.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARAB DETAILS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p>
+
+<div class="figcenter" id="plt_142"><span class="smcap">Plate</span> 142
+<br />
+<a href="images/plt_142.jpg">
+<img src="images/plt_142.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CROWNS AND CROSSES OF GUARRAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<div class="figcenter" id="plt_143"><span class="smcap">Plate</span> 143
+<br />
+<a href="images/plt_143.jpg">
+<img src="images/plt_143.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CROWNS AND CROSSES OF GUARRAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<div class="figcenter" id="plt_144"><span class="smcap">Plate</span> 144
+<br />
+<a href="images/plt_144.jpg">
+<img src="images/plt_144.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CROWNS AND CROSSES FOUND AT TOLEDO AND NOW IN THE ROYAL ARMOURY
+AT MADRID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
+
+<div class="figcenter" id="plt_145"><span class="smcap">Plate</span> 145
+<br />
+<a href="images/plt_145-a.jpg">
+<img src="images/plt_145-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN PEDRO MARTIN</p>
+<br />
+<a href="images/plt_145-b.jpg">
+<img src="images/plt_145-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>CALLE DE SANTO TOMÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
+
+<div class="figcenter" id="plt_146"><span class="smcap">Plate</span> 146
+<br />
+<a href="images/plt_146.jpg">
+<img src="images/plt_146.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCAZAR ROYAL PALACE. REPRODUCTION OF THE ENGRAVING MADE IN 1566 FOR
+BRAUN’S “CIVITATES ORBI TERRARUM”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
+
+<div class="figcenter" id="plt_147"><span class="smcap">Plate</span> 147
+<br />
+<a href="images/plt_147.jpg">
+<img src="images/plt_147.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PERSPECTIVE OF THE ALCAZAR IN 1845. EAST AND NORTH FAÇADES. REPRODUCTION
+OF AN ENGRAVING IN THE WORK “TOLEDO PINTORESCA”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p>
+
+<div class="figcenter" id="plt_148"><span class="smcap">Plate</span> 148
+<br />
+<a href="images/plt_148.jpg">
+<img src="images/plt_148.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. TAKEN FROM THE PLAZA DE ZOCODOVER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<div class="figcenter" id="plt_149"><span class="smcap">Plate</span> 149
+<br />
+<a href="images/plt_149.jpg">
+<img src="images/plt_149.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SOUTH FAÇADE OF THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<div class="figcenter" id="plt_150"><span class="smcap">Plate</span> 150
+<br />
+<a href="images/plt_150.jpg">
+<img src="images/plt_150.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. WEST FAÇADE AFTER THE LATEST RESTORATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p>
+
+<div class="figcenter" id="plt_151"><span class="smcap">Plate</span> 151
+<br />
+<a href="images/plt_151.jpg">
+<img src="images/plt_151.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p>
+
+<div class="figcenter" id="plt_152"><span class="smcap">Plate</span> 152
+<br />
+<a href="images/plt_152.jpg">
+<img src="images/plt_152.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCAZAR. PRINCIPAL FAÇADE ON THE NORTH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p>
+
+<div class="figcenter" id="plt_153"><span class="smcap">Plate</span> 153
+<br />
+<a href="images/plt_153.jpg">
+<img src="images/plt_153.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. EAST FAÇADE, AFTER THE LATEST RESTORATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p>
+
+<div class="figcenter" id="plt_154"><span class="smcap">Plate</span> 154
+<br />
+<a href="images/plt_154.jpg">
+<img src="images/plt_154.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" id="plt_155"><span class="smcap">Plate</span> 155
+<br />
+<a href="images/plt_155.jpg">
+<img src="images/plt_155.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. THE PRINCIPAL STAIRCASE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<div class="figcenter" id="plt_156"><span class="smcap">Plate</span> 156
+<br />
+<a href="images/plt_156.jpg">
+<img src="images/plt_156.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. PRINCIPAL NORTH PORTAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p>
+
+<div class="figcenter" id="plt_157"><span class="smcap">Plate</span> 157
+<br />
+<a href="images/plt_157.jpg">
+<img src="images/plt_157.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. COURT AND PLAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<div class="figcenter" id="plt_158"><span class="smcap">Plate</span> 158
+<br />
+<a href="images/plt_158.jpg">
+<img src="images/plt_158.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
+
+<div class="figcenter" id="plt_159"><span class="smcap">Plate</span> 159
+<br />
+<a href="images/plt_159.jpg">
+<img src="images/plt_159.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT IN THE ALCAZAR. AFTER THE LATEST RESTORATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p>
+
+<div class="figcenter" id="plt_160"><span class="smcap">Plate</span> 160
+<br />
+<a href="images/plt_160.jpg">
+<img src="images/plt_160.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. PLAN AND DETAILS. NORTH FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<div class="figcenter" id="plt_161"><span class="smcap">Plate</span> 161
+<br />
+<a href="images/plt_161.jpg">
+<img src="images/plt_161.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE NORTH FAÇADE OF THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<div class="figcenter" id="plt_162"><span class="smcap">Plate</span> 162
+<br />
+<a href="images/plt_162.jpg">
+<img src="images/plt_162.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF THE HALL OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p>
+
+<div class="figcenter" id="plt_163"><span class="smcap">Plate</span> 163
+<br />
+<a href="images/plt_163.jpg">
+<img src="images/plt_163.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
+
+<div class="figcenter" id="plt_164"><span class="smcap">Plate</span> 164
+<br />
+<a href="images/plt_164.jpg">
+<img src="images/plt_164.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p>
+
+<div class="figcenter" id="plt_165"><span class="smcap">Plate</span> 165
+<br />
+<a href="images/plt_165.jpg">
+<img src="images/plt_165.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<div class="figcenter" id="plt_166"><span class="smcap">Plate</span> 166
+<br />
+<a href="images/plt_166.jpg">
+<img src="images/plt_166.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HALL OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<div class="figcenter" id="plt_167"><span class="smcap">Plate</span> 167
+<br />
+<a href="images/plt_167.jpg">
+<img src="images/plt_167.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HALL OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<div class="figcenter" id="plt_168"><span class="smcap">Plate</span> 168
+<br />
+<a href="images/plt_168.jpg">
+<img src="images/plt_168.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HALL OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<div class="figcenter" id="plt_169"><span class="smcap">Plate</span> 169
+<br />
+<a href="images/plt_169.jpg">
+<img src="images/plt_169.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p>
+
+<div class="figcenter" id="plt_170"><span class="smcap">Plate</span> 170
+<br />
+<a href="images/plt_170.jpg">
+<img src="images/plt_170.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE COLLEGE OF THE INFANTES. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<div class="figcenter" id="plt_171"><span class="smcap">Plate</span> 171
+<br />
+<a href="images/plt_171.jpg">
+<img src="images/plt_171.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE PALACE OF THE MARTINEZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p>
+
+<div class="figcenter" id="plt_172"><span class="smcap">Plate</span> 172
+<br />
+<a href="images/plt_172-a.jpg">
+<img src="images/plt_172-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ROMAN TOWER OF SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_172-b.jpg">
+<img src="images/plt_172-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" id="plt_173"><span class="smcap">Plate</span> 173
+<br />
+<a href="images/plt_173.jpg">
+<img src="images/plt_173.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<div class="figcenter" id="plt_174"><span class="smcap">Plate</span> 174
+<br />
+<a href="images/plt_174.jpg">
+<img src="images/plt_174.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p>
+
+<div class="figcenter" id="plt_175"><span class="smcap">Plate</span> 175
+<br />
+<a href="images/plt_175.jpg">
+<img src="images/plt_175.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN OF THE CHURCH AND PROCESSIONAL CLOISTER OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" id="plt_176"><span class="smcap">Plate</span> 176
+<br />
+<a href="images/plt_176.jpg">
+<img src="images/plt_176.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<div class="figcenter" id="plt_177"><span class="smcap">Plate</span> 177
+<br />
+<a href="images/plt_177.jpg">
+<img src="images/plt_177.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GOTHIC DOORWAY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_348" id="page_348">{348}</a></span></p>
+
+<div class="figcenter" id="plt_178"><span class="smcap">Plate</span> 178
+<br />
+<a href="images/plt_178.jpg">
+<img src="images/plt_178.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE ARCH OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p>
+
+<div class="figcenter" id="plt_179"><span class="smcap">Plate</span> 179
+<br />
+<a href="images/plt_179.jpg">
+<img src="images/plt_179.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></p>
+
+<div class="figcenter" id="plt_180"><span class="smcap">Plate</span> 180
+<br />
+<a href="images/plt_180.jpg">
+<img src="images/plt_180.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span></p>
+
+<div class="figcenter" id="plt_181"><span class="smcap">Plate</span> 181
+<br />
+<a href="images/plt_181.jpg">
+<img src="images/plt_181.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p>
+
+<div class="figcenter" id="plt_182"><span class="smcap">Plate</span> 182
+<br />
+<a href="images/plt_182.jpg">
+<img src="images/plt_182.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>LONGITUDINAL SECTION OF THE CHURCH OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<div class="figcenter" id="plt_183"><span class="smcap">Plate</span> 183
+<br />
+<a href="images/plt_183-a.jpg">
+<img src="images/plt_183-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR, SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_183-b.jpg">
+<img src="images/plt_183-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>RETABLO, SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<div class="figcenter" id="plt_184"><span class="smcap">Plate</span> 184
+<br />
+<a href="images/plt_184.jpg">
+<img src="images/plt_184.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p>
+
+<div class="figcenter" id="plt_185"><span class="smcap">Plate</span> 185
+<br />
+<a href="images/plt_185.jpg">
+<img src="images/plt_185.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span></p>
+
+<div class="figcenter" id="plt_186"><span class="smcap">Plate</span> 186
+<br />
+<a href="images/plt_186.jpg">
+<img src="images/plt_186.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p>
+
+<div class="figcenter" id="plt_187"><span class="smcap">Plate</span> 187
+<br />
+<a href="images/plt_187.jpg">
+<img src="images/plt_187.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF GALLERY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span></p>
+
+<div class="figcenter" id="plt_188"><span class="smcap">Plate</span> 188
+<br />
+<a href="images/plt_188.jpg">
+<img src="images/plt_188.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span></p>
+
+<div class="figcenter" id="plt_189"><span class="smcap">Plate</span> 189
+<br />
+<a href="images/plt_189.jpg">
+<img src="images/plt_189.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. WALL IN THE PRESBYTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p>
+
+<div class="figcenter" id="plt_190"><span class="smcap">Plate</span> 190
+<br />
+<a href="images/plt_190.jpg">
+<img src="images/plt_190.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<div class="figcenter" id="plt_191"><span class="smcap">Plate</span> 191
+<br />
+<a href="images/plt_191.jpg">
+<img src="images/plt_191.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" id="plt_192"><span class="smcap">Plate</span> 192
+<br />
+<a href="images/plt_192.jpg">
+<img src="images/plt_192.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" id="plt_193"><span class="smcap">Plate</span> 193
+<br />
+<a href="images/plt_193.jpg">
+<img src="images/plt_193.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DECORATION IN THE TRANSVERSE NAVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<div class="figcenter" id="plt_194"><span class="smcap">Plate</span> 194
+<br />
+<a href="images/plt_194.jpg">
+<img src="images/plt_194.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE ARMS OF ISABELLA THE CATHOLIC</p>
+</div>
+
+<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p>
+
+<div class="figcenter" id="plt_195"><span class="smcap">Plate</span> 195
+<br />
+<a href="images/plt_195.jpg">
+<img src="images/plt_195.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE TRANSEPT OF THE CHURCH OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p>
+
+<div class="figcenter" id="plt_196"><span class="smcap">Plate</span> 196
+<br />
+<a href="images/plt_196.jpg">
+<img src="images/plt_196.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></p>
+
+<div class="figcenter" id="plt_197"><span class="smcap">Plate</span> 197
+<br />
+<a href="images/plt_197.jpg">
+<img src="images/plt_197.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A DOME IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p>
+
+<div class="figcenter" id="plt_198"><span class="smcap">Plate</span> 198
+<br />
+<a href="images/plt_198.jpg">
+<img src="images/plt_198.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF WINDOWS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p>
+
+<div class="figcenter" id="plt_199"><span class="smcap">Plate</span> 199
+<br />
+<a href="images/plt_199.jpg">
+<img src="images/plt_199.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CROSS-AISLE IN THE CHURCH OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_370" id="page_370">{370}</a></span></p>
+
+<div class="figcenter" id="plt_200"><span class="smcap">Plate</span> 200
+<br />
+<a href="images/plt_200-a.jpg">
+<img src="images/plt_200-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR OF SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_200-b.jpg">
+<img src="images/plt_200-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>ALTAR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span></p>
+
+<div class="figcenter" id="plt_201"><span class="smcap">Plate</span> 201
+<br />
+<a href="images/plt_201.jpg">
+<img src="images/plt_201.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE ALTAR-PIECE IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p>
+
+<div class="figcenter" id="plt_202"><span class="smcap">Plate</span> 202
+<br />
+<a href="images/plt_202.jpg">
+<img src="images/plt_202.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COPY OF THE ORIGINAL DRAWING OF THE ARCH AND CROSS-AISLE OF SAN JUAN DE
+LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p>
+
+<div class="figcenter" id="plt_203"><span class="smcap">Plate</span> 203
+<br />
+<a href="images/plt_203.jpg">
+<img src="images/plt_203.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>LONGITUDINAL SECTION OF THE CLOISTER OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_374" id="page_374">{374}</a></span></p>
+
+<div class="figcenter" id="plt_204"><span class="smcap">Plate</span> 204
+<br />
+<a href="images/plt_204.jpg">
+<img src="images/plt_204.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p>
+
+<div class="figcenter" id="plt_205"><span class="smcap">Plate</span> 205
+<br />
+<a href="images/plt_205.jpg">
+<img src="images/plt_205.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_376" id="page_376">{376}</a></span></p>
+
+<div class="figcenter" id="plt_206"><span class="smcap">Plate</span> 206
+<br />
+<a href="images/plt_206.jpg">
+<img src="images/plt_206.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_377" id="page_377">{377}</a></span></p>
+
+<div class="figcenter" id="plt_207"><span class="smcap">Plate</span> 207
+<br />
+<a href="images/plt_207.jpg">
+<img src="images/plt_207.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_378" id="page_378">{378}</a></span></p>
+
+<div class="figcenter" id="plt_208"><span class="smcap">Plate</span> 208
+<br />
+<a href="images/plt_208.jpg">
+<img src="images/plt_208.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_379" id="page_379">{379}</a></span></p>
+
+<div class="figcenter" id="plt_209"><span class="smcap">Plate</span> 209
+<br />
+<a href="images/plt_209.jpg">
+<img src="images/plt_209.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COMPARTMENT OF THE CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_380" id="page_380">{380}</a></span></p>
+
+<div class="figcenter" id="plt_210"><span class="smcap">Plate</span> 210
+<br />
+<a href="images/plt_210.jpg">
+<img src="images/plt_210.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p>
+
+<div class="figcenter" id="plt_211"><span class="smcap">Plate</span> 211
+<br />
+<a href="images/plt_211.jpg">
+<img src="images/plt_211.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p>
+
+<div class="figcenter" id="plt_212"><span class="smcap">Plate</span> 212
+<br />
+<a href="images/plt_212.jpg">
+<img src="images/plt_212.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
+
+<div class="figcenter" id="plt_213"><span class="smcap">Plate</span> 213
+<br />
+<a href="images/plt_213.jpg">
+<img src="images/plt_213.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_384" id="page_384">{384}</a></span></p>
+
+<div class="figcenter" id="plt_214"><span class="smcap">Plate</span> 214
+<br />
+<a href="images/plt_214.jpg">
+<img src="images/plt_214.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_385" id="page_385">{385}</a></span></p>
+
+<div class="figcenter" id="plt_215"><span class="smcap">Plate</span> 215
+<br />
+<a href="images/plt_215.jpg">
+<img src="images/plt_215.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_386" id="page_386">{386}</a></span></p>
+
+<div class="figcenter" id="plt_216"><span class="smcap">Plate</span> 216
+<br />
+<a href="images/plt_216.jpg">
+<img src="images/plt_216.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN JUAN DE LOS REYES. COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p>
+
+<div class="figcenter" id="plt_217"><span class="smcap">Plate</span> 217
+<br />
+<a href="images/plt_217.jpg">
+<img src="images/plt_217.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_388" id="page_388">{388}</a></span></p>
+
+<div class="figcenter" id="plt_218"><span class="smcap">Plate</span> 218
+<br />
+<a href="images/plt_218.jpg">
+<img src="images/plt_218.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE MUSEUM OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p>
+
+<div class="figcenter" id="plt_219"><span class="smcap">Plate</span> 219
+<br />
+<a href="images/plt_219.jpg">
+<img src="images/plt_219.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS ABOVE DOOR OF MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_390" id="page_390">{390}</a></span></p>
+
+<div class="figcenter" id="plt_220"><span class="smcap">Plate</span> 220
+<br />
+<a href="images/plt_220.jpg">
+<img src="images/plt_220.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_391" id="page_391">{391}</a></span></p>
+
+<div class="figcenter" id="plt_221"><span class="smcap">Plate</span> 221
+<br />
+<a href="images/plt_221.jpg">
+<img src="images/plt_221.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_392" id="page_392">{392}</a></span></p>
+
+<div class="figcenter" id="plt_222"><span class="smcap">Plate</span> 222
+<br />
+<a href="images/plt_222.jpg">
+<img src="images/plt_222.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_393" id="page_393">{393}</a></span></p>
+
+<div class="figcenter" id="plt_223"><span class="smcap">Plate</span> 223
+<br />
+<a href="images/plt_223.jpg">
+<img src="images/plt_223.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_394" id="page_394">{394}</a></span></p>
+
+<div class="figcenter" id="plt_224"><span class="smcap">Plate</span> 224
+<br />
+<a href="images/plt_224.jpg">
+<img src="images/plt_224.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_395" id="page_395">{395}</a></span></p>
+
+<div class="figcenter" id="plt_225"><span class="smcap">Plate</span> 225
+<br />
+<a href="images/plt_225.jpg">
+<img src="images/plt_225.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
+
+<div class="figcenter" id="plt_226"><span class="smcap">Plate</span> 226
+<br />
+<a href="images/plt_226.jpg">
+<img src="images/plt_226.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p>
+
+<div class="figcenter" id="plt_227"><span class="smcap">Plate</span> 227
+<br />
+<a href="images/plt_227.jpg">
+<img src="images/plt_227.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p>
+
+<div class="figcenter" id="plt_228"><span class="smcap">Plate</span> 228
+<br />
+<a href="images/plt_228.jpg">
+<img src="images/plt_228.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SECTION OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p>
+
+<div class="figcenter" id="plt_229"><span class="smcap">Plate</span> 229
+<br />
+<a href="images/plt_229.jpg">
+<img src="images/plt_229.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>LONGITUDINAL SECTION OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p>
+
+<div class="figcenter" id="plt_230"><span class="smcap">Plate</span> 230
+<br />
+<a href="images/plt_230.jpg">
+<img src="images/plt_230.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>TRANSVERSE SECTION OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p>
+
+<div class="figcenter" id="plt_231"><span class="smcap">Plate</span> 231
+<br />
+<a href="images/plt_231.jpg">
+<img src="images/plt_231.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL FAÇADE OF THE CATHEDRAL AND TOWER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p>
+
+<div class="figcenter" id="plt_232"><span class="smcap">Plate</span> 232
+<br />
+<a href="images/plt_232.jpg">
+<img src="images/plt_232.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE EXTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p>
+
+<div class="figcenter" id="plt_233"><span class="smcap">Plate</span> 233
+<br />
+<a href="images/plt_233.jpg">
+<img src="images/plt_233.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. PORTAL OF THE PRINCIPAL FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p>
+
+<div class="figcenter" id="plt_234"><span class="smcap">Plate</span> 234
+<br />
+<a href="images/plt_234.jpg">
+<img src="images/plt_234.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. PRINCIPAL GATE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_405" id="page_405">{405}</a></span></p>
+
+<div class="figcenter" id="plt_235"><span class="smcap">Plate</span> 235
+<br />
+<a href="images/plt_235.jpg">
+<img src="images/plt_235.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE GATE OF THE LIONS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_406" id="page_406">{406}</a></span></p>
+
+<div class="figcenter" id="plt_236"><span class="smcap">Plate</span> 236
+<br />
+<a href="images/plt_236.jpg">
+<img src="images/plt_236.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. PORCH OF THE PRINCIPAL FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_407" id="page_407">{407}</a></span></p>
+
+<div class="figcenter" id="plt_237"><span class="smcap">Plate</span> 237
+<br />
+<a href="images/plt_237.jpg">
+<img src="images/plt_237.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL</p>
+
+<p>THE LION DOOR</p>
+
+<p>THE LION DOOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_408" id="page_408">{408}</a></span></p>
+
+<div class="figcenter" id="plt_238"><span class="smcap">Plate</span> 238
+<br />
+<a href="images/plt_238.jpg">
+<img src="images/plt_238.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p>
+
+<div class="figcenter" id="plt_239"><span class="smcap">Plate</span> 239
+<br />
+<a href="images/plt_239.jpg">
+<img src="images/plt_239.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DOOR OF THE LOST CHILD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_410" id="page_410">{410}</a></span></p>
+
+<div class="figcenter" id="plt_240"><span class="smcap">Plate</span> 240
+<br />
+<a href="images/plt_240.jpg">
+<img src="images/plt_240.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DE LA FERIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p>
+
+<div class="figcenter" id="plt_241"><span class="smcap">Plate</span> 241
+<br />
+<a href="images/plt_241.jpg">
+<img src="images/plt_241.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. GATE OF THE CONCEPTION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_412" id="page_412">{412}</a></span></p>
+
+<div class="figcenter" id="plt_242"><span class="smcap">Plate</span> 242
+<br />
+<a href="images/plt_242.jpg">
+<img src="images/plt_242.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. ORNAMENTAL DETAILS OF THE GATES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_413" id="page_413">{413}</a></span></p>
+
+<div class="figcenter" id="plt_243"><span class="smcap">Plate</span> 243
+<br />
+<a href="images/plt_243.jpg">
+<img src="images/plt_243.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL</p>
+
+<p>CENTRAL NAVE</p>
+
+<p>TOMB OF ALONSO DE CARRILLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_414" id="page_414">{414}</a></span></p>
+
+<div class="figcenter" id="plt_244"><span class="smcap">Plate</span> 244
+<br />
+<a href="images/plt_244.jpg">
+<img src="images/plt_244.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_415" id="page_415">{415}</a></span></p>
+
+<div class="figcenter" id="plt_245"><span class="smcap">Plate</span> 245
+<br />
+<a href="images/plt_245.jpg">
+<img src="images/plt_245.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_416" id="page_416">{416}</a></span></p>
+
+<div class="figcenter" id="plt_246"><span class="smcap">Plate</span> 246
+<br />
+<a href="images/plt_246.jpg">
+<img src="images/plt_246.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_417" id="page_417">{417}</a></span></p>
+
+<div class="figcenter" id="plt_247"><span class="smcap">Plate</span> 247
+<br />
+<a href="images/plt_247.jpg">
+<img src="images/plt_247.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p>
+
+<div class="figcenter" id="plt_248"><span class="smcap">Plate</span> 248
+<br />
+<a href="images/plt_248.jpg">
+<img src="images/plt_248.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>WINDOWS IN THE PRINCIPAL NAVE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_419" id="page_419">{419}</a></span></p>
+
+<div class="figcenter" id="plt_249"><span class="smcap">Plate</span> 249
+<br />
+<a href="images/plt_249.jpg">
+<img src="images/plt_249.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. GRATING OF THE PRINCIPAL CHAPEL. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_420" id="page_420">{420}</a></span></p>
+
+<div class="figcenter" id="plt_250"><span class="smcap">Plate</span> 250
+<br />
+<a href="images/plt_250.jpg">
+<img src="images/plt_250.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_421" id="page_421">{421}</a></span></p>
+
+<div class="figcenter" id="plt_251"><span class="smcap">Plate</span> 251
+<br />
+<a href="images/plt_251.jpg">
+<img src="images/plt_251.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_422" id="page_422">{422}</a></span></p>
+
+<div class="figcenter" id="plt_252"><span class="smcap">Plate</span> 252
+<br />
+<a href="images/plt_252.jpg">
+<img src="images/plt_252.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
+
+<div class="figcenter" id="plt_253"><span class="smcap">Plate</span> 253
+<br />
+<a href="images/plt_253.jpg">
+<img src="images/plt_253.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_424" id="page_424">{424}</a></span></p>
+
+<div class="figcenter" id="plt_254"><span class="smcap">Plate</span> 254
+<br />
+<a href="images/plt_254.jpg">
+<img src="images/plt_254.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_425" id="page_425">{425}</a></span></p>
+
+<div class="figcenter" id="plt_255"><span class="smcap">Plate</span> 255
+<br />
+<a href="images/plt_255.jpg">
+<img src="images/plt_255.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_426" id="page_426">{426}</a></span></p>
+
+<div class="figcenter" id="plt_256"><span class="smcap">Plate</span> 256
+<br />
+<a href="images/plt_256.jpg">
+<img src="images/plt_256.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_427" id="page_427">{427}</a></span></p>
+
+<div class="figcenter" id="plt_257"><span class="smcap">Plate</span> 257
+<br />
+<a href="images/plt_257.jpg">
+<img src="images/plt_257.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p>
+
+<div class="figcenter" id="plt_258"><span class="smcap">Plate</span> 258
+<br />
+<a href="images/plt_258.jpg">
+<img src="images/plt_258.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. ALTAR-PIECE OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_429" id="page_429">{429}</a></span></p>
+
+<div class="figcenter" id="plt_259"><span class="smcap">Plate</span> 259
+<br />
+<a href="images/plt_259.jpg">
+<img src="images/plt_259.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE ALTAR-PIECE OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_430" id="page_430">{430}</a></span></p>
+
+<div class="figcenter" id="plt_260"><span class="smcap">Plate</span> 260
+<br />
+<a href="images/plt_260.jpg">
+<img src="images/plt_260.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p>
+
+<div class="figcenter" id="plt_261"><span class="smcap">Plate</span> 261
+<br />
+<a href="images/plt_261.jpg">
+<img src="images/plt_261.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_432" id="page_432">{432}</a></span></p>
+
+<div class="figcenter" id="plt_262"><span class="smcap">Plate</span> 262
+<br />
+<a href="images/plt_262.jpg">
+<img src="images/plt_262.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_433" id="page_433">{433}</a></span></p>
+
+<div class="figcenter" id="plt_263"><span class="smcap">Plate</span> 263
+<br />
+<a href="images/plt_263.jpg">
+<img src="images/plt_263.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE ALTAR-PIECE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_434" id="page_434">{434}</a></span></p>
+
+<div class="figcenter" id="plt_264"><span class="smcap">Plate</span> 264
+<br />
+<a href="images/plt_264.jpg">
+<img src="images/plt_264.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_435" id="page_435">{435}</a></span></p>
+
+<div class="figcenter" id="plt_265"><span class="smcap">Plate</span> 265
+<br />
+<a href="images/plt_265.jpg">
+<img src="images/plt_265.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p>
+
+<div class="figcenter" id="plt_266"><span class="smcap">Plate</span> 266
+<br />
+<a href="images/plt_266.jpg">
+<img src="images/plt_266.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE FRONTAL OF THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_437" id="page_437">{437}</a></span></p>
+
+<div class="figcenter" id="plt_267"><span class="smcap">Plate</span> 267
+<br />
+<a href="images/plt_267.jpg">
+<img src="images/plt_267.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_438" id="page_438">{438}</a></span></p>
+
+<div class="figcenter" id="plt_268"><span class="smcap">Plate</span> 268
+<br />
+<a href="images/plt_268.jpg">
+<img src="images/plt_268.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF CARDINAL MENDOZA IN THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_439" id="page_439">{439}</a></span></p>
+
+<div class="figcenter" id="plt_269"><span class="smcap">Plate</span> 269
+<br />
+<a href="images/plt_269.jpg">
+<img src="images/plt_269.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DOME OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_440" id="page_440">{440}</a></span></p>
+
+<div class="figcenter" id="plt_270"><span class="smcap">Plate</span> 270
+<br />
+<a href="images/plt_270.jpg">
+<img src="images/plt_270.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_441" id="page_441">{441}</a></span></p>
+
+<div class="figcenter" id="plt_271"><span class="smcap">Plate</span> 271
+<br />
+<a href="images/plt_271.jpg">
+<img src="images/plt_271.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p>
+
+<div class="figcenter" id="plt_272"><span class="smcap">Plate</span> 272
+<br />
+<a href="images/plt_272.jpg">
+<img src="images/plt_272.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE EXTERIOR OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_443" id="page_443">{443}</a></span></p>
+
+<div class="figcenter" id="plt_273"><span class="smcap">Plate</span> 273
+<br />
+<a href="images/plt_273.jpg">
+<img src="images/plt_273.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p><span class="pagenum"><a name="page_444" id="page_444">{444}</a></span></p><p>THE CATHEDRAL. EXTERIOR OF THE CHOIR</p>
+</div>
+
+<div class="figcenter" id="plt_274"><span class="smcap">Plate</span> 274
+<br />
+<a href="images/plt_274.jpg">
+<img src="images/plt_274.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHOIR STALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_445" id="page_445">{445}</a></span></p>
+
+<div class="figcenter" id="plt_275"><span class="smcap">Plate</span> 275
+<br />
+<a href="images/plt_275.jpg">
+<img src="images/plt_275.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHOIR STALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_446" id="page_446">{446}</a></span></p>
+
+<div class="figcenter" id="plt_276"><span class="smcap">Plate</span> 276
+<br />
+<a href="images/plt_276.jpg">
+<img src="images/plt_276.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHOIR STALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_447" id="page_447">{447}</a></span></p>
+
+<div class="figcenter" id="plt_277"><span class="smcap">Plate</span> 277
+<br />
+<a href="images/plt_277.jpg">
+<img src="images/plt_277.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE CHOIR STALLS, REPRESENTING THE RE-CONQUEST
+OF GRANADA BY FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_448" id="page_448">{448}</a></span></p>
+
+<div class="figcenter" id="plt_278"><span class="smcap">Plate</span> 278
+<br />
+<a href="images/plt_278.jpg">
+<img src="images/plt_278.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. INTERIOR OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p>
+
+<div class="figcenter" id="plt_279"><span class="smcap">Plate</span> 279
+<br />
+<a href="images/plt_279.jpg">
+<img src="images/plt_279.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_450" id="page_450">{450}</a></span></p>
+
+<div class="figcenter" id="plt_280"><span class="smcap">Plate</span> 280
+<br />
+<a href="images/plt_280.jpg">
+<img src="images/plt_280.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p>
+
+<div class="figcenter" id="plt_281"><span class="smcap">Plate</span> 281
+<br />
+<a href="images/plt_281.jpg">
+<img src="images/plt_281.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE ARCHBISHOP’S THRONE, REPRESENTING THE
+TRANSFIGURATION. BY BERRUGUETE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_452" id="page_452">{452}</a></span></p>
+
+<div class="figcenter" id="plt_282"><span class="smcap">Plate</span> 282
+<br />
+<a href="images/plt_282.jpg">
+<img src="images/plt_282.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. VIRGIN OF THE LANEROS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_453" id="page_453">{453}</a></span></p>
+
+<div class="figcenter" id="plt_283"><span class="smcap">Plate</span> 283
+<br />
+<a href="images/plt_283.jpg">
+<img src="images/plt_283.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_454" id="page_454">{454}</a></span></p>
+
+<div class="figcenter" id="plt_284"><span class="smcap">Plate</span> 284
+<br />
+<a href="images/plt_284.jpg">
+<img src="images/plt_284.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_455" id="page_455">{455}</a></span></p>
+
+<div class="figcenter" id="plt_285"><span class="smcap">Plate</span> 285
+<br />
+<a href="images/plt_285.jpg">
+<img src="images/plt_285.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p>
+
+<div class="figcenter" id="plt_286"><span class="smcap">Plate</span> 286
+<br />
+<a href="images/plt_286.jpg">
+<img src="images/plt_286.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p>
+
+<div class="figcenter" id="plt_287"><span class="smcap">Plate</span> 287
+<br />
+<a href="images/plt_287.jpg">
+<img src="images/plt_287.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF CHOIR STALLS. THE CAPTURE OF ALHAMA BY
+FERDINAND AND ISABELLA, 1482. RE-CONQUEST OF GRANADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p>
+
+<div class="figcenter" id="plt_288"><span class="smcap">Plate</span> 288
+<br />
+<a href="images/plt_288.jpg">
+<img src="images/plt_288.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_459" id="page_459">{459}</a></span></p>
+
+<div class="figcenter" id="plt_289"><span class="smcap">Plate</span> 289
+<br />
+<a href="images/plt_289.jpg">
+<img src="images/plt_289.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p>
+
+<div class="figcenter" id="plt_290"><span class="smcap">Plate</span> 290
+<br />
+<a href="images/plt_290.jpg">
+<img src="images/plt_290.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_461" id="page_461">{461}</a></span></p>
+
+<div class="figcenter" id="plt_291"><span class="smcap">Plate</span> 291
+<br />
+<a href="images/plt_291.jpg">
+<img src="images/plt_291.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_462" id="page_462">{462}</a></span></p>
+
+<div class="figcenter" id="plt_292"><span class="smcap">Plate</span> 292
+<br />
+<a href="images/plt_292.jpg">
+<img src="images/plt_292.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p>
+
+<div class="figcenter" id="plt_293"><span class="smcap">Plate</span> 293
+<br />
+<a href="images/plt_293.jpg">
+<img src="images/plt_293.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p>
+
+<div class="figcenter" id="plt_294"><span class="smcap">Plate</span> 294
+<br />
+<a href="images/plt_294.jpg">
+<img src="images/plt_294.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p>
+
+<div class="figcenter" id="plt_295"><span class="smcap">Plate</span> 295
+<br />
+<a href="images/plt_295.jpg">
+<img src="images/plt_295.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_466" id="page_466">{466}</a></span></p>
+
+<div class="figcenter" id="plt_296"><span class="smcap">Plate</span> 296
+<br />
+<a href="images/plt_296.jpg">
+<img src="images/plt_296.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_467" id="page_467">{467}</a></span></p>
+
+<div class="figcenter" id="plt_297"><span class="smcap">Plate</span> 297
+<br />
+<a href="images/plt_297.jpg">
+<img src="images/plt_297.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_468" id="page_468">{468}</a></span></p>
+
+<div class="figcenter" id="plt_298"><span class="smcap">Plate</span> 298
+<br />
+<a href="images/plt_298.jpg">
+<img src="images/plt_298.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p>
+
+<div class="figcenter" id="plt_299"><span class="smcap">Plate</span> 299
+<br />
+<a href="images/plt_299.jpg">
+<img src="images/plt_299.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p>
+
+<div class="figcenter" id="plt_300"><span class="smcap">Plate</span> 300
+<br />
+<a href="images/plt_300.jpg">
+<img src="images/plt_300.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p>
+
+<div class="figcenter" id="plt_301"><span class="smcap">Plate</span> 301
+<br />
+<a href="images/plt_301.jpg">
+<img src="images/plt_301.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. MASONRY IN THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_472" id="page_472">{472}</a></span></p>
+
+<div class="figcenter" id="plt_302"><span class="smcap">Plate</span> 302
+<br />
+<a href="images/plt_302.jpg">
+<img src="images/plt_302.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRESBYTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_473" id="page_473">{473}</a></span></p>
+
+<div class="figcenter" id="plt_303"><span class="smcap">Plate</span> 303
+<br />
+<a href="images/plt_303.jpg">
+<img src="images/plt_303.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. INTERIOR OF THE CHAPEL OF THE NEW KINGS WITH THE
+SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_474" id="page_474">{474}</a></span></p>
+
+<div class="figcenter" id="plt_304"><span class="smcap">Plate</span> 304
+<br />
+<a href="images/plt_304.jpg">
+<img src="images/plt_304.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE IN THE
+CHAPEL OF THE NEW KINGS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_475" id="page_475">{475}</a></span></p>
+
+<div class="figcenter" id="plt_305"><span class="smcap">Plate</span> 305
+<br />
+<a href="images/plt_305.jpg">
+<img src="images/plt_305.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF CARDINAL TAVERA IN THE CHAPEL OF THE NEW
+KINGS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p>
+
+<div class="figcenter" id="plt_306"><span class="smcap">Plate</span> 306
+<br />
+<a href="images/plt_306.jpg">
+<img src="images/plt_306.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF DON JUAN I. IN THE CHAPEL OF THE NEW KINGS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p>
+
+<div class="figcenter" id="plt_307"><span class="smcap">Plate</span> 307
+<br />
+<a href="images/plt_307.jpg">
+<img src="images/plt_307.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF DOÑA LEONOR, WIFE OF DON JUAN I., IN THE
+CHAPEL OF THE NEW KINGS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_478" id="page_478">{478}</a></span></p>
+
+<div class="figcenter" id="plt_308"><span class="smcap">Plate</span> 308
+<br />
+<a href="images/plt_308.jpg">
+<img src="images/plt_308.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPEL OF THE DESCENT OF THE VIRGIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_479" id="page_479">{479}</a></span></p>
+
+<div class="figcenter" id="plt_309"><span class="smcap">Plate</span> 309
+<br />
+<a href="images/plt_309.jpg">
+<img src="images/plt_309.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. MUZARABIC CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p>
+
+<div class="figcenter" id="plt_310"><span class="smcap">Plate</span> 310
+<br />
+<a href="images/plt_310.jpg">
+<img src="images/plt_310.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE CHAPEL OF THE VIRGEN DE LA ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p>
+
+<div class="figcenter" id="plt_311"><span class="smcap">Plate</span> 311
+<br />
+<a href="images/plt_311.jpg">
+<img src="images/plt_311.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPEL OF THE VIRGEN DE LA ANTIGUA. FOURTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_482" id="page_482">{482}</a></span></p>
+
+<div class="figcenter" id="plt_312"><span class="smcap">Plate</span> 312
+<br />
+<a href="images/plt_312.jpg">
+<img src="images/plt_312.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DOORWAY OF THE CHAPEL OF THE CANONS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_483" id="page_483">{483}</a></span></p>
+
+<div class="figcenter" id="plt_313"><span class="smcap">Plate</span> 313
+<br />
+<a href="images/plt_313-a.jpg">
+<img src="images/plt_313-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SANTA ISABEL</p>
+<br />
+<a href="images/plt_313-b.jpg">
+<img src="images/plt_313-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>ALTAR-PIECE OF SANTA CATALINA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_484" id="page_484">{484}</a></span></p>
+
+<div class="figcenter" id="plt_314"><span class="smcap">Plate</span> 314
+<br />
+<a href="images/plt_314.jpg">
+<img src="images/plt_314.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SANTA CATALINA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_485" id="page_485">{485}</a></span></p>
+
+<div class="figcenter" id="plt_315"><span class="smcap">Plate</span> 315
+<br />
+<a href="images/plt_315.jpg">
+<img src="images/plt_315.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SANTA CATALINA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p>
+
+<div class="figcenter" id="plt_316"><span class="smcap">Plate</span> 316
+<br />
+<a href="images/plt_316.jpg">
+<img src="images/plt_316.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SANTA CATALINA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p>
+
+<div class="figcenter" id="plt_317"><span class="smcap">Plate</span> 317
+<br />
+<a href="images/plt_317.jpg">
+<img src="images/plt_317.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL OF SANTA CATALINA. FOUNDED BY THE COUNTS OF CEDILLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p>
+
+<div class="figcenter" id="plt_318"><span class="smcap">Plate</span> 318
+<br />
+<a href="images/plt_318.jpg">
+<img src="images/plt_318.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPEL OF SANTIAGO, CONTAINING THE SEPULCHRES OF DON
+ALVARO DE LUNA AND THAT OF HIS WIFE DOÑA JUANA. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_489" id="page_489">{489}</a></span></p>
+
+<div class="figcenter" id="plt_319"><span class="smcap">Plate</span> 319
+<br />
+<a href="images/plt_319.jpg">
+<img src="images/plt_319.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF DON JUAN DE ZEREZUELA IN THE CHAPEL OF
+SANTIAGO. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_490" id="page_490">{490}</a></span></p>
+
+<div class="figcenter" id="plt_320"><span class="smcap">Plate</span> 320
+<br />
+<a href="images/plt_320-a.jpg">
+<img src="images/plt_320-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CUPOLA OF THE CHAPEL “DE LOS REYES NUEVOS” IN THE CATHEDRAL</p>
+<br />
+<a href="images/plt_320-b.jpg">
+<img src="images/plt_320-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>CUPOLA OF THE “CAPILLA DE SANTIAGO,” CALLED “DE DON ALVARO DE LUNA” IN
+THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_491" id="page_491">{491}</a></span></p>
+
+<div class="figcenter" id="plt_321"><span class="smcap">Plate</span> 321
+<br />
+<a href="images/plt_321.jpg">
+<img src="images/plt_321.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF DON GIL CARRILLO DE ALBORNOZ IN THE CHAPEL
+OF SAN ILDEFONSO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p>
+
+<div class="figcenter" id="plt_322"><span class="smcap">Plate</span> 322
+<br />
+<a href="images/plt_322.jpg">
+<img src="images/plt_322.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF GIL DE ALBORNOZ IN THE CHAPEL OF SAN
+ILDEFONSO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p>
+
+<div class="figcenter" id="plt_323"><span class="smcap">Plate</span> 323
+<br />
+<a href="images/plt_323.jpg">
+<img src="images/plt_323.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. ENTRANCE TO THE CHAPTER ROOM. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p>
+
+<div class="figcenter" id="plt_324"><span class="smcap">Plate</span> 324
+<br />
+<a href="images/plt_324.jpg">
+<img src="images/plt_324.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_495" id="page_495">{495}</a></span></p>
+
+<div class="figcenter" id="plt_325"><span class="smcap">Plate</span> 325
+<br />
+<a href="images/plt_325.jpg">
+<img src="images/plt_325.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_496" id="page_496">{496}</a></span></p>
+
+<div class="figcenter" id="plt_326"><span class="smcap">Plate</span> 326
+<br />
+<a href="images/plt_326.jpg">
+<img src="images/plt_326.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p>
+
+<div class="figcenter" id="plt_327"><span class="smcap">Plate</span> 327
+<br />
+<a href="images/plt_327.jpg">
+<img src="images/plt_327.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS IN THE CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_498" id="page_498">{498}</a></span></p>
+
+<div class="figcenter" id="plt_328"><span class="smcap">Plate</span> 328
+<br />
+<a href="images/plt_328.jpg">
+<img src="images/plt_328.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_499" id="page_499">{499}</a></span></p>
+
+<div class="figcenter" id="plt_329"><span class="smcap">Plate</span> 329
+<br />
+<a href="images/plt_329.jpg">
+<img src="images/plt_329.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DOORWAY OF THE CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_500" id="page_500">{500}</a></span></p>
+
+<div class="figcenter" id="plt_330"><span class="smcap">Plate</span> 330
+<br />
+<a href="images/plt_330.jpg">
+<img src="images/plt_330.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF A DOORWAY IN THE CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p>
+
+<div class="figcenter" id="plt_331"><span class="smcap">Plate</span> 331
+<br />
+<a href="images/plt_331.jpg">
+<img src="images/plt_331.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CUPBOARD MADE BY GREGORIO PARDO (1549-1551), FOR THE
+ANTECHAMBER OF THE CHAPTER HOUSE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_502" id="page_502">{502}</a></span></p>
+
+<div class="figcenter" id="plt_332"><span class="smcap">Plate</span> 332
+<br />
+<a href="images/plt_332.jpg">
+<img src="images/plt_332.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CUPBOARD IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_503" id="page_503">{503}</a></span></p>
+
+<div class="figcenter" id="plt_333"><span class="smcap">Plate</span> 333
+<br />
+<a href="images/plt_333.jpg">
+<img src="images/plt_333.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A RICH AND GOSSAMER CARVED CEILING IN THE CHAPTER HALL
+SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_504" id="page_504">{504}</a></span></p>
+
+<div class="figcenter" id="plt_334"><span class="smcap">Plate</span> 334
+<br />
+<a href="images/plt_334.jpg">
+<img src="images/plt_334.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CEILING IN THE CHAPTER HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_505" id="page_505">{505}</a></span></p>
+
+<div class="figcenter" id="plt_335"><span class="smcap">Plate</span> 335
+<br />
+<a href="images/plt_335.jpg">
+<img src="images/plt_335.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A CEILING IN THE ANTE-ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_506" id="page_506">{506}</a></span></p>
+
+<div class="figcenter" id="plt_336"><span class="smcap">Plate</span> 336
+<br />
+<a href="images/plt_336.jpg">
+<img src="images/plt_336.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_507" id="page_507">{507}</a></span></p>
+
+<div class="figcenter" id="plt_337"><span class="smcap">Plate</span> 337
+<br />
+<a href="images/plt_337.jpg">
+<img src="images/plt_337.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_508" id="page_508">{508}</a></span></p>
+
+<div class="figcenter" id="plt_338"><span class="smcap">Plate</span> 338
+<br />
+<a href="images/plt_338.jpg">
+<img src="images/plt_338.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PRESENTATION PORTAL IN THE CLOISTER OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_509" id="page_509">{509}</a></span></p>
+
+<div class="figcenter" id="plt_339"><span class="smcap">Plate</span> 339
+<br />
+<a href="images/plt_339.jpg">
+<img src="images/plt_339.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR, BY THE CLOISTERS OF THE CHAPEL, OF THE PLACE OF SEPULTURE
+BUILT BY HENRY II. FOR HIS TOMB</p>
+</div>
+
+<p><span class="pagenum"><a name="page_510" id="page_510">{510}</a></span></p>
+
+<div class="figcenter" id="plt_340"><span class="smcap">Plate</span> 340
+<br />
+<a href="images/plt_340.jpg">
+<img src="images/plt_340.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. PICTURE BY BAYEU IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_511" id="page_511">{511}</a></span></p>
+
+<div class="figcenter" id="plt_341"><span class="smcap">Plate</span> 341
+<br />
+<a href="images/plt_341.jpg">
+<img src="images/plt_341.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF ST. CATHARINE IN THE CLOISTER OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_512" id="page_512">{512}</a></span></p>
+
+<div class="figcenter" id="plt_342"><span class="smcap">Plate</span> 342
+<br />
+<a href="images/plt_342.jpg">
+<img src="images/plt_342.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE GATE OF THE PRESENTATION IN THE CLOISTER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_513" id="page_513">{513}</a></span></p>
+
+<div class="figcenter" id="plt_343"><span class="smcap">Plate</span> 343
+<br />
+<a href="images/plt_343.jpg">
+<img src="images/plt_343.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_514" id="page_514">{514}</a></span></p>
+
+<div class="figcenter" id="plt_344"><span class="smcap">Plate</span> 344
+<br />
+<a href="images/plt_344.jpg">
+<img src="images/plt_344.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_515" id="page_515">{515}</a></span></p>
+
+<div class="figcenter" id="plt_345"><span class="smcap">Plate</span> 345
+<br />
+<a href="images/plt_345.jpg">
+<img src="images/plt_345.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A BYZANTINE RELIQUARY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_516" id="page_516">{516}</a></span></p>
+
+<div class="figcenter" id="plt_346"><span class="smcap">Plate</span> 346
+<br />
+<a href="images/plt_346.jpg">
+<img src="images/plt_346.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRES IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_517" id="page_517">{517}</a></span></p>
+
+<div class="figcenter" id="plt_347"><span class="smcap">Plate</span> 347
+<br />
+<a href="images/plt_347.jpg">
+<img src="images/plt_347.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SCULPTURE IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_518" id="page_518">{518}</a></span></p>
+
+<div class="figcenter" id="plt_348"><span class="smcap">Plate</span> 348
+<br />
+<a href="images/plt_348.jpg">
+<img src="images/plt_348.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. BRONZE LECTERN AND BOOKS OF HOLY OFFICE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_519" id="page_519">{519}</a></span></p>
+
+<div class="figcenter" id="plt_349"><span class="smcap">Plate</span> 349
+<br />
+<a href="images/plt_349.jpg">
+<img src="images/plt_349.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A BRONZE PULPIT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_520" id="page_520">{520}</a></span></p>
+
+<div class="figcenter" id="plt_350"><span class="smcap">Plate</span> 350
+<br />
+<a href="images/plt_350.jpg">
+<img src="images/plt_350.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF A PULPIT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_521" id="page_521">{521}</a></span></p>
+
+<div class="figcenter" id="plt_351"><span class="smcap">Plate</span> 351
+<br />
+<a href="images/plt_351.jpg">
+<img src="images/plt_351.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PULPIT IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_522" id="page_522">{522}</a></span></p>
+
+<div class="figcenter" id="plt_352"><span class="smcap">Plate</span> 352
+<br />
+<a href="images/plt_352.jpg">
+<img src="images/plt_352.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL BELLS WHICH RING WHEN THE HOST IS ELEVATED</p>
+</div>
+
+<p><span class="pagenum"><a name="page_523" id="page_523">{523}</a></span></p>
+
+<div class="figcenter" id="plt_353"><span class="smcap">Plate</span> 353
+<br />
+<a href="images/plt_353.jpg">
+<img src="images/plt_353.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. STATUE OF DON JUAN II. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_524" id="page_524">{524}</a></span></p>
+
+<div class="figcenter" id="plt_354"><span class="smcap">Plate</span> 354
+<br />
+<a href="images/plt_354.jpg">
+<img src="images/plt_354.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. ST. FRANCIS OF ASSISI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_525" id="page_525">{525}</a></span></p>
+
+<div class="figcenter" id="plt_355"><span class="smcap">Plate</span> 355
+<br />
+<a href="images/plt_355.jpg">
+<img src="images/plt_355.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A PICTURE BY BAYEU</p>
+</div>
+
+<p><span class="pagenum"><a name="page_526" id="page_526">{526}</a></span></p>
+
+<div class="figcenter" id="plt_356"><span class="smcap">Plate</span> 356
+<br />
+<a href="images/plt_356.jpg">
+<img src="images/plt_356.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_527" id="page_527">{527}</a></span></p>
+
+<div class="figcenter" id="plt_357"><span class="smcap">Plate</span> 357
+<br />
+<a href="images/plt_357.jpg">
+<img src="images/plt_357.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. COVER OF A MISSAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_528" id="page_528">{528}</a></span></p>
+
+<div class="figcenter" id="plt_358"><span class="smcap">Plate</span> 358
+<br />
+<a href="images/plt_358.jpg">
+<img src="images/plt_358.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SILVER SALVER, “THE ABDUCTION OF THE SABINE WOMEN” BY
+BENVENUTO CELLINI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_529" id="page_529">{529}</a></span></p>
+
+<div class="figcenter" id="plt_359"><span class="smcap">Plate</span> 359
+<br />
+<a href="images/plt_359.jpg">
+<img src="images/plt_359.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHALICE AND PATEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_530" id="page_530">{530}</a></span></p>
+
+<div class="figcenter" id="plt_360"><span class="smcap">Plate</span> 360
+<br />
+<a href="images/plt_360.jpg">
+<img src="images/plt_360.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A SHIP THAT BELONGED TO QUEEN JUANA LA LOCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_531" id="page_531">{531}</a></span></p>
+
+<div class="figcenter" id="plt_361"><span class="smcap">Plate</span> 361
+<br />
+<a href="images/plt_361.jpg">
+<img src="images/plt_361.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MONSTRANCE IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_532" id="page_532">{532}</a></span></p>
+
+<div class="figcenter" id="plt_362"><span class="smcap">Plate</span> 362
+<br />
+<a href="images/plt_362.jpg">
+<img src="images/plt_362.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SWORD OF ALFONSO VI.</p>
+</div>
+
+<p><span class="pagenum"><a name="page_533" id="page_533">{533}</a></span></p>
+
+<div class="figcenter" id="plt_363"><span class="smcap">Plate</span> 363
+<br />
+<a href="images/plt_363.jpg">
+<img src="images/plt_363.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE ADORATION OF THE KINGS (SILK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_534" id="page_534">{534}</a></span></p>
+
+<div class="figcenter" id="plt_364"><span class="smcap">Plate</span> 364
+<br />
+<a href="images/plt_364.jpg">
+<img src="images/plt_364.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE VEIL OF SANTA LEOCADIA (SILK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_535" id="page_535">{535}</a></span></p>
+
+<div class="figcenter" id="plt_365"><span class="smcap">Plate</span> 365
+<br />
+<a href="images/plt_365.jpg">
+<img src="images/plt_365.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE ASSUMPTION (SILK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_536" id="page_536">{536}</a></span></p>
+
+<div class="figcenter" id="plt_366"><span class="smcap">Plate</span> 366
+<br />
+<a href="images/plt_366.jpg">
+<img src="images/plt_366.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE BEHEADING OF SAN EUGENIO (SILK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_537" id="page_537">{537}</a></span></p>
+
+<div class="figcenter" id="plt_367"><span class="smcap">Plate</span> 367
+<br />
+<a href="images/plt_367.jpg">
+<img src="images/plt_367.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>KUFIC ENTABLATURE IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_538" id="page_538">{538}</a></span></p>
+
+<div class="figcenter" id="plt_368"><span class="smcap">Plate</span> 368
+<br />
+<a href="images/plt_368.jpg">
+<img src="images/plt_368.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A DALMATIC EMBROIDERED IN GOLD AND SILK. SIXTEENTH
+CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_539" id="page_539">{539}</a></span></p>
+
+<div class="figcenter" id="plt_369"><span class="smcap">Plate</span> 369
+<br />
+<a href="images/plt_369.jpg">
+<img src="images/plt_369.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A CHASUBLE EMBROIDERED IN GOLD AND SILK. SIXTEENTH
+CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_540" id="page_540">{540}</a></span></p>
+
+<div class="figcenter" id="plt_370"><span class="smcap">Plate</span> 370
+<br />
+<a href="images/plt_370.jpg">
+<img src="images/plt_370.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_541" id="page_541">{541}</a></span></p>
+
+<div class="figcenter" id="plt_371"><span class="smcap">Plate</span> 371
+<br />
+<a href="images/plt_371.jpg">
+<img src="images/plt_371.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_542" id="page_542">{542}</a></span></p>
+
+<div class="figcenter" id="plt_372"><span class="smcap">Plate</span> 372
+<br />
+<a href="images/plt_372.jpg">
+<img src="images/plt_372.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_543" id="page_543">{543}</a></span></p>
+
+<div class="figcenter" id="plt_373"><span class="smcap">Plate</span> 373
+<br />
+<a href="images/plt_373.jpg">
+<img src="images/plt_373.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_544" id="page_544">{544}</a></span></p>
+
+<div class="figcenter" id="plt_374"><span class="smcap">Plate</span> 374
+<br />
+<a href="images/plt_374.jpg">
+<img src="images/plt_374.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EFFIGIES OF JUAN GUAS (ARCHITECT OF SAN JUAN DE LOS REYES), HIS WIFE,
+AND CHILDREN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_545" id="page_545">{545}</a></span></p>
+
+<div class="figcenter" id="plt_375"><span class="smcap">Plate</span> 375
+<br />
+<a href="images/plt_375.jpg">
+<img src="images/plt_375.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SCULPTURE IN SAN ANDRES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_546" id="page_546">{546}</a></span></p>
+
+<div class="figcenter" id="plt_376"><span class="smcap">Plate</span> 376
+<br />
+<a href="images/plt_376.jpg">
+<img src="images/plt_376.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BANNER OF THE SALADO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_547" id="page_547">{547}</a></span></p>
+
+<div class="figcenter" id="plt_377"><span class="smcap">Plate</span> 377
+<br />
+<a href="images/plt_377.jpg">
+<img src="images/plt_377.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. PETER NATANO AND ST. THERESA SCULPTURED IN WOOD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_548" id="page_548">{548}</a></span></p>
+
+<div class="figcenter" id="plt_378"><span class="smcap">Plate</span> 378
+<br />
+<a href="images/plt_378.jpg">
+<img src="images/plt_378.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN OF THE SANTA IGLESIA PRIMADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_549" id="page_549">{549}</a></span></p>
+
+<div class="figcenter" id="plt_379"><span class="smcap">Plate</span> 379
+<br />
+<a href="images/plt_379.jpg">
+<img src="images/plt_379.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA ISABEL. SIDE ALTAR-PIECE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_550" id="page_550">{550}</a></span></p>
+
+<div class="figcenter" id="plt_380"><span class="smcap">Plate</span> 380
+<br />
+<a href="images/plt_380.jpg">
+<img src="images/plt_380.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA ISABEL. DETAIL OF AN ALTAR-PIECE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_551" id="page_551">{551}</a></span></p>
+
+<div class="figcenter" id="plt_381"><span class="smcap">Plate</span> 381
+<br />
+<a href="images/plt_381.jpg">
+<img src="images/plt_381.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PARISH CHURCH OF SANTIAGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_552" id="page_552">{552}</a></span></p>
+
+<div class="figcenter" id="plt_382"><span class="smcap">Plate</span> 382
+<br />
+<a href="images/plt_382.jpg">
+<img src="images/plt_382.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF SANTIAGO DEL ARRABAL. THIRTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_553" id="page_553">{553}</a></span></p>
+
+<div class="figcenter" id="plt_383"><span class="smcap">Plate</span> 383
+<br />
+<a href="images/plt_383.jpg">
+<img src="images/plt_383.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PULPIT IN THE CHURCH OF SANTIAGO DEL ARRABAL, FROM WHICH SAN VICENTE DE
+FERRER PREACHED AGAINST THE JEWS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_554" id="page_554">{554}</a></span></p>
+
+<div class="figcenter" id="plt_384"><span class="smcap">Plate</span> 384
+<br />
+<a href="images/plt_384.jpg">
+<img src="images/plt_384.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PAROCHIAL CHURCH OF SANTIAGO DEL ARRABAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_555" id="page_555">{555}</a></span></p>
+
+<div class="figcenter" id="plt_385"><span class="smcap">Plate</span> 385
+<br />
+<a href="images/plt_385.jpg">
+<img src="images/plt_385.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN TOMÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_556" id="page_556">{556}</a></span></p>
+
+<div class="figcenter" id="plt_386"><span class="smcap">Plate</span> 386
+<br />
+<a href="images/plt_386.jpg">
+<img src="images/plt_386.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF AN ALTAR-PIECE IN THE CHURCH OF THE TRINITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_557" id="page_557">{557}</a></span></p>
+
+<div class="figcenter" id="plt_387"><span class="smcap">Plate</span> 387
+<br />
+<a href="images/plt_387.jpg">
+<img src="images/plt_387.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRES IN THE CHURCH OF ST. PETER THE MARTYR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_558" id="page_558">{558}</a></span></p>
+
+<div class="figcenter" id="plt_388"><span class="smcap">Plate</span> 388
+<br />
+<a href="images/plt_388.jpg">
+<img src="images/plt_388.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A SEPULCHRE IN THE CHURCH OF ST. PETER THE MARTYR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_559" id="page_559">{559}</a></span></p>
+
+<div class="figcenter" id="plt_389"><span class="smcap">Plate</span> 389
+<br />
+<a href="images/plt_389.jpg">
+<img src="images/plt_389.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. PETER THE MARTYR. STATUE OF A KNEELING CANON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_560" id="page_560">{560}</a></span></p>
+
+<div class="figcenter" id="plt_390"><span class="smcap">Plate</span> 390
+<br />
+<a href="images/plt_390.jpg">
+<img src="images/plt_390.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL IN SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_561" id="page_561">{561}</a></span></p>
+
+<div class="figcenter" id="plt_391"><span class="smcap">Plate</span> 391
+<br />
+<a href="images/plt_391.jpg">
+<img src="images/plt_391.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL IN SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_562" id="page_562">{562}</a></span></p>
+
+<div class="figcenter" id="plt_392"><span class="smcap">Plate</span> 392
+<br />
+<a href="images/plt_392.jpg">
+<img src="images/plt_392.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_563" id="page_563">{563}</a></span></p>
+
+<div class="figcenter" id="plt_393"><span class="smcap">Plate</span> 393
+<br />
+<a href="images/plt_393.jpg">
+<img src="images/plt_393.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRE IN SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_564" id="page_564">{564}</a></span></p>
+
+<div class="figcenter" id="plt_394"><span class="smcap">Plate</span> 394
+<br />
+<a href="images/plt_394.jpg">
+<img src="images/plt_394.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRE IN SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_565" id="page_565">{565}</a></span></p>
+
+<div class="figcenter" id="plt_395"><span class="smcap">Plate</span> 395
+<br />
+<a href="images/plt_395.jpg">
+<img src="images/plt_395.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE CONVENT OF SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_566" id="page_566">{566}</a></span></p>
+
+<div class="figcenter" id="plt_396"><span class="smcap">Plate</span> 396
+<br />
+<a href="images/plt_396.jpg">
+<img src="images/plt_396.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CONVENT OF SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_567" id="page_567">{567}</a></span></p>
+
+<div class="figcenter" id="plt_397"><span class="smcap">Plate</span> 397
+<br />
+<a href="images/plt_397.jpg">
+<img src="images/plt_397.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_568" id="page_568">{568}</a></span></p>
+
+<div class="figcenter" id="plt_398"><span class="smcap">Plate</span> 398
+<br />
+<a href="images/plt_398.jpg">
+<img src="images/plt_398.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_569" id="page_569">{569}</a></span></p>
+
+<div class="figcenter" id="plt_399"><span class="smcap">Plate</span> 399
+<br />
+<a href="images/plt_399.jpg">
+<img src="images/plt_399.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_570" id="page_570">{570}</a></span></p>
+
+<div class="figcenter" id="plt_400"><span class="smcap">Plate</span> 400
+<br />
+<a href="images/plt_400.jpg">
+<img src="images/plt_400.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT SEPULCHRE IN THE CONVENT OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_571" id="page_571">{571}</a></span></p>
+
+<div class="figcenter" id="plt_401"><span class="smcap">Plate</span> 401
+<br />
+<a href="images/plt_401.jpg">
+<img src="images/plt_401.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTO DOMINGO EL REAL, PRINCIPAL ALTAR-PIECE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_572" id="page_572">{572}</a></span></p>
+
+<div class="figcenter" id="plt_402"><span class="smcap">Plate</span> 402
+<br />
+<a href="images/plt_402.jpg">
+<img src="images/plt_402.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE CONVENT OF SAN ANTONIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_573" id="page_573">{573}</a></span></p>
+
+<div class="figcenter" id="plt_403"><span class="smcap">Plate</span> 403
+<br />
+<a href="images/plt_403.jpg">
+<img src="images/plt_403.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_574" id="page_574">{574}</a></span></p>
+
+<div class="figcenter" id="plt_404"><span class="smcap">Plate</span> 404
+<br />
+<a href="images/plt_404.jpg">
+<img src="images/plt_404.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_575" id="page_575">{575}</a></span></p>
+
+<div class="figcenter" id="plt_405"><span class="smcap">Plate</span> 405
+<br />
+<a href="images/plt_405.jpg">
+<img src="images/plt_405.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE INTERIOR OF THE CONVENT OF SAN CLEMENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_576" id="page_576">{576}</a></span></p>
+
+<div class="figcenter" id="plt_406"><span class="smcap">Plate</span> 406
+<br />
+<a href="images/plt_406.jpg">
+<img src="images/plt_406.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_577" id="page_577">{577}</a></span></p>
+
+<div class="figcenter" id="plt_407"><span class="smcap">Plate</span> 407
+<br />
+<a href="images/plt_407.jpg">
+<img src="images/plt_407.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_578" id="page_578">{578}</a></span></p>
+
+<div class="figcenter" id="plt_408"><span class="smcap">Plate</span> 408
+<br />
+<a href="images/plt_408-a.jpg">
+<img src="images/plt_408-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF SANTA CRUZ</p>
+<br />
+<a href="images/plt_408-b.jpg">
+<img src="images/plt_408-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>THE HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_579" id="page_579">{579}</a></span></p>
+
+<div class="figcenter" id="plt_409"><span class="smcap">Plate</span> 409
+<br />
+<a href="images/plt_409.jpg">
+<img src="images/plt_409.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_580" id="page_580">{580}</a></span></p>
+
+<div class="figcenter" id="plt_410"><span class="smcap">Plate</span> 410
+<br />
+<a href="images/plt_410.jpg">
+<img src="images/plt_410.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD OF THE HOSPITAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_581" id="page_581">{581}</a></span></p>
+
+<div class="figcenter" id="plt_411"><span class="smcap">Plate</span> 411
+<br />
+<a href="images/plt_411.jpg">
+<img src="images/plt_411.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_582" id="page_582">{582}</a></span></p>
+
+<div class="figcenter" id="plt_412"><span class="smcap">Plate</span> 412
+<br />
+<a href="images/plt_412.jpg">
+<img src="images/plt_412.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_583" id="page_583">{583}</a></span></p>
+
+<div class="figcenter" id="plt_413"><span class="smcap">Plate</span> 413
+<br />
+<a href="images/plt_413.jpg">
+<img src="images/plt_413.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE PORTAL OF THE HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_584" id="page_584">{584}</a></span></p>
+
+<div class="figcenter" id="plt_414"><span class="smcap">Plate</span> 414
+<br />
+<a href="images/plt_414.jpg">
+<img src="images/plt_414.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_585" id="page_585">{585}</a></span></p>
+
+<div class="figcenter" id="plt_415"><span class="smcap">Plate</span> 415
+<br />
+<a href="images/plt_415.jpg">
+<img src="images/plt_415.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_586" id="page_586">{586}</a></span></p>
+
+<div class="figcenter" id="plt_416"><span class="smcap">Plate</span> 416
+<br />
+<a href="images/plt_416.jpg">
+<img src="images/plt_416.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTALS IN THE VESTIBULE OF THE ANCIENT HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_587" id="page_587">{587}</a></span></p>
+
+<div class="figcenter" id="plt_417"><span class="smcap">Plate</span> 417
+<br />
+<a href="images/plt_417.jpg">
+<img src="images/plt_417.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL OF SANTA CRUZ. PORTRAIT OF THE FOUNDER, CARDINAL MENDOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_588" id="page_588">{588}</a></span></p>
+
+<div class="figcenter" id="plt_418"><span class="smcap">Plate</span> 418
+<br />
+<a href="images/plt_418.jpg">
+<img src="images/plt_418.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL DE AFUERA. THE COURT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_589" id="page_589">{589}</a></span></p>
+
+<div class="figcenter" id="plt_419"><span class="smcap">Plate</span> 419
+<br />
+<a href="images/plt_419.jpg">
+<img src="images/plt_419.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL DE AFUERA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_590" id="page_590">{590}</a></span></p>
+
+<div class="figcenter" id="plt_420"><span class="smcap">Plate</span> 420
+<br />
+<a href="images/plt_420.jpg">
+<img src="images/plt_420.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL OF ST. JOHN BAPTIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_591" id="page_591">{591}</a></span></p>
+
+<div class="figcenter" id="plt_421"><span class="smcap">Plate</span> 421
+<br />
+<a href="images/plt_421.jpg">
+<img src="images/plt_421.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL DE AFUERA. SEPULCHRE OF CARDINAL TAVERA. 1557. ALONZO
+BERRUGUETE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_592" id="page_592">{592}</a></span></p>
+
+<div class="figcenter" id="plt_422"><span class="smcap">Plate</span> 422
+<br />
+<a href="images/plt_422-a.jpg">
+<img src="images/plt_422-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE UNIVERSITY</p>
+<br />
+<a href="images/plt_422-b.jpg">
+<img src="images/plt_422-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>THE UNIVERSITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_593" id="page_593">{593}</a></span></p>
+
+<div class="figcenter" id="plt_423"><span class="smcap">Plate</span> 423
+<br />
+<a href="images/plt_423.jpg">
+<img src="images/plt_423.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MUNÁRRIZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_594" id="page_594">{594}</a></span></p>
+
+<div class="figcenter" id="plt_424"><span class="smcap">Plate</span> 424
+<br />
+<a href="images/plt_424-a.jpg">
+<img src="images/plt_424-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF AL MARDÓM</p>
+<br />
+<a href="images/plt_424-b.jpg">
+<img src="images/plt_424-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>ALTAR OF THE CHURCH OF SAN JUSTO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_595" id="page_595">{595}</a></span></p>
+
+<div class="figcenter" id="plt_425"><span class="smcap">Plate</span> 425
+<br />
+<a href="images/plt_425-a.jpg">
+<img src="images/plt_425-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF THE ARCHBISHOP’S PALACE</p>
+<br />
+<a href="images/plt_425-b.jpg">
+<img src="images/plt_425-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>IN THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_596" id="page_596">{596}</a></span></p>
+
+<div class="figcenter" id="plt_426"><span class="smcap">Plate</span> 426
+<br />
+<a href="images/plt_426-a.jpg">
+<img src="images/plt_426-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_426-b.jpg">
+<img src="images/plt_426-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VIEW OF ST. MARTIN’S BRIDGE, LOOKING DOWN THE RIVER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_597" id="page_597">{597}</a></span></p>
+
+<div class="figcenter" id="plt_427"><span class="smcap">Plate</span> 427
+<br />
+<a href="images/plt_427-a.jpg">
+<img src="images/plt_427-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY OF SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_427-b.jpg">
+<img src="images/plt_427-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>A MOORISH WORKSHOP</p>
+</div>
+
+<p><span class="pagenum"><a name="page_598" id="page_598">{598}</a></span></p>
+
+<div class="figcenter" id="plt_428"><span class="smcap">Plate</span> 428
+<br />
+<a href="images/plt_428.jpg">
+<img src="images/plt_428.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOTEL CASTILLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_599" id="page_599">{599}</a></span></p>
+
+<div class="figcenter" id="plt_429"><span class="smcap">Plate</span> 429
+<br />
+<a href="images/plt_429.jpg">
+<img src="images/plt_429.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE COURTYARD OF THE HOTEL CASTILLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_600" id="page_600">{600}</a></span></p>
+
+<div class="figcenter" id="plt_430"><span class="smcap">Plate</span> 430
+<br />
+<a href="images/plt_430-a.jpg">
+<img src="images/plt_430-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<a href="images/plt_430-b.jpg">
+<img src="images/plt_430-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VISIGOTH CAPITALS IN THE CHURCH OF SAN SEBASTIAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_601" id="page_601">{601}</a></span></p>
+
+<div class="figcenter" id="plt_431"><span class="smcap">Plate</span> 431
+<br />
+<a href="images/plt_431.jpg">
+<img src="images/plt_431.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM</p>
+
+<table summary="">
+<tr valign="top"><td>
+<p>CAPITAL, FOURTH CENTURY<br /> AFTER THE HEGIRA</p></td>
+<td class="spc">&nbsp; </td>
+<td>
+
+<p>CAPITAL OF SANTIAGO DE LOS CABALLEROS<br /> NEAR THE ALCAZAR.<br /> FOURTH CENTURY
+AFTER THE HEGIRA</p></td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_602" id="page_602">{602}</a></span></p>
+
+<div class="figcenter" id="plt_432"><span class="smcap">Plate</span> 432
+<br />
+<a href="images/plt_432.jpg">
+<img src="images/plt_432.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITAL IN THE ARCHÆOLOGICAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_603" id="page_603">{603}</a></span></p>
+
+<div class="figcenter" id="plt_433"><span class="smcap">Plate</span> 433
+<br />
+<a href="images/plt_433-a.jpg">
+<img src="images/plt_433-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF DADO FOUND NEAR THE BASILICA OF SANTA LEOCADIA</p>
+<br />
+<a href="images/plt_433-b.jpg">
+<img src="images/plt_433-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>WINDOW OF SAN GINÉS</p>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_604" id="page_604">{604}</a></span></p>
+
+<div class="figcenter" id="plt_434"><span class="smcap">Plate</span> 434
+<br />
+<a href="images/plt_434-a.jpg">
+<img src="images/plt_434-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE TABLE IN WHITE MARBLE,
+BELONGING TO THE ALJAMA MOSQUE OF TOLEDO</p>
+<br />
+<a href="images/plt_434-b.jpg">
+<img src="images/plt_434-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE FRAGMENT FOUND AT THE
+“MIRADERO.” CARVED IN WHITE MARBLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_605" id="page_605">{605}</a></span></p>
+
+<div class="figcenter" id="plt_435"><span class="smcap">Plate</span> 435
+<br />
+<a href="images/plt_435-a.jpg">
+<img src="images/plt_435-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITAL IN THE SOUTH-WEST ANGLE, BELONGING TO THE OLD MOSQUE, NOW THE
+HERMITAGE OF SANTO CRISTO DE LA LUZ</p>
+<br />
+<a href="images/plt_435-b.jpg">
+<img src="images/plt_435-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>THE FIFTH OF THE VISIGOTH CAPITALS OF THE HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_606" id="page_606">{606}</a></span></p>
+
+<div class="figcenter" id="plt_436"><span class="smcap">Plate</span> 436
+<br />
+<a href="images/plt_436-a.jpg">
+<img src="images/plt_436-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. SKY-LIGHT OR ORNAMENT FOUND AT TOLEDO</p>
+<br />
+<a href="images/plt_436-b.jpg">
+<img src="images/plt_436-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VISIGOTH CAPITAL IN THE PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_607" id="page_607">{607}</a></span></p>
+
+<div class="figcenter" id="plt_437"><span class="smcap">Plate</span> 437
+<br />
+<a href="images/plt_437.jpg">
+<img src="images/plt_437.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD IN THE PARISH CHURCH OF
+SAN ROMÁN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_608" id="page_608">{608}</a></span></p>
+
+<div class="figcenter" id="plt_438"><span class="smcap">Plate</span> 438
+<br />
+<a href="images/plt_438.jpg">
+<img src="images/plt_438.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL PIECES OF THE VISIGOTH PERIOD EXISTING IN THE CITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_609" id="page_609">{609}</a></span></p>
+
+<div class="figcenter" id="plt_439"><span class="smcap">Plate</span> 439
+<br />
+<a href="images/plt_439.jpg">
+<img src="images/plt_439.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_610" id="page_610">{610}</a></span></p>
+
+<div class="figcenter" id="plt_440"><span class="smcap">Plate</span> 440
+<br />
+<a href="images/plt_440-a.jpg">
+<img src="images/plt_440-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITAL OF THE SOUTH-EAST ANGLE BELONGING TO THE ANCIENT MOSQUE, NOW THE
+HERMITAGE OF SANTO CRISTO DE LA LUZ</p>
+<br />
+<a href="images/plt_440-b.jpg">
+<img src="images/plt_440-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VISIGOTH CAPITAL OF THE OLD PARISH CHURCH OF SAN SEBASTIAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_611" id="page_611">{611}</a></span></p>
+
+<div class="figcenter" id="plt_441"><span class="smcap">Plate</span> 441
+<br />
+<a href="images/plt_441.jpg">
+<img src="images/plt_441.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. VISIGOTH CAPITALS OF THE CHURCH OF SANTA
+EULALIA. FRAGMENT OF THE DADO OF THE BASILICA OF SANTO LEOCADIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_612" id="page_612">{612}</a></span></p>
+
+<div class="figcenter" id="plt_442"><span class="smcap">Plate</span> 442
+<br />
+<a href="images/plt_442.jpg">
+<img src="images/plt_442.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITALS IN THE ARCHÆOLOGICAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_613" id="page_613">{613}</a></span></p>
+
+<div class="figcenter" id="plt_443"><span class="smcap">Plate</span> 443
+<br />
+<a href="images/plt_443-a.jpg">
+<img src="images/plt_443-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CAPITAL OF THE FOURTH CENTURY AFTER THE HEGIRA</p>
+<br />
+<a href="images/plt_443-b.jpg">
+<img src="images/plt_443-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. ARAB ASTROLABE MADE AT TOLEDO IN THE YEAR
+459 AFTER THE HEGIRA (<small>A.D.</small> 1067)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_614" id="page_614">{614}</a></span></p>
+
+<div class="figcenter" id="plt_444"><span class="smcap">Plate</span> 444
+<br />
+<a href="images/plt_444.jpg">
+<img src="images/plt_444.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_615" id="page_615">{615}</a></span></p>
+
+<div class="figcenter" id="plt_445"><span class="smcap">Plate</span> 445
+<br />
+<a href="images/plt_445.jpg">
+<img src="images/plt_445.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL FRAGMENTS ANTERIOR TO THE MAHOMETAN IRRUPTION, No. 1</p>
+</div>
+
+<p><span class="pagenum"><a name="page_616" id="page_616">{616}</a></span></p>
+
+<div class="figcenter" id="plt_446"><span class="smcap">Plate</span> 446
+<br />
+<a href="images/plt_446.jpg">
+<img src="images/plt_446.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL PARTS AND DECORATIVE REMAINS ANTERIOR TO THE MAHOMETAN
+IRRUPTION, No. 2</p>
+</div>
+
+<p><span class="pagenum"><a name="page_617" id="page_617">{617}</a></span></p>
+
+<div class="figcenter" id="plt_447"><span class="smcap">Plate</span> 447
+<br />
+<a href="images/plt_447.jpg">
+<img src="images/plt_447.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL PARTS AND DECORATIVE FRAGMENTS ANTERIOR TO THE MAHOMETAN
+IRRUPTION, No. 3</p>
+</div>
+
+<p><span class="pagenum"><a name="page_618" id="page_618">{618}</a></span></p>
+
+<div class="figcenter" id="plt_448"><span class="smcap">Plate</span> 448
+<br />
+<a href="images/plt_448.jpg">
+<img src="images/plt_448.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHES OF VARIOUS CHURCHES OF THE FOURTEENTH AND FIFTEENTH CENTURIES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_619" id="page_619">{619}</a></span></p>
+
+<div class="figcenter" id="plt_449"><span class="smcap">Plate</span> 449
+<br />
+<a href="images/plt_449.jpg">
+<img src="images/plt_449.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DENUDATION OF OUR LORD BEFORE THE CRUCIFIXION</p>
+
+<p>EL GRECO</p>
+
+<p>SACRISTY OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_620" id="page_620">{620}</a></span></p>
+
+<div class="figcenter" id="plt_450"><span class="smcap">Plate</span> 450
+<br />
+<a href="images/plt_450.jpg">
+<img src="images/plt_450.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE VIRGIN, ST. ANNE, THE CHILD JESUS AND ST. JOHN</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPEL OF ST. ANNE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_621" id="page_621">{621}</a></span></p>
+
+<div class="figcenter" id="plt_451"><span class="smcap">Plate</span> 451
+<br />
+<a href="images/plt_451.jpg">
+<img src="images/plt_451.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY OF SORROWS</p>
+
+<p>EL GRECO</p>
+
+<p>SACRISTY OF THE NEW KINGS, IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_622" id="page_622">{622}</a></span></p>
+
+<div class="figcenter" id="plt_452"><span class="smcap">Plate</span> 452
+<br />
+<a href="images/plt_452.jpg">
+<img src="images/plt_452.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PENTECOST</p>
+
+<p>EL GRECO</p>
+
+<p>CHURCH OF THE TRINITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_623" id="page_623">{623}</a></span></p>
+
+<div class="figcenter" id="plt_453"><span class="smcap">Plate</span> 453
+<br />
+<a href="images/plt_453.jpg">
+<img src="images/plt_453.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>JESUS AND ST. JOHN</p>
+
+<p>EL GRECO</p>
+
+<p>CHURCH OF ST. JOHN THE BAPTIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_624" id="page_624">{624}</a></span></p>
+
+<div class="figcenter" id="plt_454"><span class="smcap">Plate</span> 454
+<br />
+<a href="images/plt_454.jpg">
+<img src="images/plt_454.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ASSUMPTION</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPEL OF SAN JOSÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_625" id="page_625">{625}</a></span></p>
+
+<div class="figcenter" id="plt_455"><span class="smcap">Plate</span> 455
+<br />
+<a href="images/plt_455.jpg">
+<img src="images/plt_455.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MARTIN</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPEL OE SAN JOSÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_626" id="page_626">{626}</a></span></p>
+
+<div class="figcenter" id="plt_456"><span class="smcap">Plate</span> 456
+<br />
+<a href="images/plt_456.jpg">
+<img src="images/plt_456.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE HOLY EUCHARIST. BY EL GRECO CHURCH OF SAN JOSÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_627" id="page_627">{627}</a></span></p>
+
+<div class="figcenter" id="plt_457"><span class="smcap">Plate</span> 457
+<br />
+<a href="images/plt_457.jpg">
+<img src="images/plt_457.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JOSÉ AND THE CHILD JESUS</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF THE MAGDALENE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_628" id="page_628">{628}</a></span></p>
+
+<div class="figcenter" id="plt_458"><span class="smcap">Plate</span> 458
+<br />
+<a href="images/plt_458.jpg">
+<img src="images/plt_458.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE INTERMENT OF COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+
+<p>CHURCH OF SANTO TOMÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_629" id="page_629">{629}</a></span></p>
+
+<div class="figcenter" id="plt_459"><span class="smcap">Plate</span> 459
+<br />
+<a href="images/plt_459.jpg">
+<img src="images/plt_459.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE INTERMENT OF COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_630" id="page_630">{630}</a></span></p>
+
+<div class="figcenter" id="plt_460"><span class="smcap">Plate</span> 460
+<br />
+<a href="images/plt_460.jpg">
+<img src="images/plt_460.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_631" id="page_631">{631}</a></span></p>
+
+<div class="figcenter" id="plt_461"><span class="smcap">Plate</span> 461
+<br />
+<a href="images/plt_461.jpg">
+<img src="images/plt_461.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_632" id="page_632">{632}</a></span></p>
+
+<div class="figcenter" id="plt_462"><span class="smcap">Plate</span> 462
+<br />
+<a href="images/plt_462.jpg">
+<img src="images/plt_462.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_633" id="page_633">{633}</a></span></p>
+
+<div class="figcenter" id="plt_463"><span class="smcap">Plate</span> 463
+<br />
+<a href="images/plt_463.jpg">
+<img src="images/plt_463.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_634" id="page_634">{634}</a></span></p>
+
+<div class="figcenter" id="plt_464"><span class="smcap">Plate</span> 464
+<br />
+<a href="images/plt_464.jpg">
+<img src="images/plt_464.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_635" id="page_635">{635}</a></span></p>
+
+<div class="figcenter" id="plt_465"><span class="smcap">Plate</span> 465
+<br />
+<a href="images/plt_465.jpg">
+<img src="images/plt_465.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_636" id="page_636">{636}</a></span></p>
+
+<div class="figcenter" id="plt_466"><span class="smcap">Plate</span> 466
+<br />
+<a href="images/plt_466.jpg">
+<img src="images/plt_466.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_637" id="page_637">{637}</a></span></p>
+
+<div class="figcenter" id="plt_467"><span class="smcap">Plate</span> 467
+<br />
+<a href="images/plt_467.jpg">
+<img src="images/plt_467.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ANNUNCIATION</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN NICHOLÁS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_638" id="page_638">{638}</a></span></p>
+
+<div class="figcenter" id="plt_468"><span class="smcap">Plate</span> 468
+<br />
+<a href="images/plt_468.jpg">
+<img src="images/plt_468.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CRUCIFIXION</p>
+
+<p>EL GRECO</p>
+
+<p>SAN NICHOLÁS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_639" id="page_639">{639}</a></span></p>
+
+<div class="figcenter" id="plt_469"><span class="smcap">Plate</span> 469
+<br />
+<a href="images/plt_469.jpg">
+<img src="images/plt_469.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN PEDRO NOLASCO</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN NICHOLÁS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_640" id="page_640">{640}</a></span></p>
+
+<div class="figcenter" id="plt_470"><span class="smcap">Plate</span> 470
+<br />
+<a href="images/plt_470.jpg">
+<img src="images/plt_470.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ASSUMPTION</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN VICENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_641" id="page_641">{641}</a></span></p>
+
+<div class="figcenter" id="plt_471"><span class="smcap">Plate</span> 471
+<br />
+<a href="images/plt_471.jpg">
+<img src="images/plt_471.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN EUGENIO</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN VICENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_642" id="page_642">{642}</a></span></p>
+
+<div class="figcenter" id="plt_472"><span class="smcap">Plate</span> 472
+<br />
+<a href="images/plt_472.jpg">
+<img src="images/plt_472.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. PETER</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN VICENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_643" id="page_643">{643}</a></span></p>
+
+<div class="figcenter" id="plt_473"><span class="smcap">Plate</span> 473
+<br />
+<a href="images/plt_473.jpg">
+<img src="images/plt_473.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>JESUS AND THE VIRGIN</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN VICENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_644" id="page_644">{644}</a></span></p>
+
+<div class="figcenter" id="plt_474"><span class="smcap">Plate</span> 474
+<br />
+<a href="images/plt_474.jpg">
+<img src="images/plt_474.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ASCENSION</p>
+
+<p>EL GRECO</p>
+
+<p>SANTO DOMINGO EL ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_645" id="page_645">{645}</a></span></p>
+
+<div class="figcenter" id="plt_475"><span class="smcap">Plate</span> 475
+<br />
+<a href="images/plt_475.jpg">
+<img src="images/plt_475.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A SAINT (? SANTO DOMINGO EL ANTIGUA)</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_646" id="page_646">{646}</a></span></p>
+
+<div class="figcenter" id="plt_476"><span class="smcap">Plate</span> 476
+<br />
+<a href="images/plt_476.jpg">
+<img src="images/plt_476.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE BIRTH OF JESUS</p>
+
+<p>EL GRECO</p>
+
+<p>SANTO DOMINGO EL ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_647" id="page_647">{647}</a></span></p>
+
+<div class="figcenter" id="plt_477"><span class="smcap">Plate</span> 477
+<br />
+<a href="images/plt_477.jpg">
+<img src="images/plt_477.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA VERONICA WITH THE SUDARIUM</p>
+
+<p>EL GRECO</p>
+
+<p>SANTO DOMINGO EL ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_648" id="page_648">{648}</a></span></p>
+
+<div class="figcenter" id="plt_478"><span class="smcap">Plate</span> 478
+<br />
+<a href="images/plt_478.jpg">
+<img src="images/plt_478.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JOHN BAPTIST</p>
+
+<p>EL GRECO</p>
+
+<p>SANTO DOMINGO EL ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_649" id="page_649">{649}</a></span></p>
+
+<div class="figcenter" id="plt_479"><span class="smcap">Plate</span> 479
+<br />
+<a href="images/plt_479.jpg">
+<img src="images/plt_479.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JOHN THE EVANGELIST</p>
+
+<p>EL GRECO</p>
+
+<p>CHURCH OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_650" id="page_650">{650}</a></span></p>
+
+<div class="figcenter" id="plt_480"><span class="smcap">Plate</span> 480
+<br />
+<a href="images/plt_480.jpg">
+<img src="images/plt_480.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF THE CONVENT OF SANTO DOMINGO</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_651" id="page_651">{651}</a></span></p>
+
+<div class="figcenter" id="plt_481"><span class="smcap">Plate</span> 481
+<br />
+<a href="images/plt_481.jpg">
+<img src="images/plt_481.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. FRANCIS OF ASSISI</p>
+
+<p>EL GRECO</p>
+
+<p>COLLEGE OF NOBLE LADIES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_652" id="page_652">{652}</a></span></p>
+
+<div class="figcenter" id="plt_482"><span class="smcap">Plate</span> 482
+<br />
+<a href="images/plt_482.jpg">
+<img src="images/plt_482.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE BAPTISM OF JESUS</p>
+
+<p>EL GRECO</p>
+
+<p>HOSPITAL OF ST. JOHN BAPTIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_653" id="page_653">{653}</a></span></p>
+
+<div class="figcenter" id="plt_483"><span class="smcap">Plate</span> 483
+<br />
+<a href="images/plt_483.jpg">
+<img src="images/plt_483.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF CARDINAL TAVERA</p>
+
+<p>EL GRECO</p>
+
+<p>HOSPITAL OF ST. JOHN BAPTIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_654" id="page_654">{654}</a></span></p>
+
+<div class="figcenter" id="plt_484"><span class="smcap">Plate</span> 484
+<br />
+<a href="images/plt_484.jpg">
+<img src="images/plt_484.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE HIGH ALTAR OF THE TAVERA HOSPITAL</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_655" id="page_655">{655}</a></span></p>
+
+<div class="figcenter" id="plt_485"><span class="smcap">Plate</span> 485
+<br />
+<a href="images/plt_485.jpg">
+<img src="images/plt_485.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO (LEFT HALF)</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_656" id="page_656">{656}</a></span></p>
+
+<div class="figcenter" id="plt_486"><span class="smcap">Plate</span> 486
+<br />
+<a href="images/plt_486.jpg">
+<img src="images/plt_486.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO (RIGHT HALF)</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_657" id="page_657">{657}</a></span></p>
+
+<div class="figcenter" id="plt_487"><span class="smcap">Plate</span> 487
+<br />
+<a href="images/plt_487.jpg">
+<img src="images/plt_487.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF TOLEDO</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_658" id="page_658">{658}</a></span></p>
+
+<div class="figcenter" id="plt_488"><span class="smcap">Plate</span> 488
+<br />
+<a href="images/plt_488.jpg">
+<img src="images/plt_488.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF ANTONIO COVARRUBIAS</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_659" id="page_659">{659}</a></span></p>
+
+<div class="figcenter" id="plt_489"><span class="smcap">Plate</span> 489
+<br />
+<a href="images/plt_489.jpg">
+<img src="images/plt_489.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF THE SON OF COVARRUBIAS</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_660" id="page_660">{660}</a></span></p>
+
+<div class="figcenter" id="plt_490"><span class="smcap">Plate</span> 490
+<br />
+<a href="images/plt_490.jpg">
+<img src="images/plt_490.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CRUCIFIXION</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_661" id="page_661">{661}</a></span></p>
+
+<div class="figcenter" id="plt_491"><span class="smcap">Plate</span> 491
+<br />
+<a href="images/plt_491.jpg">
+<img src="images/plt_491.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALLEGORY OF THE VIRGIN</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_662" id="page_662">{662}</a></span></p>
+
+<div class="figcenter" id="plt_492"><span class="smcap">Plate</span> 492
+<br />
+<a href="images/plt_492.jpg">
+<img src="images/plt_492.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF JUAN DE AVILA</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_663" id="page_663">{663}</a></span></p>
+
+<div class="figcenter" id="plt_493"><span class="smcap">Plate</span> 493
+<br />
+<a href="images/plt_493.jpg">
+<img src="images/plt_493.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>OUR SAVIOUR</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_664" id="page_664">{664}</a></span></p>
+
+<div class="figcenter" id="plt_494"><span class="smcap">Plate</span> 494
+<br />
+<a href="images/plt_494.jpg">
+<img src="images/plt_494.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JOHN THE EVANGELIST</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_665" id="page_665">{665}</a></span></p>
+
+<div class="figcenter" id="plt_495"><span class="smcap">Plate</span> 495
+<br />
+<a href="images/plt_495.jpg">
+<img src="images/plt_495.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. PETER</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_666" id="page_666">{666}</a></span></p>
+
+<div class="figcenter" id="plt_496"><span class="smcap">Plate</span> 496
+<br />
+<a href="images/plt_496.jpg">
+<img src="images/plt_496.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MATTHIAS</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_667" id="page_667">{667}</a></span></p>
+
+<div class="figcenter" id="plt_497"><span class="smcap">Plate</span> 497
+<br />
+<a href="images/plt_497.jpg">
+<img src="images/plt_497.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. PHILIP</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_668" id="page_668">{668}</a></span></p>
+
+<div class="figcenter" id="plt_498"><span class="smcap">Plate</span> 498
+<br />
+<a href="images/plt_498.jpg">
+<img src="images/plt_498.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. ANDREW</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_669" id="page_669">{669}</a></span></p>
+
+<div class="figcenter" id="plt_499"><span class="smcap">Plate</span> 499
+<br />
+<a href="images/plt_499.jpg">
+<img src="images/plt_499.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. THOMAS</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_670" id="page_670">{670}</a></span></p>
+
+<div class="figcenter" id="plt_500"><span class="smcap">Plate</span> 500
+<br />
+<a href="images/plt_500.jpg">
+<img src="images/plt_500.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. SIMON</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_671" id="page_671">{671}</a></span></p>
+
+<div class="figcenter" id="plt_501"><span class="smcap">Plate</span> 501
+<br />
+<a href="images/plt_501.jpg">
+<img src="images/plt_501.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MATTHEW</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_672" id="page_672">{672}</a></span></p>
+
+<div class="figcenter" id="plt_502"><span class="smcap">Plate</span> 502
+<br />
+<a href="images/plt_502.jpg">
+<img src="images/plt_502.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JUDE TADEO</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_673" id="page_673">{673}</a></span></p>
+
+<div class="figcenter" id="plt_503"><span class="smcap">Plate</span> 503
+<br />
+<a href="images/plt_503.jpg">
+<img src="images/plt_503.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>AN APOSTLE</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_674" id="page_674">{674}</a></span></p>
+
+<div class="figcenter" id="plt_504"><span class="smcap">Plate</span> 504
+<br />
+<a href="images/plt_504.jpg">
+<img src="images/plt_504.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>AN APOSTLE</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_675" id="page_675">{675}</a></span></p>
+
+<div class="figcenter" id="plt_505"><span class="smcap">Plate</span> 505
+<br />
+<a href="images/plt_505.jpg">
+<img src="images/plt_505.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>AN APOSTLE</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_676" id="page_676">{676}</a></span></p>
+
+<div class="figcenter" id="plt_506"><span class="smcap">Plate</span> 506
+<br />
+<a href="images/plt_506.jpg">
+<img src="images/plt_506.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ANNUNCIATION</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_677" id="page_677">{677}</a></span></p>
+
+<div class="figcenter" id="plt_507"><span class="smcap">Plate</span> 507
+<br />
+<a href="images/plt_507.jpg">
+<img src="images/plt_507.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE DREAM OF PHILIP II.</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPTER HALL OF THE ESCORIAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_678" id="page_678">{678}</a></span></p>
+
+<div class="figcenter" id="plt_508"><span class="smcap">Plate</span> 508
+<br />
+<a href="images/plt_508.jpg">
+<img src="images/plt_508.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MAURICE AND THE THEBAN LEGION</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPTER HALL OF THE ESCORIAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_679" id="page_679">{679}</a></span></p>
+
+<div class="figcenter" id="plt_509"><span class="smcap">Plate</span> 509
+<br />
+<a href="images/plt_509.jpg">
+<img src="images/plt_509.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF EL GRECO BY HIMSELF</p>
+
+<p>SEÑOR A. DE BERUETE, MADRID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_680" id="page_680">{680}</a></span></p>
+
+<div class="figcenter" id="plt_510"><span class="smcap">Plate</span> 510
+<br />
+<a href="images/plt_510.jpg">
+<img src="images/plt_510.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHRIST DRIVING THE MONEY-CHANGERS FROM THE TEMPLE</p>
+
+<p>EL GRECO</p>
+
+<p>SEÑOR DE BERUETE, MADRID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_681" id="page_681">{681}</a></span></p>
+
+<div class="figcenter" id="plt_511"><span class="smcap">Plate</span> 511
+<br />
+<a href="images/plt_511.jpg">
+<img src="images/plt_511.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF A STUDENT (EL GRECO?)</p>
+
+<p>EL GRECO</p>
+
+<p>DON PABLO BOSCH, MADRID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_682" id="page_682">{682}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_683" id="page_683">{683}</a></span>&nbsp; </p>
+
+<hr />
+
+<p class="cbig">THE<br />
+
+SPANISH SERIES<br /></p>
+
+<p class="c">Edited by ALBERT F. CALVERT</p>
+
+<p class="nind"><span class="smcap">A new</span> and important series of volumes, dealing with Spain in its various
+aspects, its history, its cities and monuments. Each volume will be
+complete in itself in a uniform binding, and the number and excellence
+of the reproductions from pictures will justify the claim that these
+books comprise the most copiously illustrated series that has yet been
+issued, some volumes having over 300 pages of reproductions of pictures,
+etc.</p>
+
+<p class="c">
+Crown 8vo         Price 3/6 net<br /></p>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+<tr valign="top"><td class="rt">1</td><td>Goya</td><td class="c" valign="bottom" colspan="3">with 600 illustrations</td></tr>
+<tr valign="top"><td class="rt">2</td><td>Toledo</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">510</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">3</td><td>Madrid</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">450</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">4</td><td>Seville</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">300</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">5</td><td>Murillo</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">165</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">6</td><td>Cordova</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">160</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">7</td><td>El Greco</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">140</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">8</td><td>Velazquez</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">142</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">9</td><td>The Prado</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">223</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">10</td><td>The Escorial</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">278</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">11</td><td>Royal Palaces of Spain</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">200</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">12</td><td>Granada and Alhambra</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">460</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">13</td><td>Spanish Arms and Armour</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">386</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">14</td><td>Leon, Burgos and Salamanca</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">462</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">15</td><td>Valladolid, Oviedo,<br /> Segovia Zamora, Avila and Zaragoza</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">390</td><td class="c" valign="bottom">”</td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_684" id="page_684">{684}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">MURILLO</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES</p>
+
+<p>While the names of Murillo and Velazquez are inseparably linked in the
+history of Art as Spain’s immortal contribution to the small band of
+world-painters, the great Court-Painter to Philip IV. has ever received
+the lion’s share of public attention. Many learned and critical works
+have been written about Murillo, but whereas Velazquez has been
+familiarised to the general reader by the aid of small, popular
+biographies, the niche is still empty which it is hoped that this book
+will fill.</p>
+
+<p>In this volume the attempt has been made to show the painter’s art in
+its relation to the religious feeling of the age in which he lived, and
+his own feeling towards his art. Murillo was the product of his
+religious era, and of his native province, Andalusia. To Europe in his
+lifetime he signified little or nothing. He painted to the order of the
+religious houses in his immediate vicinity; his works were immured in
+local monasteries and cathedrals, and, passing immediately out of
+circulation, were forgotten or never known.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">SPANISH ARMS AND ARMOUR</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
+ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY
+SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN</p>
+
+<p>Although several valuable and voluminous catalogues of the Spanish Royal
+Armoury have, from time to time, been compiled, this “finest collection
+of armour in the world” has been subjected so often to the disturbing
+influences of fire, removal, and re-arrangement, that no hand catalogue
+of the Museum is available, and this book has been designed to serve
+both as a historical souvenir of the institution and a record of its
+treasures.</p>
+
+<p>The various exhibits with which the writer illustrates his narrative are
+reproduced to the number of nearly 400 on art paper, and the selection
+of weapons and armour has been made with a view not only to render the
+series interesting to the general reader, but to present a useful text
+book for the guidance of artists, sculptors, antiquaries, costumiers,
+and all who are engaged in the reproduction or representation of
+European armoury.<span class="pagenum"><a name="page_685" id="page_685">{685}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">THE ESCORIAL</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
+MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
+FROM PICTURES AND PHOTOGRAPHS</p>
+
+<p>The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
+its gaunt, grey walls in one of the bleakest but most imposing districts
+in the whole of Spain, was erected to commemorate a victory over the
+French in 1557. It was occupied and pillaged by the French two and
+a-half centuries later, and twice it has been greatly diminished by
+fire; but it remains to-day, not only the incarnate expression of the
+fanatic religious character and political genius of Philip II., but the
+greatest mass of wrought granite which exists on earth, the leviathan of
+architecture, the eighth wonder of the world.</p>
+
+<p>In the text of this book the author has endeavoured to reconstitute the
+glories and tragedies of the living past of the Escorial, and to
+represent the wonders of the stupendous edifice by reproductions of over
+two hundred and seventy of the finest photographs and pictures
+obtainable. Both as a review and a pictorial record it is hoped that the
+work will make a wide appeal among all who are interested in the
+history, the architecture, and the art of Spain.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">TOLEDO</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
+510 ILLUSTRATIONS</p>
+
+<p>The origin of Imperial Toledo, “the crown of Spain, the light of the
+world, free from the time of the mighty Goths,” is lost in the
+impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
+city has been described by Wörmann as “a gigantic open-air museum of the
+architectural history of early Spain, arranged upon a lofty and
+conspicuous table of rock.”</p>
+
+<p>But while some writers have declared that Toledo is a theatre with the
+actors gone and only the scenery left, the author does not share the
+opinion. He believes that the power and virility upon which Spain built
+up her greatness is reasserting itself. The machinery of the theatre of
+Toledo is rusty, the pulleys are jammed from long disuse, but the
+curtain is rising steadily if slowly, and already can be heard the
+tuning-up of fiddles in its ancient orchestra.</p>
+
+<p>In this belief the author of this volume has not only set forth the
+story of Toledo’s former greatness, but has endeavoured to place before
+his readers a panorama of the city as it appears to-day, and to show
+cause for his faith in the greatness of the Toledo of the future.<span class="pagenum"><a name="page_686" id="page_686">{686}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">SEVILLE</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS</p>
+
+<p>Seville, which has its place in mythology as the creation of Hercules,
+and was more probably founded by the Phœnicians, which became
+magnificent under the Roman rule, was made the capital of the Goths,
+became the centre of Moslem power and splendour, and fell before the
+military prowess of St. Ferdinand, is still the Queen of Andalusia, the
+foster-mother of Velazquez and Murillo, the city of poets and pageantry
+and love.</p>
+
+<p>Seville is always gay, and responsive and fascinating to the receptive
+visitor, and all sorts of people go there with all sorts of motives. The
+artist repairs to the Andalusian city to fill his portfolio; the lover
+of art makes the pilgrimage to study Murillo in all his glory. The
+seasons of the Church attract thousands from reasons of devotion or
+curiosity. And of all these myriad visitors, who go with their minds
+full of preconceived notions, not one has yet confessed to being
+disappointed in Seville.</p>
+
+<p>The author has here attempted to convey in the illustrations an
+impression of this laughing city where all is gaiety and mirth and
+ever-blossoming roses, where the people pursue pleasure as the serious
+business of life in an atmosphere of exhilarating enjoyment.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">THE PRADO</p>
+
+<p>A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
+WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY
+SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG</p>
+
+<p>This volume is an attempt to supplement the accurate but formal notes
+contained in the official catalogue of a picture gallery which is
+considered the finest in the world. It has been said that the day one
+enters the Prado for the first time is an important event like marriage,
+the birth of a child, or the coming into an inheritance; an experience
+of which one feels the effects to the day of one’s death.</p>
+
+<p>The excellence of the Madrid gallery is the excellence of exclusion; it
+is a collection of magnificent gems. Here one becomes conscious of a
+fresh power in Murillo, and is amazed anew by the astonishing apparition
+of Velazquez; here is, in truth, a rivalry of miracles of art.</p>
+
+<p>The task of selecting pictures for reproduction from what is perhaps the
+most splendid gallery of old masters in existence, was one of no little
+difficulty, but it is believed that the collection is representative,
+and that the letterpress will form a serviceable companion to the
+visitor to The Prado.<span class="pagenum"><a name="page_687" id="page_687">{687}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">GRANADA AND THE ALHAMBRA</p>
+
+<p>A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
+ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
+MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION
+TO H.I.M. THE EMPRESS EUGÉNIE</p>
+
+<p>This volume is the third and abridged edition of a work which the author
+was inspired to undertake by the surpassing loveliness of the Alhambra,
+and by his disappointment in the discovery that no such thing as an even
+moderately adequate illustrated souvenir of “this glorious sanctuary of
+Spain” was obtainable. Keenly conscious of the want himself, he essayed
+to supply it, and the result is a volume that has been acclaimed with
+enthusiasm alike by critics, artists, architects, and archæologists.</p>
+
+<p>In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
+may be likened to an exquisite opera which can only be appreciated to
+the full when one is under the spell of its magic influence. But as the
+witchery of an inspired score can be recalled by the sound of an air
+whistled in the street, so&mdash;it is my hope&mdash;the pale ghost of the Moorish
+fairy-land may live again in the memories of travellers through the
+medium of this pictorial epitome.”</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">EL GRECO</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140
+OF HIS PICTURES</p>
+
+<p>In a Series such as this, which aims at presenting every aspect of
+Spain’s eminence in art and in her artists, the work of Domenico
+Theotocópuli must be allotted a volume to itself. “El Greco,” as he is
+called, who reflects the impulse, and has been said to constitute the
+supreme glory of the Venetian era, was a Greek by repute, a Venetian by
+training, and a Toledan by adoption. His pictures in the Prado are still
+catalogued among those of the Italian School, but foreigner as he was,
+in his heart he was more Spanish than the Spaniards.</p>
+
+<p>El Greco is typically, passionately, extravagantly Spanish, and with his
+advent, Spanish painting laid aside every trace of Provincialism, and
+stepped forth to compel the interest of the world. Neglected for many
+centuries, and still often misjudged, his place in art is an assured
+one. It is impossible to present him as a colourist in a work of this
+nature, but the author has got together reproductions of no fewer than
+140 of his pictures&mdash;a greater number than has ever before been
+published of El Greco’s works.<span class="pagenum"><a name="page_688" id="page_688">{688}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">VELAZQUEZ</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES</p>
+
+<p>Diego Rodriguez de Silva y Velazquez&mdash;“our Velazquez,” as Palomino
+proudly styles him&mdash;has been made the subject of innumerable books in
+every European language, yet the Editor of this Spanish Series feels
+that it would not be complete without the inclusion of yet another
+contribution to the broad gallery of Velazquez literature.</p>
+
+<p>The great Velazquez, the eagle in art&mdash;subtle, simple, incomparable&mdash;the
+supreme painter, is still a guiding influence of the art of to-day. This
+greatest of Spanish artists, a master not only in portrait painting, but
+in character and animal studies, in landscapes and historical subjects,
+impressed the grandeur of his superb personality upon all his work.
+Spain, it has been said, the country whose art was largely borrowed,
+produced Velazquez, and through him Spanish art became the light of a
+new artistic life.</p>
+
+<p>The author cannot boast that he has new data to offer, but he has put
+forward his conclusions with modesty; he has reproduced a great deal
+that is most representative of the artist’s work; and he has endeavoured
+to keep always in view his object to present a concise, accurate, and
+readable life of Velazquez.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">ROYAL PALACES OF SPAIN</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
+THE SPANISH KINGS. PROFUSELY ILLUSTRATED</p>
+
+<p>Spain is beyond question the richest country in the world in the number
+of its Royal Residences, and while few are without artistic importance,
+all are rich in historical memories. Thus, from the Alcazar at Seville,
+which is principally associated with Pedro the Cruel, to the Retiro,
+built to divert the attention of Philip IV. from his country’s decay;
+from the Escorial, in which the gloomy mind of Philip II. is perpetuated
+in stone, to La Granja, which speaks of the anguish and humiliation of
+Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
+Rio Frio, and from El Pardo, darkened by the agony of a good king, to
+Miramar, to which a widowed Queen retired to mourn: all the history of
+Spain, from the splendid days of Charles V. to the present time, is
+crystallised in the Palaces that constitute the patrimony of the Crown.</p>
+
+<p>The Royal Palaces of Spain are open to visitors at stated times, and it
+is hoped that this volume, with its wealth of illustrations, will serve
+the visitor both as a guide and a souvenir.<span class="pagenum"><a name="page_689" id="page_689">{689}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS</p>
+
+<p>The glory of Valladolid has departed, but the skeleton remains, and
+attached to its ancient stones are the memories that Philip II. was born
+here, that here Cervantes lived, and Christopher Columbus died. In this
+one-time capital of Spain, in the Plaza Mayor, the fires of the Great
+Inquisition were first lighted, and here Charles V. laid the foundation
+of the Royal Armoury, which was afterwards transferred to Madrid.</p>
+
+<p>More than seven hundred years have passed since Oviedo was the proud
+capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
+though no longer great, has still all the appurtenances of greatness,
+and with her granite massiveness and austerity, she remains an
+aristocrat even among the aristocracy of Spanish cities. Zamora, which
+has a history dating from time almost without date, was the key of Leon
+and the centre of the endless wars between the Moors and the Christians,
+which raged round it from the eighth to the eleventh centuries.</p>
+
+<p>In this volume the author has striven to re-create the ancient greatness
+of these six cities, and has preserved their memories in a wealth of
+excellent and interesting illustrations.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">LEON, BURGOS AND SALAMANCA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS</p>
+
+<p>In Leon, once the capital of the second kingdom in Spain; in Burgos,
+which boasts one of the most magnificent cathedrals in Spain, and the
+custodianship of the bones of the Cid; and in Salamanca, with its
+university, which is one of the oldest in Europe, the author has
+selected three of the most interesting relics of ancient grandeur in
+this country of departed greatness.</p>
+
+<p>Leon to-day is nothing but a large agricultural village, torpid, silent,
+dilapidated; Burgos, which still retains traces of the Gotho-Castilian
+character, is a gloomy and depleting capital: and Salamanca is a city of
+magnificent buildings, a broken hulk, spent by the storms that from time
+to time have devastated her.</p>
+
+<p>Yet apart from the historical interest possessed by these cities, they
+still make an irresistible appeal to the artist and the antiquary. They
+are content with their stories of old-time greatness and their
+cathedrals, and these ancient architectural splendours, undisturbed by
+the touch of a modernising and renovating spirit, continue to attract
+the visitor.<span class="pagenum"><a name="page_690" id="page_690">{690}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">MADRID</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450
+ILLUSTRATIONS</p>
+
+<p>Madrid is at once one of the most interesting and most maligned cities
+in Europe. It stands at an elevation of 2,500 feet above the sea level,
+in the centre of an arid, treeless, waterless, and wind-blown plain; but
+whatever may be thought of the wisdom of selecting a capital in such a
+situation, one cannot but admire the uniqueness of its position, and the
+magnificence of its buildings, and one is forced to admit that, having
+fairly entered the path of progress, Madrid bids fair to become one of
+the handsomest and most prosperous of European cities.</p>
+
+<p>The splendid promenades, the handsome buildings, and the spacious
+theatres combine to make Madrid one of the first cities of the world,
+and the author has endeavoured with the aid of the camera, to place
+every feature and aspect of the Spanish metropolis before the reader.
+Some of the illustrations reproduced here have been made familiar to the
+English public by reason of the interesting and stirring events
+connected with the Spanish Royal Marriage, but the greater number were
+either taken by the author, or are the work of photographers specially
+employed to obtain new views for the purpose of this volume.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">GOYA</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS
+PICTURES</p>
+
+<p>The last of the old masters and the first of the moderns, as he has been
+called, Francisco José de Goya y Lucientes is not so familiarised to
+English readers as his genius deserves. He was born at a time when the
+tradition of Velazquez was fading, and the condition of Spanish painting
+was debased almost beyond hope of salvation; he broke through the
+academic tradition of imitation; “he, next to Velazquez, is to be
+accounted as the man whom the Impressionists of our time have to thank
+for their most definite stimulus, their most immediate inspiration.”</p>
+
+<p>The genius of Goya was a robust, imperious, and fulminating genius; his
+iron temperament was passionate, dramatic, and revolutionary; he painted
+a picture as he would have fought a battle. He was an athletic, warlike,
+and indefatigable painter; a naturalist like Velazquez; fantastic like
+Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
+Spanish genius.</p>
+
+<p>It is impossible to reproduce his colouring; but in the reproductions of
+his works the author has endeavoured to convey to the reader some idea
+of Goya’s boldness of style, his mastery of frightful shadows and
+mysterious lights, and his genius for expressing all terrible emotions.<span class="pagenum"><a name="page_691" id="page_691">{691}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">CORDOVA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
+CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS</p>
+
+<p>Gay-looking, vivacious in its beauty, silent, ill-provided, depopulated,
+Cordova was once the pearl of the West, the city of cities, Cordova of
+the thirty suburbs and three thousand mosques; to-day she is no more
+than an overgrown village, but she still remains the most Oriental town
+in Spain.</p>
+
+<p>Cordova, once the centre of European civilisation, under the Moors the
+Athens of the West, the successful rival of Baghdad and Damascus, the
+seat of learning and the repository of the arts, has shrunk to the
+proportions of a third-rate provincial town; but the artist, the
+antiquary and the lover of the beautiful, will still find in its streets
+and squares and patios a mysterious spell that cannot be resisted.</p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="cbig">LIFE OF CERVANTES</p>
+
+<p>A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY
+OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND
+REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”</p>
+
+<p class="c">
+Size Crown 8 vo.      150 pp.       Price 3/6 net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“A popular and accessible account of the career of Cervantes.”&mdash;<i>Daily
+Chronicle.</i></p>
+
+<p>“A very readable and pleasant account of one of the great writers of all
+time.”&mdash;<i>Morning Leader.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> is entitled to the gratitude of book-lovers for his
+industrious devotion at one of our greatest literary
+shrines.”&mdash;<i>Birmingham Post.</i></p>
+
+<p>“It is made trebly interesting by the very complete set of Cervantes’
+portraits it contains, and by the inclusion of a valuable
+bibliography.”&mdash;<i>Black and White.</i></p>
+
+<p>“We recommend the book to all those to whom Cervantes is more than a
+mere name.”&mdash;<i>Westminster Gazette.</i></p>
+
+<p>“A most interesting résumé of all facts up to the present time
+known.”&mdash;<i>El Nervion de Bilbao, Spain.</i></p>
+
+<p>“The most notable work dedicated to the immortal author of <i>Don Quixote</i>
+that has been published in England.”&mdash;<i>El Graduador, Spain.</i></p>
+
+<p>“Although the book is written in English no Spaniard could have written
+it with more conscientiousness and enthusiasm.”&mdash;<i>El Defensor de
+Granada, Spain.</i><span class="pagenum"><a name="page_692" id="page_692">{692}</a></span></p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="cbig">THE ALHAMBRA</p>
+
+<p>OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE
+REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS,
+TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE
+AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND
+NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY
+PERMISSION TO H.M. KING ALFONSO XIII.</p>
+
+<p class="c">
+Size 10 x 7½.        Price £2 2s. net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“It is hardly too much to say that this is one of the most magnificent
+books ever issued from the English Press.”&mdash;<i>Building World.</i></p>
+
+<p>“One is really puzzled where to begin and when to stop in praising the
+illustrations.”&mdash;<i>Bookseller.</i></p>
+
+<p>“The most complete record of this wonder of architecture which has ever
+been contemplated, much less attempted.”&mdash;<i>British Architect.</i></p>
+
+<p>“A treasure to the student of decorative art.”&mdash;<i>Morning Advertiser.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has given us a Book Beautiful.”&mdash;<i>Western Daily Press.</i></p>
+
+<p>“It is the last word on the subject, no praise is too
+high.”&mdash;<i>Nottingham Express.</i></p>
+
+<p>“May be counted among the more important art books which have been
+published during recent years.”&mdash;<i>The Globe.</i></p>
+
+<p>“Has a pride of place that is all its own among the books of the
+month.”&mdash;<i>Review of Reviews.</i></p>
+
+<p>“Has in many respects surpassed any books on the Alhambra which up to
+the present have appeared in our own country or abroad.”&mdash;<i>El Graduador,
+Spain.</i></p>
+
+<p>“It is one of the most beautiful books of modern times.”&mdash;<i>Ely Gazette.</i></p>
+
+<p>“One of the most artistic productions of the year.”&mdash;<i>Publishers’
+Circular.</i></p>
+
+<p>“The most beautiful book on the Alhambra issued in England.”&mdash;<i>Sphere.</i></p>
+
+<p>“The standard work on a splendid subject.”&mdash;<i>Daily Telegraph.</i></p>
+
+<p>“A remarkable masterpiece of book production.”&mdash;<i>Eastern Daily Press.</i></p>
+
+<p>“A perfect treasure of beauty and delight.”&mdash;<i>Keighley News.</i></p>
+
+<p>“A magnificent work.”&mdash;<i>Melbourne Age, Australia.</i></p>
+
+<p>“Immense collection of fine plates.”&mdash;<i>The Times.</i></p>
+
+<p>“A standard work, the compilation of which would credit a life’s
+labour.”&mdash;<i>Hull Daily Mail.</i><span class="pagenum"><a name="page_693" id="page_693">{693}</a></span></p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="cbig">MOORISH REMAINS IN SPAIN</p>
+
+<p>BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE
+PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND
+DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY
+COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS,
+ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.</p>
+
+<p class="c">
+Crown 4to. (7½ × 10 ins.)       Price £2 2s. net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“The making of this book must surely have been a veritable labour of
+love; and love’s labour has certainly not been lost.”&mdash;<i>Pall Mall
+Gazette.</i></p>
+
+<p>“The best age of Moorish architecture in Spain is shown with remarkable
+vividness and vitality.”&mdash;<i>The Scotsman.</i></p>
+
+<p>“A most gorgeous book.... We cheerfully admit Mr. <span class="smcap">Calvert</span> into the ranks
+of those whom posterity will applaud for delightful yet unprofitable
+work.”&mdash;<i>Outlook.</i></p>
+
+<p>“A large and sumptuous volume.”&mdash;<i>Tribune.</i></p>
+
+<p>“The illustrations are simply marvels of reproduction.”&mdash;<i>Dundee
+Advertiser.</i></p>
+
+<p>“One of the books to which a simple literary review cannot pretend to do
+justice.”&mdash;<i>Spectator.</i></p>
+
+<p>“A special feature of a work of peculiar interest and value are the
+illustrations.”&mdash;<i>Newcastle Chronicle.</i></p>
+
+<p>“The illustrations are given with a minuteness and faithfulness of
+detail, and colour, which will be particularly appreciated and
+acknowledged by those who are most acquainted with the subject
+themselves.”&mdash;<i>Liverpool Post.</i></p>
+
+<p>“It is impossible to praise too highly the care with which the
+illustrations have been prepared.”&mdash;<i>Birmingham Daily Post.</i></p>
+
+<p>“It is illustrated with so lavish a richness of colour that to turn its
+pages gives one at first almost the same impression of splendour as one
+receives in wandering from hall to hall of the Alcazar of Seville; and
+this is probably the highest compliment we could pay to the book or its
+author.”&mdash;<i>Academy.</i></p>
+
+<p>“It is certainly one of the most interesting books of the
+year.”&mdash;<i>Crown.</i></p>
+
+<p>“The occasional delicacy of design and harmony of colour can scarcely be
+surpassed ... a valuable and profusely illustrated volume.”&mdash;<i>Guardian.</i></p>
+
+<p>“An excellent piece of work.”&mdash;<i>The Times.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has performed a useful work.”&mdash;<i>Daily Telegraph.</i></p>
+
+<p>“A truly sumptuous volume.”&mdash;<i>The Speaker.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has given a very complete account of the evolution of
+Moresco art.”&mdash;<i>The Connoisseur.</i></p>
+
+<div class="footnotes"><p class="cb">FOOTNOTES:</p>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> This spelling of his name resembles most that used by
+himself.</p></div>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> The exact contents are as follows:
+</p>
+
+<p class="c">
+“<span class="smcap">Al Card. Farnese</span>&mdash;Viterbo.<br />
+</p>
+
+<p class="rt">
+“A’ di 16 di Nouembre, 1570.<br />
+</p>
+
+<p>
+“E’ capitato in Roma un giouane Candiotto discepolo di Titiano, che á
+mio giuditio parmi raro nella pittura; e fra l’altre cose egli ha fatto
+un ritratto da se stesso, che fa stupire tutti questi Pittori di Roma.
+Io vorrei tratenerlo sotto l’ombra de V.S. Illma. et Revma. senza spesa
+altra del vivere, ma solo de una stanza nell Palazzo Farnese per qualche
+poco di tempo, cioé per fin che egli si venghi ad accomodare meglio.
+Pero La prego et supplico sia contenta di scrivere al Conte Lodovico suo
+Maiordomo, che lo provegghi nel detto Palazzo di qualche stanza ad alto;
+che V.S. Illma. fará un’ opera virtuosa degna di Lei, e io gliene terro
+obligo. Et le bascio con reverenza le mani.
+</p><p>
+“Di V.S. Illma. et Revma. humilissimo servitore.
+</p>
+
+<p class="rt">
+“<span class="smcap">Julio Clovio.</span>”<br />
+</p>
+
+</div>
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> The record of his burial, discovered by Señor de Beruete in
+the register of the parish church of Santo Tomé, is brief: “Libro de
+entierros de Santo Tomé de 1601-1614, en siete del Abril del 1614
+falescio Domeniko Greco. No hizo testamento, recibo los sacramentos, en
+teroso en Santo Domingo el Antigua.”</p></div>
+
+<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> Two judges were appointed to settle the dispute, which
+arose from the introduction of the three Marys into the picture. The
+Chapter objected to their presence. El Greco’s defence was
+characteristic enough&mdash;What did it matter? and, besides, the women were
+a long way off. The judges disagreed; whereupon the dispute was settled
+by Alezo de Montoyo as follows:
+</p><p>
+“Having seen the said painting which has been executed by the said
+Domeniko, and the appraisements of the judge appointed by both parties,
+and other persons who understand the said painting, its execution and
+admirable finish; and the reasons which the said judges have given; and
+seeing that the said painting is one of the best that I have seen; and
+that, if it were to be estimated for all its valuable qualities, it
+would be valued at a much higher sum, which but few would care to pay
+for it; but, in view of the nature of the times and the price paid
+generally for the paintings of great artists in Castile; and in view of,
+and taking into consideration all the above and all other points that
+were necessary, I find that I must order, and I do order, that for the
+said painting the said Garcia de Loaysa, in the name of the said Holy
+Church, shall give and pay to the said Domeniko Theotokopuli three
+thousand and five hundred reals: and above this sum the said Domeniko
+Theotokopuli cannot ask, nor must he ask, for anything more for the said
+painting; and as regards the judges for the said workers, they say that
+it is improper for the Marys to be introduced into the story; as regards
+this I am sending the declaration of it to some theologians versed in
+such matters, that they may decide upon it.”</p></div>
+
+<div class="footnote"><p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> This is another rendering of the same picture; and still
+another is in the collection of Señor de Beruete, Madrid.</p></div>
+
+<div class="footnote"><p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6"><span class="label">[F]</span></a> This picture passed into the collection of the Infanta Doña
+Isabel Farnese, and is now in the Museo del Prado. The ‘Assumption’ in
+the Church of Santo Domingo el Antigua is a poor copy of the original
+picture.</p></div>
+
+<div class="footnote"><p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7"><span class="label">[G]</span></a> The picture was painted for the altar of St. Maurice, but
+it was rejected by Philip II., and the commission given to a third-rate
+Italian. To-day the picture hangs in the Sala Capitulare.</p></div>
+
+<div class="footnote"><p><a name="Footnote_H_8" id="Footnote_H_8"></a><a href="#FNanchor_H_8"><span class="label">[H]</span></a> This likeness is more striking even in another ‘Coronation
+of the Virgin,’ by El Greco, in the collection of Colonel P. Bosch,
+Madrid.</p></div>
+
+<div class="footnote"><p><a name="Footnote_I_9" id="Footnote_I_9"></a><a href="#FNanchor_I_9"><span class="label">[I]</span></a> Some authorities name these saints Sta. Inez and Sta.
+Feda.</p></div>
+
+</div>
+<hr class="full" />
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 64900 ***</div>
+</body>
+</html>
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #64900 (https://www.gutenberg.org/ebooks/64900)
diff --git a/old/64900-0.txt b/old/64900-0.txt
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+The Project Gutenberg eBook of Toledo, by Albert F. Calvert
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: Toledo
+
+Author: Albert F. Calvert
+
+Release Date: March 22, 2021 [eBook #64900]
+
+Language: English
+
+Character set encoding: UTF-8
+
+Produced by: Chuck Greif and the Online Distributed Proofreading Team at
+             http://www.pgdp.net (This file was produced from images
+             available at The Internet Archive)
+
+*** START OF THE PROJECT GUTENBERG EBOOK TOLEDO ***
+
+
+
+
+                          THE SPANISH SERIES
+
+                                TOLEDO
+
+
+
+
+                          THE SPANISH SERIES
+
+                     _EDITED BY ALBERT F. CALVERT_
+
+
+                        GOYA
+                        TOLEDO
+                        MADRID
+                        SEVILLE
+                        MURILLO
+                        CORDOVA
+                        VELAZQUEZ
+                        THE PRADO
+                        THE ESCORIAL
+                        ROYAL PALACES OF SPAIN
+                        GRANADA AND ALHAMBRA
+                        SPANISH ARMS AND ARMOUR
+                        LEON, BURGOS & SALAMANCA
+                        VALLADOLID, OVIEDO, SEGOVIA,
+                          ZAMORA, AVILA & ZARAGOZA
+
+
+
+
+                                TOLEDO
+
+                     AN HISTORICAL AND DESCRIPTIVE
+                              ACCOUNT OF
+                      THE “CITY OF GENERATIONS,”
+                      BY ALBERT F. CALVERT, WITH
+                        OVER 500 ILLUSTRATIONS
+
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+                  NEW YORK: JOHN LANE COMPANY MCMVII
+
+
+                  Printed by BALLANTYNE & CO. LIMITED
+                       Tavistock Street, London
+
+
+                                  TO
+                       S.A. INFANTA MARIA TERESA
+                           IN WHOSE SYMPATHY
+                  THE ANCIENT GRANDEUR IS LINKED WITH
+                     THE FUTURE GREATNESS OF SPAIN
+                              THIS VOLUME
+                  WITH AN ASSURANCE OF SINCERE ESTEEM
+                             IS DEDICATED
+
+
+
+
+PREFACE
+
+
+The author would, in the ordinary way, be hard put to it to frame a
+reasonable apology for compiling a new volume on the subject of the
+ancient and royal city of Toledo. Artists have reproduced its wonder of
+imposing and picturesque detail; archæologists have explored its many
+monuments; historians have discovered in its archives a record which,
+for many centuries, represents the log-book of Spain. There is no
+secret, apart from the impenetrable mystery of its origin, which has not
+been revealed; its chronicle is a well-thumbed volume. The beginnings of
+Spanish history go no further back than the earliest references we have
+to the natural stronghold founded on the seven rocks on the banks of the
+Tagus, and Spanish tradition claims for the citadel an antiquity coeval
+with the sun and stars. Both the history and the legends have been
+transcribed in many languages, yet, in a series which is intended to
+embrace all Spain in its compendious design, the inclusion of the
+twice-told tale of the “city of generations” carries with it an
+unquestionable justification.
+
+The ambition of the author has not been to throw fresh light on a
+well-worn subject, nor to supplement the work of earlier and more
+erudite writers with new facts or theories, but simply, as in the case
+of the earlier volumes in this series, to equip the illustrations with a
+brief, explanatory text. It would be futile to attempt to even outline
+the story of Toledo in some hundred and fifty pages of letterpress, but
+I hope it may be found that in this limited space sufficient detail has
+been given to convey to the reader a general idea of the changing
+fortunes and unchanging character of the city, which Padilla has
+described as “the crown of Spain, the light of the world, free from the
+time of the mighty Goths.”
+
+The impression of grandeur and melancholy, of strength and silence,
+which the traveller receives from a visit to the one-time capital of the
+Peninsula, cannot be suggested by the written word, but it may be that
+the illustrations will recall, if they do not suggest, the feeling which
+the city inspires. Toledo is mediæval in its architecture and its
+atmosphere. The Moorish occupation has left no more than a scratch upon
+its Gothic character; the spirit of modernity has been defied by its
+virile antiquity. But the Moslem remains have been made a feature of the
+illustrations, and, as in the volumes devoted to Seville, Cordova, and
+Granada in this series, the intricacies of Arabian decoration have been
+extensively reproduced.
+
+Many of the plates are included here by the courtesy of Messrs.
+Alguacil, Rafael Garzon, Hauser and Menet, and Moreno, and to these
+gentlemen I tender my sincere thanks for the permission accorded me to
+reproduce them. I have also to acknowledge my indebtedness to Mr. E. B.
+d’Auvergne for the assistance rendered by him in the compilation, and to
+Messrs. Martin and Gamoneda for their kindness in allowing me to make
+use of the matter and illustrations contained in the volume on _Toledo_
+which they have published in the new series of the _Monumentos
+Arquitectónicos de España_.
+
+I venture to hope that no apology is needed for including the chapter on
+El Greco, and the selection of his pictures, which appear in this
+volume. A separate book, devoted entirely to this subject, which will be
+issued in this series, cannot be ready for some time, and as so little
+has been written about Domeniko Theotokopouli, and so few of his
+pictures have been reproduced, I have decided to incorporate these brief
+notes concerning the Cretan painter, whose association with Toledo
+extended over a period of nearly forty years.
+
+                                                               A. F. C.
+
+
+“ROYSTON,”
+
+  SWISS COTTAGE,
+
+     N.W.
+
+
+
+
+CONTENTS
+
+
+      PAGE
+
+THE CHILDHOOD OF THE CITY                                              1
+
+THE CITY UNDER THE VISIGOTHS                                           8
+
+TOLEDO UNDER THE MOOR                                                 29
+
+TOLEDO THE CAPITAL OF CASTILE                                         59
+
+BUILDINGS OF THE CASTILIAN PERIOD                                     83
+
+THE CATHEDRAL                                                        101
+
+THE DECLINE OF THE CITY                                              130
+
+EL GRECO                                                             147
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+      TITLE      PLATE
+
+Toledo. (_Specially drawn for The Spanish Series_)                     1
+
+General View of Toledo from the South-east                             2
+
+View of Toledo from the South-east                                     3
+
+General View of Toledo                                                 4
+
+View of Toledo from the Campo del Rey                                  5
+
+General View of Toledo                                                 6
+
+State of the Ruins of the Circo Maximo in the Year
+1848, according to the “Album Artistico”                               7
+
+The River Tagus                                                        8
+
+Bridge of Alcantara                                                    9
+
+Perspective of St. Martin’s Bridge and the Direction
+of the Fortified Lines                                                10
+
+Perspective View of the Site of the Aqueduct                          11
+
+Environs of Toledo                                                    12
+
+Plaza de Zocodover                                                    13
+
+The Town Hall                                                         14
+
+The Market-place                                                      15
+
+The Market-place                                                      16
+
+A Street in Toledo                                                    17
+
+A Street in Toledo                                                    18
+
+A Street in Toledo                                                    19
+
+A Street in Toledo                                                    20
+
+A Street in Toledo                                                    21
+
+A Street in Toledo                                                    22
+
+A Street in Toledo                                                    23
+
+A Street in Toledo                                                    24
+
+Visagra Gate                                                          25
+
+A Street in Toledo                                                    26
+
+A Street in Toledo                                                    27
+
+Bridge of Alcantara                                                   28
+
+Alcantara Gate                                                        29
+
+Alcantara Portal and Bridge                                           29
+
+Exterior of the Northern City Walls                                   30
+
+Fortifications of the old Bridge of Boats, replaced by
+the Bridge of St. Martin                                              31
+
+Remains of the City Walls of “Al-Hizém,” from the
+Gate of the Doce Cantos to the Plaza de Armas of
+the Bridge of Alcantara                                               32
+
+Remains of the City Walls, south-west, rebuilt at the
+Time of the Reconquest                                                33
+
+Remains of the Roman Ramparts of the first Enclosure
+of the City                                                           34
+
+Remains of the Roman Ramparts of the first Enclosure
+of the City. (Plaza de Armas of the Bridge of
+Alcantara)                                                            35
+
+Visigoth Capital transformed into a Fountain Basin.
+(No. 9, Callejon de la Lamparilla)                                    35
+
+Principal Entrance to the House of the Baths of Aben-Ya-Yix
+Bajada al Colegio del Infantes                                        36
+
+Sepulchral Arch of the Infante don Fernando Perez
+in the Belen Chapel in the Convent of the Comendadora
+de Santiago                                                           36
+
+Ruins of Polan Castle. Fourteenth Century                             37
+
+Guadamar Castle                                                       38
+
+Remains of the Roman Ramparts of the first Enclosure
+of the City                                                           39
+
+The Exterior Walls                                                    40
+
+Remains of the Fortifications in the Jewish Suburb                    40
+
+Gate of the “Almofala” (Bib-al-Mojadha) rebuilt in
+the Fourteenth Century                                                41
+
+“The Abbot’s Tower” in the Northern Walls                             41
+
+Ruins of the Aquaria Tower, commonly called “Horno
+del Vidrio”                                                           42
+
+Remains of the Aqueduct (left bank of the river)                      43
+
+Remains of the Aqueduct (right bank of the river)                     43
+
+Remains of the Roman Construction in the Tower of
+the Plaza de Armas of the Bridge of Alcantara                         44
+
+Bridge of Alcantara                                                   45
+
+East Side of the Bridge of Alcantara                                  46
+
+Posterior Façade of the defensive Tower of the Bridge
+of Alcantara                                                          47
+
+Defensive Tower of the Bridge of Alcantara. Anterior
+Façade                                                                48
+
+Alcantara Gate                                                        49
+
+Commemorative Inscription in the Avenue of the
+Defensive Tower of the Bridge of Alcantara                            50
+
+Coat-of-Arms of the Catholic Sovereigns in front of
+the Defensive Tower of the Bridge of Alcantara                        51
+
+“The Khalif’s Capitals” at No. 13 Calle del Coliseo                   51
+
+Perspective of the Bridge of Alcantara                                52
+
+St. Martin’s Bridge                                                   53
+
+St. Martin’s Bridge                                                   54
+
+Façade of Santa Cruz                                                  54
+
+Defensive Towers at the Entrance of St. Martin’s
+Bridge and the Town                                                   55
+
+Restored Posterior Façade of the Arch de La Sangre                    55
+
+Remains of the Aqueduct (right bank)                                  56
+
+East Side of St. Martin’s Bridge                                      57
+
+Defensive Tower of St. Martin’s Bridge. Façade seen
+from the Bridge                                                       58
+
+Defensive Tower of St. Martin’s Bridge. Façade seen
+from the Highway                                                      58
+
+Malbardón Gate. Eleventh Century                                      59
+
+Visagra Gate                                                          60
+
+Upper Part of the Visagra Gate. Built in 1550                         61
+
+Tower in the City Walls of “The Suburb of San Isidoro,”
+near the new Visagra Gate                                             62
+
+Hydraulic Machine and Remains of the Walls in the
+Quarter of the Curtidores, near the River                             63
+
+Walls of the Suburb of San Isidore                                    63
+
+Ancient Visagra Gate                                                  64
+
+Ancient Visagra Gate. The Side which joins the Wall
+and the side Defensive Tower                                          65
+
+Ancient Visagra Gate. Defensive and Side Tower                        66
+
+Ancient Visagra Gate. Remains of the Eastern Façade                   67
+
+Detail of the Principal Façade of the old Visagra Gate                68
+
+Interior of the old Visagra Gate                                      68
+
+Ancient Visagra Gate                                                  69
+
+The Tower called “Puerta Baja de la Herreria,” now
+“Gate of the Sun”                                                     70
+
+Castle of San Servando                                                71
+
+Castle of San Servando. Ancient Entrance in the West
+Façade                                                                72
+
+Castle of San Servando. South-east Angle                              72
+
+Door of the Castle in San Servando                                    73
+
+Gate of Valmadron                                                     74
+
+Gate of Cambrón                                                       75
+
+Los Baños de Florinda de Cava                                         76
+
+Entrance to Los Baños                                                 77
+
+Ruins of the Tower called “Los Baños de Florinda
+de Cava”                                                              78
+
+Details of the Convent of Santa Fe. Eleventh Century                  79
+
+West Portal in the old Hermitage, now the Inn of Santa
+Ana, on the Sisla road                                                80
+
+Altar-piece of San Justo                                              81
+
+Detail of the Church of San Justo. Fifteenth Century                  82
+
+Detail of the Chapel of Santos Justo and Pastor                       83
+
+Effigies of Juan Guas, architect of San Juan de Los
+Reyes, and of his son. Chapel of Christ at the
+Column, in the Parish Church of San Justo                             84
+
+Effigies of Mari Alvares, wife of Juan Guas, and of her
+Daughter. Chapel of Christ at the Column, in
+the Parish Church of San Justo                                        85
+
+Mosque of the Tornerias. Exterior of the South Façade,
+South-west Angle                                                      86
+
+Interior of the Mosque de las Tornerias                               87
+
+Arch of the “Kibláh” in the Mosque de las Tornerias                   88
+
+Mosque of the Tornerias. Trefoil Arched Window                        89
+
+Mosque of the Tornerias. Horse-shoe Window                            89
+
+Mosque of the Tornerias. Arched Window                                90
+
+Mosque of the Tornerias. Rectangular Window                           90
+
+Mosque de las Tornerias                                               91
+
+Mosque of the Tornerias, built over Roman Remains                     92
+
+Supposed Elevation of the Mosque of Bib-al-Mardóm                     93
+
+Supposed Plan of the Mosque of Bib-al-Mardóm                          94
+
+Actual Situation of the North-east Façade of the
+Ancient Mosque of Bib-al-Mardóm, a Transept
+and _Mudejar_ Apsis of the Hermitage of Santo
+Cristo de la Luz                                                      95
+
+The Mosque of Bib-al-Mardóm, Horse-shoe Arch and
+Remains of the Dado and Little Arches and Windows
+in the North-east Façade (right side)                                 96
+
+The Mosque of Bib-al-Mardóm, Horse-shoe Arch and
+Remains of the Dado of Little Arches and Windows
+in the North-east Façade (left side)                                  97
+
+Principal Nave in the Mosque of Bib-al-Mardóm                         98
+
+Arch in the Southern Interior of the Mosque of Bib-al-Mardóm          99
+
+Actual Entrance to the Castle                                         99
+
+Mosque of Bib-al-Mardóm. Arch in the Interior Wall,
+South-west Angle                                                     100
+
+Detail of the North-west Façade of the Mosque of Bib-al-Mardóm       100
+
+Bib-al-Mardóm. “Arch of the Cross,” Interior Façade                  101
+
+Bib-al-Mardóm. “Arch of the Cross,” Exterior Façade                  101
+
+Mosque of Bib-al-Mardóm                                              102
+
+North-west Façade of the Mosque of Bib-al-Mardóm
+(Hermitage of Santo Cristo de la Luz), discovered
+in February 1899                                                     103
+
+The Epigraphic Medallion on the North-west Façade of
+the Mosque of Bib-al-Mardóm (Hermitage of
+Santo Cristo de la Luz), rebuilt in the year 370
+after the Hegira (A.D. 980)                                          104
+
+Visigoth Capital in the old Moorish Parish Church of San
+Sebastian                                                            105
+
+Visigoth Base which serves as a Capital in the old
+Moorish Parish Church of San Sebastian                               105
+
+Santo Cristo de la Luz                                               106
+
+The Hermitage of Santo Cristo de la Luz                              107
+
+Wall-Paintings of Santo Cristo de la Luz                             108
+
+Church of Santo Cristo de la Luz                                     109
+
+Wall-Paintings of Santo Cristo de la Luz                             110
+
+Ancient Mosque, now the Hermitage of Santo Cristo
+de la Luz                                                            111
+
+Exterior of the Hermitage of Santo Cristo de la Luz,
+and Towers of various Churches                                       112
+
+Detail of the Transito (Synagogue), built in 1360 at the
+expense of Samuel Levi                                               113
+
+Details of the Interior Decoration of the Church of the
+Transito (Ancient Synagogue)                                         114
+
+Details of the Interior Decoration of the Church of the
+Transito (Ancient Synagogue)                                         115
+
+Details of the Transito (Synagogue)                                  116
+
+Details of the Transito (Synagogue)                                  117
+
+Details of the Transito (Synagogue)                                  118
+
+Entrance Arch in the Building called Taller Del Moro                 119
+
+Detail of Decoration in the Moorish Workshop                         120
+
+Details of the Palace of the Ayalas                                  121
+
+Details of the Palace of the Ayalas                                  122
+
+Exterior of the Chapel of Santo Cristo de la Vega                    123
+
+Door and Exterior of Santa Maria la Blanca                           124
+
+Sections and Details of the Ancient Synagogue, now the
+Church of Santa Maria la Blanca                                      125
+
+Part of the Longitudinal Section of the Ancient Synagogue,
+now the Church of Santa Maria la Blanca                              126
+
+Interior of Santa Maria la Blanca                                    127
+
+Interior of Santa Maria la Blanca                                    128
+
+Interior of Santa Maria la Blanca                                    129
+
+Cárcel de Santa Hermandad                                            130
+
+A Gothic Doorway                                                     131
+
+A Doorway                                                            132
+
+St. Michael’s Tower. Fourteenth Century                              133
+
+House of the Toledos                                                 134
+
+Details of a Courtyard                                               135
+
+Details of a Courtyard                                               136
+
+Details of a Courtyard                                               137
+
+Details of a Courtyard                                               138
+
+Details of a Courtyard                                               139
+
+The Fountain of Calerahigo                                           140
+
+Arab Details                                                         141
+
+Visigoth Crowns and Crosses of Guarrazar                             142
+
+Visigoth Crowns and Crosses of Guarrazar                             143
+
+Visigoth Crowns and Crosses found at Toledo and now
+in the Royal Armoury at Madrid                                       144
+
+San Pedro Martin                                                     145
+
+Calle de Santo Tomé                                                  145
+
+Alcazar Royal Palace. Reproduction of the Engraving
+made in 1566 for Braun’s “Civitates Orbi Terrarum”                   146
+
+Perspective of the Alcazar in 1845. East and North
+Façades. Reproduction of an Engraving in the
+Work “Toledo Pintoresca”                                             147
+
+The Alcazar. Taken from the Plaza de Zocodover                       148
+
+South Façade of the Alcazar                                          149
+
+The Alcazar. West Façade after the latest Restoration                150
+
+The Alcazar                                                          151
+
+Alcazar. Principal Façade on the North                               152
+
+The Alcazar. East Façade, after the latest Restoration               153
+
+General View of the Alcazar                                          154
+
+The Alcazar. The Principal Staircase                                 155
+
+The Alcazar. Principal North Portal                                  156
+
+The Alcazar. Court and Plan                                          157
+
+Court of the Alcazar                                                 158
+
+Court in the Alcazar. After the latest Restoration                   159
+
+The Alcazar. Plan and Details. North Façade                          160
+
+Details of the North Façade of the Alcazar                           161
+
+Door of the Hall of the House of the Mesa (the Table)                162
+
+Details of the House of the Mesa                                     163
+
+Details of the House of the Mesa                                     164
+
+Details of the House of the Mesa                                     165
+
+Details of the Hall of the House of the Mesa                         166
+
+Details of the Hall of the House of the Mesa                         167
+
+Details of the Hall of the House of the Mesa                         168
+
+Details of the House of the Mesa                                     169
+
+Doorway of the College of the Infantes. Sixteenth
+Century                                                              170
+
+Doorway of the Palace of the Martinez                                171
+
+Roman Tower of San Juan de los Reyes                                 172
+
+Cloisters of San Juan de los Reyes                                   172
+
+Exterior of San Juan de los Reyes                                    173
+
+San Juan de los Reyes                                                174
+
+Plan of the Church and Processional Cloister of San
+Juan de los Reyes                                                    175
+
+Doorway in San Juan de los Reyes                                     176
+
+Gothic Doorway in San Juan de los Reyes                              177
+
+Exterior of the Arch of San Juan de los Reyes                        178
+
+Interior of San Juan de los Reyes                                    179
+
+Interior of San Juan de los Reyes                                    180
+
+Interior of San Juan de los Reyes                                    181
+
+Longitudinal Section of the Church of San Juan de los
+Reyes                                                                182
+
+Interior, San Juan de los Reyes                                      183
+
+Retablo, San Juan de los Reyes                                       183
+
+Gallery in San Juan de los Reyes                                     184
+
+Gallery in San Juan de los Reyes                                     185
+
+Details of San Juan de los Reyes                                     186
+
+Details of Gallery in San Juan de los Reyes                          187
+
+Details of San Juan de los Reyes                                     188
+
+San Juan de los Reyes. Wall in the Presbytery                        189
+
+Interior of San Juan de los Reyes                                    190
+
+Interior of San Juan de los Reyes                                    191
+
+Interior of San Juan de los Reyes                                    192
+
+San Juan de los Reyes. Decoration in the Transverse
+Nave                                                                 193
+
+San Juan de los Reyes. Details of the Arms of Isabella
+the Catholic                                                         194
+
+Details of the Transept of the Church of San Juan de
+los Reyes                                                            195
+
+San Juan de los Reyes. Interior                                      196
+
+A Dome in San Juan de los Reyes                                      197
+
+Remains of Windows of San Juan de los Reyes                          198
+
+Details of the Cross-Aisle in the Church of San Juan
+de los Reyes                                                         199
+
+Altar of San Juan de los Reyes                                       200
+
+Altar of San Juan de los Reyes                                       200
+
+Details of the Altar-piece in San Juan de los Reyes                  201
+
+Copy of the original Drawing of the Arch and Cross-Aisle
+of San Juan de los Reyes                                             202
+
+Longitudinal Section of the Cloister of San Juan de los
+Reyes                                                                203
+
+Cloisters of San Juan de los Reyes                                   204
+
+San Juan de los Reyes. The Cloisters                                 205
+
+Cloisters of San Juan de los Reyes                                   206
+
+Cloisters of San Juan de los Reyes                                   207
+
+Details of the Cloisters of San Juan de los Reyes                    208
+
+Compartment of the Cloisters of San Juan de los Reyes                209
+
+San Juan de los Reyes. Details of the Cloisters                      210
+
+Details of the Cloisters of San Juan de los Reyes                    211
+
+San Juan de los Reyes. Details of the Cloisters                      212
+
+San Juan de los Reyes. Details of the Cloisters                      213
+
+San Juan de los Reyes. Details of the Cloisters                      214
+
+San Juan de los Reyes. Details of the Cloisters                      215
+
+Church of San Juan de los Reyes. Courtyard                           216
+
+Court in San Juan de los Reyes                                       217
+
+Doorway of the Museum of San Juan de los Reyes                       218
+
+San Juan de los Reyes. Details above Door of Museum                  219
+
+Palace of Don Pedro the Cruel                                        220
+
+Details of the Palace of Don Pedro the Cruel                         221
+
+Façade of the Palace of Don Pedro the Cruel                          222
+
+Doorway of the Palace of Don Pedro the Cruel                         223
+
+Doorway of the Palace of Don Pedro the Cruel                         224
+
+The Cathedral                                                        225
+
+General View of the Cathedral                                        226
+
+The Cathedral                                                        227
+
+Section of the Cathedral                                             228
+
+Longitudinal Section of the Cathedral                                229
+
+Transverse Section of the Cathedral                                  230
+
+Principal Façade of the Cathedral and Tower                          231
+
+The Cathedral. Detail of the Exterior                                232
+
+The Cathedral. Portal of the Principal Façade                        233
+
+The Cathedral. Principal Gate                                        234
+
+The Cathedral. The Gate of the Lions                                 235
+
+The Cathedral. Porch of the Principal Façade                         236
+
+The Cathedral. The Lion Door                                         237
+
+The Cathedral. The Lion Door                                         237
+
+Door of the Cathedral                                                238
+
+The Cathedral. Door of the Lost Child                                239
+
+The Cathedral. Details of the Puerta de la Feria                     240
+
+The Cathedral. Gate of the Conception                                241
+
+The Cathedral. Ornamental Details of the Gates                       242
+
+The Cathedral. Central Nave                                          243
+
+The Cathedral. Tomb of Alonso de Carrillo                            243
+
+The Cathedral. General View of the Interior                          244
+
+The Cathedral. General View of the Interior                          245
+
+The Cathedral. Interior                                              246
+
+The Cathedral. Interior                                              247
+
+Windows in the Principal Nave of the Cathedral                       248
+
+The Cathedral. Grating of the Principal Chapel.
+Sixteenth Century                                                    249
+
+The Cathedral. Exterior of the Principal Chapel                      250
+
+The Cathedral. Exterior of the Principal Chapel                      251
+
+The Cathedral. Exterior of the Principal Chapel                      252
+
+The Cathedral. Details of the Principal Chapel                       253
+
+The Cathedral. Details of the Principal Chapel                       254
+
+The Cathedral. Exterior of the Principal Chapel                      255
+
+The Cathedral. Details of the Principal Chapel                       256
+
+The Cathedral. Details of the Principal Chapel                       257
+
+The Cathedral. Altar-piece of the Principal Chapel                   258
+
+The Cathedral. Detail of the Altar-piece of the Principal
+Chapel                                                               259
+
+The Cathedral. Exterior of the High Altar                            260
+
+The Cathedral. Exterior of the High Altar                            261
+
+The Cathedral. Exterior of the High Altar                            262
+
+The Cathedral. Details of the Altar-piece                            263
+
+The Cathedral. Frontal of the High Altar. Fifteenth
+Century                                                              264
+
+The Cathedral. Frontal of the High Altar. Fifteenth
+Century                                                              265
+
+The Cathedral. Detail of the Frontal of the High
+Altar                                                                266
+
+The Cathedral. Exterior of the Principal Chapel                      267
+
+The Cathedral. Sepulchre of Cardinal Mendoza in the
+Principal Chapel                                                     268
+
+The Cathedral. Dome of the Principal Chapel                          269
+
+The Cathedral. Exterior of the Choir                                 270
+
+The Cathedral. Exterior of the Choir                                 271
+
+The Cathedral. Details of the Exterior of the Choir                  272
+
+The Cathedral. Exterior of the Choir                                 273
+
+The Cathedral. Choir Stalls                                          274
+
+The Cathedral. Choir Stalls                                          275
+
+The Cathedral. Choir Stalls                                          276
+
+The Cathedral. Details of the Choir Stalls, representing
+the Re-conquest of Granada by Ferdinand and Isabella                 277
+
+The Cathedral. Interior of the Choir                                 278
+
+The Cathedral. Details of the Choir                                  279
+
+The Cathedral. Details of the Choir                                  280
+
+The Cathedral. The Archbishop’s Throne, representing
+the Transfiguration. By Berruguete                                   281
+
+The Cathedral. Virgin of the Laneros                                 282
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 283
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 284
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 285
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 286
+
+The Cathedral. Detail of Choir Stalls. The Capture
+of Alhama by Ferdinand and Isabella, 1482. Re-conquest
+of Granada                                                           287
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 288
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 289
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 290
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 291
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 292
+
+The Cathedral. Detail of the Choir Stalls. Re-conquest
+of Granada by Ferdinand and Isabella                                 293
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         294
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         295
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         296
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         297
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         298
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         299
+
+The Cathedral. Upper part of the Choir Stalls, carved
+by Berruguete and Borgoña. Sixteenth Century                         300
+
+The Cathedral. Masonry in the Choir                                  301
+
+The Cathedral. Exterior of the Presbytery                            302
+
+The Cathedral. Interior of the Chapel of the New
+Kings with the Sepulchres of Don Henry the
+Bastard and his Wife                                                 303
+
+The Cathedral. Sepulchres of Don Henry the Bastard
+and his Wife in the Chapel of the New Kings                          304
+
+The Cathedral. Sepulchre of Cardinal Tavera in the
+Chapel of the New Kings                                              305
+
+The Cathedral. Sepulchre of Don Juan I. in the Chapel
+of the New Kings                                                     306
+
+The Cathedral. Sepulchre of Doña Leonor, Wife of Don
+Juan I., in the Chapel of the New Kings                              307
+
+The Cathedral. Chapel of the Descent of the Virgin                   308
+
+The Cathedral. Muzarabic Chapel                                      309
+
+The Cathedral. Details of the Chapel of the Virgen
+de la Antigua                                                        310
+
+The Cathedral. Chapel of the Virgen de la Antigua.
+Fourteenth Century                                                   311
+
+The Cathedral. Doorway of the Chapel of the Canons                   312
+
+Altar-piece of Santa Isabel                                          313
+
+Altar-piece of Santa Catalina                                        313
+
+Altar-piece of Santa Catalina                                        314
+
+Altar-piece of Santa Catalina                                        315
+
+Altar-piece of Santa Catalina                                        316
+
+Chapel of Santa Catalina. Founded by the Counts of
+Cedillo                                                              317
+
+The Cathedral. Chapel of Santiago, containing the
+Sepulchres of Don Alvaro de Luna and that of his
+Wife Doña Juana. Fifteenth Century                                   318
+
+The Cathedral. Sepulchre of Don Juan de Zerezuela in
+the Chapel of Santiago. Fifteenth Century                            319
+
+Cupola of the Chapel “de los Reyes Nuevos” in the
+Cathedral                                                            320
+
+Cupola of the “Capilla de Santiago,” called “De Don
+Alvaro de Luna” in the Cathedral                                     320
+
+The Cathedral. Sepulchre of Don Gil Carrillo de Albornoz
+in the Chapel of San Ildefonso                                       321
+
+The Cathedral. Sepulchre of Gil de Albornoz in the
+Chapel of San Ildefonso                                              322
+
+The Cathedral. Entrance to the Chapter Room. Sixteenth
+Century                                                              323
+
+The Cathedral. Chapter Room                                          324
+
+The Cathedral. Various Portraits of Cardinals                        325
+
+The Cathedral. Various Portraits of Cardinals                        326
+
+The Cathedral. Details in the Chapter Room                           327
+
+The Cathedral. Chapter Room                                          328
+
+The Cathedral. Doorway of the Chapter Room                           329
+
+The Cathedral. Detail of a Doorway in the Chapter
+Room                                                                 330
+
+The Cathedral. Cupboard made by Gregorio Pardo
+(1549-1551), for the Antechamber of the Chapter
+House                                                                331
+
+Cupboard in the Cathedral                                            332
+
+The Cathedral. A Rich and Gossamer-carved Ceiling
+in the Chapter Hall. Sixteenth Century                               333
+
+The Cathedral. Ceiling in the Chapter Hall                           334
+
+The Cathedral. A Ceiling in the Ante-room                            335
+
+The Cathedral Cloisters                                              336
+
+The Cathedral Cloisters                                              337
+
+Presentation Portal in the Cloister of the Cathedral                 338
+
+Exterior, by the Cloisters of the Chapel, of the Place of
+Sepulchre built by Henry II. for his Tomb                            339
+
+The Cathedral. Picture by Bayeu in the Cloisters                     340
+
+Portal of St. Catherine in the Cloister of the Cathedral             341
+
+The Cathedral. Details of the Gate of the Presentation
+in the Cloister                                                      342
+
+The Cathedral. Reliquary of San Sebastian in the
+Octavo                                                               343
+
+The Cathedral. Detail of the Reliquary of San Sebastian
+in the Octavo                                                        344
+
+The Cathedral. A Byzantine Reliquary                                 345
+
+Sepulchres in the Cathedral                                          346
+
+Sculpture in the Cathedral                                           347
+
+The Cathedral. Bronze Lectern and Books of the
+Holy Office                                                          348
+
+The Cathedral. A Bronze Pulpit                                       349
+
+The Cathedral. Detail of a Pulpit                                    350
+
+Pulpit in the Cathedral                                              351
+
+Cathedral Bells which Ring when the Host is Elevated                 352
+
+The Cathedral. Statue of Don Juan II. Sixteenth
+Century                                                              353
+
+The Cathedral. St. Francis of Assisi                                 354
+
+The Cathedral. A Picture by Bayeu                                    355
+
+Details in the Cathedral                                             356
+
+The Cathedral. Cover of a Missal                                     357
+
+The Cathedral. Silver Salver, “The Abduction of the
+Sabine Women,” by Benvenuto Cellini                                  358
+
+The Cathedral. Chalice and Paten                                     359
+
+The Cathedral. A Ship that belonged to Queen Juana
+la Loca                                                              360
+
+Monstrance in the Cathedral                                          361
+
+The Cathedral. Sword of Alfonso VI.                                  362
+
+The Cathedral. The Adoration of the Kings (silk)                     363
+
+The Cathedral. The Veil of Santa Leocadia (silk)                     364
+
+The Cathedral. The Assumption (silk)                                 365
+
+The Cathedral. The Beheading of San Eugenio (silk)                   366
+
+Kufic Entablature in the Cathedral                                   367
+
+The Cathedral. A Dalmatic embroidered in Gold and
+Silk. Sixteenth Century                                              368
+
+The Cathedral. A Chasuble embroidered in Gold and
+Silk. Sixteenth Century                                              369
+
+The Cathedral. Details of the Puerta del Reloj                       370
+
+The Cathedral. Details of the Puerta del Reloj                       371
+
+The Cathedral. Details of the Puerta del Reloj                       372
+
+The Cathedral. Details of the Puerta del Reloj                       373
+
+Effigies of Juan Guas (architect of San Juan de los
+Reyes), his Wife, and Children                                       374
+
+Sculpture in San Andrés                                              375
+
+Banner of the Salado                                                 376
+
+St. Peter Natano and St. Theresa sculptured in Wood                  377
+
+Plan of the Santa Iglesia Primada                                    378
+
+Santa Isabel. Side Altar-piece                                       379
+
+Santa Isabel. Detail of an Altar-piece                               380
+
+Parish Church of Santiago                                            381
+
+Exterior of Santiago del Arrabal. Thirteenth Century                 382
+
+Pulpit in the Church of Santiago del Arrabal, from
+which San Vicente de Ferrer preached against the
+Jews                                                                 383
+
+Parochial Church of Santiago del Arrabal                             384
+
+Church of San Tomé                                                   385
+
+Detail of an Altar-piece in the Church of the Trinity                386
+
+Sepulchres in the Church of St. Peter the Martyr                     387
+
+Details of a Sepulchre in the Church of St. Peter the
+Martyr                                                               388
+
+Church of St. Peter the Martyr. Statue of a Kneeling
+Canon                                                                389
+
+Chapel in San Juan de la Penitencia                                  390
+
+Chapel in San Juan de la Penitencia                                  391
+
+Details of San Juan de la Penitencia                                 392
+
+Sepulchre in San Juan de la Penitencia                               393
+
+Sepulchre in San Juan de la Penitencia                               394
+
+Detail of the Convent of San Juan de la Penitencia                   395
+
+Details of the Convent of San Juan de la Penitencia                  396
+
+Convent of Santo Domingo                                             397
+
+Convent of Santo Domingo                                             398
+
+Convent of Santo Domingo                                             399
+
+Ancient Sepulchre in the Convent of Santo Domingo                    400
+
+Santo Domingo el Real. Principal Altar-piece                         401
+
+Doorway of the Convent of San Antonio                                402
+
+Porch of the Church and Convent of San Clemente                      403
+
+Porch of the Church and Convent of San Clemente                      404
+
+Detail of the Interior of the Convent of San Clemente                405
+
+Portal of Santa Cruz                                                 406
+
+Portal of Santa Cruz                                                 407
+
+Porch of Santa Cruz                                                  408
+
+The Hospital of Santa Cruz                                           408
+
+Court of Santa Cruz                                                  409
+
+Courtyard of the Hospital                                            410
+
+Court of Santa Cruz                                                  411
+
+Court of Santa Cruz                                                  412
+
+Detail of the Portal of the Hospital of Santa Cruz                   413
+
+Details of Santa Cruz                                                414
+
+Hospital of Santa Cruz                                               415
+
+Portals in the Vestibule of the Ancient Hospital of
+Santa Cruz                                                           416
+
+Hospital of Santa Cruz. Portrait of the Founder,
+Cardinal Mendoza                                                     417
+
+Hospital de Afuera. The Court                                        418
+
+Hospital de Afuera                                                   419
+
+Hospital of St. John Baptist                                         420
+
+Hospital de Afuera. Sepulchre of Cardinal Tavera,
+1557, Alonzo Berruguete                                              421
+
+The University                                                       422
+
+The University                                                       422
+
+Details of the House of Munárriz                                     423
+
+Gate of Al Mardóm                                                    424
+
+Altar of the Church of San Justo                                     424
+
+Portal of the Archbishop’s Palace                                    425
+
+In the Town Hall                                                     425
+
+Cloisters of San Juan de los Reyes                                   426
+
+View of St. Martin’s Bridge, looking down the River                  426
+
+Gallery of San Juan de los Reyes                                     427
+
+A Moorish Workshop                                                   427
+
+Hotel Castilla                                                       428
+
+Detail of the Courtyard of the Hotel Castilla                        429
+
+Visigoth Capitals in the Church of San Sebastian                     430
+
+National Archæological Museum. Capital, Fourth
+Century after the Hegira                                             431
+
+National Archæological Museum. Capital of Santiago
+de los Caballeros near the Alcazar. Fourth
+Century after the Hegira                                             431
+
+Capital in the Archæological Museum                                  432
+
+National Archæological Museum. Fragment of Dado
+found near the Basilica of Santa Leocadia                            433
+
+National Archæological Museum. Window of San Ginés                   433
+
+National Archæological Museum. Decorative Table in
+White Marble, belonging to the Aljama Mosque of
+Toledo                                                               434
+
+National Archæological Museum. Decorative Fragment
+found at the “Miradero.” Carved in White
+Marble                                                               434
+
+Capital in the South-west Angle, belonging to the old
+Mosque, now the Hermitage of Santo Cristo de la
+Luz                                                                  435
+
+The Fifth of the Visigoth Capitals of the Hospital of
+Santa Cruz                                                           435
+
+National Archæological Museum. Skylight or Ornament
+found at Toledo                                                      436
+
+Visigoth Capital in the Provincial Museum                            436
+
+Architectural Fragments of the Visigoth Period in the
+Parish Church of San Román                                           437
+
+Architectural Pieces of the Visigoth Period existing in
+the City                                                             438
+
+Architectural Fragments of the Visigoth Period                       439
+
+Capital of the South-east Angle belonging to the ancient
+Mosque, now the Hermitage of Santo Cristo de la Luz                  440
+
+Visigoth Capital of the old Parish Church of San Sebastian           440
+
+National Archæological Museum. Visigoth Capitals of
+the Church of Santa Eulalia. Fragment of the
+Dado of the Basilica of Santo Leocadia                               441
+
+Capitals in the Archæological Museum                                 442
+
+Provincial Museum. Capital of the Fourth Century
+after the Hegira                                                     443
+
+National Archæological Museum. Arab Astrolabe
+made at Toledo in the year 459 after the Hegira
+(A.D. 1067)                                                          443
+
+Architectural Fragments of the Visigoth Period                       444
+
+Architectural Fragments anterior to the Mahometan
+Irruption, No. 1                                                     445
+
+Architectural Parts and Decorative Remains anterior
+to the Mahometan Irruption, No. 2                                    446
+
+Architectural Parts and Decorative Fragments anterior
+to the Mahometan Irruption, No. 3                                    447
+
+Arches of various Churches of the Fourteenth and
+Fifteenth Centuries                                                  448
+
+Denudation of our Lord before the Crucifixion. El
+Greco. Sacristy of the Cathedral                                     449
+
+The Virgin, St. Anne, the Child Jesus, and St. John.
+El Greco. Chapel of St. Anne                                         450
+
+Our Lady of Sorrows. El Greco. Sacristy of the New
+Kings, in the Cathedral                                              451
+
+Pentecost. El Greco. Church of the Trinity                           452
+
+Jesus and St. John. El Greco. Church of St. John
+the Baptist                                                          453
+
+The Assumption. El Greco. Chapel of San José                         454
+
+St. Martin. El Greco. Chapel of San José                             455
+
+The Holy Eucharist, by El Greco. Church of San José                  456
+
+San José and the Child Jesus. El Greco. Parish
+Church of the Magdalene                                              457
+
+The Interment of Count de Orgaz. El Greco. Church
+of Santo Tomé                                                        458
+
+Detail of the Interment of Count de Orgaz. El Greco                  459
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                460
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                461
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                462
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                463
+
+Fragment of the Interment of the Count de Orgaz                      464
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                465
+
+Fragment of the Interment of the Count de Orgaz. El
+Greco                                                                466
+
+The Annunciation. El Greco. Parish Church of San
+Nicolás                                                              467
+
+The Crucifixion. El Greco. San Nicolás                               468
+
+San Pedro Nolasco. El Greco. Parish Church of San
+Nicolás                                                              469
+
+The Assumption. El Greco. Parish Church of San
+Vicente                                                              470
+
+San Eugenio. El Greco. Parish Church of San Vicente                  471
+
+St. Peter. El Greco. Parish Church of San Vicente                    472
+
+Jesus and the Virgin. El Greco. Parish Church of
+San Vicente                                                          473
+
+The Ascension. El Greco. San Domingo el Antigua                      474
+
+A Saint (? Santo Domingo el Antigua). El Greco                       475
+
+The Birth of Jesus. El Greco. Santo Domingo el
+Antigua                                                              476
+
+Santa Veronica with the Sudarium. El Greco. Santo
+Domingo el Antigua                                                   477
+
+St. John Baptist. El Greco. Santo Domingo el Antigua                 478
+
+St. John the Evangelist. El Greco. Church of Santo
+Domingo                                                              479
+
+Altar-piece of the Convent of Santo Domingo. El Greco                480
+
+St. Francis of Assisi. El Greco. College of Noble
+Ladies                                                               481
+
+The Baptism of Jesus. El Greco. Hospital of St. John
+Baptist                                                              482
+
+Portrait of Cardinal Tavera. El Greco. Hospital of
+St. John Baptist                                                     483
+
+View of the High Altar of the Tavera Hospital. El
+Greco                                                                484
+
+General View of Toledo (left half). El Greco. Provincial
+Museum                                                               485
+
+General View of Toledo (right half). El Greco. Provincial
+Museum                                                               486
+
+View of Toledo. El Greco. Provincial Museum                          487
+
+Portrait of Antonio Covarrubias. El Greco. Provincial
+Museum                                                               488
+
+Portrait of the Son of Covarrubias. El Greco. Provincial
+Museum                                                               489
+
+The Crucifixion. El Greco. Provincial Museum                         490
+
+Allegory of the Virgin. El Greco. Provincial Museum                  491
+
+Portrait of Juan de Avila. El Greco. Provincial
+Museum                                                               492
+
+Our Saviour. El Greco. Provincial Museum                             493
+
+St. John the Evangelist. El Greco. Provincial Museum                 494
+
+St. Peter. El Greco. Provincial Museum                               495
+
+St. Matthias. El Greco. Provincial Museum                            496
+
+St. Philip. El Greco. Provincial Museum                              497
+
+St. Andrew. El Greco. Provincial Museum                              498
+
+St. Thomas. El Greco. Provincial Museum                              499
+
+St. Simon. El Greco. Provincial Museum                               500
+
+St. Matthew. El Greco. Provincial Museum                             501
+
+St. Jude Tadeo. El Greco. Provincial Museum                          502
+
+An Apostle. El Greco. Provincial Museum                              503
+
+An Apostle. El Greco. Provincial Museum                              504
+
+An Apostle. El Greco. Provincial Museum                              505
+
+The Annunciation. El Greco                                           506
+
+The Dream of Philip II. El Greco. Chapter Hall
+of the Escorial                                                      507
+
+St. Maurice and the Theban Legion. El Greco. Chapter
+Hall of the Escorial                                                 508
+
+Portrait of El Greco by Himself. Señor A. de Beruete,
+Madrid                                                               509
+
+Christ driving the Money Changers from the Temple.
+El Greco. Señor de Beruete, Madrid                                   510
+
+Portrait of a Student (El Greco?). El Greco. Don
+Pablo Bosch, Madrid                                                  511
+
+
+
+
+TOLEDO
+
+
+
+
+THE CHILDHOOD OF THE CITY
+
+
+There are spots that stand out in the ocean of time like islands
+unsubmerged. The flood of years has rolled onwards past and around them,
+and its billows have broken in vain against their shores. Such a spot is
+Toledo. It lifts its head above the ever-shifting waters of the ages,
+and looks forth unchanged, unchanging, across the sea of centuries--a
+last surviving beacon of the drowned mediæval world.
+
+Very old is the city. It has outgrown decay. Nor can we conceive it as
+changing. It has almost become a part of the everlasting hills on which
+it stands. The rock has grown into Toledo and Toledo into the rock.
+
+In a land where all is old, men marvel at the antiquity of this city.
+And when it was younger by centuries, the chroniclers, groping amid
+legends and fables the wildest and most extravagant, strove to penetrate
+the darkness of the ages and to discern the pale glimmerings of Toledo’s
+dawn. Here, surely, first trod the first man, thought the ancients, and
+here was already a city when God first placed His sun exactly over it in
+the yet-dark Heavens. If this was not so, said another chronicler, then
+beyond doubt Toledo’s seven hills were the first to appear above the
+waters of the Deluge, and Tubal, the grandson of Noah, established here
+a kingdom. So stories and traditions multiplied, each historian
+inventing a fresh one. These fables of the city’s founding are quaint,
+curious, and ingenious. Iberia and Hispania of course suggested persons,
+and so we find Iberia, daughter of King Hispan, and wife of a Persian
+captain, Pyrrhus, resorting in search of health to the banks of the
+Tagus, and her husband making a bower for her on these rocky steeps.
+Hercules, who is credited with the foundation of Seville, added the
+building of Toledo to his many labours. “Dismiss these far-fetched
+fables,” cries the learned prelate De Rada, “and admit that our city was
+founded by the Consuls Tolemon and Brutus, in the reign of Ptolemy
+Evergetes.” But another conjecture as absolutely baseless as the others!
+More interesting is the legend that the town was built by Jews flying
+from Nebuchadnezzar, by whom it was named Toledoth, “the city of
+generation.” Certain it is that Jews lived in Toledo at the earliest
+periods of its history, and played a great part, as we shall see, in its
+affairs. However picturesque may be these traditions and wonderings of
+the sages, we cannot resist the conclusion that the beginnings of this
+old capital of Spain were obscure and commonplace enough. Along the
+banks of the yellow Tagus savage tribesmen pastured their flocks and
+herds, and the more practical spirits among them recognised the
+advantages of the cliff above the river as a settlement. Doubtless mere
+temporary encampments succeeded each other here season after season,
+till some sentiment or necessity attached men permanently to the spot,
+and a rude cluster of huts was formed--the rough inception of our
+greatest towns.
+
+The Celtiberians hereabouts were known to the Romans as Carpetani (how
+ill these Latin forms seem to reproduce the uncouth designations which
+these primitive peoples really bore!) The Carthaginians were the first
+civilised nation to come in contact with them, and we hear of a Punic
+governor, Tago. It is impossible to resist the suspicion that his
+personality arose, Aphrodite-like, from the river Tagus. But a Moorish
+writer gives a plausible account of a revolt which arose among the
+Carpetani consequent on Tago’s assassination by Hasdrubal, the
+contemporary of Hannibal. This brought that great commander himself upon
+the scene. Before him the tribesmen were scattered like chaff before the
+wind.
+
+Did the African Phœnicians found a permanent station at Toledo? It
+would not seem so. No vestige or fragment, no trace whatever of their
+domination has come down to us. Most likely this was a mere trading
+centre, where the black-bearded, keen-eyed Semites bartered the wares of
+Africa and the East against the ores and fleeces of Spain. The
+population remained almost purely Celtic. One wonders if a few
+Carthaginians settled amongst them, and if their descendants became
+confounded with their kinsmen in race, the Jews. It is a wild
+conjecture, but might not the presence of such Semitic settlers have
+given rise to the fantastic legend of the founding of Toledo by the
+Children of Israel?
+
+Where the Carthaginian sowed, the Roman reaped. And now the Carpetanian
+village looms in the light not of mere tradition, but of history. Livy
+tells us that in the year 193 B.C. the Pro-Consul Marcus Fulvius
+Nobilior defeated a host of Celtiberians, Vaccei and Vectones in this
+region, and took prisoner a king called Hilerno. In consequence of this
+victory Toledo--described as _urbs parva sed loco munito_--fell into the
+power of the conquerors. The wild rebellious Celts might henceforward
+chafe and lash themselves into impotent fury; on their necks the yoke of
+the Roman was firmly riveted, never by the natives unassisted to be
+shaken off.
+
+Historians have remarked on the aloofness of the Toledans during the
+long winter of foreign domination. Between the various leaders and
+factions who made Spain their cock-pit, the citizens observed strict
+neutrality. They rendered no assistance to Viriathus in his magnanimous
+attempt to recover national independence. Perhaps they were not wanting
+in sympathy for their compatriots; but the conquerors had long
+recognised the military value of the town by the Tagus, and here we may
+suppose was always a strong garrison ready to stamp out the first
+efforts at revolt.
+
+Under the wings of the Roman eagle, the material prosperity of Toledo
+steadily increased. From a collection of wretched huts, it had become a
+_colonia_, the capital of Carpetania. As such it would have had its
+_arx_, or citadel, prætorium, forum, temples, baths, and _vici_, or long
+suburbs straggling into the country. Of all these practically no traces
+remain. But in the Vega, outside the town, may be traced a semicircular
+enclosure, formed by masses of stones and mortar, about a metre in
+thickness, but of varying height. This space has been dignified with the
+name of Circus Maximum, and is undoubtedly a Roman work. But Señor
+Amador de los Rios has demonstrated almost conclusively that the Circus
+never advanced much beyond the foundations, which we now see before us
+probably in no very different state from that in which they were left
+some two thousand years ago. But though no Celtiberian captives or
+Christian martyrs here were “butchered to make a Roman holiday,” the
+consecration of the spot to the practice of cruelty bore fruit in after
+years. For the fires lit by the Inquisition were kindled here, and the
+Christian put the incompleted amphitheatre to the use for which it had
+been designed by the Pagan. To-day the men of Toledo play at _pelota_ in
+the enclosure, and their cheery shouts may well scare away the ghosts of
+torturer and victim.
+
+This may be regarded as the most important Roman remains in the
+neighbourhood of the city. The famous Cave of Hercules, which figures so
+largely in legendary lore, was probably the crypt or substructure of a
+Temple of Jupiter; and on the cliff-side below the Alcazar are a few
+fragments of a once-important aqueduct.
+
+It has been conjectured from the dimensions of the projected Circus that
+the Romans had at one time thought of elevating Toledo to the rank of
+chief city of Spain. The design, if it ever was formed, was never
+carried into execution. Of what passed in the town under Latin rule we
+have but the vaguest notion. Toledo, like almost every other place in
+Europe, has its traditions of fierce persecution productive of local
+martyrs. Almost as many Christians were massacred in Spain, if we
+credit these stories, as Gibbon thinks perished in the whole Roman
+Empire. Among the martyrs of Toletum, it is perhaps superfluous to say,
+was a young and lovely virgin, in this instance called Leocadia. She was
+done to death by the truculent Dacian. St. Eugenius, the first bishop of
+Toledo, is said to have been a disciple of St. Paul. He was martyred at
+Paris, and his alleged remains were obtained from Charles IX. of France
+and presented to the city by Philip II.
+
+In early ecclesiastical annals Toledo has less shadowy claims on
+remembrance as the seat of several councils, the most celebrated being
+those of 396, 400, 589. The minutes of the second council are preserved
+in the local archives. Miss Hannah Lynch makes merry over the fathers’
+spirited denunciations of her sex. In truth, the irreverent reader is
+reminded of those other fulminations launched in the diocese of Rheims
+against certain persons unknown, and of the poet’s surprised comment on
+their want of effect. The sex fared better at the hands of the Council,
+however, than vegetarians and mathematicians, both of whom were
+excommunicated downright. Neither class is numerous in Spain at the
+present day, so the labours of the fathers may not have been altogether
+ineffectual.
+
+
+
+
+THE CITY UNDER THE VISIGOTH
+
+
+During the fifth century the Toledans may well have listened with
+attention to spiritual discussions, for looking forth from their rocky
+perch, they beheld the kingdoms of the earth passing away, and all that
+had seemed stable and eternal fading like the morning mist. The final
+breaking-up of the great world-controlling power was evident. Nations,
+the very names of which the men of the south had never heard, loomed
+from out the darkness of the north, and swept like a cloud of locusts
+over the land. The whole of Spain was desolate. Toledo, ever grim and
+stubborn, stood prepared to die hard. The tide of Vandal invasion surged
+in vain round her walls; then spent its fury in the south. The Visigoths
+established themselves in southern France. Under Walya they had overrun
+Spain, but had exchanged it, willingly enough, for Aquitania. Euric the
+Balthing, who succeeded his brother Theodoric as king in 466, seems to
+have repented of the bargain. He reconquered all Spain, except Galicia,
+which was held by the Suevi, and took Toledo. Where the Vandal had
+failed, the Visigoth succeeded. In the first years of the sixth century
+the Franks stripped Euric’s grandson, Amalaric, of practically all his
+possessions north of the Pyrenees, and the kingdom of the Visigoths
+became synonymous with Spain. Its capital was Narbonne during the
+troubled reigns of Theudis and Theudigisel. But in 553 Athanagild was
+elected king. His wife was the sister of the Bishop of Toledo, and
+partly on that account, perhaps, but more probably because of its
+central position, he made that city his capital. That rank it retained
+during the continuance of the Visigothic monarchy, with the brief
+interval of the reign of Liuba, who succeeded Athanagild in 567 and
+removed his Court to Narbonne.
+
+The history of Toledo for the next century and a half becomes, in some
+sort, the history of Spain. Under Liuba’s brother and successor
+Leovigild (more correctly Liobagilths) the monarchy was consolidated.
+The Suevi in the north-west were subdued, and the nominal suzerainty of
+the Eastern Emperor was disavowed. Despite the difference in religion
+between the Visigoths, who were Arians, and the Romanised Iberians, who
+were Catholics, the two races began to intermingle, and the fusion of
+both into a single nation commenced. Leovigild was the first of his line
+to assume the insignia and appurtenances of royalty, and struck coins
+with his own likeness and the description, “King in Toledo.” The title
+is significant of the increased importance of the city. The prosperity
+of the kingdom was temporarily interrupted by the celebrated
+insurrection of the monarch’s son Ermenegild. This was the outcome of
+the marriage of that prince with Ingunthis, the daughter of the Prankish
+and Catholic king Sisebert. The wedding was solemnised in Toledo with
+great pomp, but the city shortly after became the scene of violent
+quarrels between Queen Goiswintha and her daughter-in-law. Ermenegild
+embraced his wife’s religion, and headed a revolt against his father. He
+was defeated, and paid the penalty with his life at Tarragona, after
+refusing to accept the sacrament at the hands of an Arian bishop.
+Unedifying though his conduct may appear to us, he was regarded as a
+martyr for the faith, and is enrolled among the saints of the Catholic
+Church.
+
+Nor does his example seem to have been without its effect upon his
+brother, Reccared, who succeeded Leovigild in 587. In the month of May
+589, Toledo was thronged with Catholic bishops and priests--many lately
+returned from exile--and with nobles from all parts of Spain, making
+their way to the Basilica of Santa Maria de la Sede Real, to assist at
+the solemn profession of the Catholic faith by the king and his queen,
+Baddo. Sixty-two prelates took part in this, the third Council of
+Toledo, the most eminent being Massona, Bishop of Merida, Leandro of
+Baetica, Santardus of Braga, Ugno of Barcelona, Megecias of Narbonne,
+and Eufemio of Toledo. It was a memorable day for Spain. The king’s
+example was soon followed by his subjects of his own race, and the
+unification of the two peoples was greatly accelerated.
+
+During the hundred and ten years that elapsed between the death of
+Reccared (601) and the rout of the Guadelete (711), no fewer than
+fifteen sovereigns sat on the throne of Spain. Toledo was the theatre of
+their barbaric triumphings, their violent entrances and tragic exits.
+Now the city would resound with the savage, exultant yells of the
+townsmen, as they dragged the body of the usurper Witeric up and down
+the steep, uneven streets--to cast the bleeding, shapeless thing that
+had so lately been a king, upon a dunghill. Now, the people would be
+acclaiming Wamba, greatest of the Visigoths--after the strange scene at
+Gerticos, where the crown was forced upon him at the sword’s point;
+another time, a long procession of captives would file through the
+gates, to witness to the old king’s triumph in Narbonnese Gaul. Not a
+“demise of the crown” but there would be angry mutterings among the
+townsfolk, and whispers of murder, compulsion, and fraud. And while the
+kings raved and the people wept, the Church grew every day stronger--so
+strong that usurper and legitimate sovereign alike had perforce to
+obtain her sanction to his election and accession. And as the years went
+on, the spark of religious zeal in the breast of Spain was fanned into
+flame, and we read of fierce onslaughts on the Jewish citizens, and of
+merciless edicts, condemning them to penalties painful and humiliating.
+Dark days were these for the Children of Israel whose home Toledo so
+long had been; but darker still were impending for their persecutors and
+for the royal line of the Visigoths.
+
+An exact picture of society in Spain at this period has been preserved
+in the Etymologies of Isidore Pacense. The Visigoths were a primitive,
+barbarous people, who had imposed upon themselves the outward
+appearances of Roman, or rather of Byzantine, civilisation. The
+contemptuous reference of Hallam to this “obscure race” is undeserved.
+Even in their earlier stages of development the Goths manifested many
+noble qualities--notably, a clemency towards their enemies--which were
+not conspicuous in the more polished nations of the South. And though
+they never properly assimilated the culture of the Latins, they attained
+to a degree of refinement and civilisation which compares favourably
+with that reached by contemporaries. “Spain,” remarks the author of
+“Toledo” in the “Monumentos Arquitectónicos de España,” “may then fairly
+and proudly claim that, while in Central Europe art had acquired no
+distinctive form--in the midst of the bitterness of slavery, when,
+before the abjuration of Reccared, the fusion of the races was not
+legally recognised--the Iberian Peninsula had developed a definite and
+evident artistic and literary individuality. That individuality must
+have been the result of the fortuitous conjunction and union of Latin
+traditions, more or less degenerate, with influences originally
+Byzantine and with those other transformed elements introduced by the
+Germanic hosts of Atawulf; but, even then, it remains an individuality,
+which asserts itself in the surviving examples of Visigothic culture,
+and which was transmitted to the generations succeeding the Moslem
+conquest.”
+
+According to the standpoint of the critic, the Gothic kings’ taste for
+pomp and luxury may be interpreted as proof of their civilised instincts
+or of their native barbarism. For of the splendour of the Court of
+Toledo we have abundant testimony. From the writings of Isidore, we
+learn that the nobles used only goblets and basins of the precious
+metals, that their garments were of superfine silk, and their ornaments
+of the richest jewels. The elaborate ceremonial of the royal household
+may be inferred from the list of functionaries--the First Count, or
+Chief Butler, the _Escancias_; the Count Chamberlain, or _Cubiculario_;
+the Master of the Horse, _Estabulario_; the Major Domo, or _Numerario_;
+the Steward, or _Silonario_; the Master of the Pages, or _Espartarius_;
+the Count of the _Sagrarios_, or Sacred Things; and the Treasurer, or
+_Argentarios_. These offices were only held by the highest nobles. In
+the Cluny Museum at Paris and the Royal Armoury at Madrid are preserved
+the superb Votive Crowns discovered at Guarrazar in 1858. These
+priceless objects proclaim the wealth and munificence of the Visigothic
+monarchs. They are composed of double hoops of gold, decorated on the
+outside by three bands in relief. The outer bands are set with pearls
+and sapphires, and the middle band with the same stones in a setting of
+a red vitreous substance. The crown is suspended by four chains from a
+double gold rosette, which encloses a piece of rock crystal set in
+facets. Each chain consists of four links, shaped like the leaf of the
+pear-tree, and _percées à jour_. In its original state the crown of King
+Swinthila, now in the Madrid Armoury, had, hanging from its lower rim, a
+cross and twenty-two letters, making up the inscription, SVINTHILANUS
+REX OFFERET. All and each of these letters were actual jewels, set in
+the red glassy paste already mentioned, to them being attached large
+single pearls and pear-shaped sapphires. Though only twelve letters were
+remaining when the crown was discovered, the dedication was skilfully
+reconstructed by Señores de Madrazo and Amador de los Rios. The crown of
+Recceswinth in the Cluny Museum and the crown of the Abbot Theodosius at
+Madrid do not differ greatly from that of Swinthila in style and
+material. Though the workmanship is rude compared with modern specimens
+of the goldsmith’s art, these crowns still excite admiration by their
+beauty and richness. Inquiring into the origin of their style, Señor de
+Riaño arrives at the conclusion that it “must be looked for in the East;
+their manufacture was most probably Spanish. We cannot imagine the
+extraordinary magnificence of the Visigothic court, so similar to that
+of Constantinople and other contemporary ones, without the presence at
+each of a group of artists whose task was to satisfy these demands.” Not
+only the applied arts, but letters and learning were cultivated at
+Toledo. Swinthila and Recceswinth delighted in the composition of
+epistles and verses, in which, unfortunately, the taste, acquired from
+the Byzantines, for long-winded, flowery and involved phrases is
+painfully apparent. Recceswinth interested himself in the collection and
+revision of ancient manuscripts. In his reign flourished the learned and
+saintly Ildefonso, who was publicly thanked for his work on the
+perpetual virginity of Mary by the martyr Saint Leocadia, who came
+expressly from Heaven for the purpose. One of Ildefonso’s successors in
+the see of Toledo, Julian, was a Jew by birth, or at least descent. He
+was renowned for his erudition and especially as a polemical writer.
+Though he narrowly escaped excommunication as a heretic, he is now
+venerated as a saint, and was buried beside St. Ildefonso.
+
+As the seat of a Court which did something more than ape the culture of
+the Latins (_pace_ Mr. Leonard Williams), Toledo rose from an obscure
+Roman colony into a city of dignity and importance. It is supposed to
+have reached its highest stage of development in the reign of King Wamba
+(672-680), whose mutilated statue confronts the traveller on approaching
+the town from the railway-station. Most of the buildings ascribed by the
+chroniclers, however, to that king were in all probability only restored
+by his orders, and were originally constructed by his predecessors.
+Isidore Pacense enumerates among the edifices existing in his time in
+Spain, basilicas, monasteries, oratories, and hermitages; the _Aula
+Regia_, or royal residence, “distinguished before all other buildings by
+the richness of the four porticos which encircled it”; the _Atrii_ of
+the nobility, which were allowed only three porticos; hospitals,
+guest-houses, and _Repositaria_, or treasure-houses. It is reasonable to
+assume that the capital of Spain would have possessed buildings of all
+the kinds specified during the hundred years that elapsed between the
+death of Athanagild and the accession of Wamba.
+
+To the former king is attributed the foundation of the sanctuary
+converted later into the Hermitage of Cristo de la Luz, and the Church
+of Santa Justa, reconstructed in the sixteenth century. From an
+inscription on marble found in 1581, near the Convent of San Juan de la
+Penitencia, it would appear that Reccared built a church consecrated to
+the Virgin in the year 587. The text runs: IN NOMINE DNI CONSECRA | TA
+ECCLESIA SCTE MARIE | IN CATHOLICO DIE PRIMO | IDUS APRILIS ANNO FELI |
+CITER PRIMO REGNI D-NI | NOSTRI GLORIOSISSIMI H | RECCAREDI REGIS ERA |
+DCXXV. To Liuba II. is ascribed the erection of the Church of San
+Sebastian, where some capitals and shafts, discovered in 1899, exist to
+attest its Visigothic origin. The Basilica of Santa Leocadia dated from
+the days of Sisebut (612-621): and though the chroniclers assign no date
+to the dedication of the Church of San Ginés there can be no doubt that
+it took place in the seventh century. Wamba adorned with statuary and
+partially restored the city walls, but it is an error, based on a
+corrupt text of Isidore Pacense’s, to suppose that he built them.
+
+The site of the Aula Regia, or Palace of the Visigothic kings, has long
+been a matter of dispute among archæologists. The author of the article
+on Toledo in the “Monumentos Arquitectónicos” decides in favour of the
+plot of ground covered by the Convents of the Concepcion and the
+Comendadores de Santiago, the ruined Hospital of Santa Cruz, and the new
+extension of the Paseo del Miradero--close to the Zocodover, in the
+north-east angle of the city. Adjacent to the palace was the Basilica of
+Saints Peter and Paul, “which seems,” says Señor Menendez y Pidal, “to
+have been the royal pantheon, opened only for the entombment of the
+sovereign and the taking the oath of allegiance to his successor.” Here
+were suspended the votive crowns, afterwards buried at Guarrazar; here
+probably were interred Athanagild, Leovigild, Reccared I., Liuba II.,
+Gundemar, Sisebut, Reccared II., Tulga, Erwig, Egica, and Witica. Their
+very dust has long since been scattered by the wind--who shall say
+where? In a hall attached to that Basilica, in similar annexes to the
+Basilicas of Santa Leocadia and Santa Maria de la Sede Real, were held
+those ecclesiastical synods which so powerfully contributed to the
+shaping of the destinies of Spain. Santa Leocadia’s church is now known
+as the Cristo de la Vega; the Basilica de Santa Maria faced the Bridge
+of Alcantara and was in after years known as Santa Maria de Alficem.
+Here Recceswinth is said to have been crowned, the temple being
+afterwards restored by Erwig, Wamba’s successor.
+
+Not a single building erected by the Visigothic kings exists to-day.
+“Destroyed by man’s fury and by the vicissitudes of time,” regretfully
+observes Señor Amador de los Rios, “or altered till all trace of their
+original form has been lost, by the pious care which intended to
+preserve them, you may seek in vain in the city of Wamba for an intact
+monument of that age; not even the walls ascribed to that prince have
+remained entire. Fragments of friezes; isolated capitals, which have
+adorned later edifices, oddly out of place in the scheme of decorations,
+or cut and defaced; broken shafts, perhaps bearing some inscriptions;
+pieces of a hinge, a metope, a lintel, or an impost, perhaps some
+dedicatory tablet--this is all that has escaped at Toledo the
+devastating scythe of time.”
+
+These relics, however, are fortunately numerous. For a detailed
+description of the more important, the reader is referred to the
+“Monumentos Arquitectónicos de España.” Some we shall notice more
+particularly in dealing with the edifices of which they now form part.
+
+Under Wamba the Visigothic monarchy reached the apex of its greatness.
+Under his four successors, Erwig, Egica, Witica, and Roderic, State and
+people are said to have become hopelessly enervated. The old Gothic
+vigour blazed up now and again in some individual ruler or statesman,
+but failed to communicate itself to the nation. The kingdom was
+tottering to its fall. The taste for display and the amenities of
+existence grew stronger in this period of decline. Never was there such
+wealth and splendour in Toledo as when it fell a prey to the hosts of
+Islam. The rapid decay of this once great and martial race is without a
+parallel in history. It is difficult to assign to it a cause. Luxury was
+the privilege only of the nobility and clergy, and could hardly have
+corrupted the whole people. Modern writers lamely attribute the final
+catastrophe to ecclesiastical influence and domination. Perhaps when all
+has been said, the state of Spain under Witica and Roderic was not much
+worse than under subsequent rulers of other dynasties; and the downfall
+may have been due, not so much to the effeminacy of the vanquished, as
+to the extraordinary military genius of the conquerors. Historians would
+have said little about the degeneracy of the Visigoths if the battle of
+the Guadalete had had a different issue.
+
+The Hispano-Goths, as Catholics, evinced a fanatical and intolerant
+temper which had been conspicuously lacking in them as Arians. Harsh
+edicts continued to be promulgated against the Jews--then, as till a
+much later date, a most important element in the population of Toledo.
+The unlucky Children of Israel may have derived in the intervals of
+persecution some malicious consolation from the bitter quarrels between
+the king and the Catholic clergy. Witica was an enemy, or what was
+probably regarded as the same thing, a would-be reformer of the Church.
+To his impiety, indeed, monkish writers are fond of ascribing the
+destruction of the Gothic kingdom. His predecessor, Egica, did not
+hesitate to condemn to excommunication, exile, and confiscation of
+property, Sisebert, the powerful Archbishop of Toledo. Perhaps some
+clerkly chronicler, by way of retaliation for this outrage upon his
+order, invented the following discreditable story, to be found in the
+pages of Lozano.
+
+King Egica had conceived an ardent passion for the beautiful Doña Luz,
+who is described as the grand-daughter of Kindaswinth, and the sister of
+Roderic, afterwards king. Her love, however, was given to her uncle, Don
+Favila, Duke or Governor of Cantabria. The lovers, wearied at last by
+the king’s opposition to their union, went through a secret and
+simplified form of marriage in the lady’s bedchamber before a statue of
+the Virgin. In the course of time. Doña Luz became a mother. Egica’s
+suspicions had already been enkindled, and fearing his wrath, she placed
+the new-born infant in a little ark and set it afloat on the bosom of
+the Tagus. As her maids pushed out the tiny craft from the foot of the
+steep path that leads down from Toledo, a radiance diffused itself
+around the sleeping child and for long marked his passage down the broad
+stream. The irate monarch, divining that Doña Luz must in some way have
+disposed of her child, caused a census to be taken of all the children
+born in and around the city within the past three months with the names
+of the respective fathers. The number of births was recorded at
+35,428--a very surprising total for Toledo! And, which is still more
+remarkable and highly creditable to the city, the parentage of these
+numerous infants was in every case authenticated. What then had become
+of Doña Luz’s baby? Baffled in his quest, the king suborned one of his
+minions, Melias by name, to accuse the unfortunate lady of incontinency.
+The penalty for this offence, we are told, was nothing less than death
+by fire; and for that fate Egica bade Doña Luz prepare, unless she could
+secure a defender or otherwise clear her reputation. At the eleventh
+hour, the valorous champion appeared in the person of Don Favila, who
+disproved the charge made against his lady-love to the satisfaction of
+mediæval intelligences, by the simple method of running her accuser
+through the body. This, however, did not satisfy the sceptical monarch,
+who insisted on a further ordeal by combat. A knight named Bristes,
+cousin of the recreant Melias, was challenger and accuser on this
+occasion, and was quickly despatched by the doughty Favila.
+
+In the meantime the ark containing Pelayo, the infant child of Doña Luz
+and her champion, had reached Alcantara, where the little passenger
+almost miraculously fell into the hands of his mother’s other uncle,
+Grafeses. This benevolent prince took every care of the child,
+unsuspicious, of course, of his origin. Attracted to Court by the noise
+of these scandals and combats, he found a handkerchief in his niece’s
+room, the counterpart of one which he had discovered in the little ark.
+Doña Luz soon confessed to him the whole story, and he endeavoured to
+intercede for her with the king. Egica, probably more exasperated than
+ever, insisted on a third duel between Favila and a knight called
+Longaris. Both combatants had been wounded when a holy hermit appeared
+on the scene, and admonished the king as to his wickedness and hardness
+of heart. Egica repented and consented to the public celebration of the
+marriage of Favila and Doña Luz. Here we have a fine romantic account of
+the origin of the heroic Pelayo, the restorer of the monarchy and the
+saviour of the Spanish nation.
+
+Wilder, more romantic still, and better known are the legends clustering
+round the last king of the Goths. The scene of most of these is laid in
+Toledo. Here was held that wonderful tournament, to which resorted all
+the crowned heads of Europe--aye, even such potentates as the Emperor of
+Constantinople and the King of Poland. A new city of palaces was reared
+in the Vega by the hospitable Roderic to accommodate his fifty thousand
+noble guests. This splendid function may have taken place before or
+after the king’s strange marriage with the bewitching Moorish princess
+Elyata (re-baptized Exilona), who had been washed ashore by the sea on
+the coast of Valencia. Lovely as was his consort, Roderic did not, as we
+all know, remain faithful to her. Here enters the mournful and very
+shadowy figure of Florinda, otherwise known as La Cava. This peerless
+damsel was confided to the care of the king by her father, the trusty
+Julian (or Illán), governor of Ceuta. Alas for the maiden! while bathing
+in the Tagus, her charms were only too well revealed to Roderic, gazing
+from his palace windows on the cliff above. A glimpse of a shapely leg
+scarce concealed by a diaphanous mantle decided the fate of
+Florinda--and of Spain. What he could not effect by persuasion, the
+king effected by violence. Perhaps he hoped that the proud Julian’s
+daughter would keep silence as to her own dishonour. He was mistaken. A
+trusty page, spurring night and day, quickly bore the fatal tidings to
+the father at distant Ceuta, and the missive in which the wronged
+Florinda implored vengeance on her betrayer.
+
+To the no doubt conscience-stricken Roderic, seated in good old kingly
+fashion upon his throne, appeared two venerable strangers with a message
+of mysterious import. When Hercules had founded (as some men say)
+Toledo, not far from the city, among the mountains, he had reared a
+tower, of which these uncouth brethren were the guardians, as their
+ancestors, in an unbroken line, had been before them. On this tower and
+on its unknown and fearful contents, the demigod had laid a necromantic
+spell. It had been the custom of each of the Kings of Spain to affix to
+the massive doors a new lock, and now Roderic was summoned to fulfil
+this duty, for failing this and if any rash mortal should discover the
+secret of the tower, ruin, absolute and immediate, must overtake his
+kingdom. Agog with curiosity, with a brilliant cavalcade, the king
+clattered through the streets of his capital, and found the wondrous
+tower in the recesses of the hills. The aged custodians besought him to
+hasten and to affix his seal to the enchanted doors. In vain! it was
+with another intention the impetuous sovereign had come hither. He burst
+open the doors and rushed in, where never man since Hercules had dared
+to tread. Before him stood a gigantic statue in bronze, which dealt
+blows with a great mace unceasingly to right and left. On its breast
+were inscribed the words, _I do my duty_. Roderic sternly adjured the
+creature of enchantment to let him pass. It obeyed. In the interior of
+the tower the King found a casket of rich workmanship. A legend thereon
+warned him of the doom that would overtake him who should open it.
+Roderic forced open the lid. He beheld a fold of linen on which were
+painted the figures of Moorish warriors in battle-array. As he gazed the
+figures seemed to move, to grow larger, to assume the proportions of
+men. He beheld a battlefield where Goths and Moors contended for the
+mastery. Breathless, he awaited the issue. The Goths were flying, and he
+saw his own white steed, Orelia, galloping through the fray--riderless.
+Affrighted, the king and his attendants rushed to the door. There lay
+the two ancient custodians, dead. Thunder rolled, a storm burst over the
+land, and Roderic and his cavaliers drew not rein till they reached the
+palace of Toledo. Next day the stout-hearted Goths reascended to the
+hills. But as they approached, behold a great eagle swooped down from
+the sky holding in its talons a flaming brand! The tower blazed up like
+matchwood. Then arose a great wind which carried the ashes to every part
+of Spain; and every man on whom a portion of the ashes fell was
+afterwards slain in battle by the Moors.
+
+These direful portents must surely have prepared Roderic for treachery,
+conspiracies, and unpleasantness of all kinds. But when Count Julian
+arrived, smiling and deferential, to take his daughter home to Ceuta, he
+seems to have suspected nothing, feared nothing. The rest of the
+story--Julian’s invitation to the Moors, the rout of Guadalete, the
+disappearance of Roderic--relates to the history of Spain generally, not
+to that of Toledo. Dozy believes that Julian actually existed, but he
+seems to have been a Byzantine governor of Ceuta, not a Spaniard. It is
+hardly necessary to say that Florinda is as much a figment of the
+imagination as the enchanted tower. Yet near the Puente de San Martin
+(above which never king’s palace stood) some fragments of masonry are
+pointed out as the Baños de la Cava (Florinda’s Bath). They are, in
+reality, but the remains of a Moorish tomb.
+
+In July 711, King Roderic set out from Toledo, never to return. Upon the
+news of the rout of Guadalete, all the magnates and prelates abandoned
+the city. Its surrender to the Moorish host of the one-eyed Tarik was
+the work of the Jews, who had not forgotten the persecutions of Sisebert
+and Egica. There were Jews in the invading army under the command of
+Kaula-al-Yahudi. When Tarik appeared before the walls, a venerable
+Israelite was let down in a basket, and, approaching him, offered to
+admit him to the city if liberty and the free exercise of their religion
+were guaranteed to his race. The Berber joyfully accepted these terms,
+and on the following day proud Toledo--deserted by its Christian
+inhabitants--was annexed to the Saracen Khalifate.
+
+
+
+
+TOLEDO UNDER THE MOOR
+
+
+Never again was Toledo to attain to the wealth and splendour it
+possessed under Wamba and his successors. The invaders, fresh from the
+conquest of the richest provinces of Africa, were dazzled by the
+magnificence of the spoils that fell to them in the dark-browed city
+above the Tagus. The Arabian historians have need of all their powers of
+hyperbole to over-estimate the richness of the treasure. There was
+enough and to spare, Al Leyth Ibn Saïd tells us, for every soldier in
+the army. The humblest troopers might have been seen staggering under
+the weight of priceless silks and garments, chains of gold, and strings
+of precious stones. The rude Berbers, fresh from their mountains, but
+ill appreciated the value of the loot, and cut the costliest fabrics in
+two or more pieces to adjust their shares. A magnificent carpet,
+composed of superb embroidery, interwoven with gold and ornamented with
+filigree work, and profusely set with gems, is said to have been treated
+in this way by the troopers into whose greedy hands it fell. It would be
+interesting to learn the place of manufacture of this carpet, for from
+the silence of St. Isidore upon the subject of textile fabrics, it would
+seem that they were not made in his time in Spain.
+
+But, to credit the Moorish chroniclers, the rarest of exotic treasures
+had been accumulated in the Visigothic capital. Here were found the
+Psalms of David, written upon gold leaf in a fluid made from dissolved
+rubies! and most wonderful of all, the Table of Solomon made out of a
+single emerald! It was brought to Toledo--so runs one version--after the
+taking of Jerusalem, and was valued in Damascus at one hundred thousand
+dinars--equal to about £50,000. We are not surprised to hear that this
+unique piece of furniture “possessed talismanic powers”; for tradition
+affirms it was the work of genii, and had been wrought by them for King
+Solomon the Wise, the son of David. This marvellous relic was carefully
+preserved by Tarik as the most precious of all his spoils, being
+intended by him as a present to the Khalifa; and, in commemoration of
+it, the city was called by the Arabs, Medina Almyda, that is to say,
+“The City of the Table.”
+
+Thus far Washington Irving. With characteristic credulity, Ibn Hayyan,
+the historian, gives in the translation of Gayangos a substantially
+different account of the treasure: “The celebrated table which Tarik
+found at Toledo, although attributed to Solomon and named after him,
+never belonged to the poet-king. According to the barbarian authors, it
+was customary for the nobles and men in estimation of the Gothic Court,
+to bequeath a portion of their property to the church. From the money so
+amassed the priests caused tables to be made of pure gold and silver,
+gorgeous thrones and stands on which to carry the Gospels in public
+processions, or to ornament the altars on great festivals. The so-called
+Solomon’s table was originally wrought with money derived from this
+source, and was subsequently emulously enlarged and embellished by
+successive kings of Toledo, the latest always anxious to surpass his
+predecessor in magnificence, until it became the most splendid and
+costly gem ever made for such a purpose. The fabric was of pure gold,
+set with the most precious pearls, emeralds and rubies. Its
+circumference was encrusted with three rows of these valuable stones,
+and the whole table displayed jewels so large and refulgent that never
+did human eye behold anything comparable with it.... When the Muslims
+entered Toledo it was discovered on the altar of the Christian Church,
+and the fact of such a treasure having been found soon became public and
+notorious.”
+
+Gibbon accounts for the presence of the Table of Solomon at
+Toledo--assuming that there ever was such a thing, and that it ever was
+there at all--by supposing it to have been carried off by Titus to
+Rome, whence it may have been taken by Alaric when the Goths sacked the
+city. Whichever version of the table’s origin be accepted, it seems
+strange that it was not carried away by the clergy in their flight from
+Toledo. Of its ultimate fate nothing is known, unless we can accept the
+little that is revealed in the following history.
+
+Upon Musa approaching the city to supersede Tarik, the latter broke off
+and concealed one of the legs of the table. Musa was already incensed
+against his lieutenant for having deprived him of the glory of the
+conquest of Spain, and emphasised his reprimands with strokes of a whip.
+When he found that the leg of the table was missing, his anger was very
+great. Tarik assured him he had found it in that mutilated condition,
+and Musa caused the missing leg to be replaced by one of gold. His
+subordinate, however, he cast into prison, where the One-Eyed One
+remained till released by orders from the Khalifa himself. He was amply
+revenged on Musa, when upon the latter presenting the table to his
+sovereign as his own discovery, he was able triumphantly to give him the
+lie by producing the missing leg of emerald. And so the wonderful Table
+of Solomon, of emerald, or of gold, or of both, passes out of the ken of
+history.
+
+We hear of Musa’s son, Abd-ul-Aziz (or “Belasis,” as he is quaintly
+termed by old Spanish writers) marrying King Roderic’s widow, Exilona,
+at Toledo. Abd-ul-Aziz, however, was Governor of Seville, where he met
+his death, and it is not unlikely, if he married the queen at all, that
+he did so in that southern city, where she may have been left by her
+first consort to await the result of the battle of the Guadalete. If
+there be any truth in the legend that Exilona was of Moorish origin
+herself, the story of this second and apparently cold-blooded union
+seems less improbable. Tradition has it that the widow of the Goth only
+consented to the match on Abd-ul-Aziz promising to observe towards her
+all the deference due to a Christian queen. He kept his promise only too
+faithfully, and his forcing his officers to bend the knee to a woman and
+an infidel, is said to have contributed to bring about his assassination
+in the mosque at Seville.
+
+The conquerors here, as in other parts of the kingdom, acted generously
+towards the conquered. A moderate tribute was levied on the Christians,
+who were allowed to practise their religion and be governed by their own
+laws and customs. Seven churches were allotted to their use, the names
+of these being Santa Eulalia, Santa Maria de Alficem, Santa Justa, San
+Sebastian, San Marcos, San Torcuato, and San Lucas. But these privileges
+must have hardly consoled the citizens for the loss of the town’s rank
+as capital of Spain. It became, as it had been under the Romans, “a
+strong place,” of which the dominant race valued the advantages, but, in
+consequence of the rise of Cordoba and Seville it sank to the condition
+of a provincial town.
+
+As such its career was throughout stormy and turbulent. The spirit of
+rebellion seemed instinct in the grim fortress-like city, and infused
+itself into Mohammedan and Christian, Arab and Castilian alike. The two
+races fraternised well enough. They had a common interest: resistance to
+any external authority. This impatience of control was characteristic of
+the Toledans for centuries. Its annals during the period of Mohammedan
+occupation are a tedious record of sieges, riots, usurpations and
+massacres. Such events are only of interest when studied in the minutest
+detail. A brief _résumé_ of them is, however, indispensable to a proper
+knowledge of the town.
+
+The citizens’ first appearance in the troubled arena of Muslim politics
+was as loyalists--an uncongenial _rôle_! In the civil wars that
+distracted the reign of Abd-ul-Malik, Toledo was held by his son Omeya,
+and vainly besieged for a month by the rebels. On the approach of
+Abd-ul-Malik, the garrison, wishful of glory, made a vigorous sortie and
+completely routed the investing force. The townsmen had tasted blood.
+It took much to quench their thirst. Knowing their character, in the
+troubles fomented by the pretender Yusaf ben Debri, his partisan,
+Mohammed Abu-l-Aswad took refuge among them in the year of the Hegira
+142. The place was immediately invested by the Wizir, Al Kama, and as
+usual offered a stout resistance. Wearied of their ruler, however, the
+people played him false and betrayed the town to the Wizir. Abu-l-Aswad
+was taken prisoner and sent to Cordoba.
+
+A year or two later the Toledans repented of their submission. While the
+Amir, Abd-ur-Rahman, was engaged in preparations for a war in the east
+of Spain, some powerful families, led by one Hixem ben Adra al Fehri,
+rose, seized the Alcazar, and put the Wizir to flight. They released the
+notorious rebel, Kasim ben Yusuf, from prison, and raised an army of
+about ten thousand men--mostly freebooters and masterless men who seemed
+to have regarded Toledo as the best market for their peculiar talents.
+The Amir’s appearance before the walls, with a powerful army, caused
+moderate counsels to prevail among the insurgents. The citizens were
+anxious to be rid of the undesirables they had invited into their midst,
+and persuaded Hixem to visit the royal camp to solicit terms.
+Abd-ur-Rahman generously pardoned him, and once more incarcerating
+Kasim, left the town to itself.
+
+He soon had good reason to repent his forbearance. In 763 Kasim escaped
+from confinement, rallied the citizens round him, and declared the town
+subject only to the Khalifa of Damascus. The siege that followed was
+languidly conducted. The people, we read, were suffered to cultivate
+their fields, and to carry produce into the city unmolested. At this
+rate the siege might have lasted as long as that of Candia. Kasim,
+meanwhile lulled into a sense of security, abused his power, and
+alienated his unruly subjects. On the arrival of the Amir, he was given
+notice to quit. Having seen him successfully elude the royal forces,
+Toledo opened its gates to Abd-ur-Rahman. The Amir, despairing of the
+townsmen’s temper, exacted from them but a nominal obedience, but his
+successor, Hakam, thought to coerce them by a bitter lesson. As
+Governor, he sent them one Amru of Huesca, a renegade Christian, “by a
+condescension,” he wrote, “which proves our extreme solicitude for your
+interests.” The renegade’s policy was thorough. He ingratiated himself
+with the people, and posed as the champion of their liberties. It was at
+their own suggestion that he raised a fortress in their very midst. The
+place being strongly garrisoned and all being ready, the approach of a
+large army, commanded by the Amir’s son, Abd-ur-Rahman, was announced.
+At the suggestion of the Governor, the prince was invited by the
+nobility into the city; and he, in return, as if to mark his sense of
+the honour conferred upon him, ordered a great feast to be made ready at
+the Castle. To this all the chief men were bidden. What followed is
+known as the Day of the Fosse. The guests were allowed to enter only one
+by one. Behind the gate stood a man with bared arm and uplifted axe. As
+each guest entered there was a sweep of the arm, a flash of steel, and a
+head rolled into the ditch already prepared. Without, nothing was heard,
+nothing was seen, nothing suspected. The episode reminds one of the
+famous Blood Bath of Stockholm. The butchery is said at last to have
+been revealed to those waiting outside the wall by the thick vapour
+issuing from the gate. A physician, who had been watching for hours, and
+who had noticed that none of the numerous guests who had entered, had
+issued forth, was the first to raise the alarm. “Men of Toledo,” he
+shouted, “I vow that yonder vapour is not the smoke of a feast, but
+rises from the blood of our butchered brethren!”
+
+This ghastly tragedy occurred in 807, and has given rise to a proverbial
+expression current in Spanish--_una noche Toledana_, applied to a night
+disagreeably passed in sleeplessness or pain.
+
+The blow struck by the ferocious Amru was of the kind that alone met
+with the approval of Macchiavelli: it not only intimidated, but it
+crushed. For a quarter of a century we hear no more of tumults or
+dissensions in the City by the Tagus. Meantime it prospered. Arts and
+letters flourished. In the year 827 we have to record the death “of the
+very learned alfaqui, Isa ben Dinar el Ghafeki, a native of that city
+and a disciple of Malik ben Anas. He was a man beloved by all--friendly
+in manner, admirable in conversation, and upright of life: such as were
+taught by Isa ben Dinar acquired their learning with delight. He was in
+the habit of practising some few observances that were considered
+extraordinary: he made, for example, the prayer of the dawn with the
+preparation and ablutions proper to that of the evening twilight.”
+
+The opulence of the Jews and Christians decided the Wali, Aben Mafût ben
+Ibrahim, to increase their tribute. This led to the outbreak of 832. A
+wealthy young citizen, named Hakam el Atiki, otherwise known as El
+Durrete, or “the striker of blows,” had been insulted by the Wali, and
+used the discontent of the people as a means of avenging his injuries.
+He distributed money freely among the more inflammable sections of the
+populace, and collected about him a body of lawless followers. One of
+these was seized in the Soko, or market-place (the Zocodover) by one of
+the Wali’s officers, and a tumult at once uprose. In the end the
+Alcazar fell into the hands of the rebels, and the Wali barely escaped
+with his life. Hakam, however, was shortly afterwards obliged to abandon
+his conquest, and spread abroad the report that he had left the country.
+The vigilance of the garrison becoming in consequence relaxed, he seized
+the city by a _coup de main_, and held it for some years. He was
+wounded, taken prisoner, and beheaded in 837, by Abd-el-Raf, his head
+being suspended from the gate of Bisagra.
+
+So far the risings at Toledo had been mainly political, and the townsmen
+had sunk their religious and racial differences to make common cause
+against the stranger. The cause of the insurrection of 854 was, by
+exception, an outburst of fanaticism on the part of the Muzarabes or
+Christians, who practised the ritual of the Spanish Goths. It was at
+this time that the Catholics of Cordoba and Seville, subject to some
+extraordinary aberration, had in great numbers earned the doubtful
+honour of martyrdom by blaspheming Mohammed. To Toledo, as the most
+likely spot at which to create a disturbance, came Eulogius and stirred
+the Christians to avenge the “wrongs” of their co-religionists. Under
+the leadership of Sindola, they dispossessed their Moorish governors,
+and carrying the war into the enemy’s own country, defeated the Amir’s
+forces at Andujar. Ordoño King of Leon, now came to the assistance of
+the citizens, who, hitherto, had shown no eagerness to call in the help
+of the Christians of the north. Mohammed, the Amir, presently appeared
+before Toledo, and drew the allied forces into an ambush. The Christians
+were totally defeated--almost annihilated. Nothing daunted, the
+Toledans, later on, insulted their sovereign by electing Eulogius to the
+vacant archiepiscopal see. Mohammed, by way of reprisal, inveigled a
+large force of Christians on to a bridge which he had undermined. It was
+the Day of the Fosse over again.
+
+In the year 873, we find the independence of Toledo, subject to his
+suzerainty, nominally acknowledged by the Amir, who was probably glad to
+make any terms that promised peace with vassals so turbulent. In the
+reign of the Amir Al Mundhir even this faint shadow of outside authority
+was shaken off by the city, which again asserted its complete
+independence, in 886, under Ibn Hafsûn. The town was besieged by the
+royal forces under the Wizir Haksim. The wily Ibn Hafsûn, seeing that
+the stronghold must fall, proposed to the opposing general that he
+should allow him to evacuate the place and transport his army to the
+frontier of Valencia, on a train of beasts of burden to be provided by
+the besiegers. Haksim joyfully assented to this capitulation, and on the
+day appointed, what was supposed to be the entire army of the rebel
+chief issued from the gates of the city and wended their way, with the
+train of packhorses, eastwards. Leaving what he considered a sufficient
+garrison in Toledo, Haksim drew off the greater part of his forces and
+went to Cordoba. Meanwhile the crafty Hafsûn swiftly retraced his steps,
+and with the aid of the considerable detachment he had left concealed in
+the town, put the garrison to the sword, and once more hurled defiance
+at the Amir. Great was Al Mundhir’s wrath on the receipt of this
+intelligence, and before nightfall, the head of Haksim lay severed from
+his body.
+
+Ibn Hafsûn proved a formidable antagonist. The Amir lead an army against
+him in 888 and was defeated and killed. Twenty years later Hafsûn died,
+bequeathing what was practically an independent sovereignty to his son.
+The great Khalifa, Abd-ur-Rahman III., now sat on the throne of Cordoba.
+He determined to put an end to the arrogant pretensions of the unruly,
+untameable city. His summons to capitulate being contemptuously
+rejected, he took the field in 930. For eight years the siege went on,
+varied by exploits and incidents, which might prove matter for a Moorish
+Iliad. Famine stalked abroad in the obstinate city, but the Hafsûns
+would not hear of surrender. When at last it became plain that the
+people would yield, the leaders and their partisans, to the number of
+four thousand, made a last desperate sortie. Two thousand cavaliers,
+with a foot-soldier clutching firmly hold of each horse’s girth, they
+broke through Abd-ur-Rahman’s camp, and got clean away. Almost joyfully
+the townsmen opened their gates to the great Amir--to be firmly bitted
+and bridled during the remainder of his reign.
+
+That the town was still subject to the central authority in the year
+979, we gather from this incident. The Governor, Abd-ul-Malik Ibn Merwân
+having some difference with the Wali of Medina Selim (Medinaceli),
+challenged him to single combat and slew him. For this, without more
+ado, he was removed from office by orders from Cordoba.
+
+In the first quarter of the eleventh century, Toledo recovered her
+freedom, on the break-up of the Umeyyah empire. Under her sultan,
+Ismail, in 1023, she was able to boast that she knew no other lord or
+ruler under the blue heavens. After Ismail came Abu-l-Hasan Yahya al
+Ramân who reigned till 1075, and was then succeeded by Yahya Kadir, who
+lost his throne in 1085.
+
+Before relating the incidents of the reconquest of Toledo by the
+Christians and its incorporation in the steadily expanding kingdom of
+Leon, we will take a glance at the city as it was under its Mohammedan
+rulers. Of its affluence, importance, and strength, the foregoing
+cursory sketch of its history has afforded us some idea. It ranked as
+the metropolis of the Christian element in the Amir’s dominions, and its
+prelates early obtained recognition from their Paynim sovereigns as
+dignitaries of the highest standing. Among them were such notable men as
+Wistremir and Eulogius. One of the archbishops of Toledo, Elipando,
+embraced the heresy of Nestorius, and went the length of excommunicating
+his fellow bishops. Upon his death, however, an orthodox successor was
+chosen. The Christians were wealthy and arrogant. They were classed in
+congregations, dependent on their various churches, each division
+including certain families irrespective of their domiciles. Toledo,
+during the three and a half centuries of Mohammedan dominion, never
+seems to have lost the outward character of a Christian town. Moorish
+influence she felt, and it served to soften and chasten her rough
+features, but Moorish she never became as did Seville and Cordoba. Yet
+in every corner of the old city the guides are prone to point out the
+buildings and remains that they fondly believe to be of Arabic
+workmanship. In reality, very few monuments of the Mohammedan period
+have survived. It is not by what we see but by what we read that we can
+form an idea of the city as it was in those days.
+
+It was renowned for its clepsydras or water-clocks, invented by
+Abu-l-Kasim. These are described as follows in an Arabic document: “But
+what is marvellous and surprising in Toledo, and what we believe no
+other town in all the world has anything to equal, are its water-clocks.
+It is said that Az-Zagral [Abu-l-Kasim] hearing of a certain talisman
+which is in the city of Arin, of Eastern India, and which shows the
+hours by means of _aspas_ or hands, from the time the sun rises till it
+sets, determined to fabricate an artifice by means of which the people
+could know the hour of day or night, and calculate the day of the moon.
+He made two great ponds in a house on the bank of the Tagus, near the
+Gate of the Tanners, making them so that they should be filled with
+water or emptied according to the rise and fall of the moon.” The water
+began to flow into the ponds as soon as the moon became visible, and at
+dawn they were four-sevenths full. The water rose by one-seventh every
+twenty-four hours, and were full at full moon. As the luminary waned,
+the water fell in exact proportion. The exact working of these
+contrivances was lost when an astronomer, deputed by Alfonso el Sabio to
+examine them, broke parts of the intricate machinery.
+
+The chroniclers relate wonders of the palace of An Naôra, so called from
+its celebrated _noria_ or hydraulic apparatus. The apartments were so
+splendid as to rival those of the palace of the Amir himself, and “were
+resplendent as the sun at noonday, and the moon at the full.” In the
+luxurious gardens was the lake or albuhera, in the centre of which rose
+a pavilion of glass, where Al Ramân-bil-Lah, the last sovereign of
+Toledo, used to pass the night. “The clever architects”--we quote from
+the “Monumentos Arquitectónicos”--who made the lake, not only raised the
+waters from the river in order to fill it, but raised them above the
+cupola of the pavilion, over and around which they flowed incessantly,
+forming around it a diaphanous and crystalline mantle. Not a drop could
+penetrate the structure or touch the persons within. With the sonorous
+murmur of these waters mingled that produced by the fountains that
+gushed forth from the mouths of the lions in metal guarding this
+wonderful pavilion. Illumined inside with lamps of various colours,
+without it presented a fantastic appearance, which was reflected back
+from the waters of the lake, and which the people of Toledo contemplated
+with admiration through the dense foliage.”
+
+Of this exquisite pleasaunce, no trace remains. Nor is anything left of
+the other palace of Al Hizem, built by Ismaîl, the first admittedly
+independent Sultan of Toledo--afterwards inhabited by the Christian
+kings. The principal building in Moorish times was, of course, the
+Aljama, or Chief Mosque. This seems to have been erected at the same
+time as the great Mezquita at Cordoba, in the reign of Abd-ur-Rahman
+II., and to have been richly embellished and enlarged under the third
+and greatest Khalifa of that name. We read that in the fourth century of
+the Hegira, the architect Fatho ben Ibrahim el Caxevi built two
+sumptuous mosques, called, the one, Adabejin, the other Gebel Berida;
+but where these were situated, or what was the real Arabic spelling of
+the names, we have no means of knowing.
+
+Happily a few specimens of the local architecture of that epoch remain.
+Of these one of the learned compilers of the “Monumentos
+Arquitectónicos” writes: “In spite of their varying degrees of
+integrity, and although greatly damaged and changed by later
+restorations, these works possess an extreme importance, and suffice to
+manifest the peculiar physiognomy of the secondary religious edifices of
+this part of the Peninsula at the most glorious epoch of the
+Khalifate--a physiognomy strikingly different from that of the principal
+religious structures, or Aljamas, equivalent to our cathedrals, and
+different also from that of the same buildings in the south. They show,
+furthermore, decorative processes believed to have been unknown in
+Spain at that epoch.”
+
+The most complete and remarkable of these buildings is the Mosque of
+Bib-el-Mardom, now known as the Cristo de la Luz. It is situated to the
+north of the city, between the Puerta del Sol and the Puerta Bisagra.
+Here Alfonso VI., on entering Toledo on May 25, 1085, halted and caused
+Mass to be celebrated, leaving his shield behind him as a memento of the
+incident.
+
+The exterior of this most interesting building is unpromising. It is
+thus described by Mr. Street: “The exterior face of the walls is built
+of brick and rough stone. The lower part of the side wall is arcaded
+with three round arches, within the centre of which is a round horseshoe
+arch for a doorway; above is a continuous sunk arcade of cusped arches,
+within which are window openings with round horse-shoe heads. The lower
+part of the walls is cut with single courses of brick, alternating with
+rough stonework; the piers and arches of brick, with projecting labels
+and strings also of unmoulded brick. The arches of the upper windows are
+built with red and green bricks alternated.” Restorations carried out in
+1899 brought to light a most interesting pierced frieze running round
+the north-eastern façade, and serving as a sort of ventilator. Above was
+deciphered the following inscription in Arabic characters: “In the name
+of God, the Compassionate, the Merciful. This mosque was rebuilt ... the
+renewal of its upper part, proposing to render it more beautiful, and
+[the restoration] was finished, with the help of God, under the
+direction of Musa Ibn Ali, the architect, and of Saada. It was completed
+in the Muharram of the year 370” [July 17, 979, to August 15, 980 A.D.]
+The whole façade of the edifice has been much disfigured by successive
+reconstructions, coatings of plaster, &c., and has undergone much more
+serious transformation than the interior.
+
+Entering when the eyes have become accustomed to the obscurity, we make
+out the details of a very small and curious structure. Again to quote
+Mr. Street, the nave is only “21 ft. 7¼ in. by 20 ft. 2 in., and this
+space is subdivided into nine compartments by four very low circular
+columns, which are about a foot in diameter. Their capitals are all
+different. The arches, of which four spring from each capital, are all
+of the round horseshoe form; above them is a string-course, and all the
+intermediate walls are carried up to the same height as the main walls.
+They are all pierced above the arches with arcades of varied design,
+generally cusped in very Moorish fashion, and supported on shafts; and
+above these each of the nine divisions is crowned with a little vault,
+formed by intersecting cusped ribs, thrown in the most fantastic way
+across each other, and varied in each compartment. The scale of the
+whole work is so diminutive that it is difficult, no doubt, to
+understand how so much is done in so small a space; but looking to the
+early date of the work it is impossible not to feel very great respect
+for the workmen who built it, and for the ingenious intricacy which has
+made their work look so much larger and important than it really is.”
+After the Reconquest, the loftier portion of the temple, consisting of
+apse and transept, and containing the altar, was added. Looking closer
+into the details of the Moorish portion, one is struck by the contrast
+presented by rude shafts and capitals, evidently of Visigothic
+workmanship, with the general elegance and delicacy of the whole. On
+making a careful study of these features, it is difficult to resist the
+conclusion (supported, indeed, by tradition) that they formed part of an
+earlier and less skilfully constructed mosque, itself merely a
+restoration or adaptation of a Visigothic church. Señor Amador de los
+Rios is of opinion that the existing structure constituted only the
+inner portion or _maksurah_ of the temple, and believes that the
+southern wall is the only part of the outer or enclosing _enceinte_
+remaining. In this he finds traces of the _kiblah_ or sanctuary,
+_membar_, and other features peculiar to Mohammedan worship. The mosque
+consisted originally, in all probability, in addition to the fabric we
+now see, of naves extending on each side of those still standing, from
+north-east to south-west. Even thus the mosque must have been very
+small. The exact configuration and plan of the original building is
+still a matter of great perplexity to archæologists, and a great many
+more discoveries remain to be made before anything can be positively
+stated under this head.
+
+The newer, or Christian, portion of the mosque contains some remarkable
+mural paintings, discovered in 1871. They date from about the close of
+the twelfth century, and exhibit pronounced Byzantine influence. It
+seems satisfactorily established that two of the four female figures
+represent Saints Eulalia and Martiana; and the other two, in all
+probability, the martyrs Leocadia and Obdulia. The fifth figure--that of
+a man--represents a prelate. It may be, as Mr. Leonard Williams thinks,
+the Archbishop Bernardo, who figures largely in the annals of the
+Reconquest; or the prelate’s patron saint. It is not to that archbishop,
+however, but to one of his successors--possibly Don Gonzalo Perez
+(1182-1193)--that the remodelling of the building into a Christian place
+of worship should be ascribed.
+
+This intensely interesting monument is the subject of several curious
+and entertaining legends. In the days of Athanagild (and it is not
+impossible, as we know, that the church may have existed at that time) a
+crucifix, greatly venerated by the citizens, hung over the door. Two
+evil-minded Jews, Sacao and Abishai by name, to express their hatred for
+Christianity, drove a lance into the side of the figure. Instantly blood
+gushed forth. The terrified Israelites hid the miraculous object in
+their own home, but were traced by the stains of blood, and (it is
+hardly necessary to add) torn to pieces. This irritated their
+co-religionists, who, to avenge them, poisoned the feet of the statue.
+This resulted in a second miracle, for when a devout woman was about to
+kiss the feet, they were withdrawn--to the discovery and undoing, once
+more, of the villainous Jews. The right foot of the image remains
+withdrawn to the present day, that all men may know the truth of the
+story.
+
+Now we come to the explanation of the name “Cristo de la Luz.” When the
+Moors were about to take the city, the Christians walled up the
+miraculous crucifix, with a lamp burning before it. Three hundred and
+seventy years passed; and on the glorious May 25, 1085, Alfonso VI. and
+his Christian chivalry came riding into reconquered Toledo. Among the
+cavaliers was the Cid, Ruy Diaz de Bivar. The warrior’s horse, on
+passing the mosque, stumbled, or, as others have it, knelt. With
+preternatural acuteness, the Cid suspected some unusual circumstance,
+and had the adjacent wall broken down. Then was discovered the crucifix
+with the lamp still burning brightly, as when placed there nearly four
+centuries before. The mosque was reconsecrated on the spot; and the King
+left his shield as a memento. There it hangs to-day, above the central
+arch, bearing a white cross on a crimson ground. Whether it is authentic
+or not, we cannot say, but below it one may read: _Esto es el escudo que
+dejo en esta ermita el Rey Don Alfonso VI., cuando ganó á Toledo y se
+dijo aqui la primera misa._
+
+The Cristo de la Luz is no longer a church, and is now classed among the
+national monuments of Spain.
+
+Hardly less interesting, but very far from being as well known, is the
+ancient mosque in the Calle de las Tornerias. It is contained in the
+upper part of the private houses numbered 27, 29, and 31. The mosque
+having been built against a steep incline, it was raised on a
+substructure of galleries, which now form the ground floor of the modern
+houses. The mosque was never converted to Christian uses, and retains
+its original physiognomy almost unimpaired. In the opinion of Spanish
+archæologists, it belongs to the same period as the Cristo de la Luz;
+but Street does not share this view, and thinks it a later work. Like
+the other mosque, it is built more or less in the form of a square, and
+has likewise Visigothic columns and capitals, pointing to the existence
+of a previous structure. Here, also, we find the horseshoe arch and the
+cupola, and evidences of the position of the kiblah. Recent restorations
+have shown that the walls are composed of the finest brickwork,
+unsurpassed for smoothness and regularity. But so far no trace has been
+revealed of any texts from the Koran, or inscription commemorating the
+architect’s name, such as were usual in the Mohammedan temples of Spain.
+
+The Puerta Antigua de Bisagra, or ancient gate of Bisagra--not to be
+confounded with the new gate of the same name built by Charles V.--is
+dilapidated and falling to pieces. In Moorish times it was the principal
+entrance to the city. The name was probably originally Bib-Sahla. It
+dates from about the beginning of the tenth century, but to the
+primitive structure only the foundations of the gate belong. A
+reconstruction seems to have been carried out at the time of the
+Reconquest, and to that epoch the arch, or gate, properly speaking, may
+be assigned. The upper portion of the time-worn fabric belongs to a
+still later period. This is the only one remaining of the fifteen gates
+with which the walls of Toledo appear to have been furnished during the
+Mohammedan occupation.
+
+The celebrated Puente de Alcantara, as it exists to-day, must be
+regarded as the work of the Christians. It took the place of a
+structure, built or restored by the Musulmans, and regarded by the
+writers of their time and nation as one of the wonders of Spain.
+According to an inscription on the bridge tower, the work dated from the
+year 997 A.D., and was built by “Alif, son of Mohammed Al Ameri,
+Governor of Toledo, under the great Wizir, Al Mansûr.” With it, no
+doubt, were incorporated the remains of previous Gothic and Roman
+constructions. It was almost entirely swept away in a great flood in the
+year 1258, after having already undergone extensive repairs and
+restorations since the Reconquest. Thus we may conclude that there can
+be few if any traces of the Moorish bridge in the actual Puente de
+Alcantara. On the other side of the town there was probably a wooden
+bridge or bridge of boats, where the Puente de San Martin now spans the
+river. A little below it is a brick tower, with open arches, the
+horseshoe curve of which, and other features, bespeak its Moorish
+origin. Legend places here the incident of the Bath of Florinda. In
+later times the work was believed to be the remains of a bridge. But an
+Arabic inscription, recently redeciphered and translated, goes to prove
+that the tower formed part of a very different monument: “In the Name of
+God, the Merciful, the Compassionate! Oh, men, believe that the promises
+of God are certain and let not yourselves be seduced by the flattery of
+the world, nor be lured away from God by the deceits of the Evil One!
+This is the tomb of Hosàm (?)-ben-Abd ... [He confessed that there is no
+other God but] God. He died [may God have mercy on him] ... the year
+eight ... and four hundred.” The Baños de la Cava may now be safely
+regarded as a Musulman sepulchral monument of the fifth century after
+the Hegira.
+
+We have now briefly considered the only monuments of interest to any but
+the most ardent archæologists that can be ascribed, so far as their
+general structure is concerned, to the Moslem lords of Toledo. Admitting
+that the most important buildings of that time have long since
+disappeared, it remains clear that the city could never have presented
+the Oriental aspect of the Andalusian seats of Islam.
+
+The history of the city as an independent State is soon told. Under
+Ismail and his son Al Mamûn, Toledo became the most powerful Musulman
+State in Spain. The lesser principalities having been disposed of, a
+fierce struggle for supremacy was waged between Al Mamûn and the Amir
+of Seville. A desperate battle before the walls of Murcia decided the
+issue in favour of the Toledan, and gave Valencia into his hands. But,
+as is often the case with men of all ranks, Al Mamûn’s strength and
+wisdom were undone and rendered unavailing by his fatal trait of
+magnanimity.
+
+Alfonso of Leon, dispossessed of his kingdom by his brother, threw
+himself upon the protection of the Amir of Tolaitola. The noble Muslim
+bestowed upon the fugitive prince a palace near his own, an oratory, and
+a garden “wherein to recreate himself”; and allowed him to establish a
+miniature Court for himself and his followers at Brihuega. Lands were
+assigned to him as a source of revenue, and he became the most intimate
+and honoured friend of the Amir. It is said that in return an oath was
+exacted of Alfonso that he would assist his host against all men, and
+never war upon him or his son. That some such pledge should have been
+asked for in return for such magnificent hospitality seems very
+probable. The Archbishop Don Rodrigo relates that one day Al Mamûn found
+himself with his most trusty counsellors in a wood from which a full
+view of the city could be obtained. The Moorish sovereign fell to
+discoursing upon the defences of the place and the best means of
+attacking it. These words were overheard by Alfonso, who chanced to be
+by, and who at once feigned sleep beneath a tree. Here he was presently
+discovered by the Moors, to their great dismay. Some among them asked
+leave of Al Mamûn to slay him. On this permission being indignantly
+refused, they dropped hot lead on the Leonese prince’s hand to see if he
+were really asleep. Alfonso did not stir, which would have convinced
+most people that he was feigning sleep. The Muslims, on the contrary,
+retired, satisfied that he had heard nothing and seen nothing.
+
+Before returning to his kingdom, the Christian prince renewed his vows
+of loyalty and friendship to Al Mamûn, with whom personally, indeed, he
+never broke faith. The Moor’s son, Yahya, reaped the reward of the
+father’s generosity. A weak and incapable sovereign, addicted to luxury
+and despised for his devotion to superstitious practices, he was
+detested by his own subjects, who on one occasion drove him out of the
+city, to take refuge at Cuenca. His authority was restored only with the
+help of his natural foes, the Castilians. Alfonso, unmindful of his vow,
+forgetful of the dead Al Mamûn’s princely generosity, could not resist
+this opportunity of adding to his dominions the old capital of the Kings
+of Spain. For six years he laid waste the frontiers of the Amirate, and
+in the seventh year--carefully availing himself, no doubt, of the
+information unwittingly communicated by his old benefactor--invested
+Toledo itself. Famine accomplished what arms could not, Yahya asked for
+terms. They were onerous enough. They involved the cession of all the
+Moorish King’s dominions, except Valencia, the Muslims who elected to
+remain in Toledo being guaranteed the free exercise of their religion,
+their property, and liberty. They were to be subject to their own laws
+and tribunals and to retain their mosques. The terms, as remarks
+Quadrado, were, in fact, almost the same as those granted to the
+Christians by the Arabs three hundred and seventy years before. Only the
+Alcazar, the bridges, gates, and the garden called the Huerta del Rey,
+were reserved to Alfonso himself. The capitulation completed, Yahya and
+his court took the road to Valencia, and Alfonso VI. entered Toledo by
+the Bib-el-Mardom on Sunday, May 25, 1085.
+
+“May God renew her past splendour, and inscribe once more the name of
+Toledo on the list of the cities of Islâm!” This was the devout
+aspiration of a Muslim chronicler, but in neither particular has it ever
+been fulfilled.
+
+
+
+
+TOLEDO THE CAPITAL OF CASTILE
+
+
+The incorporation of the haughty city of the Visigoths with the kingdom
+of Castile was, when the first wave of enthusiasm had subsided, regarded
+with coldness and misgiving by its people. The Toledans were as
+tenacious as ever of their peculiar customs and privileges which they
+had hoped to maintain intact. Even with the powerful assistance of the
+Cid, whom he appointed Alcalde, Alfonso found the ordering of the
+affairs of his new capital a difficult and dangerous task. The
+population included (remarks Don Jose Quadrado) “the conquered and
+resigned Musulman, the Israelite ever submissive and industrious, the
+Mozarabe ennobled by his ancient lineage and constancy in his faith, the
+Castilian, proud of his conquests, the foreigner rewarded for his
+prowess, or attracted from remote countries by signal privileges; and
+this multiplicity of races and diversity of creeds demanded as many
+separate systems of law and administrations.” The Jews, Musulmans and
+foreigners continued subject to their own codes and tribunals; but while
+the Mozarabe or native of Toledo clung to the old Fuero Juzgo or
+Visigothic law, inherited from his fathers, the Castilians and Leonese
+expected to be ruled according to the ruder, rougher code of their
+warrior counts and kings. Alfonso dealt with these two peoples of common
+race and language as with the other more widely distinct races. Each had
+an Alcalde of its own, subject, however, to the Alcalde Mayor named by
+the king. A compromise, too, was arrived at, the Castilians being
+subject to their own law in civil cases, and to the Mozarabe in criminal
+matters. On the whole, the tendency of these measures was to conciliate
+the Toledans. But we find evidence of jealousies between them and their
+conquerors or deliverers from the North for many years afterwards.
+
+Alfonso’s honour had not gone unstained in regard to his taking the city
+of his old friend and benefactor, and the Moors must have been sanguine
+indeed if they looked forward to a scrupulous fulfilment of the pledges
+given them by the conqueror while he was _outside_ the walls. The clause
+that entitled the Muslims to the free and exclusive use of their mosques
+was particularly obnoxious to the rabid ecclesiastics and crusaders who
+accompanied the king. With increasing irritation they compared the noble
+proportions of the Mohammedan mezquita with those of the humble
+provisional Catholic Cathedral of Santa Maria de Alficem. While Alfonso
+was absent in Leon, he left the city in charge of his queen, Constancia,
+a Frenchwoman, and of her countryman, Bernard, now bishop, and formerly
+a monk of Cluny. This prelate took advantage of his sovereign’s absence
+to burst one night into the coveted mosque with an armed party, and
+having “purified” it, suspended bells in the minarets, which announced
+at dawn the celebration of the Christian rite. When word was brought to
+the King of this infamous violation of the treaty, he set out for
+Toledo, announcing his intention of burning the bishop alive. Moved
+either by that magnanimity which in the person of Al Mamûn had
+contributed to their downfall, or, as Spanish writers say, by a
+far-seeing prudence, the Moors went out in a body to meet the monarch,
+and besought him to forgive the highly placed thieves. Alfonso, with a
+show of reluctance, acquiesced in their prayer, and the Christians were
+most undeservedly confirmed in the possession of a church they had no
+hand in creating. The Alfaqui, or headman of the Muslims, was
+munificently rewarded for his generosity, his statue being placed in the
+Capilla Mayor of the new cathedral, which was solemnly consecrated in
+1087. No nation has shown a very nice sense of honesty in respect of
+church property, yet it needs no subtle intelligence to perceive that a
+church is as much the property of the particular sect for whose special
+use it was designed by members of that sect, as any private house is of
+its private owner.
+
+The sturdy Toledans were attached, not only to their laws and customs,
+but (which was of more importance in those days) to their own Gothic or
+Mozarabic ritual. This differs in what are considered important
+particulars from the Roman. The host is divided into nine parts,
+representing the Incarnation, Epiphany, Circumcision, Passion, Death,
+Resurrection, Ascension, and Eternal Kingdom of Christ. Of these
+fragments, seven are arranged to form a cross. Because it is not Roman,
+English writers are fond of extolling the beauty and simplicity of this
+liturgy. It was a stumbling-block to Queen Constance and the zealous
+French bishop, who were anxious to reduce all things in Spain to
+Catholic uniformity. The King ordered the question to be decided by
+ordeal of single combat. The Mozarabic champion remained the victor. The
+bishop then demanded the ordeal of fire. The two missals were
+accordingly thrown into a great blazing pile, and the local favourite,
+having probably been saturated with some incombustible preparation,
+remained unconsumed. Another version has it that neither book was
+injured by the flames. Alfonso, after his fashion, clinched the
+controversy by ordering the Mozarabic ritual to be confined to the two
+parish churches allotted to the Christians by their Moorish rulers,
+whilst everywhere else Mass was to be celebrated according to the Roman
+office.
+
+Alfonso VI. had to fight hard to keep possession of Toledo. The
+Almoravide invasion had burst like a tidal wave over Southern Spain.
+Everywhere the Musulmans were recovering their spirits and their
+strength. The Castilian king fled, wounded, from the bloody field of
+Zalaca, with only five hundred followers, leaving behind him twenty
+thousand slain. Toledo could have had no pleasant associations for its
+latest conqueror. Here died three of his _six_ wives--Constancia of
+Burgundy, Isabel of France, and Zayda of Seville. At Ucles was slain his
+only son, while yet a mere child. “Where is your prince?” asked the
+unhappy father of the warriors escaped from the rout. “Where is the
+light of my eyes and the staff of my age?” All were silent. “He is dead
+and you live!” bitterly exclaimed the king. “Yes,” replied Alvar Fañez
+sternly, “we live to save the throne, the country, and the lands
+acquired with our blood and sweat.” But the Alcazar re-echoed to the
+mournful plaint, “Sancho! Sancho, my son!” till Alfonso VI. passed away
+in July 1109. The stones of which the church altars were built had
+miraculously distilled tears in token of his approaching death. Before a
+year had passed the Vega was blackened by the advancing hordes of Islam.
+The Castle of Azeca, the monastery of San Servando, fell into their
+hands; but the City of the Goths, thanks to the leadership of Archbishop
+Bernard and of Alvar Fañez, hurled back the hosts of Ali and was held
+fast for Spain.
+
+The accession of Alfonso VII. el Batallador brought brighter days to his
+capital, but it was assailed during the twelfth century with a
+succession of calamities that might have broken down the patience of
+Job. The year 1113 was marked by an earthquake and disastrous
+overflowing of the Tagus; 1116, by a fire on a large scale; in 1117, the
+price of wheat rose, to fourteen soldos the bushel; in 1168, the Tagus
+was again in flood; again in 1181 and 1200; between 1187 and 1200, all
+the grocery stores were burnt (how or why, we are not told), the Tagus
+was frozen over in 1191, and there was a famine the following year.
+Eclipses of the sun were of the commonest occurrence: we hear of them in
+1114, 1162, 1177, 1191, and 1207. We can easily imagine the Mohammedan
+denizens shaking their heads and ascribing these phenomena, especially
+the last, to the change of government, and extolling the good old times
+of Al Mamûn when earth, river, and sun kept their places and behaved
+according to rule.
+
+Yet Toledo flourished, and her citizens were never more in their element
+than in the spring of the year 1212, when their town became the
+rallying-point and base of the great crusading army, destined to achieve
+the crowning mercy of the Navas de Tolosa. The dominant personality of
+that time was the Archbishop Rodrigo Jimenez de Rada. A writer of
+history, a valiant soldier, a sagacious statesman, princely in his
+magnificence, and angelic in his charity, he was a tower of strength in
+Spain, and especially for Toledo, in the dreadful years of famine and
+brigandage that followed the victory over the Moor. His name will be for
+ever remembered as practically the founder of the great cathedral which
+is the city’s crowning glory and title to fame.
+
+The century of floods, earthquakes, and eclipses passed away, and found
+Toledo a hotbed of civil strife and internecine discord. As in Italian
+cities at the same time, rival families and factions fought in the
+streets, turned their houses into fortresses, and set the civic
+authorities at defiance. The hidalgos of Toledo would hurry home from
+warring with the infidel to plunge their swords into the bosoms of their
+fellow townsmen. Laras and Castros waged pitched battles for the
+possession of the capital of Castile. At last the royal power asserted
+itself, and with terrible effect. We read that “the King Ferdinand came
+to Toledo, and hanged many men and boiled others alive in cauldrons.
+Era MCCLXII. (1224).” This boiler of his fellow men is known as _Saint_
+Ferdinand. His father, Alfonso IX. of Leon, is also mentioned as having
+broiled his rebellious subjects, and flayed others alive. But such
+performances are not considered by a certain class of writers even now
+to argue any real depravity of character.
+
+The sainted king’s severity on another occasion is more creditable to
+him. On his entry into the town, two young women threw themselves at his
+feet and implored vengeance on their betrayer, Fernandez Gonzalo--the
+Alcalde himself. The high rank of the offender did not save him from
+instant decapitation, and his head was within an hour gazing down on the
+scene of his amours from the Puerta del Sol. Whether the betrayed
+damsels or any one else were benefited by these drastic measures, the
+panegyrists of the righteous king forgot to tell us.
+
+Still it was an age when strong measures were called for; and
+recognising this, the citizens themselves instituted the famous Santa
+Hermandad or Holy Brotherhood for the maintenance of public order and
+suppression of brigandage. The organisation received the royal sanction,
+and was endowed with many privileges. It supplied the place of a regular
+police force for all Castile for at least three centuries, and readers
+will remember the frequent references to it in the pages of “Don
+Quixote.”
+
+Toledo had not yet become a capital in the sense of being the permanent
+residence of the sovereign. Saint Ferdinand and his immediate
+predecessors and successors were essentially soldiers. Their Court was
+the camp, and in the unremitting war of reconquest it was necessarily
+transferred from place to place, from one confine of the ever-expanding
+kingdom to the other. When at Toledo the king resided at the
+Alcazar--which in Moorish days had been a fortress constructed of
+_tapia_ (a species of concrete), and which was fortified with masonry by
+Alfonso VI. The building was enlarged and embellished, and made more
+suitable for a royal residence by Sancho el Bravo (1284-1295). But the
+state of affairs in what may be termed the Epoch of the Reconquest
+(1085-1252), was obviously not favourable to the development of the
+building arts. Toledo possesses few memorials of these days, for such
+edifices as may have been founded at or before that time have undergone
+such transformations as to render them practically the products of later
+ages. Such supplies and energies as were not absorbed by the
+all-important business of war were naturally diverted to the building of
+the cathedral, which was not, as we shall see, completed for another two
+centuries.
+
+Mediæval history concerns itself almost exclusively with kings and
+princes, battles and treaties. Of the life of the people in Spain, as
+elsewhere, we hear very little. From stray references in the records we
+glean the information that the streets of Toledo were filthy and
+unpaved, and frequently encumbered with the carcases of beasts. Over the
+gates the heads of malefactors were ever rotting, poisoning the already
+vitiated air. We have concise details, too, of no particular interest,
+as to the municipal constitution of the city. Beyond this meagre
+information, we know something of the history of Toledo only so far as
+it was also the history of Spain.
+
+Pedro I., the Cruel (1350-1368), had no liking for the gloomy, turbulent
+town, and during his reign Seville might have been called the seat of
+government. However much he may have endeared himself to the
+Andalusians, the ferocious king was no favourite with the Toledans. When
+the ill-used queen, Blanche of Bourbon, escaped from her prison in the
+Alcazar and claimed the right of sanctuary in the cathedral, the city
+rose in her behalf, and a thousand native blades sprung from their
+scabbards to protect her. An alliance was concluded with Talavera and
+Cuenca, and the gates opened to Don Enrique of Trastamara, the king’s
+half-brother. It is said that Pedro’s faction held the bridge of San
+Martin, expecting the rebel prince to enter that way, while his
+supporters introduced his troops into the town by the opposite bridge of
+Alcantara. The Trastamara partisans attacked the Jewish quarter, the
+Israelites being especial favourites of Don Pedro, and a frightful
+massacre ensued. Soon the king’s party gained the upper hand, and the
+unfortunate Blanche was removed from the city, wherein she had found
+such staunch friends, to the castle of Sigüenza.
+
+This is not the first time we read of a massacre of Jews at Toledo. Yet
+the town was for many centuries one of the strongholds of Jewry in
+Europe, and a centre of Hebrew culture and activity. The story of the
+Jews of Toledo is, in fact, one of the most interesting chapters in the
+history of the city and of Spain.
+
+Jews were settled in the Peninsula at a remote period. The author of
+“The Moorish Empire in Europe” (S. P. Scott) thinks their arrival in
+that country “antedated the Christian Era by at least a thousand years.”
+As we know, legend actually ascribes the foundation of Toledo to the
+race. This may, we think, be due to a confusion of the Israelites with
+Phœnician settlers. At the time of Christ, the Jews of Spain were very
+numerous and opulent. Another legend tells how their chief men addressed
+a letter to the Sanhedrim at Jerusalem, protesting against the
+Crucifixion. A document--altogether spurious, it need hardly be
+said--has been produced in support of this story. After the destruction
+of Jerusalem by Titus, there seems to have been a large influx of Hebrew
+refugees into Spain. So long as the Visigoths remained Arians, they
+remained tolerant; but Reccared, soon after his conversion to
+Catholicism, levelled the severest enactments against the Israelites. He
+set a bad precedent. With Sisebut began the long era of persecution. His
+harsh edicts, forcing the Jews to choose between baptism and banishment,
+are still to be found in the Fuero Juzgo. Swinthila, Kindila,
+Recceswinth, Erwig, and Egica followed the same policy. Among the
+tyrannical enactments of this time is the grotesque command that the
+Jews of Toledo should eat pork! Under these circumstances it is not to
+be wondered that the Spanish Jews beheld with dawning hope the
+successful progress of the Mohammedans in Northern Africa. A secret
+intelligence was established with these Semitic conquerors of a newer
+faith, and thanks to the constant intercourse between the Jews of Africa
+and those of Spain, Musa and Tarik were fully supplied with the most
+minute particulars of the Visigothic State.
+
+The period of the Khalifate was the Golden Age of Spanish Jewry. The
+numbers of the race, depleted by persecution, were increased by the
+advent of upwards of twelve thousand Yemenite Jews, invited by the
+Moorish conquerors. Never since the days of Solomon had the Children of
+Israel known such peace and prosperity. Possessed already of a
+remarkably high degree of culture, they communicated their knowledge to
+the Arabs, who showed themselves generous patrons and protectors. Nor
+were the new rulers of Spain slow to perceive the advantages to be
+derived from the subject race’s commercial enterprise and talent for
+affairs. Though the versatility of the Jew at this time was one of his
+most remarkable characteristics, it was above all as a physician that he
+was esteemed by Muslims and Christians alike. In this capacity he became
+the indispensable and most trusted companion of sovereigns and prelates,
+and penetrated into the very arcana of power. From Court physician to
+Minister the transition in those days of personal government was easy,
+and we find Hasdai ben Isaac Ibn Shaprut occupying both positions under
+Abd-ur-Rahman I.
+
+As far as was consistent with their religious beliefs, the Jews of
+Toledo assimilated themselves with the conquerors. The minutes of the
+congregation were kept in Arabic down to the end of the thirteenth
+century, and that language was sedulously cultivated and almost
+exclusively employed by the brilliant succession of Jewish theologians
+and humanists who made the city a centre of literary and scholastic
+activity.
+
+We have it on the authority of Mr. S. P. Scott that, under the Muslim
+dominion, the Jews were allowed to elect a king, always a prince of the
+House of Judah, “who, while not openly invested with the insignia of
+royalty, received the homage and tribute of his subjects.” It is
+illustrative of the respect of the race for learning that the erudite
+Rabbi Moses, when recognised exposed as a slave at Cordoba, was
+immediately elected to this dubious royalty.
+
+The Jews of Toledo must have viewed with unpleasant apprehensions the
+re-establishment of the Catholic monarchy. Yet at first it seemed they
+had no cause for alarm. Alfonso VI., as we know, granted to them the
+liberal privileges by which the Muslims also benefited. But in the
+charter confirming the customs of the Mozarabes (1091) it was made plain
+that no penalty would be exacted of a Christian for the murder of a Jew
+or Muslim. The result might have been foreseen. Seventeen years after,
+the people rose in savage fury, broke into the synagogues and butchered
+the rabbis in their pulpits, burnt and pillaged every Jewish house, and
+slaughtered the luckless objects of their animosity without mercy. But
+it was the people, rather than the governing classes, who manifested
+this violent racial prejudice. As in every other land, in spite of
+persecution, the Chosen People grew in wealth and abated not their
+industry and commercial activity. It was they who brought to the grim
+Gothic city the choicest products of the East; they alone who could
+combat the ravages of disease; they alone who could supply the needy
+king and nobles with the coin for which in Italy men paid as much as one
+hundred and twenty per cent. interest. Spain hated the Jew, but could
+not as yet do without him.
+
+The rule of Alfonso VI.’s successors could not have been excessively
+harsh, for many Jewish families, hounded out of Southern Spain by an
+unusual manifestation of Mohammedan bigotry, took refuge within the
+walls of Toledo. Thanks to the influence of Fermosa, the Jewish mistress
+of Alfonso VIII., many of her race exercised important functions at the
+Court. But the fanatical temper of the populace attributed to the favour
+shown these unbelievers the disaster of Alarcos, and the beautiful
+favourite and her friends were murdered in the very presence of the
+king.
+
+“At the beginning of the thirteenth century,” says Mr. Joseph Jacobs,
+B.A., in the “Jewish Encyclopædia,” “the Shushans, the Al-Fakhkhars, and
+the Alnaquas, were among the chief Jewish families of Toledo, Samuel Ibn
+Shushan being nasi [the chief of Sanhedrim] about 1204. His son built a
+synagogue which attracted the attention of Abraham ben Nathan of Lunel,
+who settled in Toledo before 1205. During the troubles brought upon
+Castile by the men of ‘Ultrapuertos’ in 1211-12, Toledo suffered a riot;
+and this appears to have brought the position of the Jews more closely
+to the attention of the authorities. In 1219 the Jewish inhabitants
+became more strictly subject to the jurisdiction of the Archbishop of
+Toledo, who imposed upon every Jew over twenty years old an annual
+poll-tax of one-sixth of a gold mark; and any dispute about age was to
+be settled by a jury of six elders, who were probably supervised by the
+nasi, at that time Solomon ben Joseph Ibn Shushan. In the same year
+papal authority also interfered with the affairs of the Toledo Jews,
+ordering them to pay tithes on houses bought by them from Christians,
+‘as otherwise the Church would be a considerable loser.’”
+
+A significant phrase! But not only houses and land all over the country
+were mortgaged to the Jews, but also church plate and even the sacred
+vessels. Jewish usurers were said to drink out of the chalices used for
+the Precious Elements. The exasperation of the Christians was
+disregarded by Alfonso X. the Learned, who entertained a profound
+respect for the erudition and traditions of the Jews. A Hebrew, Don Zag
+Ibn Said, directed the compilation of the famous Alfonsine Tables; and
+under the patronage of the monarch, Toledo became famous for its
+translations from the Arabic into Hebrew, Latin, and Spanish. The rabbis
+distinguished themselves in medicine and astronomy. While doing his
+utmost to draw the oppressed race within the fold of the Catholic
+church, the Learned King granted permission to the Jews of Toledo to
+erect that beautiful synagogue which, under the name of Santa Maria la
+Blanca, ranks to-day among the national monuments of Spain.
+
+“The Spanish Jews,” says Mr. Scott, “by reason of the peculiarities of
+their situation, the hostility of their rulers--which their pecuniary
+resources and natural acuteness often baffled, but never entirely
+overcame--and their successive domination by races of different origin,
+faith, and language, were impressed with mental peculiarities and
+characteristics not to be met with in their brethren of other countries.
+Their religious formalism was proverbial, and the Hebrew of Toledo
+observed more conscientiously the precepts of the Pentateuch and Talmud
+than the Hebrew of Damascus or Jerusalem.” Thus we find the Jews of
+Toledo siding against the rationalising theories of the great
+Maimonides, himself a native of Cordoba, and whose tomb is a conspicuous
+landmark on the western shore of the Sea of Galilee.
+
+Don Amador de los Rios reproduces an ancient record for the year 1290,
+stating the amount of tribute payable by the various Jewish communities
+of Castile. Out of a total of 2,801,345 maravedis the Israelites of the
+city of Toledo contributed 216,500, and those in the entire archdiocese
+1,062,902 maravedis. The pomp of Catholic public worship and the wealth
+of the clergy are partially accounted for by these figures.
+
+Up till then, always the most valuable (from a European point of view)
+and the most prosperous element of the population of Toledo, the Jews
+assumed yet greater prominence in the reign of Pedro I. That prince was
+declared by his numerous enemies to be the substituted child of a
+Jewess, and his Court was reviled as a Jewish Court. He showed favour to
+the race in many ways. His treasurer and confidential adviser was the
+famous Don Samuel Ha Levi. Whether or not the Jewish statesman’s
+administration was in the interests of Castile, it is too late in the
+day to say; but there can be no doubt that he was a loyal servant of his
+king and a devoted friend of his own people. He it was who caused to be
+erected Toledo’s other great synagogue, now called the Transito. He was
+a warm ally of the beautiful Maria de Padilla, Pedro’s gentle mistress,
+and for years, with consummate astuteness, defended himself against the
+insidious and violent attacks of his innumerable enemies. His enormous
+wealth--honestly or dishonestly acquired--brought about his downfall. In
+the very year (1360) the synagogue was completed, Samuel was seized at
+Seville, and, by order of the king, placed upon the rack. The haughty
+Hebrew is said to have died of sheer indignation. Pedro shed crocodile
+tears over his ill-starred Minister’s fate, and greedily confiscated his
+property. His fortune was found to consist of 70,000 doubloons, 4000
+silver marks, twenty chests filled with treasure, and eighty Moorish
+slaves. The property of all Levi’s relatives was also forfeited to the
+Crown, and was valued at 300,000 doubloons. Pedro did not, however,
+withdraw his favour from the Jews as a race. It had been well for them
+if he had. Their loyalty to the Bluebeard King earned for them the
+detestation of the partisans of Enrique de Trastamara, and brought
+about, as we have seen, the massacre of 1355, in which 1200 Jews
+perished.
+
+The new king, Enrique, took advantage of a riot said to have been
+excited by the arrogance of the converted Jews in 1367, and in which
+1600 houses were burnt to the ground, to impose a tribute of no less
+than twenty thousand gold doubloons on the afflicted people.
+
+It was possibly due to the presence of a large Israelite population that
+Toledo, very much against its will, had been held for King Pedro in
+1369. It was, in consequence, fiercely assailed by its own archbishop,
+Don Gomez Manrique, while Pedro sent an army largely composed of
+Saracens to its relief. The city was a prey to famine, internecine
+warfare, pestilence, and to every description of calamity. The killing
+of Pedro and the accession of Enrique were hailed as an ineffable boon
+by the wretched citizens. But from that hour the position of the Jews
+grew more and more pitiable. Their prosperity waned, and with it the
+prosperity of the old city in which they had so long been unwelcome
+guests.
+
+Their final ruin as a community was effected mainly at the instance of
+St. Vicente Ferrer, the Dominican. Visiting the city in 1391 he so
+inflamed the devout populace with apostolic zeal that they burst into
+the larger of the two Juderias or Ghettos, put practically the whole of
+its inhabitants--including the venerable rabbis, Judah ben Asher and
+Israel Alnaqua--to the sword, sacked the quarter from end to end, and
+demolished most of the synagogues. The saintly Ferrer reappeared at
+Toledo twenty years later, but there were nominally no Jews left to
+massacre. The Hebrews that remained had been “converted.” The good friar
+did what he could, and induced the Toledans to confiscate the synagogue
+built in Alfonso X.’s reign and convert it into the Christian Church of
+Santa Maria la Blanca. We suggest that it should have been renamed San
+Vicente del Sangre.
+
+The work of destruction was done thoroughly, and henceforward we hear
+little in the story of Toledo of the Children of Israel. But their names
+have not been altogether forgotten. Mr. Jacobs gives a long list of
+members of that luckless congregation, famous for their learning and
+science. He enumerates theologians, physicians, astronomers,
+grammarians, satirists, poets and astrologers. Toledo, thanks to these
+latter, achieved an unenviable reputation as a centre of the magic art.
+Indeed, this was known at one time as the Arte Toledana. “It is said”
+(we quote Mr. Jacobs) “that Michael Scott learned his magic from a
+Toledo Jew named Andreas, who translated works on magic from the
+Arabic.” The same writer elsewhere says: “The Spanish Jews differed but
+little from the Christian population with regard to customs and
+education. They were fond of luxury, and the women wore costly garments
+with long trains, also valuable jewellery; this tended to increase the
+hatred of the population towards them. They were quarrelsome and
+inclined to robbery, and often attacked and insulted one another even in
+their synagogues and prayer-houses, frequently inflicting wounds with
+the rapier or sword they were accustomed to carry.” With royal
+permission a Jew might have two wives.
+
+Deprived of the more legitimate pastime of Jew-baiting, the Toledans
+began to turn their swords against each other and their sovereign.
+“Never,” remarks Gamero, “had the nobility shown itself so arrogant and
+rebellious as during the reign of Juan II.” Envy of that great man and
+powerful Minister, Don Alvaro de Luna, was mainly the cause of this. The
+leading families took different sides, and the streets frequently were
+slippery with the blood of the citizens. The Alcalde, Pero Lopez de
+Ayala, declared against the great Constable and held the town as an
+independent seigneurie against the king’s forces for five years. King
+Juan had deserved better things of his lieges of Toledo, for in 1431 he
+had entertained them on his return from his campaign in Andalusia with
+festivities and pageants of the gayest character. The people took part
+in bull fights and games in the Zocodover, while the knights and
+_ricoshombres_ jousted and feasted in the Vega. The Alcazar re-echoed to
+the music of lute and lyre, and the songs of the minstrels. But Toledo
+was not to be subdued with kindness. The artisan class presently
+revolted on the imposition of a new tax, the tumult being the occasion
+of the saying, _Soplara il odrero, y alborozarse la Toledo_ (Let the
+ironmonger blow and Toledo will rise). Next, the cruel and miserly
+governor, Pedro Sarmiento, followed Ayala’s example, and demanded of the
+king the dismissal of the noble Constable. The royal forces were set at
+defiance, and a pitched battle was fought below the walls. The fortune
+of the day remained with the rebels, and Sarmiento was able for a time
+to dictate to his sovereign. He was at last crushed, but was able to
+carry off an enormous amount of treasure loaded on two hundred mules.
+
+These events had produced a permanent feud between the families of Ayala
+and Silva, only terminated by the marriage of the heir and heiress of
+the respective houses. Toledo, during the first three-quarters of the
+fifteenth century, was a prey to incessant warfare. Sometimes the whole
+town would be contending against external foes for or against the king,
+sometimes it would be the nobles contending with the people, or the
+church with the nobles. Toledo, as a whole, supported its archbishop,
+Carrillo, when in 1465 he pronounced sentence of dethronement on Enrique
+IV. Three years later that unlucky monarch managed, by winning over the
+Ayalas to his side, to make his entry into the city. The proud chief of
+the family was himself obliged to flee from the town in 1471. The king
+was besieged in the Alcazar; the balance inclined sometimes to this
+party, sometimes to that. The old animosities between the Ayalas and
+the Silvas blazed up again from time to time; and under its weak
+sovereign Toledo had its fill of fighting. But those brave days were
+drawing to a close, and in 1474, came one before whom even Toledans had
+to bend the knee and whom, recognising in her a stronger spirit, they
+afterwards delighted to honour. The accession of Isabel the Catholic on
+the death of Enrique IV., and to the exclusion of the rightful heiress,
+Juana, calumniously nicknamed La Beltraneja, marks the beginning of a
+new era in the history of Spain, and therefore of Toledo.
+
+
+
+
+BUILDINGS OF THE CASTILIAN PERIOD
+
+
+The earliest specimens of post-Moorish architecture in Toledo partake
+more or less of the character of fortifications. For many years, as we
+have seen, after the Reconquest the Christians’ hold upon the city was
+precarious, and the first efforts of the Castilian kings was naturally
+towards strengthening its defences. The history of the walls of Toledo
+is obscure and confused; but it seems certain that a wall has always
+extended within historic times across the northern side of the loop
+formed by the river. The Conqueror Alfonso VI. strengthened and added to
+this defence by the erection of the newer or outer wall, inclosing the
+suburb or Arrabal del Antequeruela. He also appears to have restored the
+inner or Moorish wall, and has left traces on the magnificent Puerta del
+Sol, a Moorish work which must have been quite new in his day. Indeed,
+it may possibly have been built by Moorish masons after the Reconquest.
+It is a noble and impressive portal to the grand old city, and most
+powerfully impresses the beholder. Quadrado will have it that so
+dignified a monument can have been the work only of a ruling race, in
+the days of its liberty and glory; it could not have been the mere
+afterglow of the ascendency and taste of a nation now subjugated. We
+may, however, be permitted to doubt whether the political decadence of a
+people becomes _instantly_ manifested in its artistic life. The gateway
+forms a high tower with two flanking turrets, one square and abutting on
+the wall, the other rounded and finishing off the _enceinte_. The portal
+is composed of a succession of four arches, all being of the horseshoe
+shape, though the outer arches are more pointed than the inner ones.
+Above the outermost arch is a double row of arcades of brickwork, the
+arches intersecting. Over the second arch is a circular medallion in
+relief, representing the Virgin offering the chasuble to St. Ildefonsus.
+Another relief in marble is supposed to represent the summary punishment
+of Fernan Gonzalez by St. Ferdinand, for the seduction of two young
+women. The battlements are of a type common enough in Spanish Christian
+architecture, but which Mr. Street thinks was derived originally from
+the Moors. Another writer, Mr. O’Shea, remarks: “This gate with its warm
+orange tints, that contrast so admirably with the lapis-lazuli azure of
+the cloudless sky, its battlement fringing the top, and opening vistas
+of most novel aspect, is a treasure for an artist.” The exceeding
+quaintness and majesty of this gateway have moved many writers to
+express themselves almost too rapturously. Toledo’s other gates--the
+Puerta Nueva de Visagra and the Puerta del Cambrón--date from a much
+later period.
+
+The rude, dismantled pile of the Castle of San Servando, which crowns
+the height opposite to the Bridge of Alcantara, marks the site of a
+monastery, erected by Alfonso VI. in gratitude for his escape from the
+rout of Sacralias (1086). It was peopled by Benedictines from Sahagun
+and Cluny. These holy men soon found by the defensive works with which
+their new home was provided that their duties would not be entirely of a
+clerical description. Yusuf-ben-Tashfin, the Almoravide leader, almost
+destroyed the building during his abortive siege of Toledo, and Alfonso
+subsequently gave the establishment the aspect and features of a
+fortress. As such it bore the brunt of the repeated Saracen onslaughts
+in the first half of the twelfth century. It was abandoned in
+consequence by the monks, and was bestowed by Alfonso VIII. on the
+Knights Templars. It continued in their possession till the suppression
+of the Order in 1312. It seems to have fallen into ruins soon after, and
+was rebuilt about 1386, on the initiative of the great archbishop,
+Tenorio. It is not a very interesting monument. It is built of masonry,
+with facings of red brick here and there. Three of its four sides are
+standing, and the same number of towers. These bear a resemblance to the
+outer or circular tower of the Puerta del Sol. The windows and arches
+exhibit Moorish, or rather Mudejar, influence. The castle in its day
+must have been a fine specimen of the mediæval stronghold. To-day its
+ruin is complete. It serves as a home to the owl and the bat, and the
+very ghosts of monks and templars seem to have deserted it as
+uninhabitable.
+
+The castle is referred to by Calderon and other writers, and seems at
+one time to have been a favourite spot for duels.
+
+The increased importance of Toledo as the capital of Castile
+necessitated the improvement of its communications with the outside
+world. The Bridge of Alcantara was, at the time of the Reconquest, the
+only permanent traject across the Tagus, and the bridge of boats on the
+western side of the town having been swept away, Alfonso X. (1252-1289)
+decreed the construction of a stone bridge now known as the Puente de
+San Martin. It was built of five arches and lasted till the reign of
+Pedro I., when it was blown up by that king’s partisans to obstruct the
+entry of Enrique de Trastamara. It continued in a practically demolished
+condition for twenty years, when the great archbishop, Pedro Tenorio,
+determined to restore the missing arches at his own expense. It is said
+that the architect entrusted with the work found, to his dismay, the
+night before the day fixed for the opening, that, owing to some
+oversight in his calculations, the whole fabric would collapse on the
+removal of the scaffolding. He made known the cause of his anxiety to
+his wife; and she rose at dead of night, and setting fire to the whole
+structure preserved her husband’s reputation and, not impossibly, his
+life. The reconstructed bridge was, of course, without fault or flaw. A
+final reconstruction took place in 1690. On the town side, the Puente de
+San Martin is defended by two square towers. Above the archway are two
+inscriptions relating to the works executed by order of Charles II. The
+further extremity of the bridge is defended by another square
+battlemented tower with a horseshoe arch. Its two bridges are among the
+most picturesque features of Toledo.
+
+With the obvious exception of the cathedral, the most interesting
+monuments of what we may term the middle age of Toledo are the two
+synagogues, now styled Santa Maria la Blanca and El Transito. The Jews,
+as we have seen, everywhere loom large in the annals of Toledo.
+
+The first-named of these temples derives its actual name from a
+tradition that a Christian church occupied the site in Visigothic times,
+to account for the dedication of which a legend is repeated similar to
+that of Santa Maria ad Nives at Rome. It is situated on what was once
+the Jewry or Ghetto, on the western side of the city, not far from the
+Puente de San Martin. Its foundation--as a synagogue--is variously
+ascribed to the period of the Reconquest, to the last days of the
+Moorish dominion, and to the latter period of the Khalifate. The first
+date seems the most probable. It continued to be used for the Jewish
+worship till 1405, when, as has been already told, it was seized and
+converted into a Catholic church. It has long since become a merely
+secular monument. The exterior, approached through the most miserable
+and sordid neighbourhood, is very far from reflecting the splendour the
+Jews enjoyed at its foundation. The façade, mean and dilapidated like
+the rest of the exterior, is probably of much more recent construction
+also. Within, a strange, fantastic impression is created. The phrase,
+“How are the mighty fallen!” involuntarily rises to the lips as one
+contemplates the traces of grandeur and elegance subsisting amid ruin
+and decay. The temple is symbolical of the race: exotic, reminiscent of
+a lost glory, depressed, oppressed. There is, however, no trace or
+suggestion of the primitive Hebrew architectural style about the
+building. The traditions of Jerusalem were either unknown to, or had
+been forgotten by, those who reared these walls--likely enough Moors,
+whose skill was always at the disposal of Christian and Jew. In fact,
+the synagogue may be taken as a fine example of late Saracenic work. The
+plan consists of a nave with two aisles on each side. The nave was
+prolonged in the seventeenth century so as to form a chancel. The
+building is 81 feet long by 63 feet wide. The nave reaches to a height
+of 60 feet, and is 15 feet broad, while the aisles measure only 12 feet
+and rise from 40 to 50 feet high. The nave and aisles are separated by
+four rows of octagonal columns, from which spring bold horseshoe arches
+of the true Moorish type. The capitals are of stucco and elaborately
+designed with floral devices, in which the fir-cone is conspicuous;
+there is a vague suggestion of Byzantine influence. Mr. Street imagines
+them to be much later than the original capitals which they overlay.
+“All the Moorish decorative work seems to have been executed in the same
+way in plaster. This was of very fine quality, and was evidently cut and
+carved as if it had been stone, and seldom, if ever, I think, stamped or
+moulded, according to the mistaken practice of the present day. The
+consequence is that there is endless variety of design everywhere
+and--wherever it was desired--any amount of undercutting. The spandrels
+above the arches are filled in with arabesque patterns, and there is a
+cusped wall arcade below the roof.” All this stucco work appears to date
+from about the time of Alfonso X., or perhaps from a later restoration.
+Above the nave is an exquisite frieze in low relief, formed of lines
+interlacing and crossing each other. The roof is of pine-wood, and _not_
+of Lebanon cedar, as at one time alleged. Mr. Street thinks “the
+pavement is very good, but must be about the date of the conversion of
+the synagogue into a church. It is divided into compartments by border
+tiles laid down the length of the church on either side of the columns.
+The spaces between them are filled in with a rich diaper of encaustic
+and plain red tiles, whilst the general area between these richer bands
+is paved with large red, relieved by an occasional encaustic, tiles. The
+latter have patterns in white, dark blue, and yellow, and in all cases
+they are remarkable for the beautiful inequality of the colours of the
+surface of the design. Both colour and material are in themselves better
+than the work of our tile manufacturers of the present day and
+illustrate very well the difference between hand-work and machinework.”
+The Catholics added three altars in the plateresque style, which, it is
+unnecessary to say, do not harmonise with the rest of the edifice. One
+of the retablos is attributed to Berruguete.
+
+Comparing this old Jewish meeting-place with the other and later
+synagogue, Miss Hannah Lynch remarks: “As a religious temple, as the
+expression of solemn worship rooted in the strange and mysterious East,
+the former is by far the more imposing, the more earnest and harmonious.
+Prayer in the _Transito_ seems a matter of graceful and artistic
+dilettanteism; here it appears a great racial cry of the soul.”
+
+The later vicissitudes of this synagogue are curious. About the middle
+of the sixteenth century it was converted by Cardinal Siliceo into an
+asylum for the professional frail ones of Toledo; but about half a
+century later the establishment ceased to exist--whether because there
+was no more frailty in Toledo or no more repentance, we are not told.
+Subsequently it was turned into a barracks, and then (O’Shea says) into
+a dancing-hall.
+
+The Transito (so called after the Transit of the Blessed Virgin, _i.e._,
+the Assumption) is situated in the same quarter. We have already told
+the story of its foundation by Samuel Ha Levi, the powerful treasurer of
+Pedro I. Upon the expulsion of the Jews from Spain in 1492, it was
+handed over to the Order of Calatrava, who dedicated it to St. Benedict
+(San Benito). This synagogue is also purely Moorish in style, but of the
+later or Granadan period. Its plan differs radically from that of Santa
+Maria la Blanca. It constitutes a parallelogram, undivided into naves
+and aisles, 76 feet by 31 feet, and 44 feet high. The effect is simple
+and graceful. The side walls are quite plain up to the height of about
+twenty feet, where a broad frieze of stucco runs round the building,
+with floral and star pattern designs, and bordered by inscriptions in
+Hebrew. Above this is an arcade with double shafts, and extremely rich
+capitals. The arches are of the horseshoe form, cusped into seven
+points. Eight of the arches contain lattice-work of the most beautiful
+design. Indeed, the whole of the arcading is rich and graceful beyond
+all praise. The western wall, where was formerly the Rabbinical chair,
+and is now the altar, is profusely decorated with patterns,
+inscriptions, and coats of arms, down to within seven feet of the floor.
+In the opposite wall windows have been pierced, breaking into the
+frieze. The roof is of cedar, and a fine specimen of _artesonado_ work.
+Across it run tie-beams, superfluous in this case, but of which the
+Moorish builders were fond. The rafters slope down equally to a deep
+cornice, which is carried right across the angles, “so as to give
+polygonal ends to the roof.”
+
+On either side of the altar are long Hebrew inscriptions now illegible,
+and the precise meaning of which has been a subject of fierce and
+perpetual controversy. The text on the Epistle side may be translated:
+“The mercies which God hath shown us, raising up amongst us judges and
+princes to deliver us from our enemies and oppressors.... And we of this
+land have built this house with a strong and mighty arm. The day that it
+was built was great and delightful for the Jews, who, attracted by the
+fame of these things, came from the ends of the earth to see ... if a
+ruler should be given us who should be as a tower of strength ... to
+govern our commonwealth.... And there was raised up to help us, Samuel
+[Levi,] and God was with him and with us, and who found for us grace and
+mercy. He was a man of peace, powerful among all the people, and a great
+builder. These things were accomplished in the reign of the King Don
+Pedro; may God be his helper, enlarge his dominions, prosper him and
+succour him, and place his seat over all princes. May God be with him
+and all his house, and may every man be humbled before him ... and let
+those who hear his name rejoice to hear it in all the Kingdoms, and let
+it be manifest that he has been unto Israel a defender and a shield.”
+The inscription on the Gospel side proclaims the Rabbi Myir Abdali as
+the architect and extols his pre-eminent virtues, and pathetically
+celebrates the return of good and prosperous times--times not destined
+to last for the luckless race!
+
+In the neighbourhood of the synagogue exists the skeleton of the palace
+built by the great Jewish treasurer. It afterwards passed into the hands
+of the Marquises of Villena, and is associated with Don Enrique de
+Aragon, uncle of Juan II., a very interesting personality. He was a man
+of vast learning, and was, probably in consequence, reputed to be a
+magician and in league with the Evil One. Indeed, his magnificent
+library, including his own writings, was, in after years, burnt by order
+of the Inquisition. Beneath the mansion are still to be found various
+subterranean chambers, which popular superstition declares to have been
+the scene of Don Enrique’s conferences with Satan and his satellites.
+This necromancer was indeed Marquis of Villena, but it is by no means
+certain that he inhabited this house, which afterwards became the
+property of another family (the Pachecos), on whom the title was
+conferred by Enrique IV. The palace was deliberately burnt by its owner,
+the Duque de Escalona, in the reign of Charles V., it having been
+contaminated, as he thought, by the temporary residence within its walls
+of the Constable de Bourbon, then in arms against his own country. The
+Castilian grandee’s sense of honour was not a mere pose. The building is
+now the property of the Marquis de la Vega, who has tastefully restored
+it. It receives additional interest from its having been, as is now
+believed, the home of El Greco.
+
+Two ruinous structures are pointed out as the palaces of Don Pedro and
+of Enrique de Trastamara respectively. The latter probably belonged to
+one of the Counts of Trastamara, not to the king who bore that title. It
+is in the Moorish style, with horseshoe arches, friezes, and _ajimeces_.
+The so-called palace of Don Pedro is of the same class of architecture,
+but has much less to show--a horseshoe arch, a dado, and an almost
+illegible Arabic inscription which reads, “Lasting glory and perpetual
+prosperity to the master of this house.”
+
+Better examples of the Mudejar (or late Moorish) style are the Casa del
+Mesa and the Taller del Moro. The former is situated close to the church
+of San Román, and was built soon after the Reconquest by that prominent
+Toledan, Esteban Illán. The saloon is one of the very best examples of
+this style of architecture. It is 60 feet long by 22 feet wide, and 36
+feet high. The artesonado ceiling is thus described by Street: “The
+patterns are formed by ribs (square in section) of dark wood with a
+white line along the centre of the soffit of each. The sides of the ribs
+are painted red, and the recessed panels have lines of white beads
+painted at their edges, and in the centre an arabesque on a dark blue
+ground. The colours are so arranged as to mark out as distinctly as
+possible the squares and patterns into which it is divided, and the
+sinking of some panels below the others allows the same pattern to be
+used for borders and grounds with very varied effect. The reds are
+rather crimson in tone, and the blues very dark.” The entrance--of a
+slightly horseshoe pattern--is framed in exquisite and luxuriant
+traceries. So also is the opposite _ajimez_ window, but here the designs
+show Gothic influence. A high dado of _azulejos_ and a very deep cornice
+and frieze of delicate workmanship complete the decoration of this very
+beautiful hall.
+
+The Taller del Moro is (quite without foundation) said to occupy the
+site of the massacre of the _Noche Toledana_. It was so called because
+it was used as a workshop during the building of the cathedral. There is
+a conflict of opinion as to its age, but it probably dates from about
+the time of the Reconquest. The Arabic inscriptions, however, imply that
+it was intended for the habitation of a Moor, the Latin texts being
+doubtlessly added by later owners. The Taller consists of a large hall,
+54 feet long by 23 feet wide, and of two adjacent smaller apartments. It
+exhibits the artesonado ceiling, the delicate stucco-work and friezes
+with star-like and floral designs we are led to expect in specimens of
+Mudejar architecture. Street doubts if the stucco-work dates further
+back than 1350. The portal is in good Gothic style, and was added by
+Cardinal Mendoza.
+
+As in all other Spanish cities, after their reacquisition by the
+Christians, in Toledo, for many, many years, Moorish architects and
+masons continued to be employed even in the construction of sacred
+edifices. This accounts for the mixed Christian and Saracenic style of
+several of the churches, even where these had not originally been
+mosques. The interesting church of San Román had been a Mohammedan
+temple remodelled to the requirements of Christian worship, while the
+tower or steeple is a Mudejar work added by Esteban Illán, and (to quote
+Mr. Street), “the finest example of its class to be seen here.” The
+steeple is of rough stone and brick, of a warm brown tone, and quite
+plain for more than half its height. The upper stages are pierced with
+windows which exhibit a very ungraceful trefoiled variation of the
+horseshoe arch--then fast dying out. Notwithstanding, the steeple has a
+noble and rugged appearance, like most things Toledan. The church itself
+has been so often restored, that it is hard to assign it to any one
+epoch. The Capilla Mayor is of the sixteenth century, and of the
+plateresque style. One of the altars has a front of black stone, carved
+at the edges in imitation of an altar-cloth with embroidery and lace.
+Here and there traces may be detected of the original mosque. The
+steeples of the churches of Santa Magdalena, Santo Tomé, San Pedro
+Martir, San Miguel, Santa Leocadia, and La Concepcion, resemble that of
+San Román, but differ greatly in size.
+
+The minor churches of Toledo are not specially interesting. Without the
+walls, however, is one with noteworthy characteristics. The little
+“basilica” of the Cristo de la Vega occupies the site of the famous
+church of St. Leocadia, built by the Visigothic King, Sisebuth, in the
+seventh century, to mark the place of the virgin saint’s martyrdom.
+Several of the great councils were held here. The story is told that the
+saint appeared in person here to St. Ildefonso, in the presence of King
+Recceswinth, and having expressed her satisfaction at the theologian’s
+masterly defence of the virginity of the Blessed Virgin, allowed him,
+with the royal dagger, to cut off a piece of her veil as a souvenir of
+her visit. This event naturally raised the “basilica” in the estimation
+of the devout. It was demolished by the Moors, and restored in 1162. It
+underwent many restorations and was finally ruined by the French during
+the War of Independence. The present edifice represents little more than
+the apse of the chapel of the Cristo de la Vega. There was a miraculous
+crucifix, attached to which is a particularly silly legend. Two lovers
+had plighted their troth before the image, and the man afterwards denied
+the promise. The girl adjured the Christ to bear witness to the truth of
+her statement, and the figure obligingly extended a wooden arm while a
+voice from on high proclaimed, “_I testify._” Another version has it
+that the figure testified in favour of a Christian who (_mirabile
+dictu_) had lent money to a Jew; and yet another, that it expressed
+approbation of the magnanimity of a cavalier who had pardoned his enemy
+under extraordinary circumstances. Whatever it may have done, the
+crucifix has long since disappeared. An Arabic inscription deduces that
+Mohammed ben Rahman, first King of Toledo, was buried here, A.D. 743. As
+there was no king in the city of that year, and as the first independent
+sovereign was otherwise named, the inscription must be apocryphal or
+else the word “king” must signify in the original merely _Vali_ or
+governor.
+
+A legend, better known and rather less silly than that of the Cristo de
+la Vega, deals with the love affairs of an imaginary Moorish princess,
+called Galiana “la mora mas celebrada de toda la moreria,” the daughter
+of an equally mythical king, called Galafre. _He_ is linked up with
+history by some writers alleging him to have been the nephew of the
+wicked Count Julian, Galiana was the apple of her parent’s eye, and for
+her delectation he built a palace abounding in all conceivable delights.
+The young lady had, in some way, compromised herself with a gigantic
+Moor, Bradamante by name; and to rid her of this truculent wooer, no
+less a personage than Charlemagne appeared on the scene. All, of course,
+ended happily (except for Bradamante) by the conversion of the lovely
+princess and her marriage to the gallant Frank. In the Puerta del Rey,
+outside the town, may still be seen a building dilapidated, let out in
+tenements, which is pointed out as the Palace of Galiana. The place was
+a mansion of the great Guzman family and exhibits traces of fine Moorish
+work--horseshoe arches, twin-windows, a defaced inscription or two, some
+tiling, and arabesques--enough, in short, to conjure up a splendid
+Moorish palace, which, however, need not have antedated the Reconquest.
+
+The building is the property of H.I.M. the Empress Eugénie, and it is
+somewhat to be regretted that her attention has not been directed to its
+present condition and to the chance here presented of retarding the
+decay of a valuable monument of antiquity.
+
+
+
+
+THE CATHEDRAL
+
+
+Transcending in importance all the other monuments of Toledo and,
+indeed, of Castile, is the Cathedral--one of the noblest specimens of
+Gothic architecture the world affords. The metropolitan church of Spain,
+it is sumptuous without gaudiness, austere without gloominess, admirably
+interpreting the spirit of Spanish Catholicism before it withered under
+the chilling influence of Philip II. and the Inquisition. The Cathedral
+of Toledo does not impress the foreigner as typically national. Indeed
+it corresponds no longer to the temper of the nation. And it was raised
+as a protest against those Moorish influences which have passed into the
+life and art of Spain, and without which nothing can be taken as
+representatively Spanish.
+
+The Cathedral of Toledo, then, is Gothic, and may be said to embody the
+ideals of old Spain--of the young fighting nation that looked forward,
+not backward. Splendid as the Mosque seized by Archbishop Bernard and
+converted to Christian uses may have been, it was the work of the
+infidel. In 1227 King Ferdinand III. and the Archbishop Don Rodrigo de
+Rada were able at last to give effect to a determination arrived at some
+years before; and on August 14 the first stone of a new temple, which
+should never have been contaminated by Muslim rites, was laid with
+solemn ceremony. The name of the architect continues to be a matter of
+controversy. An epitaph in the sacristy of the Capilla de los Doctores
+affords some clue to his identity. It runs as follows:
+
+    Agni: jacet: Petrus Petri: magister
+    Eclesia: Scte: Marie: Toletani: fama:
+    Per exemplum: pro more: huic: bona:
+    Crescit: qui presens: templum: construxit
+    Et hic quiescit: quod: quia: tan: mire:
+    Fecit: vili: sentat: ire: ante: Dei:
+    Vultum: pro: quo: nil: restat: multum:
+    Et sibi: sis: merce: qui solus: cuncta:
+    Coherce: obiit: x dias de Novembris:
+    Era: de M: et CCCXXVIII (A.D. 1290).
+
+“Petrus Petri” is interpreted by Spanish writers “Pedro Perez,” but we
+incline to Mr. Street’s view that the correct rendering is probably
+Pierre le Pierre, the architect having been, as the name implies, a
+Frenchman. “This, at any rate,” continues Mr. Street, “is certain: the
+first architect of Toledo, whether he were French or Spanish, was
+thoroughly well acquainted with the best French churches, and could not
+otherwise have done what he did. In Spain, there was nothing to lead
+gradually to the full development of the Pointed style. We find, on the
+contrary, buildings, planned evidently by foreign hands, rising suddenly
+without any connection with other buildings in their own district, and
+yet with most obvious features of similarity to works in other countries
+erected just before them. Such is the case with the cathedrals at
+Burgos, at Leon, and at Santiago, and such even more decidedly is the
+case here. Moreover, in Toledo, if anywhere, was such a circumstance to
+be expected. In this part of Spain there was in the thirteenth century
+no trained school of native artists. Even after the conquest the Moors
+continued to act as architects for Christian buildings whether secular
+or ecclesiastical, and, indeed, to monopolise all the art and science of
+the country which they no longer ruled. In such a state of things I can
+imagine nothing more natural than that, though the Toledans may have
+been well content to employ Mohammedan art in their ordinary works, yet,
+when it came to be a question of rebuilding their cathedral on a scale
+vaster than anything which had as yet been attempted, they would be
+anxious to adopt some distinctly Christian form of art; and lacking
+entirely any school of their own, would be more likely to secure the
+services of a Frenchman than one of any other nation.... But however
+this may have been, the church is thoroughly French in its ground-plan
+and equally French in all its details for some height from the ground;
+and it is not until we reach the triforium of the Choir that any other
+influence is visible; but even here the work is French work, only
+slightly modified by some acquaintance with Moorish art....”
+
+The stupendous fabric, once begun, whether by French or Spanish hands,
+took two hundred and sixty-six years to finish. From the death of the
+first architect in 1270 to the year 1425 the names of the architects
+have been lost. During this period, the successive styles of
+architecture naturally influenced the original scheme and found
+expression in the building. It was in January 1493 that the roof was
+finished and the main structure completed. Certain chapels, such as the
+Reyes Nuevos, Sagrario, &c., were later additions. Among the later
+architects we find Rodrigo Alfonso, Alvar Gomez, Martin Sanchez, and
+Juan Guas. The stone employed inside (according to O’Shea) was quarried
+at Oliguelas, some nine miles from the city. It becomes harder with age.
+“The external portion is all of Berroqueña stone, save the ornamentation
+of the portals, which is also of Oliguelas white stone.”
+
+The Cathedral forms an oblong, semicircular at the eastern end, and
+lying east and west. In width it is exceeded only by the Cathedrals of
+Milan and Seville, measuring 178 feet broad by 395 feet long. On the
+north side are the cloisters and additional chapels and sacristies. From
+the eastern side project the chapels of the Reyes Nuevos, San Ildefonso,
+and Santiago, and the Winter Chapter-room. The plan of the interior is
+easy of comprehension. The nave extends from the western entrance to the
+Capilla Mayor: on either side of it are two aisles which are continued
+round and behind this chapel in a semicircular sweep. Street extols the
+skill with which this arrangement has been carried out. Between the
+Choir and the Capilla Mayor a transept extends across the church, not
+projecting, however, beyond the outer walls of the farther aisles. The
+eighty-eight pillars which support the fabric and mark off these
+divisions are composed each of from eight to sixteen light columns,
+standing on the same base. The capitals are moulded in plain foliage.
+The arches resting on these pillars make up the seventy-two vaults of
+which the roof is composed. The aisles rise gradually in towards the
+central nave, which is 116 feet high. The crypt or substructure
+corresponds in its divisions and the number of its piers to the edifice
+above. The pavement is of bluish white marble arranged in chequers.
+
+In the original plan no side-chapels appear to have been contemplated.
+But the chapel of Santa Lucia was added by Archbishop de Rada in memory
+of Alfonso VI. And, in addition to chapels built since the rest of the
+church, the spaces between the buttresses in the outer aisles have been
+railed off so as to form twenty-three chapels of various styles and
+periods. The interior is lit by 750 stained-glass windows of rich hues
+that delight the spectator. They depict episodes from the Scriptures,
+and are said to have been as carefully designed as if intended for close
+inspection. Among the artists were Dolfin (1418), De Vergara, Albert of
+Holland, Maese Cristobal, Juan de Campos, Vasco Troya, and Pedro
+Francés. The effect of the light falling in rays of richest colour on
+the pavement and columns is magical. The walls are denuded of colour and
+rudely whitewashed.
+
+The centre of the Cathedral is occupied by the choir (_Coro_), to the
+east of which, separated by the transept, is the Capilla Mayor. The
+choir is enclosed by walls and cloisters, except on the side facing the
+Capilla Mayor, where it is railed in by the magnificent reja, designed
+by Domingo de Cespedes and Hernando Bravo (1548). Like the corresponding
+railing of the High Chapel opposite, this work was formerly heavily
+silver-plated and gilded, but at the time of the French invasion it was
+recoated with iron to secure it from spoliation. Unfortunately, no
+means have yet been discovered of restoring the reja to its original
+state. Among the elaborate ornamentation may be noticed the arms of
+Cardinal Siliceo and of the Ayala family, with the interwoven
+inscriptions _Procul esto prophani_ and _Psale et psile_. The Choir is
+paved with white marble inlaid with dark. The vaulting above the Choir
+itself rises to the height of a hundred feet, the aisle round it to
+ninety feet, and the outer aisle to thirty-five feet. In the outer aisle
+are small chapels placed between the buttresses. Mr. Street describes
+this part of the building in great detail and considers that the
+original scheme of the Cathedral is only to be seen here. The triforium,
+formed of an arcade of cusped arches, in the outer wall of the inner
+aisle exhibits Moorish influence. “It would be impossible,” writes the
+authority just mentioned, “to imagine any circumstance which could
+afford better evidence of the foreign origin of the first design than
+this slight concession to the customs of the place in a slightly later
+portion of the works. An architect who came from France, bent on
+designing nothing but a French church, would be very likely, after a few
+years’ residence in Toledo, somewhat to change in his views, and to
+attempt something in which the Moorish work, which he was in the habit
+of seeing, would have its influence. The detail of this triforium is,
+notwithstanding, all pure and good....”
+
+The Choir is enriched by a magnificent screen, lecterns, and stalls. The
+screen, or _respaldo_, which at one time seems to have been continued
+right across the transept, encloses the Choir on three sides, and
+consists of an arcade carried on fifty-two columns of jasper and marble,
+and supporting and enclosing admirable statuary and sculpture. Above the
+capitals of the columns is a series of fifty-six medallions in high
+relief, dating from 1380, and representing scenes from the Old
+Testament. These reliefs are worthy of close study, and are beautiful
+examples of simple and faithful mediæval treatment. The series is
+supplemented by a medallion with a bust by Berruguete and the statues of
+Innocence and Sin, by Nicolas de Vergara--works on which Street outpours
+the vials of his wrath.
+
+Of the wonderful Choir Stalls of Toledo everyone has heard. They are
+unsurpassed triumphs of the carver’s art. The lower tier, including
+fifty seats, is the work of Maese Rodrigo, and dates from 1495. The
+stalls are of walnut wood, and the carving portrays the campaign against
+Granada by the Catholic Sovereigns. The carving being almost
+contemporary with the events illustrated has given these reliefs an
+historical as well as an artistic value. The names of the fortresses
+are here and there indicated by labels, and the designs are somewhat
+marred by the introduction of fanciful monsters. The whole breathes very
+much of the mediæval spirit, and we can, therefore, hardly complain of a
+certain stiffness and lack of variety. They form an admirable contrast
+to the finer, more finished work of the upper tier of stalls, executed
+fifty years later by Berruguete and Philip of Burgundy, surnamed
+Vigarni. Thirty-five seats, including the Primate’s, are the work of the
+Spaniard, the thirty-six opposite exhibiting the skill of the
+Burgundian. “They were wrought,” says O’Shea, “in rivalry of each other,
+and finished in 1543; and as Cardinal Tavera’s inscription runs:
+‘Certaverunt turn artificum ingenia; certabunt semper spectatorum
+judicia.’” The stalls are placed in recesses of alabaster, and separated
+by fine red jasper columns, with capitals in white marble. Over the
+recesses is a series of alabaster figures in low relief of the prophets
+and patriarchs. The carvings on the stalls themselves depict episodes
+from both the New and Old Testaments. The work breathes the spirit of
+the Renaissance, interpreted by Berruguete and his colleague with a
+skill, it has been truly observed, worthy of Benvenuto Cellini himself.
+Berruguete was a pupil of Michelangelo. His work is more vigorous than
+that of Vigarni, who excels in elegance and softness of outline.
+Street’s denunciations of these triumphs of the carver’s art are a
+curious instance of the length to which an artistic bias may lead a
+clever writer and critic. The reliefs representing the visits of the
+Blessed Virgin to Purgatory and to St. Ildefonso are not by Philip of
+Burgundy, but by his brother Gregorio.
+
+Very fine are the reading-desks, with friezes of gilded bronze, executed
+by the two Vergaras in the middle of the sixteenth century. Those on the
+Epistle side are carved in low relief with the stories of David and
+Saul, the Blessed Virgin and St. Ildefonso, and the Apocalypse; those on
+the Gospel side, the stories of St. Ildefonso, the Ark of the Covenant,
+and the Passage of the Red Sea. In the centre of the Choir is a
+magnificent brass lectern upheld by a great eagle with wings outspread;
+its eyes are of red stones and it crushes with its talons a struggling
+dragon. It was executed in 1646 by Salinas. The pedestal on which it
+stands is older by two hundred years, and is thoroughly Gothic in
+character, with buttresses, pinnacles, and statuary. The work is said to
+be German. The pedestal is borne by six lions, finely sculptured.
+
+The northern entrance to the transept, which separates the Choir from
+the Capilla Mayor, affords the best and least interrupted view of the
+Cathedral. That view impressed the writer with its calm majesty and
+sanctity, but by way of contrast it is worth while recording the
+impressions of a traveller only lately returned (Mr. Stewart Dick): “My
+first feeling was one of disappointment--a feeling that even now has
+hardly worn away.
+
+“It is vast and cold. A white expanse. Huge pillars towering up to a
+great height. A blaze of harsh daylight. In the middle, blocking up the
+view down the nave, the tawdry gilt of the Coro. Doors opening and
+banging all round, people promenading, sitting on the bases of the
+pillars and talking with undropped voices. You ask yourself with
+amazement, Is this a church? The form is here, but where is the spirit?
+
+“In fact, it is only in the evening that Toledo Cathedral comes into its
+own. It is quiet and peaceful then. The promenaders have all gone away,
+the blaring of the organ has ceased, and through the open door you hear
+the twittering of birds in the cloisters. The shadows darken among the
+pillars, the beautiful windows begin to glow, and a soft light fills the
+upper part of the church. It is like the opening of a flower.
+
+“Then at last you begin to feel the impressiveness and the dignity of
+those avenues of mighty pillars. The trivialities that annoyed you are
+lost, the effects are broad, grand, and majestic, and at last the
+building is a temple; it seems as if the Holy Spirit had entered with
+the fall of the twilight.”
+
+The Capilla Mayor, or High Chapel, occupies the eastern end of the nave,
+the aisles sweeping round behind it. The hinder portion was originally
+the Capilla de los Reyes Viejos, the chapel in which were entombed
+Sancho el Bravo, Sancho el Deseado, Alfonso VII., and others. In the
+year 1498 the two chapels were thrown into one by Cardinal Cisneros, who
+left the royal tombs for a time undisturbed. The High Chapel, according
+to O’Shea, measures 56 feet in length, 50 feet in breadth, and 116 feet
+in height. The piers are sculptured with the effigies of kings,
+prelates, and saints, and with “a multitude of angels playing on
+different instruments, and with outspread wings, that want but incense
+to raise them again from the spot where they have alighted.” The walls
+of the chapel are pierced or of open-work, the stone in parts being
+almost transparent, and thus adding to the brightness of the effect. Two
+rows of statuary enhance the beauty of the stonework, which is among the
+earliest portions of the fabric. But these walls, for all their
+magnificence, are put in the shade by the superb reja or railing, facing
+that of the Choir, and contemporary with it. This work is thus described
+by Señor Riaño: ‘The reja is 42 feet wide by 19 inches high; it rests
+on a pediment of marble ornamented with masks and bronze work upon which
+rises the reja, which is divided horizontally by means of a frieze of
+ornamentation, and this again vertically into five compartments. In each
+vertical division there is a pilaster of four sides formed of _repoussé_
+plates, carved with a fine ornamentation in the Renaissance style; this
+is again terminated with life-size figures in high relief of bronze. The
+second compartment rises upon the band which divides it in a horizontal
+sense; it follows the same decoration in its pilasters, and is
+terminated by a series of coats of arms, torches, angels, and a variety
+of foliage which finishes the upper part. Upon the centre, hanging from
+a thick chain, supported from the roof, is suspended a life-size Rood of
+admirable effect, which completes the decoration. In several spots there
+are labels with mottoes in Latin; in one of them appears the following
+inscription, and the date of 1548, when the splendid work was finished:
+‘Anno MDXLVIII. Paul III. P.M. Carol. V. Imper. Rege. Joannes Martinez
+Siliccus Archiepiscopus Tolet. Hispaniae Primat.’ The railings of the
+reja are silvered, and the reliefs and salient points gilt. The artist
+who made it was Francisco Villalpando, a native of Valladolid; this
+model was chosen in preference to those of several artists, who
+presented their plans in competition before the ecclesiastical
+authorities; it is calculated that ten years elapsed before it was
+finally finished, Villalpando was greatly distinguished likewise as a
+sculptor and architect.” By him are the gilt pulpits in the plateresque
+style, made from the bronze tomb that the Great Constable, De Luna, had
+caused to be designed for himself. On a pier at the extremity of the
+chapel is the statue of the celebrated shepherd, Martin Alhaga, who is
+said to have, semi-miraculously, guided Alfonso VIII. and his army to
+the rear of the Moorish forces at Las Navas de Tolosa--thus securing the
+victory to the Christians. The king, who alone saw his features, is said
+to have designed the statue. Opposite is the figure of the Moorish
+Alfaqui, Abu Walid, whose intercession secured the old mosque to the
+Catholics, in the manner already narrated.
+
+The splendour of the High Altar, with its jasper and bronzes, renders a
+detailed description impossible and inadequate. Its magnificent retablo,
+rising to the very roof, is the richest gem of the Cathedral. Designed
+by Philip Vigarni (Borgoña), and painted and gilded by his brother Juan,
+numerous other masters contributed to its excellences. We may name
+Maître Petit Jean (of France or Aragon), Almonacid (a converted Moor),
+Copin (a Dutchman), Francesco of Antwerp, Fernando del Rincon, Egas, and
+Pedro Gumiel. The retablo is of wood and divided into five compartments
+by gorgeous columns. The subjects are from the New Testament, and are
+worked out with immense and ornate elaboration. The whole is crowned
+with a colossal Calvary. Behind the High Altar is placed that
+extraordinary example of eighteenth-century bad taste, the too famous
+_Transparente_. The whole architecture, painting, statues, carving and
+bronze is the work of the same person, Narciso Thomé who completed it in
+1734. Much as we may denounce the taste (or rather the lack of it) of
+this triumph of the Churrigueresque style, we are obliged to admire the
+wonderful execution of this misdirected genius.
+
+The royal tombs lie around the High Altar. They were placed in recesses,
+sculptured in the Gothic style by Diego Copin of Holland, by order of
+Cardinal Cisneros in 1507. The arches are peculiarly graceful and light.
+The tombs themselves date from much earlier times. Here sleep their last
+sleep Alfonso VII., Sancho el Bravo, Sancho el Deseado, and several
+Infantes. To the left of the altar is the sepulchre, more glorious than
+any king’s, of the great Cardinal Mendoza, erected by order of Isabel
+the Catholic, who owed so much to him. It was the work of Covarrubias,
+and is all of precious marbles. One side is formed by the sarcophagus
+with its recumbent effigy, the other by an altar. Above this last is a
+medallion representing the Archbishop Adoring the Cross. Part of the
+wall was demolished to make room for this stately mausoleum. Beneath the
+Capilla Mayor is a subterranean chapel, not of special interest. It
+contains a Burial of Christ by Copin, deserving of an inspection that in
+the dim light is well-nigh impossible, and some pictures by Ricci.
+
+At the eastern extremity of the Cathedral, behind the Capilla Mayor and
+projecting beyond the general outline, is the chapel of San Ildefonso.
+Erected by Archbishop de Rada, it remains the last important
+middle-pointed feature of the building, though considerably modified by
+Cardinal Albornoz in the latter part of the fourteenth century. It is
+eight-sided, and has beautiful traceried windows, and arches richly
+moulded and decorated. In arched recesses, beneath gabled and pinnacled
+canopies, are the tombs of Cardinal Albornoz, and several members of his
+family. There is much beautiful detail on the tomb of Don Iñigo de
+Mendoza, who fell at Granada in 1491; and the sepulchre of the Bishop of
+Avila by Tejada is a noble temple of the plateresque. The altar is
+modern. St. Ildefonso was the prelate who distinguished himself by his
+advocacy of the doctrine of the Immaculate Conception. In return he is
+said to have received signal marks of favour from the Blessed Virgin,
+who invested him with a cassock, came down to attend Matins in his
+company, and so forth.
+
+To the north of this chapel is the larger Capilla de Santiago, likewise
+projecting beyond the original ground plan, and dating from 1435. It was
+built by order of the Great Constable, Alvaro de Luna, to be the place
+of sepulchre of himself and wife, on the site of an earlier chapel
+dedicated to St. Thomas à Becket. The plan is similar to that of the
+last chapel described. Outside, the flat-pitched tile roof is finished
+with a battlement and circular turrets at the angles. The most
+conspicuous features of the chapel are the tombs, in Carrara marble, of
+the Constable Alvaro de Luna and his wife Doña Juana Pimentel. The
+Constable is shown in full armour, and at each corner of his tomb kneels
+a knight of Santiago, of which order he was Grand Master. Four
+Franciscan monks attend on his lady. In niches in the wall repose
+kinsmen of the ill-fated Constable, the tombs all having been executed
+by permission of Isabel the Catholic, by Pablo Ortiz in 1488,
+thirty-five years after De Luna’s death on the scaffold at Valladolid.
+The tombs designed for the Constable in his lifetime were to have been
+furnished with life-size figures in bronze, which, by mechanical
+contrivance, were to have risen each time Mass was celebrated, and to
+have remained during the service in a kneeling posture. These figures
+were destroyed by the Infante Don Enrique, and the bronze was used by
+Villalpando for the pulpits in the Capilla Mayor. The retablo of the
+High Altar reveals the portraits of the founder and his wife by Juan de
+Segovia. “The chapel,” says Mr. Street, “bears evidence in the
+‘perpendicular’ character of its panelling, arcading and crocketing, of
+the poverty of the age in the matter of design. At this period, indeed,
+the designers were sculptors rather than architects, and thought of
+little but the display of their own manual dexterity.”
+
+Passing down a corridor between this chapel and that of Santa Leocadia
+we reach the Capilla de los Reyes Nuevos, lying quite outside the
+original plan of the Cathedral. It was founded by Enrique II. of
+Trastamara, and contains his tomb, his wife’s, and the sepulchres of
+Enrique III., his Queen, Katharine of Lancaster, Juan I. and Queen
+Leonor, and the effigy of Juan II., who is buried near Burgos. The
+chapel is a fine specimen of the Renaissance style, reconstructed by
+Alfonso de Covarrubias in 1534. The portal is fine, and is guarded by
+two kings armed and bearing escutcheons. During Mass, a gorgeously
+apparelled functionary holds upright a mace, crowned and jewelled, and
+with the arms of Spain.
+
+The side-chapels of the Cathedral are not, on the whole, as interesting
+as one would expect in a building of such antiquity and associations. To
+the south of the Capilla de San Ildefonso is the Capilla de la Trinidad;
+next comes the entrance to the Chapter House or Sala Capitular, an early
+sixteenth-century work with an artesonado ceiling in red, blue, and
+gold, excelling anything of the kind in Andalusia. The thirteen frescoes
+adorning the walls of the Chapter House are by Juan de Borgoña, who was
+also responsible for the earlier series of portraits of the archbishops.
+Copin’s work is to be recognised in the archiepiscopal throne, the other
+stalls being by Francisco de Lara. Returning to the church through a
+portal in the Moorish style, we find on the left the chapel of San
+Nicolas, followed by the chapels of San Gil, San Juan Bautista, Santa
+Ana, and the Reyes Viejos, founded in 1290 as the Capilla del Espritu
+Santo, with a fine reja by Céspedes. The chapel of Santa Lucia, founded
+by Archbishop de Rada, is, of course, in the best Gothic style, and has
+“an extremely rich recessed arch in stucco, of late Moorish work--a
+curious contrast to the fine pointed work of the chapel.”
+
+The Capilla de San Eugenio contains the alabaster effigy of Bishop del
+Castillo (1521), and the tomb in the Mudejar style of the Alguacil
+Fernan Gudiel (1278). The statue of the saint is by Copin, the
+paintings on the retablo by Juan de Borgoña. Adjacent to the chapel is
+the colossal figure of Saint Christopher, usually seen in Spanish
+churches. This figure is probably coeval with the fabric, but was
+restored in 1638. A primitive style of art is also to be seen in the
+altar-piece of the Capilla de San Martin. The next two chapels--de la
+Epifania and de la Concepcion--do not present any features of special
+interest.
+
+In the south-west angle of the church is the interesting Mozárabic
+Chapel, built in 1504 by Enrique de Egas, under the orders of the famous
+Cardinal Ximenes de Cisneros. It is devoted to the celebration of Mass
+and the offices of the church according to the Mozárabic ritual, which
+till the middle of the last century was followed in six of the parish
+churches. The Cupola dates from 1626, and was the work of Jorge Manuel
+Theotocopuli. The porch is Gothic, and the reja in good Renaissance
+style, executed by Juan Frances in 1524. The frescoes, of no great
+value, painted by Juan de Borgoña, represent the expedition against
+Oran, in which the great Cardinal took part. Miss Hannah Lynch gives a
+vigorously worded account of a service in this chapel according to its
+peculiar rite: “The quaint old ritual may be heard every morning at 9
+A.M., and will be found extremely puzzling to follow. The canons, in a
+sombre, flat monotone, chant responses to the officiating priest at the
+altar. The sound combines the enervating effect of the hum of wings,
+whirr of looms, wooden thud of pedals, the boom and rush of immense
+wings circling round and round. After the first stupefaction, I have
+never heard anything more calculated to produce headache, nervous
+irritation, or the contrary soporific effect. In summer, it must be
+terrible.”
+
+At the opposite, or north-west, angle of the church is the Chapel of San
+Juan or of the Canons, so called because Mass can be celebrated here
+only by those dignitaries. It was built in 1537 by Covarrubias in the
+Renaissance style, and occupies the site of the old tower chapel, called
+the Quo Vadis. The ceiling is of artesonado, in gold and black, with
+carved flowers and figures. Since 1870 this chapel has been the
+repository of the Cathedral Treasure, styled Las Alhajas, or the Jewels.
+Here is kept the gorgeous _custodia_, or portable tabernacle, made by
+order of Cardinal Cisneros by Juan de Arfe, who began it in 1517 and
+completed it without assistance in 1524. This triumph of the
+silversmith’s craft is in the form of a Gothic temple, eight feet high,
+with all the architectural details, such as columns, arches, and
+vaultings, the whole resembling delicate lacework. Scenes from the life
+of our Saviour are illustrated in reliefs. There are no fewer than two
+hundred and sixty statues of various sizes, all exhibiting the same
+skill. The tabernacle was gilded over in 1595 by Valdivieso and Morino.
+The _viril_ inside, in which the Host is exposed, was made of the first
+gold brought from America, is completely covered with precious stones,
+and weighs twenty-nine pounds. In the Treasure is also included the
+mantle of the Virgen del Sagrario, considered by Señor de Riaño the most
+remarkable specimen of embroidery that exists in Spain. It is described
+in the following manner: “It is made of twelve yards of cloth of silver,
+entirely covered with gold and precious stones. In the centre is an
+ornament of amethysts and diamonds. Eight other jewels appear on each
+side of enamelled gold, emeralds, and large rubies; a variety of other
+jewels are placed at intervals round the mantle, and at the lower part
+are the arms of Cardinal Sandoval [seventeenth century] enamelled on
+gold and studded with sapphires and rubies. The centre of this mantle is
+covered with flowers and pomegranates embroidered in seed-pearls of
+different sizes. Round the borders are rows of large pearls. Besides the
+gems which are employed in this superb work of art, no less than 257
+ounces of pearls of different sizes, 300 ounces of gold thread, 160
+ounces of small pieces of enamelled gold, and eight ounces of emeralds
+were used.” The beautiful dish, repoussé in silver, the designs on
+which represent the Rape of the Sabines and the Death of Darius, was
+believed to be the work of Benvenuto Cellini, but is now ascribed to the
+Flemish artist, Mathias Méline. Among the Alhajas are also four
+geographical globes, with large silver figures, gleaming with
+gems--eighteenth-century work. Of historical interest is the sword, said
+to have been worn by Alfonso VI. on his entry into Toledo, and the
+original letter written by St. Louis of France to the Chapter, bestowing
+sacred relics obtained from the Great Emperor: “Given at Etampes, the
+year of our Lord, 1248, month of May.” Other objects of value are the
+Cope of Cardinal Albornoz and the Cruz de la Manga, made in the
+sixteenth century by Gregorio de Varona, a native of the city. Here,
+also, are the archiepiscopal cross, planted by Cardinal Mendoza on the
+summit of the Alhambra in 1492, and the Golden Bible in three volumes,
+dating from the twelfth century. It is to be doubted if the accumulation
+of these splendid objects, intended for diverse practical uses, in one
+collection, serves to show any of them to the best advantage.
+
+On the north aisle are the chapels of Teresa de Haro, Nuestra Señora de
+la Antigua--where the Spanish colours used in the Moorish campaigns were
+blessed--of the Pila Bautismál, with a beautiful bronze font, and a
+reja by Céspedes; and the large Capilla de San Pedro, built in 1442 in
+the Gothic style by Archbishop de Rojas. The founder’s fine monument was
+placed here in the eighteenth century. On the other side of the Puerta
+del Reloj is the Capilla de la Virgen del Sagrario, noted for a statue
+of the Blessed Virgin, which she is said to have kissed on her visit to
+St. Ildefonso. The statue is of dark-coloured wood, and was formerly
+clothed in a mantle embroidered by Felipe Corral; and composed of gold,
+rubies, emeralds, and pearls, now kept in the Treasury. In this chapel
+the degree of doctor is conferred on licentiates. The two small chapels
+of the Cristo and of Santa Leocadia are adjacent to the entrance to the
+Capilla de los Reyes Nuevos.
+
+Adjoining the Chapel of the Virgen del Sagrario are a set of apartments,
+built with it upon the site of an old hospital, by Nicolas de Vergara,
+junior, at the close of the sixteenth century. These rooms are the
+Sacristia, Vestuario, Cuarto de la Custódia, and Ochavo. The Sacristia,
+entered through a portal 26 feet high, contains paintings by El Greco,
+to be noticed in the chapter on that master; the ‘Betrayal of Christ,’
+by Goya; and a ceiling fresco by Luca Giordano, representing the Miracle
+of San Ildefonso. The Vestuario contains pictures by several Italian
+masters, among them ‘Paul III.’ by Titian; a replica of the portrait at
+Naples; a ‘Madonna’ by Rubens; and a ‘St. Francis’ by El Greco. The
+Custodia was till lately the Cathedral Treasury. The Ochavo, at the back
+of the Capilla de la Virgen, is richly adorned and contains the
+collection of relics, among them massive silver caskets, wonderfully
+wrought, for the bones of the saints Leocadia and Eugenius.
+
+The vestments preserved here, to the number of forty sets, belong mostly
+to the fifteenth and sixteenth centuries, and are of the most splendid
+description. “Each set [says Riaño] generally includes a chasuble,
+dalmatic, cope, altar frontal, covers for the gospel stands, and other
+smaller pieces. The embroideries on the orphreys, which are formed of
+figures of saints, are as perfect as the miniatures on illuminated MSS.”
+
+The Cloisters to the north-west of the church were built by Cardinal
+Tenorio in 1389. They are not, as Miss Lynch observes, to be compared
+with those of Burgos, of Santiago, or of Oviedo. The garden they enclose
+lends a brighter, gayer note to the columned and arched galleries than
+is found in those other cathedrals. The frescoes in the lower cloister
+were painted by Francisco Bayeu, and illustrate the lives of St.
+Eugenius and the legend of the _Niño perdido_.
+
+We should, perhaps, have described the exterior of the Cathedral first,
+but from the sightseer’s point of view the interior is, of course, more
+important. It is a general subject of complaint that it is extremely
+difficult to obtain a good view of any considerable part of the fabric
+from the outside, nor does it stand out as conspicuously from a distance
+as its imposing dimensions would lead one to suppose. The best view is
+to be obtained from the church of Nuestra Señora de la Valle, above the
+Puente de San Martin. The exterior, with its flying buttresses, finials,
+and rose-windows, reflects the Gothic spirit of the interior. The west
+façade is flanked by two towers, that above the Chapel of the Canons
+alone being complete. It is 295 feet high, and was begun by order of
+Archbishop Tenorio, in 1380, by Rodrigo Alfons, and completed under
+Archbishop Contreras in 1440 by Alvar Gomez. On the summit is a small
+spire, surmounted by a cross, a vane, and an arrow. Here are hung the
+bells, among them the famous Campana Gorda, weighing nearly two tons,
+and whose note reaches to Madrid. The tower also contains a peal called
+the Matraca, worked continuously by mechanism from Maundy Thursday till
+Easter Saturday. The view from the summit is far-reaching and inspiring.
+
+Among the finest features of this noble church are its eight principal
+entrances. In the western façade are three portals--the Puerto del
+Perdon in the centre, flanked by the Puertas de los Escribános and de
+la Torre. All date from the first half of the fifteenth century and are
+in the Gothic style. The Puerta del Perdon forms a noble arch, richly
+ornamented, and divided into two smaller arches by a column surmounted
+by the figure of Christ, above which are the Twelve Apostles. Above
+these again is a relief in the Renaissance style representing the gift
+of the Chasuble to San Ildefonso. The smaller doors are in single
+arches, and are sculptured with statues of angels and patriarchs. The
+Puerta de los Escribános is so called because through it the notaries
+enter the church to take their oaths. It is also called the Puerta del
+Juicio. Above it is a long inscription commemorating the taking of
+Granada and the expulsion of the Jews. Above the portals the façade is
+adorned with a colossal sculpture of the Last Supper, the Saviour and
+the Apostles being seated each in a niche, and the table reaching from
+buttress to buttress. The façade is pierced with a beautiful rose-window
+thirty feet across with a glazed arcade beneath.
+
+On the south side are the Puertas Llana and de los Leones. The former in
+the classic style, was made by Ignacio Haám in 1800. The Puerta de los
+Leones gives access to the transept, and is a magnificent Gothic work,
+erected in 1460 by the Fleming, de Egas, and ornamented by Juan Alemán.
+The sculpture of the portal is perfect. The six columns of the atrium
+are surmounted by six lions holding shields. Here are the famous bronze
+doors, wrought by Villalpando and Ruy Diaz del Corral in 1545. The
+wood-carving and decoration employed a great many masters, among whom
+may be mentioned Velasco, Troyas, and the two Copins. Between them was
+divided the sum of 68,672 maravedis. At the opposite or northern end of
+the transept is the Puerta del Reloj, dating from the beginning of the
+fifteenth century, and so named from the clock above it. The door is of
+bronze and above it is a fine rose-window of about the same period. It
+is considered by Street the best example of stained glass now remaining
+in the Cathedral. West of this, the Puerta de Santa Catalina leads into
+the eastern cloister. The decoration is profuse. St. Catharine, and the
+instruments of her martyrdom, are shown, with the arms of Spain and the
+Tenorio family. The Puerta de la Presentacion, also leading into the
+cloister, is in the Renaissance style, and dates from 1565. Pedro
+Castañeda, Juan Vasquez, Torribio Rodriguez, Juan Manzano, and Andrés
+Hernandez are named as the designers of this very fine portal. The
+cloisters are entered from the west side next to the tower, by the
+Puerta del Mollete, so called because _molletes_ or rolls were or are
+distributed to the poor here.
+
+The chapel and cloister of San Bias on the north side of the cloisters
+are the most important additions made to the structure in the fifteenth
+century. The chapel contains the monument of the founder, Cardinal
+Tenorio, and “in the cloister walls,” says Street, “a door which, in the
+capricious cusping and crocketing of its traceried work, illustrates the
+extremes into which Spanish architects of this age ran in their
+elaboration of detail and affectation of novelty.”
+
+
+
+
+THE DECLINE OF THE CITY
+
+
+Toledo, up till then hardly distinguished for its loyalty to the Crown,
+loved Isabel the Catholic, and on her account, perhaps, rendered
+obedience to her Aragonese husband. The Catholic sovereigns liked the
+city, and generally held their Court there. The magnificent Cardinal
+Mendoza was the prime mover in the expedition against Granada, and
+planted the Cross on the summit of the Alhambra. The power of the
+primacy was in no way diminished by the consolidation of the monarchy,
+and Toledo still looked rather to its archbishop than to its king for
+guidance and governance. Under Ferdinand and Isabel it prospered
+exceedingly. The arts of peace were studied, industries flourished, and
+the more adventurous and restless spirits found an outlet for their
+energies in colonial enterprises beyond the seas instead of cutting each
+other’s throats in the byways of the city. Toledo became courtly and
+urbane. The luckless princess, Juana, was born at the Alcazar in 1479;
+and here the Infanta Isabel was married on April 29, 1498, to the King
+of Portugal. Only a few months later her corpse was brought hither from
+Zaragoza, to be laid in the convent of Santa Isabel.
+
+The death of Queen Isabel, and the proclamation of Juana and Felipe I.
+on May 22, 1502, put an end to the long spell of peace. Toledo sided at
+first with Ferdinand against his son-in-law, and was held by the Silvas
+against the latter’s forces under the Marquis de Villena. In the
+following year (1506) the Ayalas, supported by the townsmen generally,
+took possession of the town, and resolved to maintain its liberties
+against the Flemish favourites and centralising tendencies of the new
+_régime_. The Silvas, as a matter of course, ranged themselves on the
+opposite side, and the streets ran red with blood. Toledo was herself
+again.
+
+The accession of the Flemish prince, Charles, afterwards emperor,
+determined the Castilians to make a stand for national independence.
+What city had so good a claim to be the headquarters of the movement,
+the focus of anti-foreign agitation, as Toledo the turbulent? In 1520
+occurred the outbreak of the _Comuneros_ movement. At its head were four
+gentlemen of Toledo: Hernando Dávalos, Gonzalo Gaytan, Pedro de Ayala,
+and (greatest of all) Juan de Padilla. Twenty thousand citizens rallied
+to the cry of “Padilla y Comunidad!” and the movement spread from the
+Tagus to Salamanca and westwards to the frontiers of Portugal. To
+Juana, imprisoned at Tordesillas, herself a Toledan, protestations of
+loyalty and devotion were addressed. But denounce her son’s fraudulently
+obtained sovereignty she would not. Meanwhile Charles’s forces were not
+idle. The Alcaide, Clemente de Aguayo, held the tower of San Martin, and
+Don Juan de Silva, the Alcazar, against the insurgents. But the townsmen
+were victorious. Padilla, however, was defeated at Villalar, and
+executed, with his brave lieutenants, Juan Bravo and Maldonado.
+
+In the Comunero leader’s dauntless wife, Maria de Pacheco, liberty found
+a new champion and Spain a new heroine. “She was found praying at the
+foot of the Cross,” says Miss Lynch, “when her servants brought her the
+news of Padilla’s defeat and death. She rose, robed herself in black,
+and walked to the Alcazar between her husband’s lieutenants, Dávalos and
+Acuña, who bore a standard representing Padilla’s execution. They named
+her captain of the insurgents, and found her implacable and violent, but
+still a sovereign commander.” For sixteen months under this Castilian
+Joan of Arc the old city of the Visigoths held out against the armies of
+Charles V. Routed in a bloody sortie on October 16, 1521, by Zuñiga,
+prior of San Juan, the Comuneros were obliged, ten days later, to
+abandon the gates to the besiegers. A truce was agreed to, while the
+demands of the citizens should be presented to the Emperor. Maria
+remained in her own house, as in a fortress, guarded by her faithful
+troops. But on February 3 the murder of a citizen brought on a renewal
+of the conflict. Desperate battle waged in every street and lane. Maria,
+assailed and valiantly defended in her stronghold, at last cut her way
+through, and retired to Portugal, dying at Oporto years afterwards. The
+townsmen were worsted, and sullenly submitted. Toledo had fought her
+last fight.
+
+Her day was over. Charles V. forgave her, and would come at times to
+live in the Alcazar. She was still the capital of Spain. But her haughty
+temper and the arrogance of her clergy matched ill with the policy of
+Philip II. In 1560 Madrid--upstart, provincial Madrid--was proclaimed
+the _única corte_. Less important than under the Khalifate, Toledo
+became a mere provincial town. But the Church did not desert her. She is
+still the metropolitan see of Spain.
+
+Let us see what the monarchs of United Spain did for the old city, and
+what monuments remain of the days when it was Court and capital.
+
+The church of San Juan de los Reyes, near the Puente de San Martin, was
+built in 1476 by Ferdinand and Isabel, in thanksgiving for the victory
+of Toro gained over the Portuguese allies of Juana, nicknamed “la
+Beltraneja.” The first architect was a Fleming, Juan Guas, one of the
+builders of the cathedral. The church was intended to receive the ashes
+of the royal founders, but after the capture of Granada it was decided
+to establish the mausoleum in that city, and the completion of San Juan
+de los Reyes was delayed till the seventeenth century. In consequence,
+the architecture exhibits the transition from the Late Gothic to the
+Late Renaissance style. “Nothing,” remarks Street, “can be more
+elaborate than much of the detail of this church, yet I have seen few
+buildings less pleasing or harmonious.” The exterior is unpromising, and
+is decorated, if we can use the word in such a connection, with festoons
+of rusty chains which fettered the limbs of the Christians in Moorish
+prisons. The chief entrance, to the north, was completed by Covarrubias
+in 1610, and is in the decadent style of architecture. It is adorned
+with inferior statuary, and the arms and initials of the Catholic
+sovereigns.
+
+The interior is composed of a single nave, two hundred feet long and
+from forty-three to seventy feet wide. There are four chapels on one
+side and three on the other. At the east end of the church is a shallow
+five-sided apse, forming the Capilla Mayor. Over the junction of the
+nave and transept is an octagonal cupola, resting on four fine pillars,
+with a pointed dome and a window in each face. At the west end of the
+church is a deep gallery, containing the choir. The altar dates from the
+Renaissance period, and is brought well forward into the nave. It came
+from the suppressed church of Santa Cruz. Above it is a blue velvet
+canopy, embroidered with the eagle, the symbol of St. John. The whole
+fabric is enriched with statuary, tracery, carving, and heraldic devices
+in almost reckless profusion. The yoke and the arrows--the devices of
+the Catholic sovereigns--and their coats of arms are repeated again and
+again. Among the inscriptions is one commemorating the foundation of the
+church. It runs: “Este monasterio é églesia mandaron hacer los muy
+esclarecidos Principes é señores D. Hernando é Doña Isabel, Rey y Reina
+de Castilla, de Leon, de Aragon, de Sicilia, los cuales señores por
+bienaventurado matrimonio y uñaron los dichos Reinos, seyendo el dicho
+rey y señor natural de los reinos de Aragon y Sicilia, y seyendo la
+dicha señora Reina y señora natural de los Reinos de Castilla y Leon; el
+cual fundaron á gloria de nuestro señor Dios, y de la bienaventurada
+Madre suya, nuestra Señora la Virgén Maria, y por especial devocion que
+le ovieron.”
+
+Admirable as is the church in its general structure, and in the detail
+and execution of its ornamentation, it is garish and ostentatious. There
+is a superabundance of light and luxury. Here there is no dim religious
+light, no suggestion of mystery or devotion. Prayer would seem
+incompatible with the whole character of the edifice. More favourable
+was the opinion of Théophile Gautier, who declared that “Gothic art
+never produced anything more suave, more elegant, or more fine.”
+
+Attached to the church is the convent, bestowed on the Franciscans, and
+pillaged by the French in 1808. It has been converted into a museum,
+which does not contain much of great interest. The most important
+exhibits are fragments of Visigothic inscriptions and Moorish tile-work.
+
+The cloister of San Juan de los Reyes is a gem of florid Gothic, and the
+finest part of the whole fabric. There are two galleries, one above the
+other, the lower with traceried openings, the upper with large open
+arches. As in the church, there is here an excess of decoration, hardly
+a square inch on pillar, arch, and vaulting being free from sculptured
+ornamentation. There is a bewildering profusion of statues of angels,
+men, and animals, of scroll-work and foliage, heraldic devices and
+inscriptions. The whole is dazzlingly white--more like a temple of the
+Sun than a shrine of “the pale Galilean.” The original effect, perhaps,
+was less crude, for the church and cloisters have been recently
+restored, and, it must be confessed, not too skilfully.
+
+A most beautiful specimen of azulejo work has been built into the
+north-west wall. It comes from the suppressed monastery of the Calced
+Augustines, and is said to have been a part of the ornamentation of the
+ancient palace of Don Rodrigo--wherever that may have been situated.
+
+Before the finishing touches had been put to San Juan de los Reyes, the
+last important Gothic work of Toledo, the erection of one of the two
+earliest examples of the Renaissance style in Spain had been begun. The
+hospital of Santa Cruz was built between the years 1494 and 1514 by
+Enrique de Egas, of Brussels, some ten years after he had completed the
+college of the same name at Valladolid. The hospital was designed by the
+founder, the mighty Cardinal Mendoza, as an asylum for foundlings. He
+died in 1495, and left 75,000 ducats to the queen for the completion of
+the work. Isabel it was who chose the site overlooking the bridge of
+Alcantara, where formerly the palace of the legendary King Galafre is
+fabled to have stood. Among other stories connected with the spot is
+that of a Leonese princess wedded against her will to a Moorish prince,
+her union with whom was prevented by the intervention of an angel. As in
+all the early specimens of Spanish Renaissance architecture, the
+groundwork of the building approximates to the Gothic, the new ideas
+manifesting themselves in the decoration and carving. The portal is
+superb. The reliefs represent the Adoration of the Cross by St. Helena,
+St. Peter, St. Paul, and the founder, Cardinal Mendoza, two pages also
+appearing, bearing mitre and helmet. Other reliefs, exquisitely
+chiselled, have for subjects the espousals of St. Joachim and St. Anne,
+and Charity. The four cardinal virtues are shown, and everywhere, amidst
+a maze of ornamentation, occur Mendoza’s arms and device. The
+plateresque windows, with their rejas in the local style, are deserving
+of admiration. Entering, we find a vast _patio_, enclosed by a double
+arcaded gallery of marble, and, crossing it, ascend a grand staircase
+with a fine ceiling of the _artesonado_ kind. The chapel, in the form of
+a Maltese cross, has also a fine ceiling, and Gothic pillars,
+beautifully carved, that attest the splendid appearance once presented
+by this dismantled building. Some of the columns adorning Santa Cruz
+were brought from the Visigothic church of Santa Leocadia.
+
+To the same period belongs the Franciscan convent and church of San Juan
+de la Penitencia, begun by order of Cisneros in 1514, and finished by
+his secretary, Fray Francisco Ruiz, Bishop of Avila. The semi-Moorish
+palace of the Pantojas was utilised in its construction, and the whole
+building bears traces of Arabic, or rather Mudejar, workmanship.
+Entering the chapel by a porch adorned with the great Cardinal’s arms
+and foliations in the Gothic style, we find ourselves in a sombre
+edifice of a single nave, revealing a curious medley of styles. The roof
+is a fine example of the artesonado. Over the transept, which is divided
+from the nave by a plateresque reja, is a cupola with a stalactite roof
+of the Moorish pattern. The principal retablo is early Renaissance, and
+several of the altars may be classed as Baroque. The most interesting
+feature of the church is the tomb of the Bishop of Avila, who died in
+1528. It is in the Renaissance style, and was the work of a Lombard
+artist. It is wrought in Sicilian marble, and is thus described by Ponz:
+“Above a large stone divided by three pilasters to form three pedestals
+there are an equal number of statues seated, representing Faith, Hope,
+and Charity. Between the pilasters are the arms of the Bishop--five
+castles. In a framed recess are the urn, couch, and recumbent figure. In
+front of the urn are seen two weeping children, and within the recess
+four angels draw aside the curtains. On either side are two Doric
+pillars supporting the frieze, which is inscribed, ‘Beati mortui qui in
+Domino moriantur.’ On the edge are two antique columns admirably
+executed. Between these columns and pilasters are statues, St. James and
+St. Andrew, and above, the figures of children. Over all is a bas-relief
+of the Annunciation, with the statues of St. John the Divine and St.
+John Baptist, one-half the size of the Virtues below.”
+
+The Emperor-King Charles V. had, as we have seen, small reason to love
+Toledo, but he did something for the permanent embellishment of the
+city, and the last architectural monuments reared on its craggy
+peninsula belong to his era.
+
+It is difficult to ascribe the Alcazar, to which reference has so often
+been made, to any one epoch. It has undergone so many vicissitudes, so
+many reconstructions, that the name, as we have employed it, must be
+understood to represent a site rather than the actual palace. A
+stronghold of some sort has always been here--possibly, in Roman times,
+the Arx, where tradition avers the martyr Leocadia suffered death. The
+Arabian geographer, Jerif al Edris, writing in 1154, describes Toledo as
+“a town great in extent and population, extremely strong, with fine
+ramparts, and an Alcazaba, fortified and impregnable.” This citadel was
+doubtless the Alcazar, which was strengthened and rebuilt by successive
+Castilian kings, and is said to have been the residence of the Cid, the
+first Christian Alcaide. Added to, reconstructed, partially demolished
+and repeatedly restored, it must have presented an aspect rude and
+heterogeneous enough when, in 1538, Charles V. ordered Alonso de
+Covarrubias and Luis de Vega to rebuild the palace entirely on the
+lines of the new Alcazar of Granada. The Flemish Emperor may, then,
+fairly be considered the founder of the present fortress-palace, though
+it has since his time undergone radical transformations. It was burnt
+down during the War of Succession in 1710, restored sixty years later,
+destroyed again by the French in 1810, and devastated by a third
+conflagration as late as 1887. Since 1882 it has been the seat of the
+Royal Military Academy.
+
+The northern façade was constructed after the designs of Covarrubias,
+and looks on the square created by Ferdinand and Isabel in 1502. The
+reconstruction was so complete that probably no stone of the older
+façade was left in its place. The façade is severe and majestic,
+revealing classical influence, though not without important traces of
+the plateresque. It is flanked by towers, and adorned with a handsome
+portal--the work of Enrique de Egas, brother-in-law of Covarrubias. Over
+the door are the Imperial arms, supported by the figures of two heralds
+or mace-bearers. The fortress-like eastern façade is believed to be a
+part of the original Alcazar as restored by Alfonso X.; the western side
+of the building dates from the reign of the Catholic sovereigns, and the
+southern, with massive Doric pillars and square turrets, was built after
+designs by Juan de Herrera.
+
+The inner court, or _patio_, is described by a Spanish writer as
+“solemn, grandiose, full of majesty ... constructed for the
+dwelling-place of the August Cæsar.” It forms a spacious parallelogram
+and is enclosed by an arcade in two storeys with columns of the
+Corinthian order. Above the capitals are displayed the escutcheons of
+the various kingdoms ruled over by Charles. The modern restorers of the
+palace have adorned the court with a statue of the Emperor in the Roman
+costume in which he was so fond of being represented.
+
+The finest feature of the palace must have been the staircase, designed
+by Villalpando and Herrera, which has been to some extent restored after
+its destruction by Stahremberg in 1710. One of the widest staircases in
+the world, “it ends,” says Miss Hannah Lynch “in the void!” In truth,
+the Alcazar is not to-day a very interesting building. It is, in
+reality, quite impossible to identify the scenes of the romantic and
+historical episodes which we know occurred in one or other of the
+successive Alcazars. But the room in which Alfonso VI. died and the
+window at which the hapless Blanche de Bourbon wept, _pace_ the local
+guides, must have disappeared to the last stone and fragment ages ago.
+All that can be said of the palace to-day is that it forms an imposing
+landmark, and affords from its northern terrace one of the finest views
+of Toledo.
+
+To the age of Charles V. (or Carlos I. as in Spain he would properly be
+called) belongs the Hospital de San Juan Bautista, styled the Hospital
+de Afuera (outside) in the suburb of Covachuelas. The building was begun
+in 1541 by order of Archbishop Juan de Tavera, who died on his return
+from the baptism of Prince Carlos at Valladolid. The building was
+carried on after Bustamente’s death by the two Vergaras, and completed
+about 1600. The façade dates from the eighteenth century and is still
+unfinished. The courtyard, spacious and imposing, is divided into two
+and enclosed by colonnades. A fine Renaissance portal by Berruguete
+leads into the large chapel, which is in the form of a cross and
+surmounted by a dome. The pavement is of black and white marble. Before
+the altar is the tomb of Archbishop Tavera by Berruguete. This is one of
+the finest monuments in Spain. It was finished by Berruguete when he was
+over eighty years old, in 1561, his death taking place the same year in
+one of the rooms under the great clock. His sons received nearly a
+million maravedis for the work. “The Cardinal,” says Théophile Gautier,
+“is stretched out upon his tomb in his pontifical habit. Death has
+pinched his nose with its strong fingers, and the last contraction of
+the muscles, in their endeavour to retain the soul about to leave the
+body for ever, puckers up the corners of the mouth and lengthens the
+chin; never was there a cast taken after death more horribly true; and
+yet the beauty of the work is such, that you forget any amount of
+repulsiveness that the subject may possess. Little children in attitudes
+of grief support the plinth and the Cardinal’s coat of arms. The most
+supple and softest clay could not be more easy or more pliant; it is not
+carved, it is kneaded!”
+
+The hospital contains some of El Greco’s most notable work, which will
+be noticed in the chapter on that master.
+
+To Charles V. Toledo also owes the grand New Gate of Visagra, built in
+1550, and restored in 1575. It consists of two separate structures, or
+gateways, enclosing a _patio_. On the exterior of the north gate is
+shown the double eagle with the Spanish arms and a Latin
+inscription--all in sculptured granite. On the inside is a fine statue
+of St. Eugenio, variously attributed to Berruguete and Monegro. The
+statues of Gothic kings, a life-sized angel with unsheathed sword,
+elegant capitals and balconies, combine to make this gateway one of the
+finest approaches possessed by any city in the world.
+
+The Ayuntamiento, or town hall, of Toledo was erected in the time of
+Ferdinand and Isabel by the corregidor Gomez Manrique, and enlarged and
+restored between 1576 and 1618 by the corregidor Juan Tello, under the
+supervision of El Greco. The façade is composed of two storeys, the
+first consisting of nine arches with Doric columns which spring from
+massive pillars, the second of as many arches with Ionic columns. The
+edifice is surmounted by two towers, crowned with steeples and
+weather-vanes. On the fine staircase may be read in letters of gold on a
+blue ground this admonition to the civic dignitaries of Toledo:
+
+    Nobles, discretes varones,
+    Que gobernais á Toledo,
+    En aquellas escalones,
+    Desechad las aficiones,
+    Codicio temor, y miedo,
+    For los comunes provechos,
+    Dejad los particulares;
+    Pues vos fizo Dios pilares
+    De tan riquisimos techos,
+    Estad firmes y derechos.
+
+The Summer Council Chamber is handsomely decorated with _azulejos_, and
+contains some battle pictures. The portraits of Carlos II. and his wife
+are the work of Carreño.
+
+The celebrated Bridge of Alcantara, of which mention has so often been
+made in these pages, belongs indifferently to all the epochs of Toledo’s
+history, so no apology is needed for mentioning it here. “It constitutes
+to-day as in the past,” writes Amador de los Rios, “the principal
+entrance to the city, and, constructed very wisely on one of the
+narrowest parts of the river, it is formed of a great central arch of
+more than twenty-eight metres in breadth, resting on the right on a
+solid pile, often demolished, behind which is a smaller semicircular
+arch, which is, in turn, sustained by the bridge head, founded on the
+rock and pierced by a still smaller arch or passage, where several
+Visigothic remains have been discovered.” At the outer or country end of
+the historic bridge formerly stood a fortified tower, which was in 1787
+replaced by the existing structure. This is in a pretentious style, and
+is decorated with various inscriptions, among them one commemorating the
+building by order of Philip V. The majestic hexagonal tower on the town
+side, with its picturesque turrets, dates probably from 1259. Above it
+is a statue of St. Ildefonso, by Berruguete. Over the archway are
+sculptured the badges of Ferdinand and Isabel (the yoke and bundle of
+arrows), commemorating the restoration of the tower, in 1489, by Gomez
+Manrique. A noble bridge is this of Alcantara; old--old as the city--the
+work of all Toledo’s rulers, and like Toledo, grim, stern, rude,
+destined, it would seem, to endure for ever. Romans, Visigoths, Moors
+and Castilians have lingered on it, triumphed on it, fled across it,
+fought upon it, and across it to-day must walk every traveller entering
+with reverence this great temple of the mediæval and bygone.
+
+
+
+
+EL GRECO
+
+BY
+
+ALBERT F. CALVERT AND C. GASQUOINE HARTLEY
+
+
+Domeniko Theotokopuli,[A] known to us to-day as El Greco, was the first
+great painter of Spain, and in his strange and fascinating art, the
+Spanish School compels for the first time the attention of the world.
+And El Greco was not Spanish. He was born in Crete, it would seem about
+the year 1548, and died at Toledo in 1614. Learning his art in Venice,
+in his early manner he is a pure Venetian, owing much to the work of the
+Bassani, and more to the inspiration of Tintoretto, but in Toledo he
+became Spanish and himself, developing there a manner in which the
+special temper of the race finds an expression passionate enough, not
+equalled again, indeed, until the advent of Goya.
+
+There will always be some men imaginative, entirely personal, who,
+like El Greco, seek to express themselves, and in so doing, quite
+unwittingly probably, express the life of their age. Having the
+interpretative--creative would perhaps be the truer word--genius, their
+work becomes, as it were, a mirror, which reflects not the man alone,
+but the circumstances that have formed his life. For, after all, what
+the artist does is to use up what he has seen.
+
+This is why El Greco seems to chronicle for us our impressions of
+Toledo, and of Spain.
+
+Surely no other painter has lived in a city in such strong agreement
+with his spirit. Think of the place--wind-swept, heat-dried,
+extraordinarily austere, yet flushed with colour, ochre-red shading to
+unusual greens; heaped upon its rocky throne above the yellow flowing
+Tagus, its rugged silhouette straight cut against a sky hard and clear
+as enamel; and, beyond, the sierra like a great brown sea in which it
+all stands as an island starting from the waves. A suggestion of
+strenuousness seems to linger everywhere, a spirit, personal and keen,
+cruel almost as the sword-blades the city fashions. The very buildings,
+placed upon the crags beneath the great hulk of the Alcazar, repeat this
+impression, they rise in sharp upward and downward lines like an
+arrangement of swords, and make their appeal by the strange strength of
+their aspect. The streets are a tortuous net of steep-rising
+passage-ways. A city strongly itself that has suffered no change,
+fantastic as a city seen in a dream.
+
+Yes, to those who know Toledo, the impression of the character of the
+city upon El Greco will bring no surprise. His art corresponds perfectly
+with its setting. Everywhere his work is around you, for El Greco is one
+of those painters who has but a single home. He built churches and other
+buildings--the classic façade of the Ayuntamiento, for instance, was
+modelled on his design; he carved statues, he painted pictures, there
+are canvases of his in the museum, in the cathedral, and in many of the
+churches. And in all this mass of work, it is the living force behind it
+that is the first impression that you gain; a kind of driving power that
+fascinates you, just as Toledo fascinates you, by reason of its power.
+El Greco was a painter able to create--that is the secret of it all.
+And, be it remembered, the artist does not find his matter straight from
+the springs of his brain, what he is able to see he sets down, and that
+is all. His art is great in exact measure as it is able to transfer this
+vision from him to us. In this way El Greco, to whom vision seems to
+have been the whole of life, does in his pictures transfer to us the
+entire impression of Toledo, so that it is difficult to speak of his art
+without making Toledo the refrain.
+
+And as we wait with his pictures and note, after the first surprise has
+left us, the qualities of the work, throughout they confirm this. The
+very form of his composition is moulded upon Toledo. Just as its
+buildings cluster around the Alcazar, almost as bees swarming about
+their queen, so he groups everything around a central figure. Never,
+after he came to Toledo, did El Greco use Italian backgrounds. And in
+his long, lithe figures, so fantastic in their hard outlines, sometimes
+we catch that suggestion of the sword that haunts Toledo. Then when we
+come to more tangible things, we find to-day El Greco’s models in the
+dark peasants of Toledo. Nowhere else can we quite believe in the
+reality of those coldly fervent, self-absorbed, ecstatic men, who greet
+us with such fascination from his canvases, their lean, long profiles
+suggesting again that aspect of a sword.
+
+Then, El Greco’s colour was drawn from the landscape around him. And
+colour, if we may credit the truth of the conversation recounted by
+Pacheco, was to him the one quality in painting, form, drawing, all
+else, being of secondary significance. This, too, was learnt in Toledo,
+where colour has an allurement--illusive and insistent. Toledo it was
+showed him the existence of cold tones, and the fascination of its greys
+and livid greens led him to anticipate modern colour, at a time when
+every one else was painting warm tonalities. In the Convent of San Juan
+de los Reyes, now the Museo Provincial, is that ‘Bird’s-Eye View of
+Toledo,’ the picture in which we have a portrait of George Manuel
+Theotokopuli, El Greco’s son. At first you will be astonished, it is the
+strangest landscape in the world. But wait with the picture--always the
+danger with El Greco is that you will not linger enough. The painter who
+sees for himself must be studied, not dismissed as he who but sets down
+the common vision of things. And El Greco does give us the real Toledo
+in this fantastic landscape. Do you doubt this? Then go when night falls
+upon the city to some such vantage-point as the Puerta del Cambón, where
+beneath the dome of the evening sky you will see Toledo, heaped roof
+against roof, tower against tower. You will forget the strangeness of
+the picture’s statement, as you come to see that it is just this effect
+that El Greco has caught. Now you will recognise the reality of those
+bluish whites, those tones of green that surprised you, and, in
+gladness, you will yield to the truth, the beauty--are not the two the
+same?--of the painter’s vision, and avow how much he has taught you to
+see.
+
+Always El Greco’s pictures leave an impression of their own upon the
+spectator; and this is the test of vital work. It is personality that
+counts in art. Whether he paints the visible truth of outward things, as
+in his portraits--that wonderful series in the Prado, for instance, in
+which he startles us with his revelation of his model--or pure fancies
+of the mind, as ‘The Vision of Philip II.,’ in the Escorial, a picture
+that would seem to have no conscious reference to things seen, one feels
+that he had something definite to express. And although his style at
+first may have been formed largely on that of the great Venetian
+painters, of Tintoretto especially--a “sort of shorthand of the
+Venetian,” Mr. Ricketts calls it--in all his pictures there is but one
+personality--that of himself. At the back of his art was a force of
+passionate character--unbalanced? Yes! capricious and arbitrary; a
+tyrannical need that compelled expression. But in spite of his singular
+conventions and, from a theorist’s point of view, the strangeness and
+exaggeration of his qualities, he does convey his meaning, splendidly
+effective, if not the best. And because of this intensity of vision we
+have those pictures of exaggerated statement that give credit to the
+fable of the painter’s madness, such as the ‘St. John the Baptist,’ in
+the Hospital San Juan Bautista, a picture which many have found ugly,
+while the few see in its new conception a striving for personal
+utterance, and find many things in its suggestion.
+
+El Greco stumbled in his methods maybe, never in his purpose, which was,
+it would seem to us, the significance of movement. All his strange
+skill, the power of his imagination, his new knowledge of colour and
+light, are used in this service, to bring home to us the vision of
+movement that everywhere he saw. Even in his portraits it is this that
+holds us. There is something more in them than the outward likeness;
+there is a power of reaching to and showing us the unquiet spirit
+within. He makes his portraits live and speak. This quality is present
+in all his work. Every picture is built up by its effect; and this
+effect is movement--life. By concentrating on a particular passage, by a
+contempt for detail and peddling accuracy, he directs our minds to this
+principal thing. His interest, as it were, compels ours; he realises his
+vision and makes us share in his imagination.
+
+But it may be said that in many of these pictures the effect is forced;
+in the ‘St. Maurice,’ the rejected altar-piece of the Escorial, for
+instance, in the ‘Baptism of Christ’ and the ‘Descent of the Holy
+Spirit,’ in the Prado, and in many pictures in Toledo, easily
+recognised, in which realities are replaced by a series of conventions.
+It is not necessary to wait to particularise examples. Certainly one
+does not see in the pictures of other painters those greens, those ashen
+whites and crimsons, those livid blacks; El Greco’s use of colour is
+unusual and his own. Light is not used as he uses it, as a quantity for
+emotional appeal; those faces, so elongated or contracted, and with such
+extravagant expressions, those figures with hard anatomical outlines, do
+not correspond with life as we see it. Yes, this is true. But look
+longer at these pictures.... Well, would it be possible to gain their
+_effects_ without the _defects_? If things are forced out of harmony it
+is for the sake of “telling strongly.” All this search for expression is
+done quite consciously. El Greco throughout was strong enough to be true
+to himself and to his imagination. He knew that no system of art is
+final, that the achievements of artists are, in truth, the stones
+wherewith the Temple of Art is built. Imagination does not see
+commonplaces. And we recall the statement of Blake--he, too, a painter
+of visions of the mind: “He who does not imagine in stronger and better
+lineaments, and in stronger and better light, than his perishing mortal
+eye can see, does not imagine at all.”
+
+El Greco might have said these words.
+
+And the man? There is a portrait Domeniko Theotokopuli has left of
+himself now in the Museum of Seville. In it we see the long, striking
+profile, with its large, strong nose, restless eyes and straight mouth,
+cruel slightly, framed by the great white ruff that forms such fitting
+setting to the fine head. The forehead is high, the dark hair scant upon
+the temples. We may read in the face, and still more in the perfectly
+shaped hands--the left holds a square palette upon which are the five
+primary colours, white, black, yellow-ochre, vermilion, and lake, the
+colours he used most frequently--the fastidiousness of the artist, the
+instinct for beauty; we may read a peculiar suggestion of mysticism and
+ardour; self-assertion, too, and impatience--both wait in those long,
+nervous fingers. It is a face of genius, but of a kind restless,
+unbalanced, decadent perhaps. And we understand the driving energy that
+burned to fever, so that at times the balance was lost between the
+painter’s aim and the result, and we realise that the work of such a man
+must be introspective, experimental, neurotic.
+
+We know nothing almost of El Greco’s life, and if external happenings
+were all, the most original painter of Spain would remain an unexplained
+personality. His very name is uncertain, and contemporary writers,
+disregarding the Theotokopuli, speak of him as Domeniko Greco. We do not
+know the year in which he was born, for the information given by
+Palomino in “El Museo” must certainly be questioned, no register of his
+birth as yet having been found among the Cretan archives, or in the
+parochial books of the Greek colony in Venice, the city in which it
+seems certain that he lived--a pupil, we may well think, of Tintoretto,
+rather than of Titian; and this in spite of the letter of his friend
+and compatriot the miniature-painter, Clovio,[B] in which Clovio speaks
+of the young Greek painter’s skill, tells of his coming to Rome, and,
+after commending him to the patronage of the Cardinal Nepote Farnese,
+refers to his having learnt his art from the greatest Venetian. But the
+testimony of his work gives more truth than this statement; his early
+pictures, their authorship so long unknown, again and again have been
+attributed to Tintoretto, to Bassano, to Veronese even, never to Titian.
+
+That El Greco was a Cretan we know by his signature, always in Greek, on
+many pictures, Λομήνικος Θεοτοκόπουλος Κρήσεποίει--the ‘San Maurice,’
+in the Escorial, is one. And again, when called, in 1582, by the
+Tribunal of the Inquisition to act as interpreter in the case of a
+Cretan accused of being a Morisco, he describes himself as “Domeniko
+Theotokopuli, native of Candia, painter, resident in Toledo,” as we
+learn from a document discovered by Señor Cossio, to whose research, and
+to that of Señor Foradada and of Señor de Beruete, we owe the few
+discovered facts of El Greco’s life.
+
+We know that Domeniko Greco came to Toledo some time before 1577, and in
+that year he was at work in the convent of Santo Domingo el Antigua,
+where the Church was built and its statues carved by him, and where he
+painted the screens of the fine retablo; that further, he would seem
+never to have left Toledo; that he married there, and had a son, George
+Manuel, who was architect and sculptor to the cathedral from 1628 to his
+death in 1631, and also a daughter, whose portrait figures in several
+pictures--in ‘Christ Despoiled of his Vestments,’ in the cathedral, for
+one; that he died in Toledo, and was buried in Santo Domingo el Antigua
+on April 7, 1614[C]--and that is about all. We have record of much
+work--Toledo still has more than fifty Grecos--and there were pictures
+painted for the small town of Illescas, and also for Madrid. We read of
+two lawsuits, one undertaken to compel the Cathedral Chapter to pay in
+full for the ‘Expolio,’[D] the second to vindicate the painter’s right
+to sell his pictures without paying the tax levied upon merchandise.
+These lawsuits, his pictures, with their dates and signatures, certain
+contracts and receipts, are the few facts to be reported.
+
+It would seem that this strange, self-contained life wished to be
+silent; for it is perhaps not too fanciful to read this meaning into
+that answer given by El Greco when asked, in connection with the writ
+served on him for the ‘Expolio,’ whether he had been brought to Toledo
+to paint the retablo of Santo Domingo: “I am neither bound to say why I
+came to this city nor to answer the other questions put to me.” Here we
+gain hints of certain very real traits of character.
+
+And, if the facts of his life are meagre enough, we can find suggestions
+of this same temper, silent, yet passionate, in that visit of Pacheco to
+the Toledan painter when he was old, in 1611, of which we have spoken
+before. Pacheco tells us that El Greco was a student of many things, a
+writer on art, a great philosopher given to witty sayings, a sculptor
+and architect as well as a painter. He writes of much work that he saw,
+and speaks in particular of a cupboard in which were models in clay of
+each picture El Greco had finished. The two painters talked on many
+subjects, of colour and its supreme quality in painting, of Michael
+Angelo and his failure as a colourist. But in all the account of
+Pacheco, always so minutely laborious, it is significant to note in one
+sentence the impression he formed of Domeniko Greco: “He was in all
+things as singular as in his painting.”
+
+Nor will it do to overlook the testimony of Giuseppe Martinez, whose
+“Practical Letters on the Art of Painting,” though not printed until
+1866, were written a century before. He too speaks of Domeniko Greco as
+of extravagant disposition, and in proof recounts that he engaged
+musicians to play to him that he might “enjoy an additional luxury
+during meals.” The prudent Aragonese condemns this “too much
+ostentation,” but we capture again some fresh clues and hints of this
+strangely effective personality--a fanatic of life, a fanatic of
+painting.
+
+But we have not settled the account of genius when we have called it
+unusual, fanatic, or decadent. It is the solution of the dull that
+genius is extravagant consciously. El Greco can have had no desire, no
+power, to repeat the easy, the commonplace. If strange, exaggerated
+even, his art is without a trace of affectation. When he painted a
+vision he felt it natural to symbolise his idea in the way that he did.
+In colour, in form, he painted only what his imagination saw, gaining in
+colour fresh harmonies for himself, and a new suggestion of movement in
+his imaginative compositions, to which our imagination must find answer.
+
+El Greco understood all nature as a Living Presence; his art was a
+series of experiments to express this. And every one must be struck with
+the peculiar development of this special personality in his art from
+stage to stage--stages that with sufficient accuracy may be divided into
+three periods.
+
+The first is the pupil’s search for truth; the Venetian stage, in which
+we find a consciousness of tradition, showing itself in the
+still-fettered design, in the attitudes of the figures, in the use of
+warm colour, in a flowing quality in the paint, and, especially perhaps,
+in the landscape backgrounds, so Venetian with palaces and marble-paved
+piazzas; yet mingled with all this tradition is an emphatic personality,
+an ardour of expression, very difficult to define, seen in such early
+pictures as ‘The Blind Man,’ in the Parma Gallery, or ‘The Cardinal,’ in
+the National Gallery, both painted before 1577. Over the whole Venetian
+period the influence of Tintoretto is obvious; while the portraits of
+these years recall in their method the work of the Bassani; and of the
+pre-Spanish pictures, as, for instance, the ‘Cleansing of the
+Temple,’[E] now in the possession of the Countess of Yarborough, and the
+replica of the same subject on a small scale, in the Cook collection at
+Richmond, Surrey, a picture of real beauty that testifies to El Greco’s
+skill in miniature--these, and many other works, were thought until
+quite recently to be the work of the Venetians, the first being
+attributed to Paul Veronese, the latter to Tintoretto, and this in spite
+of their marked character.
+
+And the Venetian influence remained in the first years in Toledo. It is
+seen in the beautiful Virgin in the early ‘Assumption,’ painted for the
+central altar-screen of Santo Domingo el Antigua, but now in the
+Prado.[F] But the chief work of this period is the ‘Christ Despoiled of
+His Vestments,’ still in the sacristy of the cathedral in Toledo, for
+which it was painted in 1577. Here, perhaps, in the fine simplicity of
+the grouping, in the dignity of the inspired head of the Saviour, in the
+rich and strong colour and in the vivid light and shade, we have the
+best results of all El Greco learnt in Venice. But even in this
+beautiful picture we see the development, or rather the co-existence, of
+his two styles: on the one hand carefully and thoroughly worked-out
+qualities, a balanced art remembered from Venice, but with it all a
+power that was his own, that seized the elements in the picture and gave
+them life--his life. And again, we have in the excessive height of the
+Christ, in the hands of many of the figures in this picture and in the
+‘Assumption,’ first hints of the special conventions with which the name
+of El Greco is certainly most associated.
+
+We come to the second stage, in which the painter, forgetting tradition,
+seeks to set down his vision in his own way; it is the period of
+experiment, as we see it first in the ‘St. Maurice,’[G] painted in 1581,
+that strange picture, rejected, as we may so well believe, by Philip
+II., who, misunderstanding, as many have done since, the intensity of
+feeling that animates the work, attributed its exaggerated expression to
+madness. Here, and in other pictures of this time, in the seizing
+‘Vision of Philip II.’ and in the ‘St. John the Baptist’ in particular,
+we have splendid examples of imaginative work. Maybe the details are
+impossible, perhaps absurd--many have found them so--but for others the
+inspiration of the painter triumphs, and the longer they gaze at these
+visions the more they are impelled. For, be it remembered, the idea
+should be the starting-point in all imaginative pictures, and should
+control both the design and its treatment, and these Greco’s are
+splendid in this respect. Whether the imagination is exaggerated and
+perverted in wilful experiment, whether from an uncertain technical
+equipment, or whether it is, as we would think, the natural and true
+expression of intense dramatic vision, it is not easy to say. Who shall
+decide whether to call these mad pictures or visions that breathe the
+sublime? That is a question hard to answer in much of El Greco’s
+characteristic work. Perhaps the truth is that we dislike too readily
+what we do not easily understand. El Greco goes back to first principles
+and speaks in symbols with which we are not familiar. Those spectres of
+human kind that surprise us in so many of his pictures in Toledo, in
+those in the Prado, as well as in these two in the Escorial, do not
+suggest life as we see it; but they are inspired--they do convey his
+meaning. This painter’s method is a real enigma; he essayed surprising
+effects by separating colour into its original values; he used light as
+a means of emotional appeal, giving us sometimes most delicate
+harmonies, sometimes discordant contrasts. Domeniko Greco had to teach
+his world to see what he saw, and in this way he came, it may seem to
+some, to over-emphasise what to him was truth.
+
+And his third stage was a fevered expression of his imaginative vision.
+We have entered a new world of extraordinary restlessness, the
+restlessness that must exist when spirit struggles from the bonds of the
+flesh. Toledo, the ardent arid city, burnt fiercely in El Greco’s blood,
+and, more and more, he seems to have felt that it was not enough to
+record facts; to have cared less to give æsthetic pleasure; but that the
+object of his art should be to clothe abstract ideas with life. It is
+something of all this that we find in his later pictures. In each there
+is emphasis--or, if you like, exaggeration--of statement; in the
+‘Coronation of the Virgin’ in San José, for instance, a picture that in
+a strange, left-handed way carries us forward to the picture by
+Velazquez[H] on the same subject. The exaggeration is equally visible in
+the ‘Assumption’ in San Vicente, more beautiful, and the most
+interesting of these rare visions, a picture in which we have
+movement--the very sensation of a figure passing through the air as we
+have, perhaps, in no other picture. It is even stronger in the group of
+pictures in Madrid, the ‘Baptism,’ the ‘Descent of the Holy Spirit,’ the
+‘Resurrection,’ and the ‘Christ Dead in the Arms of God’; it meets us
+again in the ‘St. Joseph with the Child Jesus,’ and in the ‘Virgin and
+Child with Saints Justa and Gertrude,’[I] both in San José, the church
+that is the museum of so much of the master’s work--pictures all similar
+in their intense sentiment; while emphasis burns to a white flame of
+ardent expression in the famed ‘St. John the Baptist,’ the wonderful
+picture of which we have spoken already. It is there, too, in the
+‘Christ Crucified,’ one in the Prado, one in San Nicolas, surely the
+most terrible realisation possible of that scene of sacrifice, in which
+the agony of spirit so outweighs the agony of the flesh, and sky and
+earth seem to take their share in the struggle.
+
+It is impossible to translate the effect of these animated religious
+pictures into words. El Greco was not content to embody the old myths in
+fresh forms, but he gave fresh forms to the ideas that are, as it were,
+the soul of each myth--that which lives when the form of the stories
+change. Even in his pictures with few figures, such for instance, as the
+‘Mary and Jesus,’ in San Vicente, the ‘St. Francis,’ of which there are
+four replicas in Toledo, or that earlier picture, a beautiful rendering
+of a difficult theme, ‘La Veronica,’ one of the series painted for the
+Santo Domingo el Antigua in 1575-76, we have this exaggeration. Then,
+sometimes, exaggeration, which in each picture, after all, only
+emphasises the idea, disappears altogether, and we are given figures of
+singular beauty, as the ‘San Martin,’ in San José, or the really fine
+Madonnas--dark, oval-faced angels that surprise us at times with a
+beauty of type we hardly expect from El Greco. But, as a rule, in the
+pictures of this period, roughly marked by the painting of that
+experimental picture the ‘St. Maurice,’ there is this intensity of
+expression; and especially we find a new, and often strange, use of
+colour; colour, as well as form, being used as a means of dramatic
+statement, with a result that to many is exaggeration. For El Greco
+learnt first, perhaps, from the Venetians, and afterwards certainly in
+Toledo, many new possibilities of colour--that it has a quality that
+speaks, and further that the appeal of a picture depends first of all on
+the tone of its colour. It is for this reason he used colour as a means
+of emotional appeal; it was another quality by which to convey his idea
+to the world. For El Greco held truly that the province of art is to
+interpret, not to imitate. Every development of his art seems to have
+come from his own mind, hardly at all from the work of other painters;
+from the first he was true to his ideals. And always his pictures seem
+to be more the work of his soul than of his hand; which, in other words,
+is to say that he was greater as an artist than as a painter.
+
+Domeniko Greco, like so many of the painters of Spain, was great in
+portraiture; and some of his portraits, such as those of Antonio
+Covarrubias and of Juan de Alava, in the Museo de San Juan de Los Reyes,
+that of Cardinal Tavera, in the Hospital de Afuera, the whole series in
+the Prado, and many others not possible to name, are as fine portraits
+as have ever been done in the world. In his earliest portraits even, in
+that of Julio Clovio, in the Museum of Naples, or that of ‘A Student,’ a
+portrait, it well may be, of the young painter himself, we have the
+qualities of his later work; always it is the spirit of his model that
+he seeks.
+
+And this inward interpretation of life is seen, too, in that picture
+which is accounted rightly the most interesting, though not perhaps the
+most typical, of his work, ‘The Burial of Gonzalo Ruiz, Count of Orgaz,’
+still in the Church of Santo Tomé, where it was painted in 1584. Look at
+this gallery of living portraits, all the life of Toledo--the life of
+Spain--is reflected back from those ardent faces. In St. Augustine,
+splendid in ecclesiastical robes, is the magnificent opulence of the
+Catholic Church; in the livid face of the dead count, in the cowled monk
+and two priests is the fervid piety of a people who have felt themselves
+in mystical communion with God; in the young, warm beauty of St. Stephen
+and the lovely acolyte is the full joy and rich colour of Spain; and
+lastly, in the long line of mourners who stand behind the group of the
+principal figures, and where the painter’s own nervous face is the sixth
+portrait counting from the right side, you have types unchanged in
+Castile to-day. And how individual is the rendering of the upper section
+of the picture in which Christ awaits in the heavens the spirit of the
+dead saint. Yes, this picture is one of the greatest pictures in Spain;
+it is always interesting.
+
+[Illustration: PLATE 1
+
+TOLEDO
+
+_Specially drawn for The Spanish Series_]
+
+[Illustration: PLATE 2
+
+GENERAL VIEW OF TOLEDO FROM THE SOUTH-EAST]
+
+[Illustration: PLATE 3
+
+VIEW OF TOLEDO FROM THE SOUTH-EAST]
+
+[Illustration: PLATE 4
+
+GENERAL VIEW OF TOLEDO]
+
+[Illustration: PLATE 5
+
+VIEW OF TOLEDO FROM THE CAMPO DEL REY]
+
+[Illustration: PLATE 6
+
+GENERAL VIEW OF TOLEDO]
+
+[Illustration: PLATE 7
+
+STATE OF THE RUINS OF THE CIRCO MAXIMO IN THE YEAR 1848, ACCORDING TO
+THE “ALBUM ARTISTICO”]
+
+[Illustration: PLATE 8
+
+THE RIVER TAGUS]
+
+[Illustration: PLATE 9
+
+ALCANTARA BRIDGE]
+
+[Illustration: PLATE 10
+
+PERSPECTIVE OF ST. MARTIN’S BRIDGE AND THE DIRECTION OF THE FORTIFIED
+LINES]
+
+[Illustration: PLATE 11
+
+PERSPECTIVE VIEW OF THE SITE OF THE AQUEDUCT]
+
+[Illustration: PLATE 12
+
+ENVIRONS OF TOLEDO]
+
+[Illustration: PLATE 13
+
+PLAZA DE ZOCODOVER]
+
+[Illustration: PLATE 14
+
+THE TOWN HALL]
+
+[Illustration: PLATE 15
+
+THE MARKET-PLACE]
+
+[Illustration: PLATE 16
+
+THE MARKET-PLACE]
+
+[Illustration: PLATE 17
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 18
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 19
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 20
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 21
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 22
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 23
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 24
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 25
+
+VISAGRA GATE]
+
+[Illustration: PLATE 26
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 27
+
+A STREET IN TOLEDO]
+
+[Illustration: PLATE 28
+
+BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 29
+
+ALCANTARA GATE
+
+ALCANTARA PORTAL AND BRIDGE]
+
+[Illustration: PLATE 30
+
+EXTERIOR OF THE NORTHERN CITY WALLS]
+
+[Illustration: PLATE 31
+
+FORTIFICATIONS OF THE OLD BRIDGE OF BOATS, REPLACED BY THE BRIDGE OF ST.
+MARTIN]
+
+[Illustration: PLATE 32
+
+REMAINS OF THE CITY WALLS OF “AL-HIZÉM,” FROM THE GATE OF THE DOCE
+CANTOS TO THE “PLAZA DE ARMAS” OF THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 33
+
+REMAINS OF THE CITY WALLS, SOUTH-WEST, REBUILT AT THE TIME OF THE
+RECONQUEST]
+
+[Illustration: PLATE 34
+
+REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY]
+
+[Illustration: PLATE 35
+
+REMAINS OF THE ROMAN RAMPART OF THE FIRST ENCLOSURE OF THE CITY. (PLAZA
+DE ARMAS DEL PUENTE DE ALCANTARA)
+
+VISIGOTH CAPITAL TRANSFORMED INTO A FOUNTAIN BASIN. (No. 9 CALLEJON DE
+LA LAMPARILLA)]
+
+[Illustration: PLATE 36
+
+PRINCIPAL ENTRANCE TO THE HOUSE OF THE BATHS OF ABEN-YA-YIX BAJADA AL
+COLEGIO DEL INFANTES
+
+SEPULCHRAL ARCH OF THE INFANTE DON FERNANDO PEREZ IN THE BELEN CHAPEL IN
+THE CONVENT OF THE COMENDADORA DE SANTIAGO]
+
+[Illustration: PLATE 37
+
+RUINS OF POLAN CASTLE. FOURTEENTH CENTURY]
+
+[Illustration: PLATE 38
+
+GUADAMAR CASTLE]
+
+[Illustration: PLATE 39
+
+REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY]
+
+[Illustration: PLATE 40
+
+THE EXTERIOR WALLS
+
+REMAINS OF THE FORTIFICATIONS IN THE JEWISH SUBURB]
+
+[Illustration: PLATE 41
+
+GATE OF THE “ALMOFALA” (BIB-AL-MOJADHA) REBUILT IN THE FOURTEENTH
+CENTURY
+
+“THE ABBOT’S TOWER” IN THE NORTHERN WALLS]
+
+[Illustration: PLATE 42
+
+RUINS OF THE AQUARIA TOWER, COMMONLY CALLED “HORNO DEL VIDRIO”]
+
+[Illustration: PLATE 43
+
+REMAINS OF THE AQUEDUCT (LEFT BANK OF THE RIVER)
+
+REMAINS OF THE AQUEDUCT (RIGHT BANK OF THE RIVER)]
+
+[Illustration: PLATE 44
+
+REMAINS OF THE ROMAN CONSTRUCTION IN THE TOWER OF THE PLAZA DE ARMAS OF
+THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 45
+
+BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 46
+
+EAST SIDE OF THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 47
+
+POSTERIOR FAÇADE OF THE DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 48
+
+DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA. ANTERIOR FAÇADE]
+
+[Illustration: PLATE 49
+
+ALCANTARA GATE]
+
+[Illustration: PLATE 50
+
+COMMEMORATIVE INSCRIPTION IN THE AVENUE OF THE DEFENSIVE TOWER OF THE
+BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 51
+
+COAT OF ARMS OF THE CATHOLIC SOVEREIGNS IN FRONT OF THE DEFENSIVE TOWER
+OF THE BRIDGE OF ALCANTARA
+
+“THE KHALIF’S CAPITALS” AT No. 13 CALLE DEL COLISEO]
+
+[Illustration: PLATE 52
+
+PERSPECTIVE OF THE BRIDGE OF ALCANTARA]
+
+[Illustration: PLATE 53
+
+ST. MARTIN’S BRIDGE]
+
+[Illustration: PLATE 54
+
+ST. MARTIN’S BRIDGE
+
+FAÇADE OF SANTA CRUZ]
+
+[Illustration: PLATE 55
+
+DEFENSIVE TOWERS AT THE ENTRANCE OF ST. MARTIN’S BRIDGE AND THE TOWN
+
+RESTORED POSTERIOR FAÇADE OF THE ARCH DE LA SANGRE]
+
+[Illustration: PLATE 56
+
+REMAINS OF THE AQUEDUCT (RIGHT BANK)]
+
+[Illustration: PLATE 57
+
+EAST SIDE OF ST. MARTIN’S BRIDGE]
+
+[Illustration: PLATE 58
+
+DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE BRIDGE
+
+DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE HIGHWAY]
+
+[Illustration: PLATE 59
+
+MALBARDÓN GATE. ELEVENTH CENTURY]
+
+[Illustration: PLATE 60
+
+VISAGRA GATE]
+
+[Illustration: PLATE 61
+
+UPPER PART OF THE VISAGRA GATE. BUILT IN 1550]
+
+[Illustration: PLATE 62
+
+TOWER IN THE CITY WALLS OF “THE SUBURB OF SAN ISIDORO,” NEAR THE NEW
+BRIDGE OF VISAGRA]
+
+[Illustration: PLATE 63
+
+HYDRAULIC MACHINE AND REMAINS OF THE WALLS IN THE QUARTER OF THE
+CURTIDORES, NEAR THE RIVER
+
+WALLS OF THE SUBURB OF SAN ISIDORO]
+
+[Illustration: PLATE 64
+
+ANCIENT GATE OF VISAGRA]
+
+[Illustration: PLATE 65
+
+ANCIENT GATE OF VISAGRA. THE SIDE WHICH JOINS THE WALL AND THE SIDE
+DEFENSIVE TOWER]
+
+[Illustration: PLATE 66
+
+ANCIENT GATE OF VISAGRA. DEFENSIVE AND SIDE TOWER]
+
+[Illustration: PLATE 67
+
+ANCIENT GATE OF VISAGRA. REMAINS OF THE EASTERN FAÇADE]
+
+[Illustration: PLATE 68
+
+DETAIL OF THE PRINCIPAL FAÇADE OF THE OLD GATE OF VISAGRA
+
+INTERIOR OF THE OLD GATE OF VISAGRA]
+
+[Illustration: PLATE 69
+
+ANCIENT GATE OF VISAGRA]
+
+[Illustration: PLATE 70
+
+THE TOWER CALLED “PUERTA BAJA DE LA HERRERIA,” NOW “GATE OF THE SUN”]
+
+[Illustration: PLATE 71
+
+CASTLE OF SAN SERVANDO]
+
+[Illustration: PLATE 72
+
+CASTLE OF SAN SERVANDO. ANCIENT ENTRANCE IN THE WEST FAÇADE
+
+CASTLE OF SAN SERVANDO. SOUTH-EAST ANGLE]
+
+[Illustration: PLATE 73
+
+DOOR OF THE CASTLE IN SAN SERVANDO]
+
+[Illustration: PLATE 74
+
+GATE OF VALMADRON]
+
+[Illustration: PLATE 75
+
+GATE OF CAMBRÓN]
+
+[Illustration: PLATE 76
+
+BAÑO DE LA CAVA]
+
+[Illustration: PLATE 77
+
+ENTRANCE TO CAVA BATHS]
+
+[Illustration: PLATE 78
+
+RUINS OF THE TOWER OF THE OLD BRIDGE OF BOATS, CALLED “BAÑO DE LA
+CAVA”]
+
+[Illustration: PLATE 79
+
+DETAILS OF THE CONVENT OF SANTA FE.
+
+ELEVENTH CENTURY]
+
+[Illustration: PLATE 80
+
+WEST PORTAL IN THE OLD HERMITAGE, NOW THE INN OF SANTA ANA, ON THE SISLA
+ROAD]
+
+[Illustration: PLATE 81
+
+ALTAR-PIECE OF SAN JUSTO]
+
+[Illustration: PLATE 82
+
+DETAIL OF THE CHURCH OF SAN JUSTO.
+
+FIFTEENTH CENTURY]
+
+[Illustration: PLATE 83
+
+DETAIL OF THE CHAPEL OF SANTOS JUSTO AND PASTOR]
+
+[Illustration: PLATE 84
+
+EFFIGIES OF JUAN GUAS, ARCHITECT OF SAN JUAN DE LOS REYES, AND OF HIS
+SON. CHAPEL OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO]
+
+[Illustration: PLATE 85
+
+EFFIGIES OF MARI ALVARES, WIFE OF JUAN GUAS, AND OF HER DAUGHTER. CHAPEL
+OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO]
+
+[Illustration: PLATE 86
+
+MOSQUE OF THE TORNERIAS. EXTERIOR OF THE SOUTH FAÇADE, SOUTH-WEST
+ANGLE]
+
+[Illustration: PLATE 87
+
+INTERIOR OF THE MOSQUE DE LAS TORNERIAS]
+
+[Illustration: PLATE 88
+
+ARCH OF THE “KIBLÁH” IN THE MOSQUE DE LAS TORNERIAS]
+
+[Illustration: PLATE 89
+
+MOSQUE OF THE TORNERIAS. TREFOIL ARCHED WINDOW
+
+MOSQUE OF THE TORNERIAS. HORSE-SHOE WINDOW]
+
+[Illustration: PLATE 90
+
+MOSQUE OF THE TORNERIAS. ARCHED WINDOW
+
+MOSQUE OF THE TORNERIAS. RECTANGULAR WINDOW]
+
+[Illustration: PLATE 91
+
+MOSQUE DE LAS TORNERIAS]
+
+[Illustration: PLATE 92
+
+MOSQUE OF THE TORNERIAS, BUILT OVER ROMAN REMAINS]
+
+[Illustration: PLATE 93
+
+SUPPOSED ELEVATION OF THE MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 94
+
+SUPPOSED PLAN OF THE MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 95
+
+ACTUAL SITUATION OF THE NORTH-EAST FAÇADE OF THE ANCIENT MOSQUE OF
+BIB-AL-MARDÓM, A TRANSEPT AND _MUDEJAR_ APSIS OF THE HERMITAGE OF SANTO
+CRISTO DE LA LUZ]
+
+[Illustration: PLATE 96
+
+THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO AND
+LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (RIGHT SIDE)]
+
+[Illustration: PLATE 97
+
+THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO OF
+LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (LEFT SIDE)]
+
+[Illustration: PLATE 98
+
+PRINCIPAL NAVE IN THE MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 99
+
+ARCH IN THE SOUTHERN INTERIOR OF THE MOSQUE OF BIB-AL-MARDÓM
+
+ACTUAL ENTRANCE TO THE CASTLE]
+
+[Illustration: PLATE 100
+
+MOSQUE OF BIB-AL-MARDÓM. ARCH IN THE INTERIOR WALL, SOUTH-WEST ANGLE
+
+DETAIL OF THE NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 101
+
+BIB-AL-MARDÓM. “ARCH OF THE CROSS”
+
+INTERIOR FAÇADE
+
+EXTERIOR FAÇADE]
+
+[Illustration: PLATE 102
+
+MOSQUE OF BIB-AL-MARDÓM]
+
+[Illustration: PLATE 103
+
+NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM (HERMITAGE OF SANTO
+CRISTO DE LA LUZ), DISCOVERED IN FEBRUARY 1899]
+
+[Illustration: PLATE 104
+
+THE EPIGRAPHIC MEDALLION ON THE NORTH-WEST FAÇADE OF THE MOSQUE OF
+BIB-AL-MARDÓM (HERMITAGE OF SANTO CRISTO DE LA LUZ), REBUILT IN THE YEAR
+370 AFTER THE HEGIRA (A.D. 980)]
+
+[Illustration: PLATE 105
+
+VISIGOTH CAPITAL IN THE OLD MOORISH PARISH CHURCH OF SAN SEBASTIAN
+
+VISIGOTH BASE WHICH SERVES AS A CAPITAL IN THE OLD MOORISH PARISH CHURCH
+OF SAN SEBASTIAN]
+
+[Illustration: PLATE 106
+
+SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 107
+
+THE HERMITAGE OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 108
+
+WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 109
+
+CHURCH OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 110
+
+WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 111
+
+ANCIENT MOSQUE, NOW THE HERMITAGE OF SANTO CRISTO DE LA LUZ]
+
+[Illustration: PLATE 112
+
+EXTERIOR OF THE HERMITAGE OF SANTO CRISTO DE LA LUZ, AND TOWERS OF
+VARIOUS CHURCHES]
+
+[Illustration: PLATE 113
+
+DETAIL OF THE TRANSITO (SYNAGOGUE), BUILT IN 1360 AT THE EXPENSE OF
+SAMUEL LEVI]
+
+[Illustration: PLATE 114
+
+DETAILS OF THE INTERIOR DECORATION OF THE CHURCH OF THE TRANSITO
+(ANCIENT SYNAGOGUE)]
+
+[Illustration: PLATE 115
+
+DETAILS OF THE INTERIOR DECORATION OE THE CHURCH OF THE TRANSITO
+(ANCIENT SYNAGOGUE)]
+
+[Illustration: PLATE 116
+
+DETAILS OF THE TRANSITO (SYNAGOGUE)]
+
+[Illustration: PLATE 117
+
+DETAILS OF THE TRANSITO (SYNAGOGUE)]
+
+[Illustration: PLATE 118
+
+DETAILS OF THE TRANSITO (SYNAGOGUE)]
+
+[Illustration: PLATE 119
+
+ENTRANCE ARCH IN THE BUILDING CALLED TALLER DEL MORO]
+
+[Illustration: PLATE 120
+
+DETAIL OF DECORATION IN THE MOORISH WORKSHOP]
+
+[Illustration: PLATE 121
+
+DETAILS OF THE PALACE OF THE AYALAS]
+
+[Illustration: PLATE 122
+
+DETAILS OF THE PALACE OF THE AYALAS]
+
+[Illustration: PLATE 123
+
+EXTERIOR OF THE CHAPEL OF SANTO CRISTO DE LA VEGA]
+
+[Illustration: PLATE 124
+
+DOOR AND EXTERIOR OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 125
+
+SECTIONS AND DETAILS OF THE ANCIENT SYNAGOGUE, NOW THE CHURCH OF SANTA
+MARIA LA BLANCA]
+
+[Illustration: PLATE 126
+
+PART OF THE LONGITUDINAL SECTION OF THE ANCIENT SYNAGOGUE, NOW THE
+CHURCH OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 127
+
+INTERIOR OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 128
+
+INTERIOR OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 129
+
+INTERIOR OF SANTA MARIA LA BLANCA]
+
+[Illustration: PLATE 130
+
+CÁRCEL DE SANTA HERMANDAD]
+
+[Illustration: PLATE 131
+
+A GOTHIC DOORWAY]
+
+[Illustration: PLATE 132
+
+A DOORWAY]
+
+[Illustration: PLATE 133
+
+ST. MICHAEL’S TOWER. FOURTEENTH CENTURY]
+
+[Illustration: PLATE 134
+
+HOUSE OF THE TOLEDOS]
+
+[Illustration: PLATE 135
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 136
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 137
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 138
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 139
+
+DETAILS OF A COURTYARD]
+
+[Illustration: PLATE 140
+
+THE FOUNTAIN OF CALERAHIGO]
+
+[Illustration: PLATE 141
+
+ARAB DETAILS]
+
+[Illustration: PLATE 142
+
+VISIGOTH CROWNS AND CROSSES OF GUARRAZAR]
+
+[Illustration: PLATE 143
+
+VISIGOTH CROWNS AND CROSSES OF GUARRAZAR]
+
+[Illustration: PLATE 144
+
+VISIGOTH CROWNS AND CROSSES FOUND AT TOLEDO AND NOW IN THE ROYAL ARMOURY
+AT MADRID]
+
+[Illustration: PLATE 145
+
+SAN PEDRO MARTIN
+
+CALLE DE SANTO TOMÉ]
+
+[Illustration: PLATE 146
+
+ALCAZAR ROYAL PALACE. REPRODUCTION OF THE ENGRAVING MADE IN 1566 FOR
+BRAUN’S “CIVITATES ORBI TERRARUM”]
+
+[Illustration: PLATE 147
+
+PERSPECTIVE OF THE ALCAZAR IN 1845. EAST AND NORTH FAÇADES. REPRODUCTION
+OF AN ENGRAVING IN THE WORK “TOLEDO PINTORESCA”]
+
+[Illustration: PLATE 148
+
+THE ALCAZAR. TAKEN FROM THE PLAZA DE ZOCODOVER]
+
+[Illustration: PLATE 149
+
+SOUTH FAÇADE OF THE ALCAZAR]
+
+[Illustration: PLATE 150
+
+THE ALCAZAR. WEST FAÇADE AFTER THE LATEST RESTORATION]
+
+[Illustration: PLATE 151
+
+THE ALCAZAR]
+
+[Illustration: PLATE 152
+
+ALCAZAR. PRINCIPAL FAÇADE ON THE NORTH]
+
+[Illustration: PLATE 153
+
+THE ALCAZAR. EAST FAÇADE, AFTER THE LATEST RESTORATION]
+
+[Illustration: PLATE 154
+
+GENERAL VIEW OF THE ALCAZAR]
+
+[Illustration: PLATE 155
+
+THE ALCAZAR. THE PRINCIPAL STAIRCASE]
+
+[Illustration: PLATE 156
+
+THE ALCAZAR. PRINCIPAL NORTH PORTAL]
+
+[Illustration: PLATE 157
+
+THE ALCAZAR. COURT AND PLAN]
+
+[Illustration: PLATE 158
+
+COURT OF THE ALCAZAR]
+
+[Illustration: PLATE 159
+
+COURT IN THE ALCAZAR. AFTER THE LATEST RESTORATION]
+
+[Illustration: PLATE 160
+
+THE ALCAZAR. PLAN AND DETAILS. NORTH FAÇADE]
+
+[Illustration: PLATE 161
+
+DETAILS OF THE NORTH FAÇADE OF THE ALCAZAR]
+
+[Illustration: PLATE 162
+
+DOOR OF THE HALL OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 163
+
+DETAILS OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 164
+
+DETAILS OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 165
+
+DETAILS OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 166
+
+DETAILS OF THE HALL OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 167
+
+DETAILS OF THE HALL OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 168
+
+DETAILS OF THE HALL OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 169
+
+DETAILS OF THE HOUSE OF MESA]
+
+[Illustration: PLATE 170
+
+DOORWAY OF THE COLLEGE OF THE INFANTES. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 171
+
+DOORWAY OF THE PALACE OF THE MARTINEZ]
+
+[Illustration: PLATE 172
+
+ROMAN TOWER OF SAN JUAN DE LOS REYES
+
+CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 173
+
+EXTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 174
+
+SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 175
+
+PLAN OF THE CHURCH AND PROCESSIONAL CLOISTER OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 176
+
+DOORWAY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 177
+
+GOTHIC DOORWAY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 178
+
+EXTERIOR OF THE ARCH OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 179
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 180
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 181
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 182
+
+LONGITUDINAL SECTION OF THE CHURCH OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 183
+
+INTERIOR, SAN JUAN DE LOS REYES
+
+RETABLO, SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 184
+
+GALLERY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 185
+
+GALLERY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 186
+
+DETAILS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 187
+
+DETAILS OF GALLERY IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 188
+
+DETAILS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 189
+
+SAN JUAN DE LOS REYES. WALL IN THE PRESBYTERY]
+
+[Illustration: PLATE 190
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 191
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 192
+
+INTERIOR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 193
+
+SAN JUAN DE LOS REYES. DECORATION IN THE TRANSVERSE NAVE]
+
+[Illustration: PLATE 194
+
+SAN JUAN DE LOS REYES. DETAILS OF THE ARMS OF ISABELLA THE CATHOLIC]
+
+[Illustration: PLATE 195
+
+DETAILS OF THE TRANSEPT OF THE CHURCH OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 196
+
+SAN JUAN DE LOS REYES. INTERIOR]
+
+[Illustration: PLATE 197
+
+A DOME IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 198
+
+REMAINS OF WINDOWS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 199
+
+DETAILS OF THE CROSS-AISLE IN THE CHURCH OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 200
+
+ALTAR OF SAN JUAN DE LOS REYES
+
+ALTAR OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 201
+
+DETAILS OF THE ALTAR-PIECE IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 202
+
+COPY OF THE ORIGINAL DRAWING OF THE ARCH AND CROSS-AISLE OF SAN JUAN DE
+LOS REYES]
+
+[Illustration: PLATE 203
+
+LONGITUDINAL SECTION OF THE CLOISTER OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 204
+
+CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 205
+
+SAN JUAN DE LOS REYES. THE CLOISTERS]
+
+[Illustration: PLATE 206
+
+CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 207
+
+CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 208
+
+DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 209
+
+COMPARTMENT OF THE CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 210
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 211
+
+DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 212
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 213
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 214
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 215
+
+SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS]
+
+[Illustration: PLATE 216
+
+CHURCH OF SAN JUAN DE LOS REYES. COURTYARD]
+
+[Illustration: PLATE 217
+
+COURT IN SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 218
+
+DOORWAY OF THE MUSEUM OF SAN JUAN DE LOS REYES]
+
+[Illustration: PLATE 219
+
+SAN JUAN DE LOS REYES. DETAILS ABOVE DOOR OF MUSEUM]
+
+[Illustration: PLATE 220
+
+PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 221
+
+DETAILS OF THE PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 222
+
+FAÇADE OF THE PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 223
+
+DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 224
+
+DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL]
+
+[Illustration: PLATE 225
+
+THE CATHEDRAL]
+
+[Illustration: PLATE 226
+
+GENERAL VIEW OF THE CATHEDRAL]
+
+[Illustration: PLATE 227
+
+THE CATHEDRAL]
+
+[Illustration: PLATE 228
+
+SECTION OF THE CATHEDRAL]
+
+[Illustration: PLATE 229
+
+LONGITUDINAL SECTION OF THE CATHEDRAL]
+
+[Illustration: PLATE 230
+
+TRANSVERSE SECTION OF THE CATHEDRAL]
+
+[Illustration: PLATE 231
+
+PRINCIPAL FAÇADE OF THE CATHEDRAL AND TOWER]
+
+[Illustration: PLATE 232
+
+THE CATHEDRAL. DETAIL OF THE EXTERIOR]
+
+[Illustration: PLATE 233
+
+THE CATHEDRAL. PORTAL OF THE PRINCIPAL FAÇADE]
+
+[Illustration: PLATE 234
+
+THE CATHEDRAL. PRINCIPAL GATE]
+
+[Illustration: PLATE 235
+
+THE CATHEDRAL. THE GATE OF THE LIONS]
+
+[Illustration: PLATE 236
+
+THE CATHEDRAL. PORCH OF THE PRINCIPAL FAÇADE]
+
+[Illustration: PLATE 237
+
+THE CATHEDRAL
+
+THE LION DOOR
+
+THE LION DOOR]
+
+[Illustration: PLATE 238
+
+DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 239
+
+THE CATHEDRAL. DOOR OF THE LOST CHILD]
+
+[Illustration: PLATE 240
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DE LA FERIA]
+
+[Illustration: PLATE 241
+
+CATHEDRAL. GATE OF THE CONCEPTION]
+
+[Illustration: PLATE 242
+
+THE CATHEDRAL. ORNAMENTAL DETAILS OF THE GATES]
+
+[Illustration: PLATE 243
+
+THE CATHEDRAL
+
+CENTRAL NAVE
+
+TOMB OF ALONSO DE CARRILLO]
+
+[Illustration: PLATE 244
+
+THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR]
+
+[Illustration: PLATE 245
+
+THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR]
+
+[Illustration: PLATE 246
+
+THE CATHEDRAL. INTERIOR]
+
+[Illustration: PLATE 247
+
+THE CATHEDRAL. INTERIOR]
+
+[Illustration: PLATE 248
+
+WINDOWS IN THE PRINCIPAL NAVE OF THE CATHEDRAL]
+
+[Illustration: PLATE 249
+
+THE CATHEDRAL. GRATING OF THE PRINCIPAL CHAPEL. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 250
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 251
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 252
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 253
+
+THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 254
+
+THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 255
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 256
+
+THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 257
+
+THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 258
+
+THE CATHEDRAL. ALTAR-PIECE OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 259
+
+THE CATHEDRAL. DETAIL OF THE ALTAR-PIECE OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 260
+
+THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR]
+
+[Illustration: PLATE 261
+
+THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR]
+
+[Illustration: PLATE 262
+
+THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR]
+
+[Illustration: PLATE 263
+
+THE CATHEDRAL. DETAILS OF THE ALTAR-PIECE]
+
+[Illustration: PLATE 264
+
+THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 265
+
+THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 266
+
+THE CATHEDRAL. DETAIL OF THE FRONTAL OF THE HIGH ALTAR]
+
+[Illustration: PLATE 267
+
+THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 268
+
+THE CATHEDRAL. SEPULCHRE OF CARDINAL MENDOZA IN THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 269
+
+THE CATHEDRAL. DOME OF THE PRINCIPAL CHAPEL]
+
+[Illustration: PLATE 270
+
+THE CATHEDRAL. EXTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 271
+
+THE CATHEDRAL. EXTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 272
+
+THE CATHEDRAL. DETAILS OF THE EXTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 273
+
+THE CATHEDRAL. EXTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 274
+
+THE CATHEDRAL. CHOIR STALLS]
+
+[Illustration: PLATE 275
+
+THE CATHEDRAL. CHOIR STALLS]
+
+[Illustration: PLATE 276
+
+THE CATHEDRAL. CHOIR STALLS]
+
+[Illustration: PLATE 277
+
+THE CATHEDRAL. DETAILS OF THE CHOIR STALLS, REPRESENTING THE RE-CONQUEST
+OF GRANADA BY FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 278
+
+THE CATHEDRAL. INTERIOR OF THE CHOIR]
+
+[Illustration: PLATE 279
+
+THE CATHEDRAL. DETAILS OF THE CHOIR]
+
+[Illustration: PLATE 280
+
+THE CATHEDRAL. DETAILS OF THE CHOIR]
+
+[Illustration: PLATE 281
+
+THE CATHEDRAL. THE ARCHBISHOP’S THRONE, REPRESENTING THE
+TRANSFIGURATION. BY BERRUGUETE]
+
+[Illustration: PLATE 282
+
+THE CATHEDRAL. VIRGIN OF THE LANEROS]
+
+[Illustration: PLATE 283
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 284
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 285
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 286
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 287
+
+THE CATHEDRAL. DETAIL OF CHOIR STALLS. THE CAPTURE OF ALHAMA BY
+FERDINAND AND ISABELLA, 1482. RE-CONQUEST OF GRANADA]
+
+[Illustration: PLATE 288
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 289
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 290
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 291
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 292
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 293
+
+THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA]
+
+[Illustration: PLATE 294
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 295
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 296
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 297
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 298
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 299
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 300
+
+THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 301
+
+THE CATHEDRAL. MASONRY IN THE CHOIR]
+
+[Illustration: PLATE 302
+
+THE CATHEDRAL. EXTERIOR OF THE PRESBYTERY]
+
+[Illustration: PLATE 303
+
+THE CATHEDRAL. INTERIOR OF THE CHAPEL OF THE NEW KINGS WITH THE
+SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE]
+
+[Illustration: PLATE 304
+
+THE CATHEDRAL. SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE IN THE
+CHAPEL OF THE NEW KINGS]
+
+[Illustration: PLATE 305
+
+THE CATHEDRAL. SEPULCHRE OF CARDINAL TAVERA IN THE CHAPEL OF THE NEW
+KINGS]
+
+[Illustration: PLATE 306
+
+THE CATHEDRAL. SEPULCHRE OF DON JUAN I. IN THE CHAPEL OF THE NEW KINGS]
+
+[Illustration: PLATE 307
+
+THE CATHEDRAL. SEPULCHRE OF DOÑA LEONOR, WIFE OF DON JUAN I., IN THE
+CHAPEL OF THE NEW KINGS]
+
+[Illustration: PLATE 308
+
+THE CATHEDRAL. CHAPEL OF THE DESCENT OF THE VIRGIN]
+
+[Illustration: PLATE 309
+
+THE CATHEDRAL. MUZARABIC CHAPEL]
+
+[Illustration: PLATE 310
+
+THE CATHEDRAL. DETAILS OF THE CHAPEL OF THE VIRGEN DE LA ANTIGUA]
+
+[Illustration: PLATE 311
+
+THE CATHEDRAL. CHAPEL OF THE VIRGEN DE LA ANTIGUA. FOURTEENTH CENTURY]
+
+[Illustration: PLATE 312
+
+THE CATHEDRAL. DOORWAY OF THE CHAPEL OF THE CANONS]
+
+[Illustration: PLATE 313
+
+ALTAR-PIECE OF SANTA ISABEL
+
+ALTAR-PIECE OF SANTA CATALINA]
+
+[Illustration: PLATE 314
+
+ALTAR-PIECE OF SANTA CATALINA]
+
+[Illustration: PLATE 315
+
+ALTAR-PIECE OF SANTA CATALINA]
+
+[Illustration: PLATE 316
+
+ALTAR-PIECE OF SANTA CATALINA]
+
+[Illustration: PLATE 317
+
+CHAPEL OF SANTA CATALINA. FOUNDED BY THE COUNTS OF CEDILLO]
+
+[Illustration: PLATE 318
+
+THE CATHEDRAL. CHAPEL OF SANTIAGO, CONTAINING THE SEPULCHRES OF DON
+ALVARO DE LUNA AND THAT OF HIS WIFE DOÑA JUANA. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 319
+
+THE CATHEDRAL. SEPULCHRE OF DON JUAN DE ZEREZUELA IN THE CHAPEL OF
+SANTIAGO. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 320
+
+CUPOLA OF THE CHAPEL “DE LOS REYES NUEVOS” IN THE CATHEDRAL
+
+CUPOLA OF THE “CAPILLA DE SANTIAGO,” CALLED “DE DON ALVARO DE LUNA” IN
+THE CATHEDRAL]
+
+[Illustration: PLATE 321
+
+THE CATHEDRAL. SEPULCHRE OF DON GIL CARRILLO DE ALBORNOZ IN THE CHAPEL
+OF SAN ILDEFONSO]
+
+[Illustration: PLATE 322
+
+THE CATHEDRAL. SEPULCHRE OF GIL DE ALBORNOZ IN THE CHAPEL OF SAN
+ILDEFONSO]
+
+[Illustration: PLATE 323
+
+THE CATHEDRAL. ENTRANCE TO THE CHAPTER ROOM. SIXTEENTH CENTURY]
+
+[Illustration: PLATE 324
+
+THE CATHEDRAL. CHAPTER ROOM]
+
+[Illustration: PLATE 325
+
+THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS]
+
+[Illustration: PLATE 326
+
+THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS]
+
+[Illustration: PLATE 327
+
+THE CATHEDRAL. DETAILS IN THE CHAPTER ROOM]
+
+[Illustration: PLATE 328
+
+THE CATHEDRAL. CHAPTER ROOM]
+
+[Illustration: PLATE 329
+
+THE CATHEDRAL. DOORWAY OF THE CHAPTER ROOM]
+
+[Illustration: PLATE 330
+
+THE CATHEDRAL. DETAIL OF A DOORWAY IN THE CHAPTER ROOM]
+
+[Illustration: PLATE 331
+
+THE CATHEDRAL. CUPBOARD MADE BY GREGORIO PARDO (1549-1551), FOR THE
+ANTECHAMBER OF THE CHAPTER HOUSE]
+
+[Illustration: PLATE 332
+
+CUPBOARD IN THE CATHEDRAL]
+
+[Illustration: PLATE 333
+
+THE CATHEDRAL. A RICH AND GOSSAMER CARVED CEILING IN THE CHAPTER HALL
+SIXTEENTH CENTURY]
+
+[Illustration: PLATE 334
+
+THE CATHEDRAL. CEILING IN THE CHAPTER HALL]
+
+[Illustration: PLATE 335
+
+THE CATHEDRAL. A CEILING IN THE ANTE-ROOM]
+
+[Illustration: PLATE 336
+
+THE CATHEDRAL CLOISTERS]
+
+[Illustration: PLATE 337
+
+THE CATHEDRAL CLOISTERS]
+
+[Illustration: PLATE 338
+
+PRESENTATION PORTAL IN THE CLOISTER OF THE CATHEDRAL]
+
+[Illustration: PLATE 339
+
+EXTERIOR, BY THE CLOISTERS OF THE CHAPEL, OF THE PLACE OF SEPULTURE
+BUILT BY HENRY II. FOR HIS TOMB]
+
+[Illustration: PLATE 340
+
+THE CATHEDRAL. PICTURE BY BAYEU IN THE CLOISTERS]
+
+[Illustration: PLATE 341
+
+PORTAL OF ST. CATHARINE IN THE CLOISTER OF THE CATHEDRAL]
+
+[Illustration: PLATE 342
+
+THE CATHEDRAL. DETAILS OF THE GATE OF THE PRESENTATION IN THE CLOISTER]
+
+[Illustration: PLATE 343
+
+THE CATHEDRAL. RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO]
+
+[Illustration: PLATE 344
+
+THE CATHEDRAL. DETAIL OF THE RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO]
+
+[Illustration: PLATE 345
+
+THE CATHEDRAL. A BYZANTINE RELIQUARY]
+
+[Illustration: PLATE 346
+
+SEPULCHRES IN THE CATHEDRAL]
+
+[Illustration: PLATE 347
+
+SCULPTURE IN THE CATHEDRAL]
+
+[Illustration: PLATE 348
+
+THE CATHEDRAL. BRONZE LECTERN AND BOOKS OF HOLY OFFICE]
+
+[Illustration: PLATE 349
+
+THE CATHEDRAL. A BRONZE PULPIT]
+
+[Illustration: PLATE 350
+
+THE CATHEDRAL. DETAIL OF A PULPIT]
+
+[Illustration: PLATE 351
+
+PULPIT IN THE CATHEDRAL]
+
+[Illustration: PLATE 352
+
+CATHEDRAL BELLS WHICH RING WHEN THE HOST IS ELEVATED]
+
+[Illustration: PLATE 353
+
+THE CATHEDRAL. STATUE OF DON JUAN II. FIFTEENTH CENTURY]
+
+[Illustration: PLATE 354
+
+THE CATHEDRAL. ST. FRANCIS OF ASSISI]
+
+[Illustration: PLATE 355
+
+THE CATHEDRAL. A PICTURE BY BAYEU]
+
+[Illustration: PLATE 356
+
+DETAILS IN THE CATHEDRAL]
+
+[Illustration: PLATE 357
+
+THE CATHEDRAL. COVER OF A MISSAL]
+
+[Illustration: PLATE 358
+
+THE CATHEDRAL. SILVER SALVER, “THE ABDUCTION OF THE SABINE WOMEN” BY
+BENVENUTO CELLINI]
+
+[Illustration: PLATE 359
+
+THE CATHEDRAL. CHALICE AND PATEN]
+
+[Illustration: PLATE 360
+
+THE CATHEDRAL. A SHIP THAT BELONGED TO QUEEN JUANA LA LOCA]
+
+[Illustration: PLATE 361
+
+MONSTRANCE IN THE CATHEDRAL]
+
+[Illustration: PLATE 362
+
+THE CATHEDRAL. SWORD OF ALFONSO VI.]
+
+[Illustration: PLATE 363
+
+THE CATHEDRAL. THE ADORATION OF THE KINGS (SILK)]
+
+[Illustration: PLATE 364
+
+THE CATHEDRAL. THE VEIL OF SANTA LEOCADIA (SILK)]
+
+[Illustration: PLATE 365
+
+THE CATHEDRAL. THE ASSUMPTION (SILK)]
+
+[Illustration: PLATE 366
+
+THE CATHEDRAL. THE BEHEADING OF SAN EUGENIO (SILK)]
+
+[Illustration: PLATE 367
+
+KUFIC ENTABLATURE IN THE CATHEDRAL]
+
+[Illustration: PLATE 368
+
+THE CATHEDRAL. A DALMATIC EMBROIDERED IN GOLD AND SILK. SIXTEENTH
+CENTURY]
+
+[Illustration: PLATE 369
+
+THE CATHEDRAL. A CHASUBLE EMBROIDERED IN GOLD AND SILK. SIXTEENTH
+CENTURY]
+
+[Illustration: PLATE 370
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ]
+
+[Illustration: PLATE 371
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ]
+
+[Illustration: PLATE 372
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ]
+
+[Illustration: PLATE 373
+
+THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ]
+
+[Illustration: PLATE 374
+
+EFFIGIES OF JUAN GUAS (ARCHITECT OF SAN JUAN DE LOS REYES), HIS WIFE,
+AND CHILDREN]
+
+[Illustration: PLATE 375
+
+SCULPTURE IN SAN ANDRES]
+
+[Illustration: PLATE 376
+
+BANNER OF THE SALADO]
+
+[Illustration: PLATE 377
+
+ST. PETER NATANO AND ST. THERESA SCULPTURED IN WOOD]
+
+[Illustration: PLATE 378
+
+PLAN OF THE SANTA IGLESIA PRIMADA]
+
+[Illustration: PLATE 379
+
+SANTA ISABEL. SIDE ALTAR-PIECE]
+
+[Illustration: PLATE 380
+
+SANTA ISABEL. DETAIL OF AN ALTAR-PIECE]
+
+[Illustration: PLATE 381
+
+PARISH CHURCH OF SANTIAGO]
+
+[Illustration: PLATE 382
+
+EXTERIOR OF SANTIAGO DEL ARRABAL. THIRTEENTH CENTURY]
+
+[Illustration: PLATE 383
+
+PULPIT IN THE CHURCH OF SANTIAGO DEL ARRABAL, FROM WHICH SAN VICENTE DE
+FERRER PREACHED AGAINST THE JEWS]
+
+[Illustration: PLATE 384
+
+PAROCHIAL CHURCH OF SANTIAGO DEL ARRABAL]
+
+[Illustration: PLATE 385
+
+CHURCH OF SAN TOMÉ]
+
+[Illustration: PLATE 386
+
+DETAIL OF AN ALTAR-PIECE IN THE CHURCH OF THE TRINITY]
+
+[Illustration: PLATE 387
+
+SEPULCHRES IN THE CHURCH OF ST. PETER THE MARTYR]
+
+[Illustration: PLATE 388
+
+DETAILS OF A SEPULCHRE IN THE CHURCH OF ST. PETER THE MARTYR]
+
+[Illustration: PLATE 389
+
+CHURCH OF ST. PETER THE MARTYR. STATUE OF A KNEELING CANON]
+
+[Illustration: PLATE 390
+
+CHAPEL IN SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 391
+
+CHAPEL IN SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 392
+
+DETAILS OF SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 393
+
+SEPULCHRE IN SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 394
+
+SEPULCHRE IN SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 395
+
+DETAIL OF THE CONVENT OF SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 396
+
+DETAILS OF THE CONVENT OF SAN JUAN DE LA PENITENCIA]
+
+[Illustration: PLATE 397
+
+CONVENT OF SANTO DOMINGO]
+
+[Illustration: PLATE 398
+
+CONVENT OF SANTO DOMINGO]
+
+[Illustration: PLATE 399
+
+CONVENT OF SANTO DOMINGO]
+
+[Illustration: PLATE 400
+
+ANCIENT SEPULCHRE IN THE CONVENT OF SANTO DOMINGO]
+
+[Illustration: PLATE 401
+
+SANTO DOMINGO EL REAL, PRINCIPAL ALTAR-PIECE]
+
+[Illustration: PLATE 402
+
+DOORWAY OF THE CONVENT OF SAN ANTONIO]
+
+[Illustration: PLATE 403
+
+PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE]
+
+[Illustration: PLATE 404
+
+PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE]
+
+[Illustration: PLATE 405
+
+DETAIL OF THE INTERIOR OF THE CONVENT OF SAN CLEMENTE]
+
+[Illustration: PLATE 406
+
+PORTAL OF SANTA CRUZ]
+
+[Illustration: PLATE 407
+
+PORTAL OF SANTA CRUZ]
+
+[Illustration: PLATE 408
+
+PORCH OF SANTA CRUZ
+
+THE HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 409
+
+COURT OF SANTA CRUZ]
+
+[Illustration: PLATE 410
+
+COURTYARD OF THE HOSPITAL]
+
+[Illustration: PLATE 411
+
+COURT OF SANTA CRUZ]
+
+[Illustration: PLATE 412
+
+COURT OF SANTA CRUZ]
+
+[Illustration: PLATE 413
+
+DETAIL OF THE PORTAL OF THE HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 414
+
+DETAILS OF SANTA CRUZ]
+
+[Illustration: PLATE 415
+
+HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 416
+
+PORTALS IN THE VESTIBULE OF THE ANCIENT HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 417
+
+HOSPITAL OF SANTA CRUZ. PORTRAIT OF THE FOUNDER, CARDINAL MENDOZA]
+
+[Illustration: PLATE 418
+
+HOSPITAL DE AFUERA. THE COURT]
+
+[Illustration: PLATE 419
+
+HOSPITAL DE AFUERA]
+
+[Illustration: PLATE 420
+
+HOSPITAL OF ST. JOHN BAPTIST]
+
+[Illustration: PLATE 421
+
+HOSPITAL DE AFUERA. SEPULCHRE OF CARDINAL TAVERA. 1557. ALONZO
+BERRUGUETE]
+
+[Illustration: PLATE 422
+
+THE UNIVERSITY
+
+THE UNIVERSITY]
+
+[Illustration: PLATE 423
+
+DETAILS OF THE HOUSE OF MUNÁRRIZ]
+
+[Illustration: PLATE 424
+
+GATE OF AL MARDÓM
+
+ALTAR OF THE CHURCH OF SAN JUSTO]
+
+[Illustration: PLATE 425
+
+PORTAL OF THE ARCHBISHOP’S PALACE
+
+IN THE TOWN HALL]
+
+[Illustration: PLATE 426
+
+CLOISTERS OF SAN JUAN DE LOS REYES
+
+VIEW OF ST. MARTIN’S BRIDGE, LOOKING DOWN THE RIVER]
+
+[Illustration: PLATE 427
+
+GALLERY OF SAN JUAN DE LOS REYES
+
+A MOORISH WORKSHOP]
+
+[Illustration: PLATE 428
+
+HOTEL CASTILLA]
+
+[Illustration: PLATE 429
+
+DETAIL OF THE COURTYARD OF THE HOTEL CASTILLA]
+
+[Illustration: PLATE 430
+
+VISIGOTH CAPITALS IN THE CHURCH OF SAN SEBASTIAN]
+
+[Illustration: PLATE 431
+
+NATIONAL ARCHÆOLOGICAL MUSEUM
+
+CAPITAL, FOURTH CENTURY AFTER THE HEGIRA
+
+CAPITAL OF SANTIAGO DE LOS CABALLEROS NEAR THE ALCAZAR. FOURTH CENTURY
+AFTER THE HEGIRA]
+
+[Illustration: PLATE 432
+
+CAPITAL IN THE ARCHÆOLOGICAL MUSEUM]
+
+[Illustration: PLATE 433
+
+FRAGMENT OF DADO FOUND NEAR THE BASILICA OF SANTA LEOCADIA
+
+WINDOW OF SAN GINÉS
+
+NATIONAL ARCHÆOLOGICAL MUSEUM]
+
+[Illustration: PLATE 434
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE TABLE IN WHITE MARBLE,
+BELONGING TO THE ALJAMA MOSQUE OF TOLEDO
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE FRAGMENT FOUND AT THE
+“MIRADERO.” CARVED IN WHITE MARBLE]
+
+[Illustration: PLATE 435
+
+CAPITAL IN THE SOUTH-WEST ANGLE, BELONGING TO THE OLD MOSQUE, NOW THE
+HERMITAGE OF SANTO CRISTO DE LA LUZ
+
+THE FIFTH OF THE VISIGOTH CAPITALS OF THE HOSPITAL OF SANTA CRUZ]
+
+[Illustration: PLATE 436
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. SKY-LIGHT OR ORNAMENT FOUND AT TOLEDO
+
+VISIGOTH CAPITAL IN THE PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 437
+
+ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD IN THE PARISH CHURCH OF
+SAN ROMÁN]
+
+[Illustration: PLATE 438
+
+ARCHITECTURAL PIECES OF THE VISIGOTH PERIOD EXISTING IN THE CITY]
+
+[Illustration: PLATE 439
+
+ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD]
+
+[Illustration: PLATE 440
+
+CAPITAL OF THE SOUTH-EAST ANGLE BELONGING TO THE ANCIENT MOSQUE, NOW THE
+HERMITAGE OF SANTO CRISTO DE LA LUZ
+
+VISIGOTH CAPITAL OF THE OLD PARISH CHURCH OF SAN SEBASTIAN]
+
+[Illustration: PLATE 441
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. VISIGOTH CAPITALS OF THE CHURCH OF SANTA
+EULALIA. FRAGMENT OF THE DADO OF THE BASILICA OF SANTO LEOCADIA]
+
+[Illustration: PLATE 442
+
+CAPITALS IN THE ARCHÆOLOGICAL MUSEUM]
+
+[Illustration: PLATE 443
+
+PROVINCIAL MUSEUM. CAPITAL OF THE FOURTH CENTURY AFTER THE HEGIRA
+
+NATIONAL ARCHÆOLOGICAL MUSEUM. ARAB ASTROLABE MADE AT TOLEDO IN THE YEAR
+459 AFTER THE HEGIRA (A.D. 1067)]
+
+[Illustration: PLATE 444
+
+ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD]
+
+[Illustration: PLATE 445
+
+ARCHITECTURAL FRAGMENTS ANTERIOR TO THE MAHOMETAN IRRUPTION, No. 1]
+
+[Illustration: PLATE 446
+
+ARCHITECTURAL PARTS AND DECORATIVE REMAINS ANTERIOR TO THE MAHOMETAN
+IRRUPTION, No. 2]
+
+[Illustration: PLATE 447
+
+ARCHITECTURAL PARTS AND DECORATIVE FRAGMENTS ANTERIOR TO THE MAHOMETAN
+IRRUPTION, No. 3]
+
+[Illustration: PLATE 448
+
+ARCHES OF VARIOUS CHURCHES OF THE FOURTEENTH AND FIFTEENTH CENTURIES]
+
+[Illustration: PLATE 449
+
+DENUDATION OF OUR LORD BEFORE THE CRUCIFIXION
+
+EL GRECO
+
+SACRISTY OF THE CATHEDRAL]
+
+[Illustration: PLATE 450
+
+THE VIRGIN, ST. ANNE, THE CHILD JESUS AND ST. JOHN
+
+EL GRECO
+
+CHAPEL OF ST. ANNE]
+
+[Illustration: PLATE 451
+
+OUR LADY OF SORROWS
+
+EL GRECO
+
+SACRISTY OF THE NEW KINGS, IN THE CATHEDRAL]
+
+[Illustration: PLATE 452
+
+PENTECOST
+
+EL GRECO
+
+CHURCH OF THE TRINITY]
+
+[Illustration: PLATE 453
+
+JESUS AND ST. JOHN
+
+EL GRECO
+
+CHURCH OF ST. JOHN THE BAPTIST]
+
+[Illustration: PLATE 454
+
+THE ASSUMPTION
+
+EL GRECO
+
+CHAPEL OF SAN JOSÉ]
+
+[Illustration: PLATE 455
+
+ST. MARTIN
+
+EL GRECO
+
+CHAPEL OE SAN JOSÉ]
+
+[Illustration: PLATE 456
+
+THE HOLY EUCHARIST. BY EL GRECO CHURCH OF SAN JOSÉ]
+
+[Illustration: PLATE 457
+
+SAN JOSÉ AND THE CHILD JESUS
+
+EL GRECO
+
+PARISH CHURCH OF THE MAGDALENE]
+
+[Illustration: PLATE 458
+
+THE INTERMENT OF COUNT DE ORGAZ
+
+EL GRECO
+
+CHURCH OF SANTO TOMÉ]
+
+[Illustration: PLATE 459
+
+DETAIL OF THE INTERMENT OF COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 460
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 461
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 462
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 463
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 464
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ]
+
+[Illustration: PLATE 465
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 466
+
+FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
+
+EL GRECO]
+
+[Illustration: PLATE 467
+
+THE ANNUNCIATION
+
+EL GRECO
+
+PARISH CHURCH OF SAN NICHOLÁS]
+
+[Illustration: PLATE 468
+
+THE CRUCIFIXION
+
+EL GRECO
+
+SAN NICHOLÁS]
+
+[Illustration: PLATE 469
+
+SAN PEDRO NOLASCO
+
+EL GRECO
+
+PARISH CHURCH OF SAN NICHOLÁS]
+
+[Illustration: PLATE 470
+
+THE ASSUMPTION
+
+EL GRECO
+
+PARISH CHURCH OF SAN VICENTE]
+
+[Illustration: PLATE 471
+
+SAN EUGENIO
+
+EL GRECO
+
+PARISH CHURCH OF SAN VICENTE]
+
+[Illustration: PLATE 472
+
+ST. PETER
+
+EL GRECO
+
+PARISH CHURCH OF SAN VICENTE]
+
+[Illustration: PLATE 473
+
+JESUS AND THE VIRGIN
+
+EL GRECO
+
+PARISH CHURCH OF SAN VICENTE]
+
+[Illustration: PLATE 474
+
+THE ASCENSION
+
+EL GRECO
+
+SANTO DOMINGO EL ANTIGUA]
+
+[Illustration: PLATE 475
+
+A SAINT (? SANTO DOMINGO EL ANTIGUA)
+
+EL GRECO]
+
+[Illustration: PLATE 476
+
+THE BIRTH OF JESUS
+
+EL GRECO
+
+SANTO DOMINGO EL ANTIGUA]
+
+[Illustration: PLATE 477
+
+SANTA VERONICA WITH THE SUDARIUM
+
+EL GRECO
+
+SANTO DOMINGO EL ANTIGUA]
+
+[Illustration: PLATE 478
+
+ST. JOHN BAPTIST
+
+EL GRECO
+
+SANTO DOMINGO EL ANTIGUA]
+
+[Illustration: PLATE 479
+
+ST. JOHN THE EVANGELIST
+
+EL GRECO
+
+CHURCH OF SANTO DOMINGO]
+
+[Illustration: PLATE 480
+
+ALTAR-PIECE OF THE CONVENT OF SANTO DOMINGO
+
+EL GRECO]
+
+[Illustration: PLATE 481
+
+ST. FRANCIS OF ASSISI
+
+EL GRECO
+
+COLLEGE OF NOBLE LADIES]
+
+[Illustration: PLATE 482
+
+THE BAPTISM OF JESUS
+
+EL GRECO
+
+HOSPITAL OF ST. JOHN BAPTIST]
+
+[Illustration: PLATE 483
+
+PORTRAIT OF CARDINAL TAVERA
+
+EL GRECO
+
+HOSPITAL OF ST. JOHN BAPTIST]
+
+[Illustration: PLATE 484
+
+VIEW OF THE HIGH ALTAR OF THE TAVERA HOSPITAL
+
+EL GRECO]
+
+[Illustration: PLATE 485
+
+GENERAL VIEW OF TOLEDO (LEFT HALF)
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 486
+
+GENERAL VIEW OF TOLEDO (RIGHT HALF)
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 487
+
+VIEW OF TOLEDO
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 488
+
+PORTRAIT OF ANTONIO COVARRUBIAS
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 489
+
+PORTRAIT OF THE SON OF COVARRUBIAS
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 490
+
+THE CRUCIFIXION
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 491
+
+ALLEGORY OF THE VIRGIN
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 492
+
+PORTRAIT OF JUAN DE AVILA
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 493
+
+OUR SAVIOUR
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 494
+
+ST. JOHN THE EVANGELIST
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 495
+
+ST. PETER
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 496
+
+ST. MATTHIAS
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 497
+
+ST. PHILIP
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 498
+
+ST. ANDREW
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 499
+
+ST. THOMAS
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 500
+
+ST. SIMON
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 501
+
+ST. MATTHEW
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 502
+
+ST. JUDE TADEO
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 503
+
+AN APOSTLE
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 504
+
+AN APOSTLE
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 505
+
+AN APOSTLE
+
+EL GRECO
+
+PROVINCIAL MUSEUM]
+
+[Illustration: PLATE 506
+
+THE ANNUNCIATION
+
+EL GRECO]
+
+[Illustration: PLATE 507
+
+THE DREAM OF PHILIP II.
+
+EL GRECO
+
+CHAPTER HALL OF THE ESCORIAL]
+
+[Illustration: PLATE 508
+
+ST. MAURICE AND THE THEBAN LEGION
+
+EL GRECO
+
+CHAPTER HALL OF THE ESCORIAL]
+
+[Illustration: PLATE 509
+
+PORTRAIT OF EL GRECO BY HIMSELF
+
+SEÑOR A. DE BERUETE, MADRID]
+
+[Illustration: PLATE 510
+
+CHRIST DRIVING THE MONEY-CHANGERS FROM THE TEMPLE
+
+EL GRECO
+
+SEÑOR DE BERUETE, MADRID]
+
+[Illustration: PLATE 511
+
+PORTRAIT OF A STUDENT (EL GRECO?)
+
+EL GRECO
+
+DON PABLO BOSCH, MADRID]
+
+       *       *       *       *       *
+
+THE
+
+SPANISH SERIES
+
+Edited by ALBERT F. CALVERT
+
+
+A new and important series of volumes, dealing with Spain in its various
+aspects, its history, its cities and monuments. Each volume will be
+complete in itself in a uniform binding, and the number and excellence
+of the reproductions from pictures will justify the claim that these
+books comprise the most copiously illustrated series that has yet been
+issued, some volumes having over 300 pages of reproductions of pictures,
+etc.
+
+
+Crown 8vo         Price 3/6 net
+
+ 1   GOYA                          with 600 illustrations
+ 2   TOLEDO                          “  510     “
+ 3   MADRID                          “  450     “
+ 4   SEVILLE                         “  300     “
+ 5   MURILLO                         “  165     “
+ 6   CORDOVA                         “  160     “
+ 7   EL GRECO                        “  140     “
+ 8   VELAZQUEZ                       “  142     “
+ 9   THE PRADO                       “  223     “
+10   THE ESCORIAL                    “  278     “
+11   ROYAL PALACES OF SPAIN          “  200     “
+12   GRANADA AND ALHAMBRA            “  460     “
+13   SPANISH ARMS AND ARMOUR         “  386     “
+14   LEON, BURGOS AND SALAMANCA      “  462     “
+15   VALLADOLID, OVIEDO, SEGOVIA }
+     ZAMORA, AVILA AND ZARAGOZA  }   “  390     “
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+MURILLO
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
+
+
+While the names of Murillo and Velazquez are inseparably linked in the
+history of Art as Spain’s immortal contribution to the small band of
+world-painters, the great Court-Painter to Philip IV. has ever received
+the lion’s share of public attention. Many learned and critical works
+have been written about Murillo, but whereas Velazquez has been
+familiarised to the general reader by the aid of small, popular
+biographies, the niche is still empty which it is hoped that this book
+will fill.
+
+In this volume the attempt has been made to show the painter’s art in
+its relation to the religious feeling of the age in which he lived, and
+his own feeling towards his art. Murillo was the product of his
+religious era, and of his native province, Andalusia. To Europe in his
+lifetime he signified little or nothing. He painted to the order of the
+religious houses in his immediate vicinity; his works were immured in
+local monasteries and cathedrals, and, passing immediately out of
+circulation, were forgotten or never known.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+SPANISH ARMS AND ARMOUR
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
+ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY
+SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN
+
+
+Although several valuable and voluminous catalogues of the Spanish Royal
+Armoury have, from time to time, been compiled, this “finest collection
+of armour in the world” has been subjected so often to the disturbing
+influences of fire, removal, and re-arrangement, that no hand catalogue
+of the Museum is available, and this book has been designed to serve
+both as a historical souvenir of the institution and a record of its
+treasures.
+
+The various exhibits with which the writer illustrates his narrative are
+reproduced to the number of nearly 400 on art paper, and the selection
+of weapons and armour has been made with a view not only to render the
+series interesting to the general reader, but to present a useful text
+book for the guidance of artists, sculptors, antiquaries, costumiers,
+and all who are engaged in the reproduction or representation of
+European armoury.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+THE ESCORIAL
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
+MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
+FROM PICTURES AND PHOTOGRAPHS
+
+
+The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
+its gaunt, grey walls in one of the bleakest but most imposing districts
+in the whole of Spain, was erected to commemorate a victory over the
+French in 1557. It was occupied and pillaged by the French two and
+a-half centuries later, and twice it has been greatly diminished by
+fire; but it remains to-day, not only the incarnate expression of the
+fanatic religious character and political genius of Philip II., but the
+greatest mass of wrought granite which exists on earth, the leviathan of
+architecture, the eighth wonder of the world.
+
+In the text of this book the author has endeavoured to reconstitute the
+glories and tragedies of the living past of the Escorial, and to
+represent the wonders of the stupendous edifice by reproductions of over
+two hundred and seventy of the finest photographs and pictures
+obtainable. Both as a review and a pictorial record it is hoped that the
+work will make a wide appeal among all who are interested in the
+history, the architecture, and the art of Spain.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+TOLEDO
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
+510 ILLUSTRATIONS
+
+
+The origin of Imperial Toledo, “the crown of Spain, the light of the
+world, free from the time of the mighty Goths,” is lost in the
+impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
+city has been described by Wörmann as “a gigantic open-air museum of the
+architectural history of early Spain, arranged upon a lofty and
+conspicuous table of rock.”
+
+But while some writers have declared that Toledo is a theatre with the
+actors gone and only the scenery left, the author does not share the
+opinion. He believes that the power and virility upon which Spain built
+up her greatness is reasserting itself. The machinery of the theatre of
+Toledo is rusty, the pulleys are jammed from long disuse, but the
+curtain is rising steadily if slowly, and already can be heard the
+tuning-up of fiddles in its ancient orchestra.
+
+In this belief the author of this volume has not only set forth the
+story of Toledo’s former greatness, but has endeavoured to place before
+his readers a panorama of the city as it appears to-day, and to show
+cause for his faith in the greatness of the Toledo of the future.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+SEVILLE
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
+
+
+Seville, which has its place in mythology as the creation of Hercules,
+and was more probably founded by the Phœnicians, which became
+magnificent under the Roman rule, was made the capital of the Goths,
+became the centre of Moslem power and splendour, and fell before the
+military prowess of St. Ferdinand, is still the Queen of Andalusia, the
+foster-mother of Velazquez and Murillo, the city of poets and pageantry
+and love.
+
+Seville is always gay, and responsive and fascinating to the receptive
+visitor, and all sorts of people go there with all sorts of motives. The
+artist repairs to the Andalusian city to fill his portfolio; the lover
+of art makes the pilgrimage to study Murillo in all his glory. The
+seasons of the Church attract thousands from reasons of devotion or
+curiosity. And of all these myriad visitors, who go with their minds
+full of preconceived notions, not one has yet confessed to being
+disappointed in Seville.
+
+The author has here attempted to convey in the illustrations an
+impression of this laughing city where all is gaiety and mirth and
+ever-blossoming roses, where the people pursue pleasure as the serious
+business of life in an atmosphere of exhilarating enjoyment.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+THE PRADO
+
+A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
+WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY
+SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG
+
+
+This volume is an attempt to supplement the accurate but formal notes
+contained in the official catalogue of a picture gallery which is
+considered the finest in the world. It has been said that the day one
+enters the Prado for the first time is an important event like marriage,
+the birth of a child, or the coming into an inheritance; an experience
+of which one feels the effects to the day of one’s death.
+
+The excellence of the Madrid gallery is the excellence of exclusion; it
+is a collection of magnificent gems. Here one becomes conscious of a
+fresh power in Murillo, and is amazed anew by the astonishing apparition
+of Velazquez; here is, in truth, a rivalry of miracles of art.
+
+The task of selecting pictures for reproduction from what is perhaps the
+most splendid gallery of old masters in existence, was one of no little
+difficulty, but it is believed that the collection is representative,
+and that the letterpress will form a serviceable companion to the
+visitor to The Prado.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+GRANADA AND THE ALHAMBRA
+
+A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
+ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
+MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION
+TO H.I.M. THE EMPRESS EUGÉNIE
+
+
+This volume is the third and abridged edition of a work which the author
+was inspired to undertake by the surpassing loveliness of the Alhambra,
+and by his disappointment in the discovery that no such thing as an even
+moderately adequate illustrated souvenir of “this glorious sanctuary of
+Spain” was obtainable. Keenly conscious of the want himself, he essayed
+to supply it, and the result is a volume that has been acclaimed with
+enthusiasm alike by critics, artists, architects, and archæologists.
+
+In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
+may be likened to an exquisite opera which can only be appreciated to
+the full when one is under the spell of its magic influence. But as the
+witchery of an inspired score can be recalled by the sound of an air
+whistled in the street, so--it is my hope--the pale ghost of the Moorish
+fairy-land may live again in the memories of travellers through the
+medium of this pictorial epitome.”
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+EL GRECO
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140
+OF HIS PICTURES
+
+
+In a Series such as this, which aims at presenting every aspect of
+Spain’s eminence in art and in her artists, the work of Domenico
+Theotocópuli must be allotted a volume to itself. “El Greco,” as he is
+called, who reflects the impulse, and has been said to constitute the
+supreme glory of the Venetian era, was a Greek by repute, a Venetian by
+training, and a Toledan by adoption. His pictures in the Prado are still
+catalogued among those of the Italian School, but foreigner as he was,
+in his heart he was more Spanish than the Spaniards.
+
+El Greco is typically, passionately, extravagantly Spanish, and with his
+advent, Spanish painting laid aside every trace of Provincialism, and
+stepped forth to compel the interest of the world. Neglected for many
+centuries, and still often misjudged, his place in art is an assured
+one. It is impossible to present him as a colourist in a work of this
+nature, but the author has got together reproductions of no fewer than
+140 of his pictures--a greater number than has ever before been
+published of El Greco’s works.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+VELAZQUEZ
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
+
+
+Diego Rodriguez de Silva y Velazquez--“our Velazquez,” as Palomino
+proudly styles him--has been made the subject of innumerable books in
+every European language, yet the Editor of this Spanish Series feels
+that it would not be complete without the inclusion of yet another
+contribution to the broad gallery of Velazquez literature.
+
+The great Velazquez, the eagle in art--subtle, simple, incomparable--the
+supreme painter, is still a guiding influence of the art of to-day. This
+greatest of Spanish artists, a master not only in portrait painting, but
+in character and animal studies, in landscapes and historical subjects,
+impressed the grandeur of his superb personality upon all his work.
+Spain, it has been said, the country whose art was largely borrowed,
+produced Velazquez, and through him Spanish art became the light of a
+new artistic life.
+
+The author cannot boast that he has new data to offer, but he has put
+forward his conclusions with modesty; he has reproduced a great deal
+that is most representative of the artist’s work; and he has endeavoured
+to keep always in view his object to present a concise, accurate, and
+readable life of Velazquez.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+ROYAL PALACES OF SPAIN
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
+THE SPANISH KINGS. PROFUSELY ILLUSTRATED
+
+
+Spain is beyond question the richest country in the world in the number
+of its Royal Residences, and while few are without artistic importance,
+all are rich in historical memories. Thus, from the Alcazar at Seville,
+which is principally associated with Pedro the Cruel, to the Retiro,
+built to divert the attention of Philip IV. from his country’s decay;
+from the Escorial, in which the gloomy mind of Philip II. is perpetuated
+in stone, to La Granja, which speaks of the anguish and humiliation of
+Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
+Rio Frio, and from El Pardo, darkened by the agony of a good king, to
+Miramar, to which a widowed Queen retired to mourn: all the history of
+Spain, from the splendid days of Charles V. to the present time, is
+crystallised in the Palaces that constitute the patrimony of the Crown.
+
+The Royal Palaces of Spain are open to visitors at stated times, and it
+is hoped that this volume, with its wealth of illustrations, will serve
+the visitor both as a guide and a souvenir.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS
+
+
+The glory of Valladolid has departed, but the skeleton remains, and
+attached to its ancient stones are the memories that Philip II. was born
+here, that here Cervantes lived, and Christopher Columbus died. In this
+one-time capital of Spain, in the Plaza Mayor, the fires of the Great
+Inquisition were first lighted, and here Charles V. laid the foundation
+of the Royal Armoury, which was afterwards transferred to Madrid.
+
+More than seven hundred years have passed since Oviedo was the proud
+capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
+though no longer great, has still all the appurtenances of greatness,
+and with her granite massiveness and austerity, she remains an
+aristocrat even among the aristocracy of Spanish cities. Zamora, which
+has a history dating from time almost without date, was the key of Leon
+and the centre of the endless wars between the Moors and the Christians,
+which raged round it from the eighth to the eleventh centuries.
+
+In this volume the author has striven to re-create the ancient greatness
+of these six cities, and has preserved their memories in a wealth of
+excellent and interesting illustrations.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+LEON, BURGOS AND SALAMANCA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS
+
+
+In Leon, once the capital of the second kingdom in Spain; in Burgos,
+which boasts one of the most magnificent cathedrals in Spain, and the
+custodianship of the bones of the Cid; and in Salamanca, with its
+university, which is one of the oldest in Europe, the author has
+selected three of the most interesting relics of ancient grandeur in
+this country of departed greatness.
+
+Leon to-day is nothing but a large agricultural village, torpid, silent,
+dilapidated; Burgos, which still retains traces of the Gotho-Castilian
+character, is a gloomy and depleting capital: and Salamanca is a city of
+magnificent buildings, a broken hulk, spent by the storms that from time
+to time have devastated her.
+
+Yet apart from the historical interest possessed by these cities, they
+still make an irresistible appeal to the artist and the antiquary. They
+are content with their stories of old-time greatness and their
+cathedrals, and these ancient architectural splendours, undisturbed by
+the touch of a modernising and renovating spirit, continue to attract
+the visitor.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+MADRID
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450
+ILLUSTRATIONS
+
+
+Madrid is at once one of the most interesting and most maligned cities
+in Europe. It stands at an elevation of 2,500 feet above the sea level,
+in the centre of an arid, treeless, waterless, and wind-blown plain; but
+whatever may be thought of the wisdom of selecting a capital in such a
+situation, one cannot but admire the uniqueness of its position, and the
+magnificence of its buildings, and one is forced to admit that, having
+fairly entered the path of progress, Madrid bids fair to become one of
+the handsomest and most prosperous of European cities.
+
+The splendid promenades, the handsome buildings, and the spacious
+theatres combine to make Madrid one of the first cities of the world,
+and the author has endeavoured with the aid of the camera, to place
+every feature and aspect of the Spanish metropolis before the reader.
+Some of the illustrations reproduced here have been made familiar to the
+English public by reason of the interesting and stirring events
+connected with the Spanish Royal Marriage, but the greater number were
+either taken by the author, or are the work of photographers specially
+employed to obtain new views for the purpose of this volume.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+GOYA
+
+A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS
+PICTURES
+
+
+The last of the old masters and the first of the moderns, as he has been
+called, Francisco José de Goya y Lucientes is not so familiarised to
+English readers as his genius deserves. He was born at a time when the
+tradition of Velazquez was fading, and the condition of Spanish painting
+was debased almost beyond hope of salvation; he broke through the
+academic tradition of imitation; “he, next to Velazquez, is to be
+accounted as the man whom the Impressionists of our time have to thank
+for their most definite stimulus, their most immediate inspiration.”
+
+The genius of Goya was a robust, imperious, and fulminating genius; his
+iron temperament was passionate, dramatic, and revolutionary; he painted
+a picture as he would have fought a battle. He was an athletic, warlike,
+and indefatigable painter; a naturalist like Velazquez; fantastic like
+Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
+Spanish genius.
+
+It is impossible to reproduce his colouring; but in the reproductions of
+his works the author has endeavoured to convey to the reader some idea
+of Goya’s boldness of style, his mastery of frightful shadows and
+mysterious lights, and his genius for expressing all terrible emotions.
+
+       *       *       *       *       *
+
+_UNIFORM WITH THIS VOLUME_
+
+CORDOVA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
+CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS
+
+
+Gay-looking, vivacious in its beauty, silent, ill-provided, depopulated,
+Cordova was once the pearl of the West, the city of cities, Cordova of
+the thirty suburbs and three thousand mosques; to-day she is no more
+than an overgrown village, but she still remains the most Oriental town
+in Spain.
+
+Cordova, once the centre of European civilisation, under the Moors the
+Athens of the West, the successful rival of Baghdad and Damascus, the
+seat of learning and the repository of the arts, has shrunk to the
+proportions of a third-rate provincial town; but the artist, the
+antiquary and the lover of the beautiful, will still find in its streets
+and squares and patios a mysterious spell that cannot be resisted.
+
+       *       *       *       *       *
+
+BY ALBERT F. CALVERT
+
+LIFE OF CERVANTES
+
+A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY
+OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND
+REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”
+
+Size Crown 8 vo.      150 pp.       Price 3/6 net
+
+
+PRESS NOTICES
+
+“A popular and accessible account of the career of Cervantes.”--_Daily
+Chronicle._
+
+“A very readable and pleasant account of one of the great writers of all
+time.”--_Morning Leader._
+
+“Mr. CALVERT is entitled to the gratitude of book-lovers for
+his industrious devotion at one of our greatest literary
+shrines.”--_Birmingham Post._
+
+“It is made trebly interesting by the very complete set of Cervantes’
+portraits it contains, and by the inclusion of a valuable
+bibliography.”--_Black and White._
+
+“We recommend the book to all those to whom Cervantes is more than a
+mere name.”--_Westminster Gazette._
+
+“A most interesting résumé of all facts up to the present time
+known.”--_El Nervion de Bilbao, Spain._
+
+“The most notable work dedicated to the immortal author of _Don Quixote_
+that has been published in England.”--_El Graduador, Spain._
+
+“Although the book is written in English no Spaniard could have written
+it with more conscientiousness and enthusiasm.”--_El Defensor de
+Granada, Spain._
+
+       *       *       *       *       *
+
+BY ALBERT F. CALVERT
+
+THE ALHAMBRA
+
+OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE
+REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS,
+TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE
+AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND
+NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY
+PERMISSION TO H.M. KING ALFONSO XIII.
+
+Size 10 x 7½.        Price £2 2s. net
+
+
+PRESS NOTICES
+
+“It is hardly too much to say that this is one of the most magnificent
+books ever issued from the English Press.”--_Building World._
+
+“One is really puzzled where to begin and when to stop in praising the
+illustrations.”--_Bookseller._
+
+“The most complete record of this wonder of architecture which has ever
+been contemplated, much less attempted.”--_British Architect._
+
+“A treasure to the student of decorative art.”--_Morning Advertiser._
+
+“Mr. CALVERT has given us a Book Beautiful.”--_Western Daily Press._
+
+“It is the last word on the subject, no praise is too
+high.”--_Nottingham Express._
+
+“May be counted among the more important art books which have been
+published during recent years.”--_The Globe._
+
+“Has a pride of place that is all its own among the books of the
+month.”--_Review of Reviews._
+
+“Has in many respects surpassed any books on the Alhambra which up to
+the present have appeared in our own country or abroad.”--_El Graduador,
+Spain._
+
+“It is one of the most beautiful books of modern times.”--_Ely Gazette._
+
+“One of the most artistic productions of the year.”--_Publishers’
+Circular._
+
+“The most beautiful book on the Alhambra issued in England.”--_Sphere._
+
+“The standard work on a splendid subject.”--_Daily Telegraph._
+
+“A remarkable masterpiece of book production.”--_Eastern Daily Press._
+
+“A perfect treasure of beauty and delight.”--_Keighley News._
+
+“A magnificent work.”--_Melbourne Age, Australia._
+
+“Immense collection of fine plates.”--_The Times._
+
+“A standard work, the compilation of which would credit a life’s
+labour.”--_Hull Daily Mail._
+
+       *       *       *       *       *
+
+BY ALBERT F. CALVERT
+
+MOORISH REMAINS IN SPAIN
+
+BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE
+PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND
+DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY
+COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS,
+ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.
+
+Crown 4to. (7½ × 10 ins.)       Price £2 2s. net
+
+
+PRESS NOTICES
+
+“The making of this book must surely have been a veritable labour of
+love; and love’s labour has certainly not been lost.”--_Pall Mall
+Gazette._
+
+“The best age of Moorish architecture in Spain is shown with remarkable
+vividness and vitality.”--_The Scotsman._
+
+“A most gorgeous book.... We cheerfully admit Mr. CALVERT into the ranks
+of those whom posterity will applaud for delightful yet unprofitable
+work.”--_Outlook._
+
+“A large and sumptuous volume.”--_Tribune._
+
+“The illustrations are simply marvels of reproduction.”--_Dundee
+Advertiser._
+
+“One of the books to which a simple literary review cannot pretend to do
+justice.”--_Spectator._
+
+“A special feature of a work of peculiar interest and value are the
+illustrations.”--_Newcastle Chronicle._
+
+“The illustrations are given with a minuteness and faithfulness of
+detail, and colour, which will be particularly appreciated and
+acknowledged by those who are most acquainted with the subject
+themselves.”--_Liverpool Post._
+
+“It is impossible to praise too highly the care with which the
+illustrations have been prepared.”--_Birmingham Daily Post._
+
+“It is illustrated with so lavish a richness of colour that to turn its
+pages gives one at first almost the same impression of splendour as one
+receives in wandering from hall to hall of the Alcazar of Seville; and
+this is probably the highest compliment we could pay to the book or its
+author.”--_Academy._
+
+“It is certainly one of the most interesting books of the
+year.”--_Crown._
+
+“The occasional delicacy of design and harmony of colour can scarcely be
+surpassed ... a valuable and profusely illustrated volume.”--_Guardian._
+
+“An excellent piece of work.”--_The Times._
+
+“Mr. CALVERT has performed a useful work.”--_Daily Telegraph._
+
+“A truly sumptuous volume.”--_The Speaker._
+
+“Mr. CALVERT has given a very complete account of the evolution of
+Moresco art.”--_The Connoisseur._
+
+
+FOOTNOTES:
+
+[A] This spelling of his name resembles most that used by himself.
+
+[B] The exact contents are as follows:
+
+“AL CARD. FARNESE--Viterbo.
+
+                                           “A’ di 16 di Nouembre, 1570.
+
+“E’ capitato in Roma un giouane Candiotto discepolo di Titiano, che
+á mio giuditio parmi raro nella pittura; e fra l’altre cose egli ha
+fatto un ritratto da se stesso, che fa stupire tutti questi Pittori di
+Roma. Io vorrei tratenerlo sotto l’ombra de V.S. Illma. et Revma. senza
+spesa altra del vivere, ma solo de una stanza nell Palazzo Farnese per
+qualche poco di tempo, cioé per fin che egli si venghi ad accomodare
+meglio. Pero La prego et supplico sia contenta di scrivere al Conte
+Lodovico suo Maiordomo, che lo provegghi nel detto Palazzo di qualche
+stanza ad alto; che V.S. Illma. fará un’ opera virtuosa degna di Lei, e
+io gliene terro obligo. Et le bascio con reverenza le mani.
+
+“Di V.S. Illma. et Revma. humilissimo servitore.
+
+                                                        “JULIO CLOVIO.”
+
+
+[C] The record of his burial, discovered by Señor de Beruete in the
+register of the parish church of Santo Tomé, is brief: “Libro de
+entierros de Santo Tomé de 1601-1614, en siete del Abril del 1614
+falescio Domeniko Greco. No hizo testamento, recibo los sacramentos, en
+teroso en Santo Domingo el Antigua.”
+
+[D] Two judges were appointed to settle the dispute, which arose from
+the introduction of the three Marys into the picture. The Chapter
+objected to their presence. El Greco’s defence was characteristic
+enough--What did it matter? and, besides, the women were a long way
+off. The judges disagreed; whereupon the dispute was settled by Alezo
+de Montoyo as follows:
+
+“Having seen the said painting which has been executed by the said
+Domeniko, and the appraisements of the judge appointed by both parties,
+and other persons who understand the said painting, its execution and
+admirable finish; and the reasons which the said judges have given;
+and seeing that the said painting is one of the best that I have seen;
+and that, if it were to be estimated for all its valuable qualities,
+it would be valued at a much higher sum, which but few would care to
+pay for it; but, in view of the nature of the times and the price paid
+generally for the paintings of great artists in Castile; and in view
+of, and taking into consideration all the above and all other points
+that were necessary, I find that I must order, and I do order, that for
+the said painting the said Garcia de Loaysa, in the name of the said
+Holy Church, shall give and pay to the said Domeniko Theotokopuli three
+thousand and five hundred reals: and above this sum the said Domeniko
+Theotokopuli cannot ask, nor must he ask, for anything more for the
+said painting; and as regards the judges for the said workers, they
+say that it is improper for the Marys to be introduced into the story;
+as regards this I am sending the declaration of it to some theologians
+versed in such matters, that they may decide upon it.”
+
+[E] This is another rendering of the same picture; and still another is
+in the collection of Señor de Beruete, Madrid.
+
+[F] This picture passed into the collection of the Infanta Doña Isabel
+Farnese, and is now in the Museo del Prado. The ‘Assumption’ in the
+Church of Santo Domingo el Antigua is a poor copy of the original
+picture.
+
+[G] The picture was painted for the altar of St. Maurice, but it was
+rejected by Philip II., and the commission given to a third-rate
+Italian. To-day the picture hangs in the Sala Capitulare.
+
+[H] This likeness is more striking even in another ‘Coronation of the
+Virgin,’ by El Greco, in the collection of Colonel P. Bosch, Madrid.
+
+[I] Some authorities name these saints Sta. Inez and Sta. Feda.
+
+
+
+
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+  The Project Gutenberg eBook of Toledo, by Albert F. Calvert.
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+<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Toledo, by Albert F. Calvert</div>
+
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
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+country where you are located before using this eBook.
+</div>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Toledo</div>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Albert F. Calvert</div>
+
+<div style='display:block; margin:1em 0'>Release Date: March 22, 2021 [eBook #64900]</div>
+
+<div style='display:block; margin:1em 0'>Language: English</div>
+
+<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
+
+<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive)</div>
+
+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK TOLEDO ***</div>
+<hr class="full" />
+
+<div class="figcenter">
+<a href="images/frontcover.jpg">
+<img src="images/frontcover.jpg" height="550" alt="" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><a href="#CONTENTS">Contents.</a></p>
+
+<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span></p>
+
+<p class="c">THE SPANISH SERIES<br /><br /><br />
+TOLEDO
+<span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
+
+<div class="bxx">
+<p class="c">THE SPANISH SERIES<br /><br />
+<small><i>EDITED BY ALBERT F. CALVERT</i></small></p>
+
+<table summary="">
+<tr><td>
+<span class="smcap">Goya</span><br />
+<span class="smcap">Toledo</span><br />
+<span class="smcap">Madrid</span><br />
+<span class="smcap">Seville</span><br />
+<span class="smcap">Murillo</span><br />
+<span class="smcap">Cordova</span><br />
+<span class="smcap">El Greco</span><br />
+<span class="smcap">Velazquez</span><br />
+<span class="smcap">The Prado</span><br />
+<span class="smcap">The Escorial</span><br />
+<span class="smcap">Royal Palaces of Spain</span><br />
+<span class="smcap">Granada and Alhambra</span><br />
+<span class="smcap">Spanish Arms and Armour</span><br />
+<span class="smcap">Leon, Burgos and Salamanca</span><br />
+<span class="smcap">Valladolid, Oviedo, Segovia</span><br />
+<span class="smcap">&nbsp; &nbsp; Zamora, Avila and Zaragoza</span><br />
+</td></tr>
+</table>
+
+</div>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
+
+<h1><span class="redd">TOLEDO</span></h1>
+
+<div class="pt"><div class="ptt">
+AN &nbsp; &nbsp; HISTORICAL &nbsp; &nbsp;AND &nbsp; DE-<br />SCRIPTIVE
+&nbsp; &nbsp; ACCOUNT &nbsp;  &nbsp; OF<br />
+THE “CITY OF GENERATIONS,”<br />
+BY ALBERT F. CALVERT, WITH<br />
+OVER&nbsp;  &nbsp; 500&nbsp;  &nbsp; ILLUSTRATIONS<br />
+</div></div>
+
+<p class="c"><span class="redd">
+LONDON: JOHN LANE, THE BODLEY HEAD</span><br />
+NEW YORK: JOHN LANE COMPANY MCMVII<br />
+</p>
+
+<p><span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>&nbsp; </p>
+
+<p class="c"><small>
+Printed by <span class="smcap">Ballantyne &amp; Co. Limited</span><br />
+Tavistock Street, London<br /></small>
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span><br />
+<br />
+TO<br /><br />
+S.A. INFANTA MARIA TERESA<br /><br />
+IN WHOSE SYMPATHY<br /><br />
+THE ANCIENT GRANDEUR IS LINKED WITH<br /><br />
+THE FUTURE GREATNESS OF SPAIN<br /><br />
+THIS VOLUME<br /><br />
+WITH AN ASSURANCE OF SINCERE ESTEEM<br /><br />
+IS DEDICATED<br />
+<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p class="nind"><span class="smcap">The</span> author would, in the ordinary way, be hard put to it to frame a
+reasonable apology for compiling a new volume on the subject of the
+ancient and royal city of Toledo. Artists have reproduced its wonder of
+imposing and picturesque detail; archæologists have explored its many
+monuments; historians have discovered in its archives a record which,
+for many centuries, represents the log-book of Spain. There is no
+secret, apart from the impenetrable mystery of its origin, which has not
+been revealed; its chronicle is a well-thumbed volume. The beginnings of
+Spanish history go no further back than the earliest references we have
+to the natural stronghold founded on the seven rocks on the banks of the
+Tagus, and Spanish tradition claims for the citadel an antiquity coeval
+with the sun and stars. Both the history and the legends have been
+transcribed in many languages, yet, in a series which is intended to
+embrace all Spain in its compendious design, the inclusion of the
+twice-told tale of the “city of generations” carries with it an
+unquestionable justification.</p>
+
+<p>The ambition of the author has not been to throw fresh light on a
+well-worn subject, nor to<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span> supplement the work of earlier and more
+erudite writers with new facts or theories, but simply, as in the case
+of the earlier volumes in this series, to equip the illustrations with a
+brief, explanatory text. It would be futile to attempt to even outline
+the story of Toledo in some hundred and fifty pages of letterpress, but
+I hope it may be found that in this limited space sufficient detail has
+been given to convey to the reader a general idea of the changing
+fortunes and unchanging character of the city, which Padilla has
+described as “the crown of Spain, the light of the world, free from the
+time of the mighty Goths.”</p>
+
+<p>The impression of grandeur and melancholy, of strength and silence,
+which the traveller receives from a visit to the one-time capital of the
+Peninsula, cannot be suggested by the written word, but it may be that
+the illustrations will recall, if they do not suggest, the feeling which
+the city inspires. Toledo is mediæval in its architecture and its
+atmosphere. The Moorish occupation has left no more than a scratch upon
+its Gothic character; the spirit of modernity has been defied by its
+virile antiquity. But the Moslem remains have been made a feature of the
+illustrations, and, as in the volumes devoted to Seville, Cordova, and
+Granada in this series, the intricacies of Arabian decoration have been
+extensively reproduced.</p>
+
+<p>Many of the plates are included here by the<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span> courtesy of Messrs.
+Alguacil, Rafael Garzon, Hauser and Menet, and Moreno, and to these
+gentlemen I tender my sincere thanks for the permission accorded me to
+reproduce them. I have also to acknowledge my indebtedness to Mr. E. B.
+d’Auvergne for the assistance rendered by him in the compilation, and to
+Messrs. Martin and Gamoneda for their kindness in allowing me to make
+use of the matter and illustrations contained in the volume on <i>Toledo</i>
+which they have published in the new series of the <i>Monumentos
+Arquitectónicos de España</i>.</p>
+
+<p>I venture to hope that no apology is needed for including the chapter on
+El Greco, and the selection of his pictures, which appear in this
+volume. A separate book, devoted entirely to this subject, which will be
+issued in this series, cannot be ready for some time, and as so little
+has been written about Domeniko Theotokopouli, and so few of his
+pictures have been reproduced, I have decided to incorporate these brief
+notes concerning the Cretan painter, whose association with Toledo
+extended over a period of nearly forty years.</p>
+
+<p class="r">
+A. F. C.<br />
+</p>
+
+<p class="hang">
+“<span class="smcap">Royston</span>,”<br />
+<span class="smcap">Swiss Cottage</span>,<br />
+&nbsp; &nbsp; N.W.<br />
+<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span><span class="pagenum"><a name="page_x" id="page_x">{x}</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+<tr><td>&nbsp;</td><td class="rt"><small>PAGE</small></td></tr>
+<tr><td valign="top" class="smcap"><a href="#THE_CHILDHOOD_OF_THE_CITY">The Childhood of the City</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#THE_CITY_UNDER_THE_VISIGOTH">The City under the Visigoths</a></td><td class="rt" valign="bottom"><a href="#page_8">8</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#TOLEDO_UNDER_THE_MOOR">Toledo under the Moor</a></td><td class="rt" valign="bottom"><a href="#page_29">29</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#TOLEDO_THE_CAPITAL_OF_CASTILE">Toledo the Capital of Castile</a></td><td class="rt" valign="bottom"><a href="#page_59">59</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#BUILDINGS_OF_THE_CASTILIAN_PERIOD">Buildings of the Castilian Period</a></td><td class="rt" valign="bottom"><a href="#page_83">83</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#THE_CATHEDRAL">The Cathedral</a></td><td class="rt" valign="bottom"><a href="#page_101">101</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#THE_DECLINE_OF_THE_CITY">The Decline of the City</a></td><td class="rt" valign="bottom"><a href="#page_130">130</a></td></tr>
+<tr><td valign="top" class="smcap"><a href="#EL_GRECO">El Greco</a></td><td class="rt" valign="bottom"><a href="#page_147">147</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span>&nbsp; </p>
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" style="margin:auto auto;
+max-width:85%;" summary="">
+
+<tr><td><small>TITLE</small></td>
+<td class="rt"><small>PLATE</small></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_1">Toledo. (<i>Specially drawn for The Spanish Series</i>)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_1">1</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_2">General View of Toledo from the South-east</a></td>
+<td class="rt" valign="bottom"><a href="#plt_2">2</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_3">View of Toledo from the South-east</a></td>
+<td class="rt" valign="bottom"><a href="#plt_3">3</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_4">General View of Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_4">4</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_5">View of Toledo from the Campo del Rey</a></td>
+<td class="rt" valign="bottom"><a href="#plt_5">5</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_6">General View of Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_6">6</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_7">State of the Ruins of the Circo Maximo in the Year 1848, according to the “Album Artistico”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_7">7</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_8">The River Tagus</a></td>
+<td class="rt" valign="bottom"><a href="#plt_8">8</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_9">Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_9">9</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_10">Perspective of St. Martin’s Bridge and the Direction of the Fortified Lines</a></td>
+<td class="rt" valign="bottom"><a href="#plt_10">10</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_11">Perspective View of the Site of the Aqueduct</a></td>
+<td class="rt" valign="bottom"><a href="#plt_11">11</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_12">Environs of Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_12">12</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_13">Plaza de Zocodover</a></td>
+<td class="rt" valign="bottom"><a href="#plt_13">13</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_14">The Town Hall</a></td>
+<td class="rt" valign="bottom"><a href="#plt_14">14</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_15">The Market-place</a></td>
+<td class="rt" valign="bottom"><a href="#plt_15">15</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_16">The Market-place</a></td>
+<td class="rt" valign="bottom"><a href="#plt_16">16</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_17">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_17">17</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_18">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_18">18</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_19">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_19">19</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_20">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_20">20</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_21">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_21">21</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_22">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_22">22</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_23">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_23">23</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_24">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_24">24</a>
+<span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_25">Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_25">25</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_26">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_26">26</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_27">A Street in Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_27">27</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_28">Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_28">28</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_29">Alcantara Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_29">29</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_29">Alcantara Portal and Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_29">29</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_30">Exterior of the Northern City Walls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_30">30</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_31">Fortifications of the old Bridge of Boats, replaced by the Bridge of St. Martin</a></td>
+<td class="rt" valign="bottom"><a href="#plt_31">31</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_32">Remains of the City Walls of “Al-Hizém,” from the Gate of the Doce Cantos to the Plaza de Armas of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_32">32</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_33">Remains of the City Walls, south-west, rebuilt at the Time of the Reconquest</a></td>
+<td class="rt" valign="bottom"><a href="#plt_33">33</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_34">Remains of the Roman Ramparts of the first Enclosure of the City</a></td>
+<td class="rt" valign="bottom"><a href="#plt_34">34</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_35">Remains of the Roman Ramparts of the first Enclosure of the City. (Plaza de Armas of the Bridge of Alcantara)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_35">35</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_35">Visigoth Capital transformed into a Fountain Basin. (No. 9, Callejon de la Lamparilla)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_35">35</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_36">Principal Entrance to the House of the Baths of Aben-Ya-Yix Bajada al Colegio del Infantes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_36">36</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_36">Sepulchral Arch of the Infante don Fernando Perez in the Belen Chapel in the Convent of the Comendadora de Santiago</a></td>
+<td class="rt" valign="bottom"><a href="#plt_36">36</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_37">Ruins of Polan Castle. Fourteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_37">37</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_38">Guadamar Castle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_38">38</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_39">Remains of the Roman Ramparts of the first Enclosure of the City</a></td>
+<td class="rt" valign="bottom"><a href="#plt_39">39</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_40">The Exterior Walls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_40">40</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_40">Remains of the Fortifications in the Jewish Suburb</a></td>
+<td class="rt" valign="bottom"><a href="#plt_40">40</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_41">Gate of the “Almofala” (Bib-al-Mojadha) rebuilt in the Fourteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_41">41</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_41">“The Abbot’s Tower” in the Northern Walls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_41">41</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_42">Ruins of the Aquaria Tower, commonly called “Horno del Vidrio”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_42">42</a>
+<span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_43">Remains of the Aqueduct (left bank of the river)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_43">43</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_43">Remains of the Aqueduct (right bank of the river)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_43">43</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_44">Remains of the Roman Construction in the Tower of the Plaza de Armas of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_44">44</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_45">Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_45">45</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_46">East Side of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_46">46</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_47">Posterior Façade of the defensive Tower of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_47">47</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_48">Defensive Tower of the Bridge of Alcantara. Anterior Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_48">48</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_49">Alcantara Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_49">49</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_50">Commemorative Inscription in the Avenue of the Defensive Tower of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_50">50</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_51">Coat-of-Arms of the Catholic Sovereigns in front of the Defensive Tower of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_51">51</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_51">“The Khalif’s Capitals” at No. 13 Calle del Coliseo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_51">51</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_52">Perspective of the Bridge of Alcantara</a></td>
+<td class="rt" valign="bottom"><a href="#plt_52">52</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_53">St. Martin’s Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_53">53</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_54">St. Martin’s Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_54">54</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_54">Façade of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_54">54</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_55">Defensive Towers at the Entrance of St. Martin’s Bridge and the Town</a></td>
+<td class="rt" valign="bottom"><a href="#plt_55">55</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_55">Restored Posterior Façade of the Arch de La Sangre</a></td>
+<td class="rt" valign="bottom"><a href="#plt_55">55</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_56">Remains of the Aqueduct (right bank)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_56">56</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_57">East Side of St. Martin’s Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_57">57</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_58">Defensive Tower of St. Martin’s Bridge. Façade seen from the Bridge</a></td>
+<td class="rt" valign="bottom"><a href="#plt_58">58</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_58">Defensive Tower of St. Martin’s Bridge. Façade seen from the Highway</a></td>
+<td class="rt" valign="bottom"><a href="#plt_58">58</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_59">Malbardón Gate. Eleventh Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_59">59</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_60">Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_60">60</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_61">Upper Part of the Visagra Gate. Built in 1550</a></td>
+<td class="rt" valign="bottom"><a href="#plt_61">61</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_62">Tower in the City Walls of “The Suburb of San Isidoro,” near the new Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_62">62</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_63">Hydraulic Machine and Remains of the Walls in the Quarter of the Curtidores, near the River</a></td>
+<td class="rt" valign="bottom"><a href="#plt_63">63</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_63">Walls of the Suburb of San Isidore</a></td>
+<td class="rt" valign="bottom"><a href="#plt_63">63</a>
+<span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_64">Ancient Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_64">64</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_65">Ancient Visagra Gate. The Side which joins the Wall and the side Defensive Tower</a></td>
+<td class="rt" valign="bottom"><a href="#plt_65">65</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_66">Ancient Visagra Gate. Defensive and Side Tower</a></td>
+<td class="rt" valign="bottom"><a href="#plt_66">66</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_67">Ancient Visagra Gate. Remains of the Eastern Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_67">67</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_68">Detail of the Principal Façade of the old Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_68">68</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_68">Interior of the old Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_68">68</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_69">Ancient Visagra Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_69">69</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_70">The Tower called “Puerta Baja de la Herreria,” now “Gate of the Sun”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_70">70</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_71">Castle of San Servando</a></td>
+<td class="rt" valign="bottom"><a href="#plt_71">71</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_72">Castle of San Servando. Ancient Entrance in the West Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_72">72</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_72">Castle of San Servando. South-east Angle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_72">72</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_73">Door of the Castle in San Servando</a></td>
+<td class="rt" valign="bottom"><a href="#plt_73">73</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_74">Gate of Valmadron</a></td>
+<td class="rt" valign="bottom"><a href="#plt_74">74</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_75">Gate of Cambrón</a></td>
+<td class="rt" valign="bottom"><a href="#plt_75">75</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_76">Los Baños de Florinda de Cava</a></td>
+<td class="rt" valign="bottom"><a href="#plt_76">76</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_77">Entrance to Los Baños</a></td>
+<td class="rt" valign="bottom"><a href="#plt_77">77</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_78">Ruins of the Tower called “Los Baños de Florinda de Cava”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_78">78</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_79">Details of the Convent of Santa Fe. Eleventh Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_79">79</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_80">West Portal in the old Hermitage, now the Inn of Santa Ana, on the Sisla road</a></td>
+<td class="rt" valign="bottom"><a href="#plt_80">80</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_81">Altar-piece of San Justo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_81">81</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_82">Detail of the Church of San Justo. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_82">82</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_83">Detail of the Chapel of Santos Justo and Pastor</a></td>
+<td class="rt" valign="bottom"><a href="#plt_83">83</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_84">Effigies of Juan Guas, architect of San Juan de Los Reyes, and of his son. Chapel of Christ at the Column, in the Parish Church of San Justo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_84">84</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_85">Effigies of Mari Alvares, wife of Juan Guas, and of her Daughter. Chapel of Christ at the Column, in the Parish Church of San Justo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_85">85</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_86">Mosque of the Tornerias. Exterior of the South Façade, South-west Angle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_86">86</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_87">Interior of the Mosque de las Tornerias</a></td>
+<td class="rt" valign="bottom"><a href="#plt_87">87</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_88">Arch of the “Kibláh” in the Mosque de las Tornerias</a></td>
+<td class="rt" valign="bottom"><a href="#plt_88">88</a>
+
+<span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_89">Mosque of the Tornerias. Trefoil Arched Window</a></td>
+<td class="rt" valign="bottom"><a href="#plt_89">89</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_89">Mosque of the Tornerias. Horse-shoe Window</a></td>
+<td class="rt" valign="bottom"><a href="#plt_89">89</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_90">Mosque of the Tornerias. Arched Window</a></td>
+<td class="rt" valign="bottom"><a href="#plt_90">90</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_90">Mosque of the Tornerias. Rectangular Window</a></td>
+<td class="rt" valign="bottom"><a href="#plt_90">90</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_91">Mosque de las Tornerias</a></td>
+<td class="rt" valign="bottom"><a href="#plt_91">91</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_92">Mosque of the Tornerias, built over Roman Remains</a></td>
+<td class="rt" valign="bottom"><a href="#plt_92">92</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_93">Supposed Elevation of the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_93">93</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_94">Supposed Plan of the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_94">94</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_95">Actual Situation of the North-east Façade of the Ancient Mosque of Bib-al-Mardóm, a Transept and <i>Mudejar</i> Apsis of the Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_95">95</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_96">The Mosque of Bib-al-Mardóm, Horse-shoe Arch and Remains of the Dado and Little Arches and Windows in the North-east Façade (right side)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_96">96</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_97">The Mosque of Bib-al-Mardóm, Horse-shoe Arch and Remains of the Dado of Little Arches and Windows in the North-east Façade (left side)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_97">97</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_98">Principal Nave in the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_98">98</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_99">Arch in the Southern Interior of the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_99">99</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_99">Actual Entrance to the Castle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_99">99</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_100">Mosque of Bib-al-Mardóm. Arch in the Interior Wall, South-west Angle</a></td>
+<td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_100">Detail of the North-west Façade of the Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_101">Bib-al-Mardóm. “Arch of the Cross,” Interior Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_101">Bib-al-Mardóm. “Arch of the Cross,” Exterior Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_102">Mosque of Bib-al-Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_102">102</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_103">North-west Façade of the Mosque of Bib-al-Mardóm (Hermitage of Santo Cristo de la Luz), discovered in February 1899</a></td>
+<td class="rt" valign="bottom"><a href="#plt_103">103</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_104">The Epigraphic Medallion on the North-west Façade of the Mosque of Bib-al-Mardóm (Hermitage of Santo Cristo de la Luz), rebuilt in the year 370 after the Hegira (<small>A.D.</small> 980)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_104">104</a>
+
+<span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_105">Visigoth Capital in the old Moorish Parish Church of San Sebastian</a></td>
+<td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_105">Visigoth Base which serves as a Capital in the old Moorish Parish Church of San Sebastian</a></td>
+<td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_106">Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_106">106</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_107">The Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_107">107</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_108">Wall-Paintings of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_108">108</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_109">Church of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_109">109</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_110">Wall-Paintings of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_110">110</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_111">Ancient Mosque, now the Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_111">111</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_112">Exterior of the Hermitage of Santo Cristo de la Luz, and Towers of various Churches</a></td>
+<td class="rt" valign="bottom"><a href="#plt_112">112</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_113">Detail of the Transito (Synagogue), built in 1360 at the expense of Samuel Levi</a></td>
+<td class="rt" valign="bottom"><a href="#plt_113">113</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_114">Details of the Interior Decoration of the Church of the Transito (Ancient Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_114">114</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_115">Details of the Interior Decoration of the Church of the Transito (Ancient Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_115">115</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_116">Details of the Transito (Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_116">116</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_117">Details of the Transito (Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_117">117</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_118">Details of the Transito (Synagogue)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_118">118</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_119">Entrance Arch in the Building called Taller Del Moro</a></td>
+<td class="rt" valign="bottom"><a href="#plt_119">119</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_120">Detail of Decoration in the Moorish Workshop</a></td>
+<td class="rt" valign="bottom"><a href="#plt_120">120</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_121">Details of the Palace of the Ayalas</a></td>
+<td class="rt" valign="bottom"><a href="#plt_121">121</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_122">Details of the Palace of the Ayalas</a></td>
+<td class="rt" valign="bottom"><a href="#plt_122">122</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_123">Exterior of the Chapel of Santo Cristo de la Vega</a></td>
+<td class="rt" valign="bottom"><a href="#plt_123">123</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_124">Door and Exterior of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_124">124</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_125">Sections and Details of the Ancient Synagogue, now the Church of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_125">125</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_126">Part of the Longitudinal Section of the Ancient Synagogue, now the Church of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_126">126</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_127">Interior of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_127">127</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_128">Interior of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_128">128</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_129">Interior of Santa Maria la Blanca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_129">129</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_130">Cárcel de Santa Hermandad</a></td>
+<td class="rt" valign="bottom"><a href="#plt_130">130</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_131">A Gothic Doorway</a></td>
+<td class="rt" valign="bottom"><a href="#plt_131">131</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_132">A Doorway</a></td>
+<td class="rt" valign="bottom"><a href="#plt_132">132</a>
+
+<span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_133">St. Michael’s Tower. Fourteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_133">133</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_134">House of the Toledos</a></td>
+<td class="rt" valign="bottom"><a href="#plt_134">134</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_135">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_135">135</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_136">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_136">136</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_137">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_137">137</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_138">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_138">138</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_139">Details of a Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_139">139</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_140">The Fountain of Calerahigo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_140">140</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_141">Arab Details</a></td>
+<td class="rt" valign="bottom"><a href="#plt_141">141</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_142">Visigoth Crowns and Crosses of Guarrazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_142">142</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_143">Visigoth Crowns and Crosses of Guarrazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_143">143</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_144">Visigoth Crowns and Crosses found at Toledo and now in the Royal Armoury at Madrid</a></td>
+<td class="rt" valign="bottom"><a href="#plt_144">144</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_145">San Pedro Martin</a></td>
+<td class="rt" valign="bottom"><a href="#plt_145">145</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_145">Calle de Santo Tomé</a></td>
+<td class="rt" valign="bottom"><a href="#plt_145">145</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_146">Alcazar Royal Palace. Reproduction of the Engraving made in 1566 for Braun’s “Civitates Orbi Terrarum”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_146">146</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_147">Perspective of the Alcazar in 1845. East and North Façades. Reproduction of an Engraving in the Work “Toledo Pintoresca”</a></td>
+<td class="rt" valign="bottom"><a href="#plt_147">147</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_148">The Alcazar. Taken from the Plaza de Zocodover</a></td>
+<td class="rt" valign="bottom"><a href="#plt_148">148</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_149">South Façade of the Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_149">149</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_150">The Alcazar. West Façade after the latest Restoration</a></td>
+<td class="rt" valign="bottom"><a href="#plt_150">150</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_151">The Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_151">151</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_152">Alcazar. Principal Façade on the North</a></td>
+<td class="rt" valign="bottom"><a href="#plt_152">152</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_153">The Alcazar. East Façade, after the latest Restoration</a></td>
+<td class="rt" valign="bottom"><a href="#plt_153">153</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_154">General View of the Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_154">154</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_155">The Alcazar. The Principal Staircase</a></td>
+<td class="rt" valign="bottom"><a href="#plt_155">155</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_156">The Alcazar. Principal North Portal</a></td>
+<td class="rt" valign="bottom"><a href="#plt_156">156</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_157">The Alcazar. Court and Plan</a></td>
+<td class="rt" valign="bottom"><a href="#plt_157">157</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_158">Court of the Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_158">158</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_159">Court in the Alcazar. After the latest Restoration</a></td>
+<td class="rt" valign="bottom"><a href="#plt_159">159</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_160">The Alcazar. Plan and Details. North Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_160">160</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_161">Details of the North Façade of the Alcazar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_161">161</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_162">Door of the Hall of the House of the Mesa (the Table)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_162">162</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_163">Details of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_163">163</a>
+
+<span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_164">Details of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_164">164</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_165">Details of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_165">165</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_166">Details of the Hall of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_166">166</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_167">Details of the Hall of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_167">167</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_168">Details of the Hall of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_168">168</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_169">Details of the House of the Mesa</a></td>
+<td class="rt" valign="bottom"><a href="#plt_169">169</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_170">Doorway of the College of the Infantes. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_170">170</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_171">Doorway of the Palace of the Martinez</a></td>
+<td class="rt" valign="bottom"><a href="#plt_171">171</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_172">Roman Tower of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_172">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_173">Exterior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_173">173</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_174">San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_174">174</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_175">Plan of the Church and Processional Cloister of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_175">175</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_176">Doorway in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_176">176</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_177">Gothic Doorway in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_177">177</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_178">Exterior of the Arch of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_178">178</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_179">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_179">179</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_180">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_180">180</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_181">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_181">181</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_182">Longitudinal Section of the Church of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_182">182</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_183">Interior, San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_183">Retablo, San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_184">Gallery in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_184">184</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_185">Gallery in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_185">185</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_186">Details of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_186">186</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_187">Details of Gallery in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_187">187</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_188">Details of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_188">188</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_189">San Juan de los Reyes. Wall in the Presbytery</a></td>
+<td class="rt" valign="bottom"><a href="#plt_189">189</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_190">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_190">190</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_191">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_191">191</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_192">Interior of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_192">192</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_193">San Juan de los Reyes. Decoration in the Transverse Nave</a></td>
+<td class="rt" valign="bottom"><a href="#plt_193">193</a>
+
+<span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_194">San Juan de los Reyes. Details of the Arms of Isabella the Catholic</a></td>
+<td class="rt" valign="bottom"><a href="#plt_194">194</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_195">Details of the Transept of the Church of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_195">195</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_196">San Juan de los Reyes. Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_196">196</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_197">A Dome in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_197">197</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_198">Remains of Windows of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_198">198</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_199">Details of the Cross-Aisle in the Church of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_199">199</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_200">Altar of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_200">Altar of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_201">Details of the Altar-piece in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_201">201</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_202">Copy of the original Drawing of the Arch and Cross-Aisle of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_202">202</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_203">Longitudinal Section of the Cloister of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_203">203</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_204">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_204">204</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_205">San Juan de los Reyes. The Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_205">205</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_206">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_206">206</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_207">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_207">207</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_208">Details of the Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_208">208</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_209">Compartment of the Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_209">209</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_210">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_210">210</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_211">Details of the Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_211">211</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_212">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_212">212</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_213">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_213">213</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_214">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_214">214</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_215">San Juan de los Reyes. Details of the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_215">215</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_216">Church of San Juan de los Reyes. Courtyard</a></td>
+<td class="rt" valign="bottom"><a href="#plt_216">216</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_217">Court in San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_217">217</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_218">Doorway of the Museum of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_218">218</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_219">San Juan de los Reyes. Details above Door of Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_219">219</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_220">Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_220">220</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_221">Details of the Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_221">221</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_222">Façade of the Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_222">222</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_223">Doorway of the Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_223">223</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_224">Doorway of the Palace of Don Pedro the Cruel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_224">224</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_225">The Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_225">225</a>
+
+<span class="pagenum"><a name="page_xxii" id="page_xxii">{xxii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_226">General View of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_226">226</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_227">The Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_227">227</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_228">Section of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_228">228</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_229">Longitudinal Section of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_229">229</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_230">Transverse Section of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_230">230</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_231">Principal Façade of the Cathedral and Tower</a></td>
+<td class="rt" valign="bottom"><a href="#plt_231">231</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_232">The Cathedral. Detail of the Exterior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_232">232</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_233">The Cathedral. Portal of the Principal Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_233">233</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_234">The Cathedral. Principal Gate</a></td>
+<td class="rt" valign="bottom"><a href="#plt_234">234</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_235">The Cathedral. The Gate of the Lions</a></td>
+<td class="rt" valign="bottom"><a href="#plt_235">235</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_236">The Cathedral. Porch of the Principal Façade</a></td>
+<td class="rt" valign="bottom"><a href="#plt_236">236</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_237">The Cathedral. The Lion Door</a></td>
+<td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_237">The Cathedral. The Lion Door</a></td>
+<td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_238">Door of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_238">238</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_239">The Cathedral. Door of the Lost Child</a></td>
+<td class="rt" valign="bottom"><a href="#plt_239">239</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_240">The Cathedral. Details of the Puerta de la Feria</a></td>
+<td class="rt" valign="bottom"><a href="#plt_240">240</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_241">The Cathedral. Gate of the Conception</a></td>
+<td class="rt" valign="bottom"><a href="#plt_241">241</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_242">The Cathedral. Ornamental Details of the Gates</a></td>
+<td class="rt" valign="bottom"><a href="#plt_242">242</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_243">The Cathedral. Central Nave</a></td>
+<td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_243">The Cathedral. Tomb of Alonso de Carrillo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_244">The Cathedral. General View of the Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_244">244</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_245">The Cathedral. General View of the Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_245">245</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_246">The Cathedral. Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_246">246</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_247">The Cathedral. Interior</a></td>
+<td class="rt" valign="bottom"><a href="#plt_247">247</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_248">Windows in the Principal Nave of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_248">248</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_249">The Cathedral. Grating of the Principal Chapel. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_249">249</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_250">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_250">250</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_251">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_251">251</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_252">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_252">252</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_253">The Cathedral. Details of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_253">253</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_254">The Cathedral. Details of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_254">254</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_255">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_255">255</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_256">The Cathedral. Details of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_256">256</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_257">The Cathedral. Details of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_257">257</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_258">The Cathedral. Altar-piece of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_258">258</a>
+
+<span class="pagenum"><a name="page_xxiii" id="page_xxiii">{xxiii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_259">The Cathedral. Detail of the Altar-piece of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_259">259</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_260">The Cathedral. Exterior of the High Altar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_260">260</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_261">The Cathedral. Exterior of the High Altar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_261">261</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_262">The Cathedral. Exterior of the High Altar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_262">262</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_263">The Cathedral. Details of the Altar-piece</a></td>
+<td class="rt" valign="bottom"><a href="#plt_263">263</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_264">The Cathedral. Frontal of the High Altar. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_264">264</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_265">The Cathedral. Frontal of the High Altar. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_265">265</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_266">The Cathedral. Detail of the Frontal of the High Altar</a></td>
+<td class="rt" valign="bottom"><a href="#plt_266">266</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_267">The Cathedral. Exterior of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_267">267</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_268">The Cathedral. Sepulchre of Cardinal Mendoza in the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_268">268</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_269">The Cathedral. Dome of the Principal Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_269">269</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_270">The Cathedral. Exterior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_270">270</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_271">The Cathedral. Exterior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_271">271</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_272">The Cathedral. Details of the Exterior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_272">272</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_273">The Cathedral. Exterior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_273">273</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_274">The Cathedral. Choir Stalls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_274">274</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_275">The Cathedral. Choir Stalls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_275">275</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_276">The Cathedral. Choir Stalls</a></td>
+<td class="rt" valign="bottom"><a href="#plt_276">276</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_277">The Cathedral. Details of the Choir Stalls, representing the Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_277">277</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_278">The Cathedral. Interior of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_278">278</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_279">The Cathedral. Details of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_279">279</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_280">The Cathedral. Details of the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_280">280</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_281">The Cathedral. The Archbishop’s Throne, representing the Transfiguration. By Berruguete</a></td>
+<td class="rt" valign="bottom"><a href="#plt_281">281</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_282">The Cathedral. Virgin of the Laneros</a></td>
+<td class="rt" valign="bottom"><a href="#plt_282">282</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_283">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_283">283</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_284">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_284">284</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_285">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_285">285</a>
+
+<span class="pagenum"><a name="page_xxiv" id="page_xxiv">{xxiv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_286">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_286">286</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_287">The Cathedral. Detail of Choir Stalls. The Capture of Alhama by Ferdinand and Isabella, 1482. Re-conquest of Granada</a></td>
+<td class="rt" valign="bottom"><a href="#plt_287">287</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_288">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_288">288</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_289">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_289">289</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_290">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_290">290</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_291">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_291">291</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_292">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_292">292</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_293">The Cathedral. Detail of the Choir Stalls. Re-conquest of Granada by Ferdinand and Isabella</a></td>
+<td class="rt" valign="bottom"><a href="#plt_293">293</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_294">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_294">294</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_295">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_295">295</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_296">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_296">296</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_297">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_297">297</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_298">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_298">298</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_299">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_299">299</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_300">The Cathedral. Upper part of the Choir Stalls, carved by Berruguete and Borgoña. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_300">300</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_301">The Cathedral. Masonry in the Choir</a></td>
+<td class="rt" valign="bottom"><a href="#plt_301">301</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_302">The Cathedral. Exterior of the Presbytery</a></td>
+<td class="rt" valign="bottom"><a href="#plt_302">302</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_303">The Cathedral. Interior of the Chapel of the New Kings with the Sepulchres of Don Henry the Bastard and his Wife</a></td>
+<td class="rt" valign="bottom"><a href="#plt_303">303</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_304">The Cathedral. Sepulchres of Don Henry the Bastard and his Wife in the Chapel of the New Kings</a></td>
+<td class="rt" valign="bottom"><a href="#plt_304">304</a>
+
+<span class="pagenum"><a name="page_xxv" id="page_xxv">{xxv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_305">The Cathedral. Sepulchre of Cardinal Tavera in the Chapel of the New Kings</a></td>
+<td class="rt" valign="bottom"><a href="#plt_305">305</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_306">The Cathedral. Sepulchre of Don Juan I. in the Chapel of the New Kings</a></td>
+<td class="rt" valign="bottom"><a href="#plt_306">306</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_307">The Cathedral. Sepulchre of Doña Leonor, Wife of Don Juan I., in the Chapel of the New Kings</a></td>
+<td class="rt" valign="bottom"><a href="#plt_307">307</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_308">The Cathedral. Chapel of the Descent of the Virgin</a></td>
+<td class="rt" valign="bottom"><a href="#plt_308">308</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_309">The Cathedral. Muzarabic Chapel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_309">309</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_310">The Cathedral. Details of the Chapel of the Virgen de la Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_310">310</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_311">The Cathedral. Chapel of the Virgen de la Antigua. Fourteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_311">311</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_312">The Cathedral. Doorway of the Chapel of the Canons</a></td>
+<td class="rt" valign="bottom"><a href="#plt_312">312</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_313">Altar-piece of Santa Isabel</a></td>
+<td class="rt" valign="bottom"><a href="#plt_313">313</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_313">Altar-piece of Santa Catalina</a></td>
+<td class="rt" valign="bottom"><a href="#plt_313">313</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_314">Altar-piece of Santa Catalina</a></td>
+<td class="rt" valign="bottom"><a href="#plt_314">314</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_315">Altar-piece of Santa Catalina</a></td>
+<td class="rt" valign="bottom"><a href="#plt_315">315</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_316">Altar-piece of Santa Catalina</a></td>
+<td class="rt" valign="bottom"><a href="#plt_316">316</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_317">Chapel of Santa Catalina. Founded by the Counts of Cedillo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_317">317</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_318">The Cathedral. Chapel of Santiago, containing the Sepulchres of Don Alvaro de Luna and that of his Wife Doña Juana. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_318">318</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_319">The Cathedral. Sepulchre of Don Juan de Zerezuela in the Chapel of Santiago. Fifteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_319">319</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_320">Cupola of the Chapel “de los Reyes Nuevos” in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_320">320</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_320">Cupola of the “Capilla de Santiago,” called “De Don Alvaro de Luna” in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_320">320</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_321">The Cathedral. Sepulchre of Don Gil Carrillo de Albornoz in the Chapel of San Ildefonso</a></td>
+<td class="rt" valign="bottom"><a href="#plt_321">321</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_322">The Cathedral. Sepulchre of Gil de Albornoz in the Chapel of San Ildefonso</a></td>
+<td class="rt" valign="bottom"><a href="#plt_322">322</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_323">The Cathedral. Entrance to the Chapter Room. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_323">323</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_324">The Cathedral. Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_324">324</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_325">The Cathedral. Various Portraits of Cardinals</a></td>
+<td class="rt" valign="bottom"><a href="#plt_325">325</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_326">The Cathedral. Various Portraits of Cardinals</a></td>
+<td class="rt" valign="bottom"><a href="#plt_326">326</a>
+
+<span class="pagenum"><a name="page_xxvi" id="page_xxvi">{xxvi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_327">The Cathedral. Details in the Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_327">327</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_328">The Cathedral. Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_328">328</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_329">The Cathedral. Doorway of the Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_329">329</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_330">The Cathedral. Detail of a Doorway in the Chapter Room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_330">330</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_331">The Cathedral. Cupboard made by Gregorio Pardo (1549-1551), for the Antechamber of the Chapter House</a></td>
+<td class="rt" valign="bottom"><a href="#plt_331">331</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_332">Cupboard in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_332">332</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_333">The Cathedral. A Rich and Gossamer-carved Ceiling in the Chapter Hall. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_333">333</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_334">The Cathedral. Ceiling in the Chapter Hall</a></td>
+<td class="rt" valign="bottom"><a href="#plt_334">334</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_335">The Cathedral. A Ceiling in the Ante-room</a></td>
+<td class="rt" valign="bottom"><a href="#plt_335">335</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_336">The Cathedral Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_336">336</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_337">The Cathedral Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_337">337</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_338">Presentation Portal in the Cloister of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_338">338</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_339">Exterior, by the Cloisters of the Chapel, of the Place of Sepulchre built by Henry II. for his Tomb</a></td>
+<td class="rt" valign="bottom"><a href="#plt_339">339</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_340">The Cathedral. Picture by Bayeu in the Cloisters</a></td>
+<td class="rt" valign="bottom"><a href="#plt_340">340</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_341">Portal of St. Catherine in the Cloister of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_341">341</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_342">The Cathedral. Details of the Gate of the Presentation in the Cloister</a></td>
+<td class="rt" valign="bottom"><a href="#plt_342">342</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_343">The Cathedral. Reliquary of San Sebastian in the Octavo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_343">343</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_344">The Cathedral. Detail of the Reliquary of San Sebastian in the Octavo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_344">344</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_345">The Cathedral. A Byzantine Reliquary</a></td>
+<td class="rt" valign="bottom"><a href="#plt_345">345</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_346">Sepulchres in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_346">346</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_347">Sculpture in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_347">347</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_348">The Cathedral. Bronze Lectern and Books of the Holy Office</a></td>
+<td class="rt" valign="bottom"><a href="#plt_348">348</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_349">The Cathedral. A Bronze Pulpit</a></td>
+<td class="rt" valign="bottom"><a href="#plt_349">349</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_350">The Cathedral. Detail of a Pulpit</a></td>
+<td class="rt" valign="bottom"><a href="#plt_350">350</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_351">Pulpit in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_351">351</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_352">Cathedral Bells which Ring when the Host is Elevated</a></td>
+<td class="rt" valign="bottom"><a href="#plt_352">352</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_353">The Cathedral. Statue of Don Juan II. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_353">353</a>
+
+<span class="pagenum"><a name="page_xxvii" id="page_xxvii">{xxvii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_354">The Cathedral. St. Francis of Assisi</a></td>
+<td class="rt" valign="bottom"><a href="#plt_354">354</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_355">The Cathedral. A Picture by Bayeu</a></td>
+<td class="rt" valign="bottom"><a href="#plt_355">355</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_356">Details in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_356">356</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_357">The Cathedral. Cover of a Missal</a></td>
+<td class="rt" valign="bottom"><a href="#plt_357">357</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_358">The Cathedral. Silver Salver, “The Abduction of the Sabine Women,” by Benvenuto Cellini</a></td>
+<td class="rt" valign="bottom"><a href="#plt_358">358</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_359">The Cathedral. Chalice and Paten</a></td>
+<td class="rt" valign="bottom"><a href="#plt_359">359</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_360">The Cathedral. A Ship that belonged to Queen Juana la Loca</a></td>
+<td class="rt" valign="bottom"><a href="#plt_360">360</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_361">Monstrance in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_361">361</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_362">The Cathedral. Sword of Alfonso VI.</a></td>
+<td class="rt" valign="bottom"><a href="#plt_362">362</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_363">The Cathedral. The Adoration of the Kings (silk)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_363">363</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_364">The Cathedral. The Veil of Santa Leocadia (silk)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_364">364</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_365">The Cathedral. The Assumption (silk)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_365">365</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_366">The Cathedral. The Beheading of San Eugenio (silk)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_366">366</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_367">Kufic Entablature in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_367">367</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_368">The Cathedral. A Dalmatic embroidered in Gold and Silk. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_368">368</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_369">The Cathedral. A Chasuble embroidered in Gold and Silk. Sixteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_369">369</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_370">The Cathedral. Details of the Puerta del Reloj</a></td>
+<td class="rt" valign="bottom"><a href="#plt_370">370</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_371">The Cathedral. Details of the Puerta del Reloj</a></td>
+<td class="rt" valign="bottom"><a href="#plt_371">371</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_372">The Cathedral. Details of the Puerta del Reloj</a></td>
+<td class="rt" valign="bottom"><a href="#plt_372">372</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_373">The Cathedral. Details of the Puerta del Reloj</a></td>
+<td class="rt" valign="bottom"><a href="#plt_373">373</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_374">Effigies of Juan Guas (architect of San Juan de los Reyes), his Wife, and Children</a></td>
+<td class="rt" valign="bottom"><a href="#plt_374">374</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_375">Sculpture in San Andrés</a></td>
+<td class="rt" valign="bottom"><a href="#plt_375">375</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_376">Banner of the Salado</a></td>
+<td class="rt" valign="bottom"><a href="#plt_376">376</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_377">St. Peter Natano and St. Theresa sculptured in Wood</a></td>
+<td class="rt" valign="bottom"><a href="#plt_377">377</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_378">Plan of the Santa Iglesia Primada</a></td>
+<td class="rt" valign="bottom"><a href="#plt_378">378</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_379">Santa Isabel. Side Altar-piece</a></td>
+<td class="rt" valign="bottom"><a href="#plt_379">379</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_380">Santa Isabel. Detail of an Altar-piece</a></td>
+<td class="rt" valign="bottom"><a href="#plt_380">380</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_381">Parish Church of Santiago</a></td>
+<td class="rt" valign="bottom"><a href="#plt_381">381</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_382">Exterior of Santiago del Arrabal. Thirteenth Century</a></td>
+<td class="rt" valign="bottom"><a href="#plt_382">382</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_383">Pulpit in the Church of Santiago del Arrabal, from which San Vicente de Ferrer preached against the Jews</a></td>
+<td class="rt" valign="bottom"><a href="#plt_383">383</a>
+
+<span class="pagenum"><a name="page_xxviii" id="page_xxviii">{xxviii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_384">Parochial Church of Santiago del Arrabal</a></td>
+<td class="rt" valign="bottom"><a href="#plt_384">384</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_385">Church of San Tomé</a></td>
+<td class="rt" valign="bottom"><a href="#plt_385">385</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_386">Detail of an Altar-piece in the Church of the Trinity</a></td>
+<td class="rt" valign="bottom"><a href="#plt_386">386</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_387">Sepulchres in the Church of St. Peter the Martyr</a></td>
+<td class="rt" valign="bottom"><a href="#plt_387">387</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_388">Details of a Sepulchre in the Church of St. Peter the Martyr</a></td>
+<td class="rt" valign="bottom"><a href="#plt_388">388</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_389">Church of St. Peter the Martyr. Statue of a Kneeling Canon</a></td>
+<td class="rt" valign="bottom"><a href="#plt_389">389</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_390">Chapel in San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_390">390</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_391">Chapel in San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_391">391</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_392">Details of San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_392">392</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_393">Sepulchre in San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_393">393</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_394">Sepulchre in San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_394">394</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_395">Detail of the Convent of San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_395">395</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_396">Details of the Convent of San Juan de la Penitencia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_396">396</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_397">Convent of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_397">397</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_398">Convent of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_398">398</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_399">Convent of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_399">399</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_400">Ancient Sepulchre in the Convent of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_400">400</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_401">Santo Domingo el Real. Principal Altar-piece</a></td>
+<td class="rt" valign="bottom"><a href="#plt_401">401</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_402">Doorway of the Convent of San Antonio</a></td>
+<td class="rt" valign="bottom"><a href="#plt_402">402</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_403">Porch of the Church and Convent of San Clemente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_403">403</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_404">Porch of the Church and Convent of San Clemente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_404">404</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_405">Detail of the Interior of the Convent of San Clemente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_405">405</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_406">Portal of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_406">406</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_407">Portal of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_407">407</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_408">Porch of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_408">408</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_408">The Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_408">408</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_409">Court of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_409">409</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_410">Courtyard of the Hospital</a></td>
+<td class="rt" valign="bottom"><a href="#plt_410">410</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_411">Court of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_411">411</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_412">Court of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_412">412</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_413">Detail of the Portal of the Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_413">413</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_414">Details of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_414">414</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_415">Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_415">415</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_416">Portals in the Vestibule of the Ancient Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_416">416</a>
+
+<span class="pagenum"><a name="page_xxix" id="page_xxix">{xxix}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_417">Hospital of Santa Cruz. Portrait of the Founder, Cardinal Mendoza</a></td>
+<td class="rt" valign="bottom"><a href="#plt_417">417</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_418">Hospital de Afuera. The Court</a></td>
+<td class="rt" valign="bottom"><a href="#plt_418">418</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_419">Hospital de Afuera</a></td>
+<td class="rt" valign="bottom"><a href="#plt_419">419</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_420">Hospital of St. John Baptist</a></td>
+<td class="rt" valign="bottom"><a href="#plt_420">420</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_421">Hospital de Afuera. Sepulchre of Cardinal Tavera, 1557, Alonzo Berruguete</a></td>
+<td class="rt" valign="bottom"><a href="#plt_421">421</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_422">The University</a></td>
+<td class="rt" valign="bottom"><a href="#plt_422">422</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_422">The University</a></td>
+<td class="rt" valign="bottom"><a href="#plt_422">422</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_423">Details of the House of Munárriz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_423">423</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_424">Gate of Al Mardóm</a></td>
+<td class="rt" valign="bottom"><a href="#plt_424">424</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_424">Altar of the Church of San Justo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_424">424</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_425">Portal of the Archbishop’s Palace</a></td>
+<td class="rt" valign="bottom"><a href="#plt_425">425</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_425">In the Town Hall</a></td>
+<td class="rt" valign="bottom"><a href="#plt_425">425</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_426">Cloisters of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_426">426</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_426">View of St. Martin’s Bridge, looking down the River</a></td>
+<td class="rt" valign="bottom"><a href="#plt_426">426</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_427">Gallery of San Juan de los Reyes</a></td>
+<td class="rt" valign="bottom"><a href="#plt_427">427</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_427">A Moorish Workshop</a></td>
+<td class="rt" valign="bottom"><a href="#plt_427">427</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_428">Hotel Castilla</a></td>
+<td class="rt" valign="bottom"><a href="#plt_428">428</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_429">Detail of the Courtyard of the Hotel Castilla</a></td>
+<td class="rt" valign="bottom"><a href="#plt_429">429</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_430">Visigoth Capitals in the Church of San Sebastian</a></td>
+<td class="rt" valign="bottom"><a href="#plt_430">430</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_431">National Archæological Museum. Capital, Fourth Century after the Hegira</a></td>
+<td class="rt" valign="bottom"><a href="#plt_431">431</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_431">National Archæological Museum. Capital of Santiago de los Caballeros near the Alcazar. Fourth Century after the Hegira</a></td>
+<td class="rt" valign="bottom"><a href="#plt_431">431</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_432">Capital in the Archæological Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_432">432</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_433">National Archæological Museum. Fragment of Dado found near the Basilica of Santa Leocadia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_433">433</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_433">National Archæological Museum. Window of San Ginés</a></td>
+<td class="rt" valign="bottom"><a href="#plt_433">433</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_434">National Archæological Museum. Decorative Table in White Marble, belonging to the Aljama Mosque of Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_434">434</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_434">National Archæological Museum. Decorative Fragment found at the “Miradero.” Carved in White Marble</a></td>
+<td class="rt" valign="bottom"><a href="#plt_434">434</a>
+
+<span class="pagenum"><a name="page_xxx" id="page_xxx">{xxx}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_435">Capital in the South-west Angle, belonging to the old Mosque, now the Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_435">435</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_435">The Fifth of the Visigoth Capitals of the Hospital of Santa Cruz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_435">435</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_436">National Archæological Museum. Skylight or Ornament found at Toledo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_436">436</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_436">Visigoth Capital in the Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_436">436</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_437">Architectural Fragments of the Visigoth Period in the Parish Church of San Román</a></td>
+<td class="rt" valign="bottom"><a href="#plt_437">437</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_438">Architectural Pieces of the Visigoth Period existing in the City</a></td>
+<td class="rt" valign="bottom"><a href="#plt_438">438</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_439">Architectural Fragments of the Visigoth Period</a></td>
+<td class="rt" valign="bottom"><a href="#plt_439">439</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_440">Capital of the South-east Angle belonging to the ancient Mosque, now the Hermitage of Santo Cristo de la Luz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_440">440</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_440">Visigoth Capital of the old Parish Church of San Sebastian</a></td>
+<td class="rt" valign="bottom"><a href="#plt_440">440</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_441">National Archæological Museum. Visigoth Capitals of the Church of Santa Eulalia. Fragment of the Dado of the Basilica of Santo Leocadia</a></td>
+<td class="rt" valign="bottom"><a href="#plt_441">441</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_442">Capitals in the Archæological Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_442">442</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_443">Provincial Museum. Capital of the Fourth Century after the Hegira</a></td>
+<td class="rt" valign="bottom"><a href="#plt_443">443</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_443">National Archæological Museum. Arab Astrolabe made at Toledo in the year 459 after the Hegira (<small>A.D.</small> 1067)</a></td>
+<td class="rt" valign="bottom"><a href="#plt_443">443</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_444">Architectural Fragments of the Visigoth Period</a></td>
+<td class="rt" valign="bottom"><a href="#plt_444">444</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_445">Architectural Fragments anterior to the Mahometan Irruption, No. 1</a></td>
+<td class="rt" valign="bottom"><a href="#plt_445">445</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_446">Architectural Parts and Decorative Remains anterior to the Mahometan Irruption, No. 2</a></td>
+<td class="rt" valign="bottom"><a href="#plt_446">446</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_447">Architectural Parts and Decorative Fragments anterior to the Mahometan Irruption, No. 3</a></td>
+<td class="rt" valign="bottom"><a href="#plt_447">447</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_448">Arches of various Churches of the Fourteenth and Fifteenth Centuries</a></td>
+<td class="rt" valign="bottom"><a href="#plt_448">448</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_449">Denudation of our Lord before the Crucifixion. El Greco. Sacristy of the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_449">449</a><span class="pagenum"><a name="page_xxxi" id="page_xxxi">{xxxi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_450">The Virgin, St. Anne, the Child Jesus, and St. John. El Greco. Chapel of St. Anne</a></td>
+<td class="rt" valign="bottom"><a href="#plt_450">450</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_451">Our Lady of Sorrows. El Greco. Sacristy of the New Kings, in the Cathedral</a></td>
+<td class="rt" valign="bottom"><a href="#plt_451">451</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_452">Pentecost. El Greco. Church of the Trinity</a></td>
+<td class="rt" valign="bottom"><a href="#plt_452">452</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_453">Jesus and St. John. El Greco. Church of St. John the Baptist</a></td>
+<td class="rt" valign="bottom"><a href="#plt_453">453</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_454">The Assumption. El Greco. Chapel of San José</a></td>
+<td class="rt" valign="bottom"><a href="#plt_454">454</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_455">St. Martin. El Greco. Chapel of San José</a></td>
+<td class="rt" valign="bottom"><a href="#plt_455">455</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_456">The Holy Eucharist, by El Greco. Church of San José</a></td>
+<td class="rt" valign="bottom"><a href="#plt_456">456</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_457">San José and the Child Jesus. El Greco. Parish Church of the Magdalene</a></td>
+<td class="rt" valign="bottom"><a href="#plt_457">457</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_458">The Interment of Count de Orgaz. El Greco. Church of Santo Tomé</a></td>
+<td class="rt" valign="bottom"><a href="#plt_458">458</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_459">Detail of the Interment of Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_459">459</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_460">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_460">460</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_461">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_461">461</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_462">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_462">462</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_463">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_463">463</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_464">Fragment of the Interment of the Count de Orgaz</a></td>
+<td class="rt" valign="bottom"><a href="#plt_464">464</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_465">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_465">465</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_466">Fragment of the Interment of the Count de Orgaz. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_466">466</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_467">The Annunciation. El Greco. Parish Church of San Nicolás</a></td>
+<td class="rt" valign="bottom"><a href="#plt_467">467</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_468">The Crucifixion. El Greco. San Nicolás</a></td>
+<td class="rt" valign="bottom"><a href="#plt_468">468</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_469">San Pedro Nolasco. El Greco. Parish Church of San Nicolás</a></td>
+<td class="rt" valign="bottom"><a href="#plt_469">469</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_470">The Assumption. El Greco. Parish Church of San Vicente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_470">470</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_471">San Eugenio. El Greco. Parish Church of San Vicente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_471">471</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_472">St. Peter. El Greco. Parish Church of San Vicente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_472">472</a><span class="pagenum"><a name="page_xxxii" id="page_xxxii">{xxxii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_473">Jesus and the Virgin. El Greco. Parish Church of San Vicente</a></td>
+<td class="rt" valign="bottom"><a href="#plt_473">473</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_474">The Ascension. El Greco. San Domingo el Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_474">474</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_475">A Saint (? Santo Domingo el Antigua). El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_475">475</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_476">The Birth of Jesus. El Greco. Santo Domingo el Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_476">476</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_477">Santa Veronica with the Sudarium. El Greco. Santo Domingo el Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_477">477</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_478">St. John Baptist. El Greco. Santo Domingo el Antigua</a></td>
+<td class="rt" valign="bottom"><a href="#plt_478">478</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_479">St. John the Evangelist. El Greco. Church of Santo Domingo</a></td>
+<td class="rt" valign="bottom"><a href="#plt_479">479</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_480">Altar-piece of the Convent of Santo Domingo. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_480">480</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_481">St. Francis of Assisi. El Greco. College of Noble Ladies</a></td>
+<td class="rt" valign="bottom"><a href="#plt_481">481</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_482">The Baptism of Jesus. El Greco. Hospital of St. John Baptist</a></td>
+<td class="rt" valign="bottom"><a href="#plt_482">482</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_483">Portrait of Cardinal Tavera. El Greco. Hospital of St. John Baptist</a></td>
+<td class="rt" valign="bottom"><a href="#plt_483">483</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_484">View of the High Altar of the Tavera Hospital. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_484">484</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_485">General View of Toledo (left half). El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_485">485</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_486">General View of Toledo (right half). El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_486">486</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_487">View of Toledo. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_487">487</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_488">Portrait of Antonio Covarrubias. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_488">488</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_489">Portrait of the Son of Covarrubias. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_489">489</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_490">The Crucifixion. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_490">490</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_491">Allegory of the Virgin. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_491">491</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_492">Portrait of Juan de Avila. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_492">492</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_493">Our Saviour. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_493">493</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_494">St. John the Evangelist. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_494">494</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_495">St. Peter. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_495">495</a>
+<span class="pagenum"><a name="page_xxxiii" id="page_xxxiii">{xxxiii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_496">St. Matthias. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_496">496</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_497">St. Philip. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_497">497</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_498">St. Andrew. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_498">498</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_499">St. Thomas. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_499">499</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_500">St. Simon. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_500">500</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_501">St. Matthew. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_501">501</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_502">St. Jude Tadeo. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_502">502</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_503">An Apostle. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_503">503</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_504">An Apostle. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_504">504</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_505">An Apostle. El Greco. Provincial Museum</a></td>
+<td class="rt" valign="bottom"><a href="#plt_505">505</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_506">The Annunciation. El Greco</a></td>
+<td class="rt" valign="bottom"><a href="#plt_506">506</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_507">The Dream of Philip II. El Greco. Chapter Hall of the Escorial</a></td>
+<td class="rt" valign="bottom"><a href="#plt_507">507</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_508">St. Maurice and the Theban Legion. El Greco. Chapter Hall of the Escorial</a></td>
+<td class="rt" valign="bottom"><a href="#plt_508">508</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_509">Portrait of El Greco by Himself. Señor A. de Beruete, Madrid</a></td>
+<td class="rt" valign="bottom"><a href="#plt_509">509</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_510">Christ driving the Money Changers from the Temple. El Greco. Señor de Beruete, Madrid</a></td>
+<td class="rt" valign="bottom"><a href="#plt_510">510</a></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_511">Portrait of a Student (El Greco?). El Greco. Don Pablo Bosch, Madrid</a></td>
+<td class="rt" valign="bottom"><a href="#plt_511">511</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xxxiv" id="page_xxxiv">{xxxiv}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xxxv" id="page_xxxv">{xxxv}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_xxxvi" id="page_xxxvi">{xxxvi}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<p class="cb">TOLEDO</p>
+
+<h2><a name="THE_CHILDHOOD_OF_THE_CITY" id="THE_CHILDHOOD_OF_THE_CITY"></a>THE CHILDHOOD OF THE CITY</h2>
+
+<p class="nind"><span class="smcap">There</span> are spots that stand out in the ocean of time like islands
+unsubmerged. The flood of years has rolled onwards past and around them,
+and its billows have broken in vain against their shores. Such a spot is
+Toledo. It lifts its head above the ever-shifting waters of the ages,
+and looks forth unchanged, unchanging, across the sea of centuries&mdash;a
+last surviving beacon of the drowned mediæval world.</p>
+
+<p>Very old is the city. It has outgrown decay. Nor can we conceive it as
+changing. It has almost become a part of the everlasting hills on which
+it stands. The rock has grown into Toledo and Toledo into the rock.</p>
+
+<p>In a land where all is old, men marvel at the antiquity of this city.
+And when it was younger by centuries, the chroniclers, groping amid
+legends and fables the wildest and most extravagant, strove to penetrate
+the darkness of the ages and to discern the pale glimmerings of Toledo’s
+dawn. Here, surely, first trod the first man, thought the<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> ancients, and
+here was already a city when God first placed His sun exactly over it in
+the yet-dark Heavens. If this was not so, said another chronicler, then
+beyond doubt Toledo’s seven hills were the first to appear above the
+waters of the Deluge, and Tubal, the grandson of Noah, established here
+a kingdom. So stories and traditions multiplied, each historian
+inventing a fresh one. These fables of the city’s founding are quaint,
+curious, and ingenious. Iberia and Hispania of course suggested persons,
+and so we find Iberia, daughter of King Hispan, and wife of a Persian
+captain, Pyrrhus, resorting in search of health to the banks of the
+Tagus, and her husband making a bower for her on these rocky steeps.
+Hercules, who is credited with the foundation of Seville, added the
+building of Toledo to his many labours. “Dismiss these far-fetched
+fables,” cries the learned prelate De Rada, “and admit that our city was
+founded by the Consuls Tolemon and Brutus, in the reign of Ptolemy
+Evergetes.” But another conjecture as absolutely baseless as the others!
+More interesting is the legend that the town was built by Jews flying
+from Nebuchadnezzar, by whom it was named Toledoth, “the city of
+generation.” Certain it is that Jews lived in Toledo at the earliest
+periods of its history, and played a great part, as we shall see, in its
+affairs. However picturesque may be these traditions<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> and wonderings of
+the sages, we cannot resist the conclusion that the beginnings of this
+old capital of Spain were obscure and commonplace enough. Along the
+banks of the yellow Tagus savage tribesmen pastured their flocks and
+herds, and the more practical spirits among them recognised the
+advantages of the cliff above the river as a settlement. Doubtless mere
+temporary encampments succeeded each other here season after season,
+till some sentiment or necessity attached men permanently to the spot,
+and a rude cluster of huts was formed&mdash;the rough inception of our
+greatest towns.</p>
+
+<p>The Celtiberians hereabouts were known to the Romans as Carpetani (how
+ill these Latin forms seem to reproduce the uncouth designations which
+these primitive peoples really bore!) The Carthaginians were the first
+civilised nation to come in contact with them, and we hear of a Punic
+governor, Tago. It is impossible to resist the suspicion that his
+personality arose, Aphrodite-like, from the river Tagus. But a Moorish
+writer gives a plausible account of a revolt which arose among the
+Carpetani consequent on Tago’s assassination by Hasdrubal, the
+contemporary of Hannibal. This brought that great commander himself upon
+the scene. Before him the tribesmen were scattered like chaff before the
+wind.</p>
+
+<p>Did the African Phœnicians found a per<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>manent station at Toledo? It
+would not seem so. No vestige or fragment, no trace whatever of their
+domination has come down to us. Most likely this was a mere trading
+centre, where the black-bearded, keen-eyed Semites bartered the wares of
+Africa and the East against the ores and fleeces of Spain. The
+population remained almost purely Celtic. One wonders if a few
+Carthaginians settled amongst them, and if their descendants became
+confounded with their kinsmen in race, the Jews. It is a wild
+conjecture, but might not the presence of such Semitic settlers have
+given rise to the fantastic legend of the founding of Toledo by the
+Children of Israel?</p>
+
+<p>Where the Carthaginian sowed, the Roman reaped. And now the Carpetanian
+village looms in the light not of mere tradition, but of history. Livy
+tells us that in the year 193 <small>B.C.</small> the Pro-Consul Marcus Fulvius
+Nobilior defeated a host of Celtiberians, Vaccei and Vectones in this
+region, and took prisoner a king called Hilerno. In consequence of this
+victory Toledo&mdash;described as <i>urbs parva sed loco munito</i>&mdash;fell into the
+power of the conquerors. The wild rebellious Celts might henceforward
+chafe and lash themselves into impotent fury; on their necks the yoke of
+the Roman was firmly riveted, never by the natives unassisted to be
+shaken off.</p>
+
+<p>Historians have remarked on the aloofness of<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> the Toledans during the
+long winter of foreign domination. Between the various leaders and
+factions who made Spain their cock-pit, the citizens observed strict
+neutrality. They rendered no assistance to Viriathus in his magnanimous
+attempt to recover national independence. Perhaps they were not wanting
+in sympathy for their compatriots; but the conquerors had long
+recognised the military value of the town by the Tagus, and here we may
+suppose was always a strong garrison ready to stamp out the first
+efforts at revolt.</p>
+
+<p>Under the wings of the Roman eagle, the material prosperity of Toledo
+steadily increased. From a collection of wretched huts, it had become a
+<i>colonia</i>, the capital of Carpetania. As such it would have had its
+<i>arx</i>, or citadel, prætorium, forum, temples, baths, and <i>vici</i>, or long
+suburbs straggling into the country. Of all these practically no traces
+remain. But in the Vega, outside the town, may be traced a semicircular
+enclosure, formed by masses of stones and mortar, about a metre in
+thickness, but of varying height. This space has been dignified with the
+name of Circus Maximum, and is undoubtedly a Roman work. But Señor
+Amador de los Rios has demonstrated almost conclusively that the Circus
+never advanced much beyond the foundations, which we now see before us
+probably in no very different state from<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> that in which they were left
+some two thousand years ago. But though no Celtiberian captives or
+Christian martyrs here were “butchered to make a Roman holiday,” the
+consecration of the spot to the practice of cruelty bore fruit in after
+years. For the fires lit by the Inquisition were kindled here, and the
+Christian put the incompleted amphitheatre to the use for which it had
+been designed by the Pagan. To-day the men of Toledo play at <i>pelota</i> in
+the enclosure, and their cheery shouts may well scare away the ghosts of
+torturer and victim.</p>
+
+<p>This may be regarded as the most important Roman remains in the
+neighbourhood of the city. The famous Cave of Hercules, which figures so
+largely in legendary lore, was probably the crypt or substructure of a
+Temple of Jupiter; and on the cliff-side below the Alcazar are a few
+fragments of a once-important aqueduct.</p>
+
+<p>It has been conjectured from the dimensions of the projected Circus that
+the Romans had at one time thought of elevating Toledo to the rank of
+chief city of Spain. The design, if it ever was formed, was never
+carried into execution. Of what passed in the town under Latin rule we
+have but the vaguest notion. Toledo, like almost every other place in
+Europe, has its traditions of fierce persecution productive of local
+martyrs. Almost as many Christians were massacred in Spain, if<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> we
+credit these stories, as Gibbon thinks perished in the whole Roman
+Empire. Among the martyrs of Toletum, it is perhaps superfluous to say,
+was a young and lovely virgin, in this instance called Leocadia. She was
+done to death by the truculent Dacian. St. Eugenius, the first bishop of
+Toledo, is said to have been a disciple of St. Paul. He was martyred at
+Paris, and his alleged remains were obtained from Charles IX. of France
+and presented to the city by Philip II.</p>
+
+<p>In early ecclesiastical annals Toledo has less shadowy claims on
+remembrance as the seat of several councils, the most celebrated being
+those of 396, 400, 589. The minutes of the second council are preserved
+in the local archives. Miss Hannah Lynch makes merry over the fathers’
+spirited denunciations of her sex. In truth, the irreverent reader is
+reminded of those other fulminations launched in the diocese of Rheims
+against certain persons unknown, and of the poet’s surprised comment on
+their want of effect. The sex fared better at the hands of the Council,
+however, than vegetarians and mathematicians, both of whom were
+excommunicated downright. Neither class is numerous in Spain at the
+present day, so the labours of the fathers may not have been altogether
+ineffectual.<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span></p>
+
+<h2><a name="THE_CITY_UNDER_THE_VISIGOTH" id="THE_CITY_UNDER_THE_VISIGOTH"></a>THE CITY UNDER THE VISIGOTH</h2>
+
+<p class="nind"><span class="smcap">During</span> the fifth century the Toledans may well have listened with
+attention to spiritual discussions, for looking forth from their rocky
+perch, they beheld the kingdoms of the earth passing away, and all that
+had seemed stable and eternal fading like the morning mist. The final
+breaking-up of the great world-controlling power was evident. Nations,
+the very names of which the men of the south had never heard, loomed
+from out the darkness of the north, and swept like a cloud of locusts
+over the land. The whole of Spain was desolate. Toledo, ever grim and
+stubborn, stood prepared to die hard. The tide of Vandal invasion surged
+in vain round her walls; then spent its fury in the south. The Visigoths
+established themselves in southern France. Under Walya they had overrun
+Spain, but had exchanged it, willingly enough, for Aquitania. Euric the
+Balthing, who succeeded his brother Theodoric as king in 466, seems to
+have repented of the bargain. He reconquered all Spain, except Galicia,
+which was held by the Suevi, and took Toledo.<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> Where the Vandal had
+failed, the Visigoth succeeded. In the first years of the sixth century
+the Franks stripped Euric’s grandson, Amalaric, of practically all his
+possessions north of the Pyrenees, and the kingdom of the Visigoths
+became synonymous with Spain. Its capital was Narbonne during the
+troubled reigns of Theudis and Theudigisel. But in 553 Athanagild was
+elected king. His wife was the sister of the Bishop of Toledo, and
+partly on that account, perhaps, but more probably because of its
+central position, he made that city his capital. That rank it retained
+during the continuance of the Visigothic monarchy, with the brief
+interval of the reign of Liuba, who succeeded Athanagild in 567 and
+removed his Court to Narbonne.</p>
+
+<p>The history of Toledo for the next century and a half becomes, in some
+sort, the history of Spain. Under Liuba’s brother and successor
+Leovigild (more correctly Liobagilths) the monarchy was consolidated.
+The Suevi in the north-west were subdued, and the nominal suzerainty of
+the Eastern Emperor was disavowed. Despite the difference in religion
+between the Visigoths, who were Arians, and the Romanised Iberians, who
+were Catholics, the two races began to intermingle, and the fusion of
+both into a single nation commenced. Leovigild was the first of his line
+to assume the insignia and appurtenances of royalty, and struck<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> coins
+with his own likeness and the description, “King in Toledo.” The title
+is significant of the increased importance of the city. The prosperity
+of the kingdom was temporarily interrupted by the celebrated
+insurrection of the monarch’s son Ermenegild. This was the outcome of
+the marriage of that prince with Ingunthis, the daughter of the Prankish
+and Catholic king Sisebert. The wedding was solemnised in Toledo with
+great pomp, but the city shortly after became the scene of violent
+quarrels between Queen Goiswintha and her daughter-in-law. Ermenegild
+embraced his wife’s religion, and headed a revolt against his father. He
+was defeated, and paid the penalty with his life at Tarragona, after
+refusing to accept the sacrament at the hands of an Arian bishop.
+Unedifying though his conduct may appear to us, he was regarded as a
+martyr for the faith, and is enrolled among the saints of the Catholic
+Church.</p>
+
+<p>Nor does his example seem to have been without its effect upon his
+brother, Reccared, who succeeded Leovigild in 587. In the month of May
+589, Toledo was thronged with Catholic bishops and priests&mdash;many lately
+returned from exile&mdash;and with nobles from all parts of Spain, making
+their way to the Basilica of Santa Maria de la Sede Real, to assist at
+the solemn profession of the Catholic faith by the king and his queen,<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span>
+Baddo. Sixty-two prelates took part in this, the third Council of
+Toledo, the most eminent being Massona, Bishop of Merida, Leandro of
+Baetica, Santardus of Braga, Ugno of Barcelona, Megecias of Narbonne,
+and Eufemio of Toledo. It was a memorable day for Spain. The king’s
+example was soon followed by his subjects of his own race, and the
+unification of the two peoples was greatly accelerated.</p>
+
+<p>During the hundred and ten years that elapsed between the death of
+Reccared (601) and the rout of the Guadelete (711), no fewer than
+fifteen sovereigns sat on the throne of Spain. Toledo was the theatre of
+their barbaric triumphings, their violent entrances and tragic exits.
+Now the city would resound with the savage, exultant yells of the
+townsmen, as they dragged the body of the usurper Witeric up and down
+the steep, uneven streets&mdash;to cast the bleeding, shapeless thing that
+had so lately been a king, upon a dunghill. Now, the people would be
+acclaiming Wamba, greatest of the Visigoths&mdash;after the strange scene at
+Gerticos, where the crown was forced upon him at the sword’s point;
+another time, a long procession of captives would file through the
+gates, to witness to the old king’s triumph in Narbonnese Gaul. Not a
+“demise of the crown” but there would be angry mutterings among the
+townsfolk, and whispers of murder, compulsion,<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> and fraud. And while the
+kings raved and the people wept, the Church grew every day stronger&mdash;so
+strong that usurper and legitimate sovereign alike had perforce to
+obtain her sanction to his election and accession. And as the years went
+on, the spark of religious zeal in the breast of Spain was fanned into
+flame, and we read of fierce onslaughts on the Jewish citizens, and of
+merciless edicts, condemning them to penalties painful and humiliating.
+Dark days were these for the Children of Israel whose home Toledo so
+long had been; but darker still were impending for their persecutors and
+for the royal line of the Visigoths.</p>
+
+<p>An exact picture of society in Spain at this period has been preserved
+in the Etymologies of Isidore Pacense. The Visigoths were a primitive,
+barbarous people, who had imposed upon themselves the outward
+appearances of Roman, or rather of Byzantine, civilisation. The
+contemptuous reference of Hallam to this “obscure race” is undeserved.
+Even in their earlier stages of development the Goths manifested many
+noble qualities&mdash;notably, a clemency towards their enemies&mdash;which were
+not conspicuous in the more polished nations of the South. And though
+they never properly assimilated the culture of the Latins, they attained
+to a degree of refinement and civilisation which compares favourably
+with that<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> reached by contemporaries. “Spain,” remarks the author of
+“Toledo” in the “Monumentos Arquitectónicos de España,” “may then fairly
+and proudly claim that, while in Central Europe art had acquired no
+distinctive form&mdash;in the midst of the bitterness of slavery, when,
+before the abjuration of Reccared, the fusion of the races was not
+legally recognised&mdash;the Iberian Peninsula had developed a definite and
+evident artistic and literary individuality. That individuality must
+have been the result of the fortuitous conjunction and union of Latin
+traditions, more or less degenerate, with influences originally
+Byzantine and with those other transformed elements introduced by the
+Germanic hosts of Atawulf; but, even then, it remains an individuality,
+which asserts itself in the surviving examples of Visigothic culture,
+and which was transmitted to the generations succeeding the Moslem
+conquest.”</p>
+
+<p>According to the standpoint of the critic, the Gothic kings’ taste for
+pomp and luxury may be interpreted as proof of their civilised instincts
+or of their native barbarism. For of the splendour of the Court of
+Toledo we have abundant testimony. From the writings of Isidore, we
+learn that the nobles used only goblets and basins of the precious
+metals, that their garments were of superfine silk, and their ornaments
+of the richest jewels. The elaborate ceremonial of the royal<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> household
+may be inferred from the list of functionaries&mdash;the First Count, or
+Chief Butler, the <i>Escancias</i>; the Count Chamberlain, or <i>Cubiculario</i>;
+the Master of the Horse, <i>Estabulario</i>; the Major Domo, or <i>Numerario</i>;
+the Steward, or <i>Silonario</i>; the Master of the Pages, or <i>Espartarius</i>;
+the Count of the <i>Sagrarios</i>, or Sacred Things; and the Treasurer, or
+<i>Argentarios</i>. These offices were only held by the highest nobles. In
+the Cluny Museum at Paris and the Royal Armoury at Madrid are preserved
+the superb Votive Crowns discovered at Guarrazar in 1858. These
+priceless objects proclaim the wealth and munificence of the Visigothic
+monarchs. They are composed of double hoops of gold, decorated on the
+outside by three bands in relief. The outer bands are set with pearls
+and sapphires, and the middle band with the same stones in a setting of
+a red vitreous substance. The crown is suspended by four chains from a
+double gold rosette, which encloses a piece of rock crystal set in
+facets. Each chain consists of four links, shaped like the leaf of the
+pear-tree, and <i>percées à jour</i>. In its original state the crown of King
+Swinthila, now in the Madrid Armoury, had, hanging from its lower rim, a
+cross and twenty-two letters, making up the inscription, <small>SVINTHILANUS
+REX OFFERET</small>. All and each of these letters were actual jewels, set in
+the red glassy paste already mentioned, to them being attached large<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span>
+single pearls and pear-shaped sapphires. Though only twelve letters were
+remaining when the crown was discovered, the dedication was skilfully
+reconstructed by Señores de Madrazo and Amador de los Rios. The crown of
+Recceswinth in the Cluny Museum and the crown of the Abbot Theodosius at
+Madrid do not differ greatly from that of Swinthila in style and
+material. Though the workmanship is rude compared with modern specimens
+of the goldsmith’s art, these crowns still excite admiration by their
+beauty and richness. Inquiring into the origin of their style, Señor de
+Riaño arrives at the conclusion that it “must be looked for in the East;
+their manufacture was most probably Spanish. We cannot imagine the
+extraordinary magnificence of the Visigothic court, so similar to that
+of Constantinople and other contemporary ones, without the presence at
+each of a group of artists whose task was to satisfy these demands.” Not
+only the applied arts, but letters and learning were cultivated at
+Toledo. Swinthila and Recceswinth delighted in the composition of
+epistles and verses, in which, unfortunately, the taste, acquired from
+the Byzantines, for long-winded, flowery and involved phrases is
+painfully apparent. Recceswinth interested himself in the collection and
+revision of ancient manuscripts. In his reign flourished the learned and
+saintly Ildefonso, who<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> was publicly thanked for his work on the
+perpetual virginity of Mary by the martyr Saint Leocadia, who came
+expressly from Heaven for the purpose. One of Ildefonso’s successors in
+the see of Toledo, Julian, was a Jew by birth, or at least descent. He
+was renowned for his erudition and especially as a polemical writer.
+Though he narrowly escaped excommunication as a heretic, he is now
+venerated as a saint, and was buried beside St. Ildefonso.</p>
+
+<p>As the seat of a Court which did something more than ape the culture of
+the Latins (<i>pace</i> Mr. Leonard Williams), Toledo rose from an obscure
+Roman colony into a city of dignity and importance. It is supposed to
+have reached its highest stage of development in the reign of King Wamba
+(672-680), whose mutilated statue confronts the traveller on approaching
+the town from the railway-station. Most of the buildings ascribed by the
+chroniclers, however, to that king were in all probability only restored
+by his orders, and were originally constructed by his predecessors.
+Isidore Pacense enumerates among the edifices existing in his time in
+Spain, basilicas, monasteries, oratories, and hermitages; the <i>Aula
+Regia</i>, or royal residence, “distinguished before all other buildings by
+the richness of the four porticos which encircled it”; the <i>Atrii</i> of
+the nobility, which were allowed only three<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> porticos; hospitals,
+guest-houses, and <i>Repositaria</i>, or treasure-houses. It is reasonable to
+assume that the capital of Spain would have possessed buildings of all
+the kinds specified during the hundred years that elapsed between the
+death of Athanagild and the accession of Wamba.</p>
+
+<p>To the former king is attributed the foundation of the sanctuary
+converted later into the Hermitage of Cristo de la Luz, and the Church
+of Santa Justa, reconstructed in the sixteenth century. From an
+inscription on marble found in 1581, near the Convent of San Juan de la
+Penitencia, it would appear that Reccared built a church consecrated to
+the Virgin in the year 587. The text runs: <small>IN NOMINE DNI CONSECRA | TA
+ECCLESIA SCTE MARIE | IN CATHOLICO DIE PRIMO | IDUS APRILIS ANNO FELI |
+CITER PRIMO REGNI D-NI | NOSTRI GLORIOSISSIMI H | RECCAREDI REGIS ERA |
+DCXXV</small>. To Liuba II. is ascribed the erection of the Church of San
+Sebastian, where some capitals and shafts, discovered in 1899, exist to
+attest its Visigothic origin. The Basilica of Santa Leocadia dated from
+the days of Sisebut (612-621): and though the chroniclers assign no date
+to the dedication of the Church of San Ginés there can be no doubt that
+it took place in the seventh century. Wamba adorned with statuary and
+partially restored the city walls, but it is an error, based on a
+corrupt<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> text of Isidore Pacense’s, to suppose that he built them.</p>
+
+<p>The site of the Aula Regia, or Palace of the Visigothic kings, has long
+been a matter of dispute among archæologists. The author of the article
+on Toledo in the “Monumentos Arquitectónicos” decides in favour of the
+plot of ground covered by the Convents of the Concepcion and the
+Comendadores de Santiago, the ruined Hospital of Santa Cruz, and the new
+extension of the Paseo del Miradero&mdash;close to the Zocodover, in the
+north-east angle of the city. Adjacent to the palace was the Basilica of
+Saints Peter and Paul, “which seems,” says Señor Menendez y Pidal, “to
+have been the royal pantheon, opened only for the entombment of the
+sovereign and the taking the oath of allegiance to his successor.” Here
+were suspended the votive crowns, afterwards buried at Guarrazar; here
+probably were interred Athanagild, Leovigild, Reccared I., Liuba II.,
+Gundemar, Sisebut, Reccared II., Tulga, Erwig, Egica, and Witica. Their
+very dust has long since been scattered by the wind&mdash;who shall say
+where? In a hall attached to that Basilica, in similar annexes to the
+Basilicas of Santa Leocadia and Santa Maria de la Sede Real, were held
+those ecclesiastical synods which so powerfully contributed to the
+shaping of the destinies of Spain. Santa Leocadi<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span>a’s church is now known
+as the Cristo de la Vega; the Basilica de Santa Maria faced the Bridge
+of Alcantara and was in after years known as Santa Maria de Alficem.
+Here Recceswinth is said to have been crowned, the temple being
+afterwards restored by Erwig, Wamba’s successor.</p>
+
+<p>Not a single building erected by the Visigothic kings exists to-day.
+“Destroyed by man’s fury and by the vicissitudes of time,” regretfully
+observes Señor Amador de los Rios, “or altered till all trace of their
+original form has been lost, by the pious care which intended to
+preserve them, you may seek in vain in the city of Wamba for an intact
+monument of that age; not even the walls ascribed to that prince have
+remained entire. Fragments of friezes; isolated capitals, which have
+adorned later edifices, oddly out of place in the scheme of decorations,
+or cut and defaced; broken shafts, perhaps bearing some inscriptions;
+pieces of a hinge, a metope, a lintel, or an impost, perhaps some
+dedicatory tablet&mdash;this is all that has escaped at Toledo the
+devastating scythe of time.”</p>
+
+<p>These relics, however, are fortunately numerous. For a detailed
+description of the more important, the reader is referred to the
+“Monumentos Arquitectónicos de España.” Some we shall notice more
+particularly in dealing with the edifices of which they now form part.<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p>
+
+<p>Under Wamba the Visigothic monarchy reached the apex of its greatness.
+Under his four successors, Erwig, Egica, Witica, and Roderic, State and
+people are said to have become hopelessly enervated. The old Gothic
+vigour blazed up now and again in some individual ruler or statesman,
+but failed to communicate itself to the nation. The kingdom was
+tottering to its fall. The taste for display and the amenities of
+existence grew stronger in this period of decline. Never was there such
+wealth and splendour in Toledo as when it fell a prey to the hosts of
+Islam. The rapid decay of this once great and martial race is without a
+parallel in history. It is difficult to assign to it a cause. Luxury was
+the privilege only of the nobility and clergy, and could hardly have
+corrupted the whole people. Modern writers lamely attribute the final
+catastrophe to ecclesiastical influence and domination. Perhaps when all
+has been said, the state of Spain under Witica and Roderic was not much
+worse than under subsequent rulers of other dynasties; and the downfall
+may have been due, not so much to the effeminacy of the vanquished, as
+to the extraordinary military genius of the conquerors. Historians would
+have said little about the degeneracy of the Visigoths if the battle of
+the Guadalete had had a different issue.</p>
+
+<p>The Hispano-Goths, as Catholics, evinced a<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> fanatical and intolerant
+temper which had been conspicuously lacking in them as Arians. Harsh
+edicts continued to be promulgated against the Jews&mdash;then, as till a
+much later date, a most important element in the population of Toledo.
+The unlucky Children of Israel may have derived in the intervals of
+persecution some malicious consolation from the bitter quarrels between
+the king and the Catholic clergy. Witica was an enemy, or what was
+probably regarded as the same thing, a would-be reformer of the Church.
+To his impiety, indeed, monkish writers are fond of ascribing the
+destruction of the Gothic kingdom. His predecessor, Egica, did not
+hesitate to condemn to excommunication, exile, and confiscation of
+property, Sisebert, the powerful Archbishop of Toledo. Perhaps some
+clerkly chronicler, by way of retaliation for this outrage upon his
+order, invented the following discreditable story, to be found in the
+pages of Lozano.</p>
+
+<p>King Egica had conceived an ardent passion for the beautiful Doña Luz,
+who is described as the grand-daughter of Kindaswinth, and the sister of
+Roderic, afterwards king. Her love, however, was given to her uncle, Don
+Favila, Duke or Governor of Cantabria. The lovers, wearied at last by
+the king’s opposition to their union, went through a secret and
+simplified form of marriage in the lady’s bedchamber before a statue of
+the<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> Virgin. In the course of time. Doña Luz became a mother. Egica’s
+suspicions had already been enkindled, and fearing his wrath, she placed
+the new-born infant in a little ark and set it afloat on the bosom of
+the Tagus. As her maids pushed out the tiny craft from the foot of the
+steep path that leads down from Toledo, a radiance diffused itself
+around the sleeping child and for long marked his passage down the broad
+stream. The irate monarch, divining that Doña Luz must in some way have
+disposed of her child, caused a census to be taken of all the children
+born in and around the city within the past three months with the names
+of the respective fathers. The number of births was recorded at
+35,428&mdash;a very surprising total for Toledo! And, which is still more
+remarkable and highly creditable to the city, the parentage of these
+numerous infants was in every case authenticated. What then had become
+of Doña Luz’s baby? Baffled in his quest, the king suborned one of his
+minions, Melias by name, to accuse the unfortunate lady of incontinency.
+The penalty for this offence, we are told, was nothing less than death
+by fire; and for that fate Egica bade Doña Luz prepare, unless she could
+secure a defender or otherwise clear her reputation. At the eleventh
+hour, the valorous champion appeared in the person of Don Favila, who
+disproved the charge made against his lady-love to<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> the satisfaction of
+mediæval intelligences, by the simple method of running her accuser
+through the body. This, however, did not satisfy the sceptical monarch,
+who insisted on a further ordeal by combat. A knight named Bristes,
+cousin of the recreant Melias, was challenger and accuser on this
+occasion, and was quickly despatched by the doughty Favila.</p>
+
+<p>In the meantime the ark containing Pelayo, the infant child of Doña Luz
+and her champion, had reached Alcantara, where the little passenger
+almost miraculously fell into the hands of his mother’s other uncle,
+Grafeses. This benevolent prince took every care of the child,
+unsuspicious, of course, of his origin. Attracted to Court by the noise
+of these scandals and combats, he found a handkerchief in his niece’s
+room, the counterpart of one which he had discovered in the little ark.
+Doña Luz soon confessed to him the whole story, and he endeavoured to
+intercede for her with the king. Egica, probably more exasperated than
+ever, insisted on a third duel between Favila and a knight called
+Longaris. Both combatants had been wounded when a holy hermit appeared
+on the scene, and admonished the king as to his wickedness and hardness
+of heart. Egica repented and consented to the public celebration of the
+marriage of Favila and Doña Luz. Here we have a fine romantic account of
+the origin of the<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> heroic Pelayo, the restorer of the monarchy and the
+saviour of the Spanish nation.</p>
+
+<p>Wilder, more romantic still, and better known are the legends clustering
+round the last king of the Goths. The scene of most of these is laid in
+Toledo. Here was held that wonderful tournament, to which resorted all
+the crowned heads of Europe&mdash;aye, even such potentates as the Emperor of
+Constantinople and the King of Poland. A new city of palaces was reared
+in the Vega by the hospitable Roderic to accommodate his fifty thousand
+noble guests. This splendid function may have taken place before or
+after the king’s strange marriage with the bewitching Moorish princess
+Elyata (re-baptized Exilona), who had been washed ashore by the sea on
+the coast of Valencia. Lovely as was his consort, Roderic did not, as we
+all know, remain faithful to her. Here enters the mournful and very
+shadowy figure of Florinda, otherwise known as La Cava. This peerless
+damsel was confided to the care of the king by her father, the trusty
+Julian (or Illán), governor of Ceuta. Alas for the maiden! while bathing
+in the Tagus, her charms were only too well revealed to Roderic, gazing
+from his palace windows on the cliff above. A glimpse of a shapely leg
+scarce concealed by a diaphanous mantle decided the fate of
+Florinda&mdash;and of Spain. What he could not effect by persuasion,<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> the
+king effected by violence. Perhaps he hoped that the proud Julian’s
+daughter would keep silence as to her own dishonour. He was mistaken. A
+trusty page, spurring night and day, quickly bore the fatal tidings to
+the father at distant Ceuta, and the missive in which the wronged
+Florinda implored vengeance on her betrayer.</p>
+
+<p>To the no doubt conscience-stricken Roderic, seated in good old kingly
+fashion upon his throne, appeared two venerable strangers with a message
+of mysterious import. When Hercules had founded (as some men say)
+Toledo, not far from the city, among the mountains, he had reared a
+tower, of which these uncouth brethren were the guardians, as their
+ancestors, in an unbroken line, had been before them. On this tower and
+on its unknown and fearful contents, the demigod had laid a necromantic
+spell. It had been the custom of each of the Kings of Spain to affix to
+the massive doors a new lock, and now Roderic was summoned to fulfil
+this duty, for failing this and if any rash mortal should discover the
+secret of the tower, ruin, absolute and immediate, must overtake his
+kingdom. Agog with curiosity, with a brilliant cavalcade, the king
+clattered through the streets of his capital, and found the wondrous
+tower in the recesses of the hills. The aged custodians<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> besought him to
+hasten and to affix his seal to the enchanted doors. In vain! it was
+with another intention the impetuous sovereign had come hither. He burst
+open the doors and rushed in, where never man since Hercules had dared
+to tread. Before him stood a gigantic statue in bronze, which dealt
+blows with a great mace unceasingly to right and left. On its breast
+were inscribed the words, <i>I do my duty</i>. Roderic sternly adjured the
+creature of enchantment to let him pass. It obeyed. In the interior of
+the tower the King found a casket of rich workmanship. A legend thereon
+warned him of the doom that would overtake him who should open it.
+Roderic forced open the lid. He beheld a fold of linen on which were
+painted the figures of Moorish warriors in battle-array. As he gazed the
+figures seemed to move, to grow larger, to assume the proportions of
+men. He beheld a battlefield where Goths and Moors contended for the
+mastery. Breathless, he awaited the issue. The Goths were flying, and he
+saw his own white steed, Orelia, galloping through the fray&mdash;riderless.
+Affrighted, the king and his attendants rushed to the door. There lay
+the two ancient custodians, dead. Thunder rolled, a storm burst over the
+land, and Roderic and his cavaliers drew not rein till they reached the
+palace of Toledo. Next day the stout-hearted Goths reascended to<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> the
+hills. But as they approached, behold a great eagle swooped down from
+the sky holding in its talons a flaming brand! The tower blazed up like
+matchwood. Then arose a great wind which carried the ashes to every part
+of Spain; and every man on whom a portion of the ashes fell was
+afterwards slain in battle by the Moors.</p>
+
+<p>These direful portents must surely have prepared Roderic for treachery,
+conspiracies, and unpleasantness of all kinds. But when Count Julian
+arrived, smiling and deferential, to take his daughter home to Ceuta, he
+seems to have suspected nothing, feared nothing. The rest of the
+story&mdash;Julian’s invitation to the Moors, the rout of Guadalete, the
+disappearance of Roderic&mdash;relates to the history of Spain generally, not
+to that of Toledo. Dozy believes that Julian actually existed, but he
+seems to have been a Byzantine governor of Ceuta, not a Spaniard. It is
+hardly necessary to say that Florinda is as much a figment of the
+imagination as the enchanted tower. Yet near the Puente de San Martin
+(above which never king’s palace stood) some fragments of masonry are
+pointed out as the Baños de la Cava (Florinda’s Bath). They are, in
+reality, but the remains of a Moorish tomb.</p>
+
+<p>In July 711, King Roderic set out from Toledo, never to return. Upon the
+news of the rout of Guadalete, all the magnates and prelates aban<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span>doned
+the city. Its surrender to the Moorish host of the one-eyed Tarik was
+the work of the Jews, who had not forgotten the persecutions of Sisebert
+and Egica. There were Jews in the invading army under the command of
+Kaula-al-Yahudi. When Tarik appeared before the walls, a venerable
+Israelite was let down in a basket, and, approaching him, offered to
+admit him to the city if liberty and the free exercise of their religion
+were guaranteed to his race. The Berber joyfully accepted these terms,
+and on the following day proud Toledo&mdash;deserted by its Christian
+inhabitants&mdash;was annexed to the Saracen Khalifate.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p>
+
+<h2><a name="TOLEDO_UNDER_THE_MOOR" id="TOLEDO_UNDER_THE_MOOR"></a>TOLEDO UNDER THE MOOR</h2>
+
+<p class="nind"><span class="smcap">Never</span> again was Toledo to attain to the wealth and splendour it
+possessed under Wamba and his successors. The invaders, fresh from the
+conquest of the richest provinces of Africa, were dazzled by the
+magnificence of the spoils that fell to them in the dark-browed city
+above the Tagus. The Arabian historians have need of all their powers of
+hyperbole to over-estimate the richness of the treasure. There was
+enough and to spare, Al Leyth Ibn Saïd tells us, for every soldier in
+the army. The humblest troopers might have been seen staggering under
+the weight of priceless silks and garments, chains of gold, and strings
+of precious stones. The rude Berbers, fresh from their mountains, but
+ill appreciated the value of the loot, and cut the costliest fabrics in
+two or more pieces to adjust their shares. A magnificent carpet,
+composed of superb embroidery, interwoven with gold and ornamented with
+filigree work, and profusely set with gems, is said to have been treated
+in this way by the troopers into whose greedy hands it fell. It would be
+interesting to learn the place of manufacture of<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> this carpet, for from
+the silence of St. Isidore upon the subject of textile fabrics, it would
+seem that they were not made in his time in Spain.</p>
+
+<p>But, to credit the Moorish chroniclers, the rarest of exotic treasures
+had been accumulated in the Visigothic capital. Here were found the
+Psalms of David, written upon gold leaf in a fluid made from dissolved
+rubies! and most wonderful of all, the Table of Solomon made out of a
+single emerald! It was brought to Toledo&mdash;so runs one version&mdash;after the
+taking of Jerusalem, and was valued in Damascus at one hundred thousand
+dinars&mdash;equal to about £50,000. We are not surprised to hear that this
+unique piece of furniture “possessed talismanic powers”; for tradition
+affirms it was the work of genii, and had been wrought by them for King
+Solomon the Wise, the son of David. This marvellous relic was carefully
+preserved by Tarik as the most precious of all his spoils, being
+intended by him as a present to the Khalifa; and, in commemoration of
+it, the city was called by the Arabs, Medina Almyda, that is to say,
+“The City of the Table.”</p>
+
+<p>Thus far Washington Irving. With characteristic credulity, Ibn Hayyan,
+the historian, gives in the translation of Gayangos a substantially
+different account of the treasure: “The celebrated table which Tarik
+found at Toledo, although attributed to Solomon and named after him,
+never<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> belonged to the poet-king. According to the barbarian authors, it
+was customary for the nobles and men in estimation of the Gothic Court,
+to bequeath a portion of their property to the church. From the money so
+amassed the priests caused tables to be made of pure gold and silver,
+gorgeous thrones and stands on which to carry the Gospels in public
+processions, or to ornament the altars on great festivals. The so-called
+Solomon’s table was originally wrought with money derived from this
+source, and was subsequently emulously enlarged and embellished by
+successive kings of Toledo, the latest always anxious to surpass his
+predecessor in magnificence, until it became the most splendid and
+costly gem ever made for such a purpose. The fabric was of pure gold,
+set with the most precious pearls, emeralds and rubies. Its
+circumference was encrusted with three rows of these valuable stones,
+and the whole table displayed jewels so large and refulgent that never
+did human eye behold anything comparable with it.... When the Muslims
+entered Toledo it was discovered on the altar of the Christian Church,
+and the fact of such a treasure having been found soon became public and
+notorious.”</p>
+
+<p>Gibbon accounts for the presence of the Table of Solomon at
+Toledo&mdash;assuming that there ever was such a thing, and that it ever was
+there at all&mdash;by supposing it to have been carried off by<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> Titus to
+Rome, whence it may have been taken by Alaric when the Goths sacked the
+city. Whichever version of the table’s origin be accepted, it seems
+strange that it was not carried away by the clergy in their flight from
+Toledo. Of its ultimate fate nothing is known, unless we can accept the
+little that is revealed in the following history.</p>
+
+<p>Upon Musa approaching the city to supersede Tarik, the latter broke off
+and concealed one of the legs of the table. Musa was already incensed
+against his lieutenant for having deprived him of the glory of the
+conquest of Spain, and emphasised his reprimands with strokes of a whip.
+When he found that the leg of the table was missing, his anger was very
+great. Tarik assured him he had found it in that mutilated condition,
+and Musa caused the missing leg to be replaced by one of gold. His
+subordinate, however, he cast into prison, where the One-Eyed One
+remained till released by orders from the Khalifa himself. He was amply
+revenged on Musa, when upon the latter presenting the table to his
+sovereign as his own discovery, he was able triumphantly to give him the
+lie by producing the missing leg of emerald. And so the wonderful Table
+of Solomon, of emerald, or of gold, or of both, passes out of the ken of
+history.</p>
+
+<p>We hear of Musa’s son, Abd-ul-Aziz (or “Bel<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span>asis,” as he is quaintly
+termed by old Spanish writers) marrying King Roderic’s widow, Exilona,
+at Toledo. Abd-ul-Aziz, however, was Governor of Seville, where he met
+his death, and it is not unlikely, if he married the queen at all, that
+he did so in that southern city, where she may have been left by her
+first consort to await the result of the battle of the Guadalete. If
+there be any truth in the legend that Exilona was of Moorish origin
+herself, the story of this second and apparently cold-blooded union
+seems less improbable. Tradition has it that the widow of the Goth only
+consented to the match on Abd-ul-Aziz promising to observe towards her
+all the deference due to a Christian queen. He kept his promise only too
+faithfully, and his forcing his officers to bend the knee to a woman and
+an infidel, is said to have contributed to bring about his assassination
+in the mosque at Seville.</p>
+
+<p>The conquerors here, as in other parts of the kingdom, acted generously
+towards the conquered. A moderate tribute was levied on the Christians,
+who were allowed to practise their religion and be governed by their own
+laws and customs. Seven churches were allotted to their use, the names
+of these being Santa Eulalia, Santa Maria de Alficem, Santa Justa, San
+Sebastian, San Marcos, San Torcuato, and San Lucas. But these privileges
+must have hardly consoled the citizens for the loss of<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> the town’s rank
+as capital of Spain. It became, as it had been under the Romans, “a
+strong place,” of which the dominant race valued the advantages, but, in
+consequence of the rise of Cordoba and Seville it sank to the condition
+of a provincial town.</p>
+
+<p>As such its career was throughout stormy and turbulent. The spirit of
+rebellion seemed instinct in the grim fortress-like city, and infused
+itself into Mohammedan and Christian, Arab and Castilian alike. The two
+races fraternised well enough. They had a common interest: resistance to
+any external authority. This impatience of control was characteristic of
+the Toledans for centuries. Its annals during the period of Mohammedan
+occupation are a tedious record of sieges, riots, usurpations and
+massacres. Such events are only of interest when studied in the minutest
+detail. A brief <i>résumé</i> of them is, however, indispensable to a proper
+knowledge of the town.</p>
+
+<p>The citizens’ first appearance in the troubled arena of Muslim politics
+was as loyalists&mdash;an uncongenial <i>rôle</i>! In the civil wars that
+distracted the reign of Abd-ul-Malik, Toledo was held by his son Omeya,
+and vainly besieged for a month by the rebels. On the approach of
+Abd-ul-Malik, the garrison, wishful of glory, made a vigorous sortie and
+completely routed the investing force. The townsmen had tasted<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> blood.
+It took much to quench their thirst. Knowing their character, in the
+troubles fomented by the pretender Yusaf ben Debri, his partisan,
+Mohammed Abu-l-Aswad took refuge among them in the year of the Hegira
+142. The place was immediately invested by the Wizir, Al Kama, and as
+usual offered a stout resistance. Wearied of their ruler, however, the
+people played him false and betrayed the town to the Wizir. Abu-l-Aswad
+was taken prisoner and sent to Cordoba.</p>
+
+<p>A year or two later the Toledans repented of their submission. While the
+Amir, Abd-ur-Rahman, was engaged in preparations for a war in the east
+of Spain, some powerful families, led by one Hixem ben Adra al Fehri,
+rose, seized the Alcazar, and put the Wizir to flight. They released the
+notorious rebel, Kasim ben Yusuf, from prison, and raised an army of
+about ten thousand men&mdash;mostly freebooters and masterless men who seemed
+to have regarded Toledo as the best market for their peculiar talents.
+The Amir’s appearance before the walls, with a powerful army, caused
+moderate counsels to prevail among the insurgents. The citizens were
+anxious to be rid of the undesirables they had invited into their midst,
+and persuaded Hixem to visit the royal camp to solicit terms.
+Abd-ur-Rahman generously pardoned him, and once more incarcerating
+Kasim, left the town to itself.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
+
+<p>He soon had good reason to repent his forbearance. In 763 Kasim escaped
+from confinement, rallied the citizens round him, and declared the town
+subject only to the Khalifa of Damascus. The siege that followed was
+languidly conducted. The people, we read, were suffered to cultivate
+their fields, and to carry produce into the city unmolested. At this
+rate the siege might have lasted as long as that of Candia. Kasim,
+meanwhile lulled into a sense of security, abused his power, and
+alienated his unruly subjects. On the arrival of the Amir, he was given
+notice to quit. Having seen him successfully elude the royal forces,
+Toledo opened its gates to Abd-ur-Rahman. The Amir, despairing of the
+townsmen’s temper, exacted from them but a nominal obedience, but his
+successor, Hakam, thought to coerce them by a bitter lesson. As
+Governor, he sent them one Amru of Huesca, a renegade Christian, “by a
+condescension,” he wrote, “which proves our extreme solicitude for your
+interests.” The renegade’s policy was thorough. He ingratiated himself
+with the people, and posed as the champion of their liberties. It was at
+their own suggestion that he raised a fortress in their very midst. The
+place being strongly garrisoned and all being ready, the approach of a
+large army, commanded by the Amir’s son, Abd-ur-Rahman, was announced.
+At the suggestion of the Governor,<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> the prince was invited by the
+nobility into the city; and he, in return, as if to mark his sense of
+the honour conferred upon him, ordered a great feast to be made ready at
+the Castle. To this all the chief men were bidden. What followed is
+known as the Day of the Fosse. The guests were allowed to enter only one
+by one. Behind the gate stood a man with bared arm and uplifted axe. As
+each guest entered there was a sweep of the arm, a flash of steel, and a
+head rolled into the ditch already prepared. Without, nothing was heard,
+nothing was seen, nothing suspected. The episode reminds one of the
+famous Blood Bath of Stockholm. The butchery is said at last to have
+been revealed to those waiting outside the wall by the thick vapour
+issuing from the gate. A physician, who had been watching for hours, and
+who had noticed that none of the numerous guests who had entered, had
+issued forth, was the first to raise the alarm. “Men of Toledo,” he
+shouted, “I vow that yonder vapour is not the smoke of a feast, but
+rises from the blood of our butchered brethren!”</p>
+
+<p>This ghastly tragedy occurred in 807, and has given rise to a proverbial
+expression current in Spanish&mdash;<i>una noche Toledana</i>, applied to a night
+disagreeably passed in sleeplessness or pain.</p>
+
+<p>The blow struck by the ferocious Amru was of the kind that alone met
+with the approval of<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> Macchiavelli: it not only intimidated, but it
+crushed. For a quarter of a century we hear no more of tumults or
+dissensions in the City by the Tagus. Meantime it prospered. Arts and
+letters flourished. In the year 827 we have to record the death “of the
+very learned alfaqui, Isa ben Dinar el Ghafeki, a native of that city
+and a disciple of Malik ben Anas. He was a man beloved by all&mdash;friendly
+in manner, admirable in conversation, and upright of life: such as were
+taught by Isa ben Dinar acquired their learning with delight. He was in
+the habit of practising some few observances that were considered
+extraordinary: he made, for example, the prayer of the dawn with the
+preparation and ablutions proper to that of the evening twilight.”</p>
+
+<p>The opulence of the Jews and Christians decided the Wali, Aben Mafût ben
+Ibrahim, to increase their tribute. This led to the outbreak of 832. A
+wealthy young citizen, named Hakam el Atiki, otherwise known as El
+Durrete, or “the striker of blows,” had been insulted by the Wali, and
+used the discontent of the people as a means of avenging his injuries.
+He distributed money freely among the more inflammable sections of the
+populace, and collected about him a body of lawless followers. One of
+these was seized in the Soko, or market-place (the Zocodover) by one of
+the Wali’s officers, and a tumult at once uprose.<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> In the end the
+Alcazar fell into the hands of the rebels, and the Wali barely escaped
+with his life. Hakam, however, was shortly afterwards obliged to abandon
+his conquest, and spread abroad the report that he had left the country.
+The vigilance of the garrison becoming in consequence relaxed, he seized
+the city by a <i>coup de main</i>, and held it for some years. He was
+wounded, taken prisoner, and beheaded in 837, by Abd-el-Raf, his head
+being suspended from the gate of Bisagra.</p>
+
+<p>So far the risings at Toledo had been mainly political, and the townsmen
+had sunk their religious and racial differences to make common cause
+against the stranger. The cause of the insurrection of 854 was, by
+exception, an outburst of fanaticism on the part of the Muzarabes or
+Christians, who practised the ritual of the Spanish Goths. It was at
+this time that the Catholics of Cordoba and Seville, subject to some
+extraordinary aberration, had in great numbers earned the doubtful
+honour of martyrdom by blaspheming Mohammed. To Toledo, as the most
+likely spot at which to create a disturbance, came Eulogius and stirred
+the Christians to avenge the “wrongs” of their co-religionists. Under
+the leadership of Sindola, they dispossessed their Moorish governors,
+and carrying the war into the enemy’s own country, defeated the Amir’s
+forces at Andujar. Ordoño<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> King of Leon, now came to the assistance of
+the citizens, who, hitherto, had shown no eagerness to call in the help
+of the Christians of the north. Mohammed, the Amir, presently appeared
+before Toledo, and drew the allied forces into an ambush. The Christians
+were totally defeated&mdash;almost annihilated. Nothing daunted, the
+Toledans, later on, insulted their sovereign by electing Eulogius to the
+vacant archiepiscopal see. Mohammed, by way of reprisal, inveigled a
+large force of Christians on to a bridge which he had undermined. It was
+the Day of the Fosse over again.</p>
+
+<p>In the year 873, we find the independence of Toledo, subject to his
+suzerainty, nominally acknowledged by the Amir, who was probably glad to
+make any terms that promised peace with vassals so turbulent. In the
+reign of the Amir Al Mundhir even this faint shadow of outside authority
+was shaken off by the city, which again asserted its complete
+independence, in 886, under Ibn Hafsûn. The town was besieged by the
+royal forces under the Wizir Haksim. The wily Ibn Hafsûn, seeing that
+the stronghold must fall, proposed to the opposing general that he
+should allow him to evacuate the place and transport his army to the
+frontier of Valencia, on a train of beasts of burden to be provided by
+the besiegers. Haksim joyfully assented to this capitulation, and on the
+day appointed, what was supposed to be<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> the entire army of the rebel
+chief issued from the gates of the city and wended their way, with the
+train of packhorses, eastwards. Leaving what he considered a sufficient
+garrison in Toledo, Haksim drew off the greater part of his forces and
+went to Cordoba. Meanwhile the crafty Hafsûn swiftly retraced his steps,
+and with the aid of the considerable detachment he had left concealed in
+the town, put the garrison to the sword, and once more hurled defiance
+at the Amir. Great was Al Mundhir’s wrath on the receipt of this
+intelligence, and before nightfall, the head of Haksim lay severed from
+his body.</p>
+
+<p>Ibn Hafsûn proved a formidable antagonist. The Amir lead an army against
+him in 888 and was defeated and killed. Twenty years later Hafsûn died,
+bequeathing what was practically an independent sovereignty to his son.
+The great Khalifa, Abd-ur-Rahman III., now sat on the throne of Cordoba.
+He determined to put an end to the arrogant pretensions of the unruly,
+untameable city. His summons to capitulate being contemptuously
+rejected, he took the field in 930. For eight years the siege went on,
+varied by exploits and incidents, which might prove matter for a Moorish
+Iliad. Famine stalked abroad in the obstinate city, but the Hafsûns
+would not hear of surrender. When at last it became plain that the
+people would yield, the<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> leaders and their partisans, to the number of
+four thousand, made a last desperate sortie. Two thousand cavaliers,
+with a foot-soldier clutching firmly hold of each horse’s girth, they
+broke through Abd-ur-Rahman’s camp, and got clean away. Almost joyfully
+the townsmen opened their gates to the great Amir&mdash;to be firmly bitted
+and bridled during the remainder of his reign.</p>
+
+<p>That the town was still subject to the central authority in the year
+979, we gather from this incident. The Governor, Abd-ul-Malik Ibn Merwân
+having some difference with the Wali of Medina Selim (Medinaceli),
+challenged him to single combat and slew him. For this, without more
+ado, he was removed from office by orders from Cordoba.</p>
+
+<p>In the first quarter of the eleventh century, Toledo recovered her
+freedom, on the break-up of the Umeyyah empire. Under her sultan,
+Ismail, in 1023, she was able to boast that she knew no other lord or
+ruler under the blue heavens. After Ismail came Abu-l-Hasan Yahya al
+Ramân who reigned till 1075, and was then succeeded by Yahya Kadir, who
+lost his throne in 1085.</p>
+
+<p>Before relating the incidents of the reconquest of Toledo by the
+Christians and its incorporation in the steadily expanding kingdom of
+Leon, we will take a glance at the city as it was under its<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> Mohammedan
+rulers. Of its affluence, importance, and strength, the foregoing
+cursory sketch of its history has afforded us some idea. It ranked as
+the metropolis of the Christian element in the Amir’s dominions, and its
+prelates early obtained recognition from their Paynim sovereigns as
+dignitaries of the highest standing. Among them were such notable men as
+Wistremir and Eulogius. One of the archbishops of Toledo, Elipando,
+embraced the heresy of Nestorius, and went the length of excommunicating
+his fellow bishops. Upon his death, however, an orthodox successor was
+chosen. The Christians were wealthy and arrogant. They were classed in
+congregations, dependent on their various churches, each division
+including certain families irrespective of their domiciles. Toledo,
+during the three and a half centuries of Mohammedan dominion, never
+seems to have lost the outward character of a Christian town. Moorish
+influence she felt, and it served to soften and chasten her rough
+features, but Moorish she never became as did Seville and Cordoba. Yet
+in every corner of the old city the guides are prone to point out the
+buildings and remains that they fondly believe to be of Arabic
+workmanship. In reality, very few monuments of the Mohammedan period
+have survived. It is not by what we see but by what we read<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> that we can
+form an idea of the city as it was in those days.</p>
+
+<p>It was renowned for its clepsydras or water-clocks, invented by
+Abu-l-Kasim. These are described as follows in an Arabic document: “But
+what is marvellous and surprising in Toledo, and what we believe no
+other town in all the world has anything to equal, are its water-clocks.
+It is said that Az-Zagral [Abu-l-Kasim] hearing of a certain talisman
+which is in the city of Arin, of Eastern India, and which shows the
+hours by means of <i>aspas</i> or hands, from the time the sun rises till it
+sets, determined to fabricate an artifice by means of which the people
+could know the hour of day or night, and calculate the day of the moon.
+He made two great ponds in a house on the bank of the Tagus, near the
+Gate of the Tanners, making them so that they should be filled with
+water or emptied according to the rise and fall of the moon.” The water
+began to flow into the ponds as soon as the moon became visible, and at
+dawn they were four-sevenths full. The water rose by one-seventh every
+twenty-four hours, and were full at full moon. As the luminary waned,
+the water fell in exact proportion. The exact working of these
+contrivances was lost when an astronomer, deputed by Alfonso el Sabio to
+examine them, broke parts of the intricate machinery.<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span></p>
+
+<p>The chroniclers relate wonders of the palace of An Naôra, so called from
+its celebrated <i>noria</i> or hydraulic apparatus. The apartments were so
+splendid as to rival those of the palace of the Amir himself, and “were
+resplendent as the sun at noonday, and the moon at the full.” In the
+luxurious gardens was the lake or albuhera, in the centre of which rose
+a pavilion of glass, where Al Ramân-bil-Lah, the last sovereign of
+Toledo, used to pass the night. “The clever architects”&mdash;we quote from
+the “Monumentos Arquitectónicos”&mdash;who made the lake, not only raised the
+waters from the river in order to fill it, but raised them above the
+cupola of the pavilion, over and around which they flowed incessantly,
+forming around it a diaphanous and crystalline mantle. Not a drop could
+penetrate the structure or touch the persons within. With the sonorous
+murmur of these waters mingled that produced by the fountains that
+gushed forth from the mouths of the lions in metal guarding this
+wonderful pavilion. Illumined inside with lamps of various colours,
+without it presented a fantastic appearance, which was reflected back
+from the waters of the lake, and which the people of Toledo contemplated
+with admiration through the dense foliage.”</p>
+
+<p>Of this exquisite pleasaunce, no trace remains. Nor is anything left of
+the other palace of Al<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> Hizem, built by Ismaîl, the first admittedly
+independent Sultan of Toledo&mdash;afterwards inhabited by the Christian
+kings. The principal building in Moorish times was, of course, the
+Aljama, or Chief Mosque. This seems to have been erected at the same
+time as the great Mezquita at Cordoba, in the reign of Abd-ur-Rahman
+II., and to have been richly embellished and enlarged under the third
+and greatest Khalifa of that name. We read that in the fourth century of
+the Hegira, the architect Fatho ben Ibrahim el Caxevi built two
+sumptuous mosques, called, the one, Adabejin, the other Gebel Berida;
+but where these were situated, or what was the real Arabic spelling of
+the names, we have no means of knowing.</p>
+
+<p>Happily a few specimens of the local architecture of that epoch remain.
+Of these one of the learned compilers of the “Monumentos
+Arquitectónicos” writes: “In spite of their varying degrees of
+integrity, and although greatly damaged and changed by later
+restorations, these works possess an extreme importance, and suffice to
+manifest the peculiar physiognomy of the secondary religious edifices of
+this part of the Peninsula at the most glorious epoch of the
+Khalifate&mdash;a physiognomy strikingly different from that of the principal
+religious structures, or Aljamas, equivalent to our cathedrals, and
+different also from that of the same buildings in the south. They show,
+furthermore, decora<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span>tive processes believed to have been unknown in
+Spain at that epoch.”</p>
+
+<p>The most complete and remarkable of these buildings is the Mosque of
+Bib-el-Mardom, now known as the Cristo de la Luz. It is situated to the
+north of the city, between the Puerta del Sol and the Puerta Bisagra.
+Here Alfonso VI., on entering Toledo on May 25, 1085, halted and caused
+Mass to be celebrated, leaving his shield behind him as a memento of the
+incident.</p>
+
+<p>The exterior of this most interesting building is unpromising. It is
+thus described by Mr. Street: “The exterior face of the walls is built
+of brick and rough stone. The lower part of the side wall is arcaded
+with three round arches, within the centre of which is a round horseshoe
+arch for a doorway; above is a continuous sunk arcade of cusped arches,
+within which are window openings with round horse-shoe heads. The lower
+part of the walls is cut with single courses of brick, alternating with
+rough stonework; the piers and arches of brick, with projecting labels
+and strings also of unmoulded brick. The arches of the upper windows are
+built with red and green bricks alternated.” Restorations carried out in
+1899 brought to light a most interesting pierced frieze running round
+the north-eastern façade, and serving as a sort of ventilator. Above was
+deciphered the following<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> inscription in Arabic characters: “In the name
+of God, the Compassionate, the Merciful. This mosque was rebuilt ... the
+renewal of its upper part, proposing to render it more beautiful, and
+[the restoration] was finished, with the help of God, under the
+direction of Musa Ibn Ali, the architect, and of Saada. It was completed
+in the Muharram of the year 370” [July 17, 979, to August 15, 980 <small>A.D.</small>]
+The whole façade of the edifice has been much disfigured by successive
+reconstructions, coatings of plaster, &amp;c., and has undergone much more
+serious transformation than the interior.</p>
+
+<p>Entering when the eyes have become accustomed to the obscurity, we make
+out the details of a very small and curious structure. Again to quote
+Mr. Street, the nave is only “21 ft. 7¼ in. by 20 ft. 2 in., and this
+space is subdivided into nine compartments by four very low circular
+columns, which are about a foot in diameter. Their capitals are all
+different. The arches, of which four spring from each capital, are all
+of the round horseshoe form; above them is a string-course, and all the
+intermediate walls are carried up to the same height as the main walls.
+They are all pierced above the arches with arcades of varied design,
+generally cusped in very Moorish fashion, and supported on shafts; and
+above these each of the nine divisions is crowned with<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> a little vault,
+formed by intersecting cusped ribs, thrown in the most fantastic way
+across each other, and varied in each compartment. The scale of the
+whole work is so diminutive that it is difficult, no doubt, to
+understand how so much is done in so small a space; but looking to the
+early date of the work it is impossible not to feel very great respect
+for the workmen who built it, and for the ingenious intricacy which has
+made their work look so much larger and important than it really is.”
+After the Reconquest, the loftier portion of the temple, consisting of
+apse and transept, and containing the altar, was added. Looking closer
+into the details of the Moorish portion, one is struck by the contrast
+presented by rude shafts and capitals, evidently of Visigothic
+workmanship, with the general elegance and delicacy of the whole. On
+making a careful study of these features, it is difficult to resist the
+conclusion (supported, indeed, by tradition) that they formed part of an
+earlier and less skilfully constructed mosque, itself merely a
+restoration or adaptation of a Visigothic church. Señor Amador de los
+Rios is of opinion that the existing structure constituted only the
+inner portion or <i>maksurah</i> of the temple, and believes that the
+southern wall is the only part of the outer or enclosing <i>enceinte</i>
+remaining. In this he finds traces of the <i>kiblah</i> or sanctuary,
+<i>membar</i>, and other features peculiar<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> to Mohammedan worship. The mosque
+consisted originally, in all probability, in addition to the fabric we
+now see, of naves extending on each side of those still standing, from
+north-east to south-west. Even thus the mosque must have been very
+small. The exact configuration and plan of the original building is
+still a matter of great perplexity to archæologists, and a great many
+more discoveries remain to be made before anything can be positively
+stated under this head.</p>
+
+<p>The newer, or Christian, portion of the mosque contains some remarkable
+mural paintings, discovered in 1871. They date from about the close of
+the twelfth century, and exhibit pronounced Byzantine influence. It
+seems satisfactorily established that two of the four female figures
+represent Saints Eulalia and Martiana; and the other two, in all
+probability, the martyrs Leocadia and Obdulia. The fifth figure&mdash;that of
+a man&mdash;represents a prelate. It may be, as Mr. Leonard Williams thinks,
+the Archbishop Bernardo, who figures largely in the annals of the
+Reconquest; or the prelate’s patron saint. It is not to that archbishop,
+however, but to one of his successors&mdash;possibly Don Gonzalo Perez
+(1182-1193)&mdash;that the remodelling of the building into a Christian place
+of worship should be ascribed.</p>
+
+<p>This intensely interesting monument is the<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> subject of several curious
+and entertaining legends. In the days of Athanagild (and it is not
+impossible, as we know, that the church may have existed at that time) a
+crucifix, greatly venerated by the citizens, hung over the door. Two
+evil-minded Jews, Sacao and Abishai by name, to express their hatred for
+Christianity, drove a lance into the side of the figure. Instantly blood
+gushed forth. The terrified Israelites hid the miraculous object in
+their own home, but were traced by the stains of blood, and (it is
+hardly necessary to add) torn to pieces. This irritated their
+co-religionists, who, to avenge them, poisoned the feet of the statue.
+This resulted in a second miracle, for when a devout woman was about to
+kiss the feet, they were withdrawn&mdash;to the discovery and undoing, once
+more, of the villainous Jews. The right foot of the image remains
+withdrawn to the present day, that all men may know the truth of the
+story.</p>
+
+<p>Now we come to the explanation of the name “Cristo de la Luz.” When the
+Moors were about to take the city, the Christians walled up the
+miraculous crucifix, with a lamp burning before it. Three hundred and
+seventy years passed; and on the glorious May 25, 1085, Alfonso VI. and
+his Christian chivalry came riding into reconquered Toledo. Among the
+cavaliers was the Cid, Ruy Diaz de Bivar. The warrior’s horse,<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> on
+passing the mosque, stumbled, or, as others have it, knelt. With
+preternatural acuteness, the Cid suspected some unusual circumstance,
+and had the adjacent wall broken down. Then was discovered the crucifix
+with the lamp still burning brightly, as when placed there nearly four
+centuries before. The mosque was reconsecrated on the spot; and the King
+left his shield as a memento. There it hangs to-day, above the central
+arch, bearing a white cross on a crimson ground. Whether it is authentic
+or not, we cannot say, but below it one may read: <i>Esto es el escudo que
+dejo en esta ermita el Rey Don Alfonso VI., cuando ganó á Toledo y se
+dijo aqui la primera misa.</i></p>
+
+<p>The Cristo de la Luz is no longer a church, and is now classed among the
+national monuments of Spain.</p>
+
+<p>Hardly less interesting, but very far from being as well known, is the
+ancient mosque in the Calle de las Tornerias. It is contained in the
+upper part of the private houses numbered 27, 29, and 31. The mosque
+having been built against a steep incline, it was raised on a
+substructure of galleries, which now form the ground floor of the modern
+houses. The mosque was never converted to Christian uses, and retains
+its original physiognomy almost unimpaired. In the opinion of Spanish
+archæologists, it belongs to the same period as the Cristo de la Luz;
+but<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> Street does not share this view, and thinks it a later work. Like
+the other mosque, it is built more or less in the form of a square, and
+has likewise Visigothic columns and capitals, pointing to the existence
+of a previous structure. Here, also, we find the horseshoe arch and the
+cupola, and evidences of the position of the kiblah. Recent restorations
+have shown that the walls are composed of the finest brickwork,
+unsurpassed for smoothness and regularity. But so far no trace has been
+revealed of any texts from the Koran, or inscription commemorating the
+architect’s name, such as were usual in the Mohammedan temples of Spain.</p>
+
+<p>The Puerta Antigua de Bisagra, or ancient gate of Bisagra&mdash;not to be
+confounded with the new gate of the same name built by Charles V.&mdash;is
+dilapidated and falling to pieces. In Moorish times it was the principal
+entrance to the city. The name was probably originally Bib-Sahla. It
+dates from about the beginning of the tenth century, but to the
+primitive structure only the foundations of the gate belong. A
+reconstruction seems to have been carried out at the time of the
+Reconquest, and to that epoch the arch, or gate, properly speaking, may
+be assigned. The upper portion of the time-worn fabric belongs to a
+still later period. This is the only one remaining of the fifteen gates
+with which the walls of Toledo<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> appear to have been furnished during the
+Mohammedan occupation.</p>
+
+<p>The celebrated Puente de Alcantara, as it exists to-day, must be
+regarded as the work of the Christians. It took the place of a
+structure, built or restored by the Musulmans, and regarded by the
+writers of their time and nation as one of the wonders of Spain.
+According to an inscription on the bridge tower, the work dated from the
+year 997 <small>A.D.</small>, and was built by “Alif, son of Mohammed Al Ameri,
+Governor of Toledo, under the great Wizir, Al Mansûr.” With it, no
+doubt, were incorporated the remains of previous Gothic and Roman
+constructions. It was almost entirely swept away in a great flood in the
+year 1258, after having already undergone extensive repairs and
+restorations since the Reconquest. Thus we may conclude that there can
+be few if any traces of the Moorish bridge in the actual Puente de
+Alcantara. On the other side of the town there was probably a wooden
+bridge or bridge of boats, where the Puente de San Martin now spans the
+river. A little below it is a brick tower, with open arches, the
+horseshoe curve of which, and other features, bespeak its Moorish
+origin. Legend places here the incident of the Bath of Florinda. In
+later times the work was believed to be the remains of a bridge. But an
+Arabic inscription, recently redeciphered and<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> translated, goes to prove
+that the tower formed part of a very different monument: “In the Name of
+God, the Merciful, the Compassionate! Oh, men, believe that the promises
+of God are certain and let not yourselves be seduced by the flattery of
+the world, nor be lured away from God by the deceits of the Evil One!
+This is the tomb of Hosàm (?)-ben-Abd ... [He confessed that there is no
+other God but] God. He died [may God have mercy on him] ... the year
+eight ... and four hundred.” The Baños de la Cava may now be safely
+regarded as a Musulman sepulchral monument of the fifth century after
+the Hegira.</p>
+
+<p>We have now briefly considered the only monuments of interest to any but
+the most ardent archæologists that can be ascribed, so far as their
+general structure is concerned, to the Moslem lords of Toledo. Admitting
+that the most important buildings of that time have long since
+disappeared, it remains clear that the city could never have presented
+the Oriental aspect of the Andalusian seats of Islam.</p>
+
+<p>The history of the city as an independent State is soon told. Under
+Ismail and his son Al Mamûn, Toledo became the most powerful Musulman
+State in Spain. The lesser principalities having been disposed of, a
+fierce struggle for supremacy was waged between Al Mamûn and the Amir
+of<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> Seville. A desperate battle before the walls of Murcia decided the
+issue in favour of the Toledan, and gave Valencia into his hands. But,
+as is often the case with men of all ranks, Al Mamûn’s strength and
+wisdom were undone and rendered unavailing by his fatal trait of
+magnanimity.</p>
+
+<p>Alfonso of Leon, dispossessed of his kingdom by his brother, threw
+himself upon the protection of the Amir of Tolaitola. The noble Muslim
+bestowed upon the fugitive prince a palace near his own, an oratory, and
+a garden “wherein to recreate himself”; and allowed him to establish a
+miniature Court for himself and his followers at Brihuega. Lands were
+assigned to him as a source of revenue, and he became the most intimate
+and honoured friend of the Amir. It is said that in return an oath was
+exacted of Alfonso that he would assist his host against all men, and
+never war upon him or his son. That some such pledge should have been
+asked for in return for such magnificent hospitality seems very
+probable. The Archbishop Don Rodrigo relates that one day Al Mamûn found
+himself with his most trusty counsellors in a wood from which a full
+view of the city could be obtained. The Moorish sovereign fell to
+discoursing upon the defences of the place and the best means of
+attacking it. These words were overheard by Alfonso, who chanced to be
+by, and who at once feigned sleep beneath<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> a tree. Here he was presently
+discovered by the Moors, to their great dismay. Some among them asked
+leave of Al Mamûn to slay him. On this permission being indignantly
+refused, they dropped hot lead on the Leonese prince’s hand to see if he
+were really asleep. Alfonso did not stir, which would have convinced
+most people that he was feigning sleep. The Muslims, on the contrary,
+retired, satisfied that he had heard nothing and seen nothing.</p>
+
+<p>Before returning to his kingdom, the Christian prince renewed his vows
+of loyalty and friendship to Al Mamûn, with whom personally, indeed, he
+never broke faith. The Moor’s son, Yahya, reaped the reward of the
+father’s generosity. A weak and incapable sovereign, addicted to luxury
+and despised for his devotion to superstitious practices, he was
+detested by his own subjects, who on one occasion drove him out of the
+city, to take refuge at Cuenca. His authority was restored only with the
+help of his natural foes, the Castilians. Alfonso, unmindful of his vow,
+forgetful of the dead Al Mamûn’s princely generosity, could not resist
+this opportunity of adding to his dominions the old capital of the Kings
+of Spain. For six years he laid waste the frontiers of the Amirate, and
+in the seventh year&mdash;carefully availing himself, no doubt, of the
+information unwittingly communicated by his old benefactor&mdash;invested
+Toledo itself.<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> Famine accomplished what arms could not, Yahya asked for
+terms. They were onerous enough. They involved the cession of all the
+Moorish King’s dominions, except Valencia, the Muslims who elected to
+remain in Toledo being guaranteed the free exercise of their religion,
+their property, and liberty. They were to be subject to their own laws
+and tribunals and to retain their mosques. The terms, as remarks
+Quadrado, were, in fact, almost the same as those granted to the
+Christians by the Arabs three hundred and seventy years before. Only the
+Alcazar, the bridges, gates, and the garden called the Huerta del Rey,
+were reserved to Alfonso himself. The capitulation completed, Yahya and
+his court took the road to Valencia, and Alfonso VI. entered Toledo by
+the Bib-el-Mardom on Sunday, May 25, 1085.</p>
+
+<p>“May God renew her past splendour, and inscribe once more the name of
+Toledo on the list of the cities of Islâm!” This was the devout
+aspiration of a Muslim chronicler, but in neither particular has it ever
+been fulfilled.<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
+
+<h2><a name="TOLEDO_THE_CAPITAL_OF_CASTILE" id="TOLEDO_THE_CAPITAL_OF_CASTILE"></a>TOLEDO THE CAPITAL OF CASTILE</h2>
+
+<p class="nind"><span class="smcap">The</span> incorporation of the haughty city of the Visigoths with the kingdom
+of Castile was, when the first wave of enthusiasm had subsided, regarded
+with coldness and misgiving by its people. The Toledans were as
+tenacious as ever of their peculiar customs and privileges which they
+had hoped to maintain intact. Even with the powerful assistance of the
+Cid, whom he appointed Alcalde, Alfonso found the ordering of the
+affairs of his new capital a difficult and dangerous task. The
+population included (remarks Don Jose Quadrado) “the conquered and
+resigned Musulman, the Israelite ever submissive and industrious, the
+Mozarabe ennobled by his ancient lineage and constancy in his faith, the
+Castilian, proud of his conquests, the foreigner rewarded for his
+prowess, or attracted from remote countries by signal privileges; and
+this multiplicity of races and diversity of creeds demanded as many
+separate systems of law and administrations.” The Jews, Musulmans and
+foreigners continued subject to their own codes and tribunals; but while
+the<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> Mozarabe or native of Toledo clung to the old Fuero Juzgo or
+Visigothic law, inherited from his fathers, the Castilians and Leonese
+expected to be ruled according to the ruder, rougher code of their
+warrior counts and kings. Alfonso dealt with these two peoples of common
+race and language as with the other more widely distinct races. Each had
+an Alcalde of its own, subject, however, to the Alcalde Mayor named by
+the king. A compromise, too, was arrived at, the Castilians being
+subject to their own law in civil cases, and to the Mozarabe in criminal
+matters. On the whole, the tendency of these measures was to conciliate
+the Toledans. But we find evidence of jealousies between them and their
+conquerors or deliverers from the North for many years afterwards.</p>
+
+<p>Alfonso’s honour had not gone unstained in regard to his taking the city
+of his old friend and benefactor, and the Moors must have been sanguine
+indeed if they looked forward to a scrupulous fulfilment of the pledges
+given them by the conqueror while he was <i>outside</i> the walls. The clause
+that entitled the Muslims to the free and exclusive use of their mosques
+was particularly obnoxious to the rabid ecclesiastics and crusaders who
+accompanied the king. With increasing irritation they compared the noble
+proportions of the Mohammedan mezquita with those of the<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> humble
+provisional Catholic Cathedral of Santa Maria de Alficem. While Alfonso
+was absent in Leon, he left the city in charge of his queen, Constancia,
+a Frenchwoman, and of her countryman, Bernard, now bishop, and formerly
+a monk of Cluny. This prelate took advantage of his sovereign’s absence
+to burst one night into the coveted mosque with an armed party, and
+having “purified” it, suspended bells in the minarets, which announced
+at dawn the celebration of the Christian rite. When word was brought to
+the King of this infamous violation of the treaty, he set out for
+Toledo, announcing his intention of burning the bishop alive. Moved
+either by that magnanimity which in the person of Al Mamûn had
+contributed to their downfall, or, as Spanish writers say, by a
+far-seeing prudence, the Moors went out in a body to meet the monarch,
+and besought him to forgive the highly placed thieves. Alfonso, with a
+show of reluctance, acquiesced in their prayer, and the Christians were
+most undeservedly confirmed in the possession of a church they had no
+hand in creating. The Alfaqui, or headman of the Muslims, was
+munificently rewarded for his generosity, his statue being placed in the
+Capilla Mayor of the new cathedral, which was solemnly consecrated in
+1087. No nation has shown a very nice sense of honesty in respect of
+church property, yet it needs no subtle intelligence<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> to perceive that a
+church is as much the property of the particular sect for whose special
+use it was designed by members of that sect, as any private house is of
+its private owner.</p>
+
+<p>The sturdy Toledans were attached, not only to their laws and customs,
+but (which was of more importance in those days) to their own Gothic or
+Mozarabic ritual. This differs in what are considered important
+particulars from the Roman. The host is divided into nine parts,
+representing the Incarnation, Epiphany, Circumcision, Passion, Death,
+Resurrection, Ascension, and Eternal Kingdom of Christ. Of these
+fragments, seven are arranged to form a cross. Because it is not Roman,
+English writers are fond of extolling the beauty and simplicity of this
+liturgy. It was a stumbling-block to Queen Constance and the zealous
+French bishop, who were anxious to reduce all things in Spain to
+Catholic uniformity. The King ordered the question to be decided by
+ordeal of single combat. The Mozarabic champion remained the victor. The
+bishop then demanded the ordeal of fire. The two missals were
+accordingly thrown into a great blazing pile, and the local favourite,
+having probably been saturated with some incombustible preparation,
+remained unconsumed. Another version has it that neither book was
+injured by the flames. Alfonso, after his fashion, clinched<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> the
+controversy by ordering the Mozarabic ritual to be confined to the two
+parish churches allotted to the Christians by their Moorish rulers,
+whilst everywhere else Mass was to be celebrated according to the Roman
+office.</p>
+
+<p>Alfonso VI. had to fight hard to keep possession of Toledo. The
+Almoravide invasion had burst like a tidal wave over Southern Spain.
+Everywhere the Musulmans were recovering their spirits and their
+strength. The Castilian king fled, wounded, from the bloody field of
+Zalaca, with only five hundred followers, leaving behind him twenty
+thousand slain. Toledo could have had no pleasant associations for its
+latest conqueror. Here died three of his <i>six</i> wives&mdash;Constancia of
+Burgundy, Isabel of France, and Zayda of Seville. At Ucles was slain his
+only son, while yet a mere child. “Where is your prince?” asked the
+unhappy father of the warriors escaped from the rout. “Where is the
+light of my eyes and the staff of my age?” All were silent. “He is dead
+and you live!” bitterly exclaimed the king. “Yes,” replied Alvar Fañez
+sternly, “we live to save the throne, the country, and the lands
+acquired with our blood and sweat.” But the Alcazar re-echoed to the
+mournful plaint, “Sancho! Sancho, my son!” till Alfonso VI. passed away
+in July 1109. The stones of which the church altars were built had<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span>
+miraculously distilled tears in token of his approaching death. Before a
+year had passed the Vega was blackened by the advancing hordes of Islam.
+The Castle of Azeca, the monastery of San Servando, fell into their
+hands; but the City of the Goths, thanks to the leadership of Archbishop
+Bernard and of Alvar Fañez, hurled back the hosts of Ali and was held
+fast for Spain.</p>
+
+<p>The accession of Alfonso VII. el Batallador brought brighter days to his
+capital, but it was assailed during the twelfth century with a
+succession of calamities that might have broken down the patience of
+Job. The year 1113 was marked by an earthquake and disastrous
+overflowing of the Tagus; 1116, by a fire on a large scale; in 1117, the
+price of wheat rose, to fourteen soldos the bushel; in 1168, the Tagus
+was again in flood; again in 1181 and 1200; between 1187 and 1200, all
+the grocery stores were burnt (how or why, we are not told), the Tagus
+was frozen over in 1191, and there was a famine the following year.
+Eclipses of the sun were of the commonest occurrence: we hear of them in
+1114, 1162, 1177, 1191, and 1207. We can easily imagine the Mohammedan
+denizens shaking their heads and ascribing these phenomena, especially
+the last, to the change of government, and extolling the good old times
+of Al Mamûn when earth, river, and sun kept their places and behaved
+according to rule.<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
+
+<p>Yet Toledo flourished, and her citizens were never more in their element
+than in the spring of the year 1212, when their town became the
+rallying-point and base of the great crusading army, destined to achieve
+the crowning mercy of the Navas de Tolosa. The dominant personality of
+that time was the Archbishop Rodrigo Jimenez de Rada. A writer of
+history, a valiant soldier, a sagacious statesman, princely in his
+magnificence, and angelic in his charity, he was a tower of strength in
+Spain, and especially for Toledo, in the dreadful years of famine and
+brigandage that followed the victory over the Moor. His name will be for
+ever remembered as practically the founder of the great cathedral which
+is the city’s crowning glory and title to fame.</p>
+
+<p>The century of floods, earthquakes, and eclipses passed away, and found
+Toledo a hotbed of civil strife and internecine discord. As in Italian
+cities at the same time, rival families and factions fought in the
+streets, turned their houses into fortresses, and set the civic
+authorities at defiance. The hidalgos of Toledo would hurry home from
+warring with the infidel to plunge their swords into the bosoms of their
+fellow townsmen. Laras and Castros waged pitched battles for the
+possession of the capital of Castile. At last the royal power asserted
+itself, and with terrible effect. We read that “the King Ferdinand came
+to Toledo, and<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> hanged many men and boiled others alive in cauldrons.
+Era MCCLXII. (1224).” This boiler of his fellow men is known as <i>Saint</i>
+Ferdinand. His father, Alfonso IX. of Leon, is also mentioned as having
+broiled his rebellious subjects, and flayed others alive. But such
+performances are not considered by a certain class of writers even now
+to argue any real depravity of character.</p>
+
+<p>The sainted king’s severity on another occasion is more creditable to
+him. On his entry into the town, two young women threw themselves at his
+feet and implored vengeance on their betrayer, Fernandez Gonzalo&mdash;the
+Alcalde himself. The high rank of the offender did not save him from
+instant decapitation, and his head was within an hour gazing down on the
+scene of his amours from the Puerta del Sol. Whether the betrayed
+damsels or any one else were benefited by these drastic measures, the
+panegyrists of the righteous king forgot to tell us.</p>
+
+<p>Still it was an age when strong measures were called for; and
+recognising this, the citizens themselves instituted the famous Santa
+Hermandad or Holy Brotherhood for the maintenance of public order and
+suppression of brigandage. The organisation received the royal sanction,
+and was endowed with many privileges. It supplied the place of a regular
+police force for all Castile for at least three centuries, and readers
+will remember<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> the frequent references to it in the pages of “Don
+Quixote.”</p>
+
+<p>Toledo had not yet become a capital in the sense of being the permanent
+residence of the sovereign. Saint Ferdinand and his immediate
+predecessors and successors were essentially soldiers. Their Court was
+the camp, and in the unremitting war of reconquest it was necessarily
+transferred from place to place, from one confine of the ever-expanding
+kingdom to the other. When at Toledo the king resided at the
+Alcazar&mdash;which in Moorish days had been a fortress constructed of
+<i>tapia</i> (a species of concrete), and which was fortified with masonry by
+Alfonso VI. The building was enlarged and embellished, and made more
+suitable for a royal residence by Sancho el Bravo (1284-1295). But the
+state of affairs in what may be termed the Epoch of the Reconquest
+(1085-1252), was obviously not favourable to the development of the
+building arts. Toledo possesses few memorials of these days, for such
+edifices as may have been founded at or before that time have undergone
+such transformations as to render them practically the products of later
+ages. Such supplies and energies as were not absorbed by the
+all-important business of war were naturally diverted to the building of
+the cathedral, which was not, as we shall see, completed for another two
+centuries.<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span></p>
+
+<p>Mediæval history concerns itself almost exclusively with kings and
+princes, battles and treaties. Of the life of the people in Spain, as
+elsewhere, we hear very little. From stray references in the records we
+glean the information that the streets of Toledo were filthy and
+unpaved, and frequently encumbered with the carcases of beasts. Over the
+gates the heads of malefactors were ever rotting, poisoning the already
+vitiated air. We have concise details, too, of no particular interest,
+as to the municipal constitution of the city. Beyond this meagre
+information, we know something of the history of Toledo only so far as
+it was also the history of Spain.</p>
+
+<p>Pedro I., the Cruel (1350-1368), had no liking for the gloomy, turbulent
+town, and during his reign Seville might have been called the seat of
+government. However much he may have endeared himself to the
+Andalusians, the ferocious king was no favourite with the Toledans. When
+the ill-used queen, Blanche of Bourbon, escaped from her prison in the
+Alcazar and claimed the right of sanctuary in the cathedral, the city
+rose in her behalf, and a thousand native blades sprung from their
+scabbards to protect her. An alliance was concluded with Talavera and
+Cuenca, and the gates opened to Don Enrique of Trastamara, the king’s
+half-brother. It is said that Pedro’s faction held the bridge of San
+Martin, expecting<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> the rebel prince to enter that way, while his
+supporters introduced his troops into the town by the opposite bridge of
+Alcantara. The Trastamara partisans attacked the Jewish quarter, the
+Israelites being especial favourites of Don Pedro, and a frightful
+massacre ensued. Soon the king’s party gained the upper hand, and the
+unfortunate Blanche was removed from the city, wherein she had found
+such staunch friends, to the castle of Sigüenza.</p>
+
+<p>This is not the first time we read of a massacre of Jews at Toledo. Yet
+the town was for many centuries one of the strongholds of Jewry in
+Europe, and a centre of Hebrew culture and activity. The story of the
+Jews of Toledo is, in fact, one of the most interesting chapters in the
+history of the city and of Spain.</p>
+
+<p>Jews were settled in the Peninsula at a remote period. The author of
+“The Moorish Empire in Europe” (S. P. Scott) thinks their arrival in
+that country “antedated the Christian Era by at least a thousand years.”
+As we know, legend actually ascribes the foundation of Toledo to the
+race. This may, we think, be due to a confusion of the Israelites with
+Phœnician settlers. At the time of Christ, the Jews of Spain were very
+numerous and opulent. Another legend tells how their chief men addressed
+a letter to the Sanhedrim at Jerusalem, protesting against the<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span>
+Crucifixion. A document&mdash;altogether spurious, it need hardly be
+said&mdash;has been produced in support of this story. After the destruction
+of Jerusalem by Titus, there seems to have been a large influx of Hebrew
+refugees into Spain. So long as the Visigoths remained Arians, they
+remained tolerant; but Reccared, soon after his conversion to
+Catholicism, levelled the severest enactments against the Israelites. He
+set a bad precedent. With Sisebut began the long era of persecution. His
+harsh edicts, forcing the Jews to choose between baptism and banishment,
+are still to be found in the Fuero Juzgo. Swinthila, Kindila,
+Recceswinth, Erwig, and Egica followed the same policy. Among the
+tyrannical enactments of this time is the grotesque command that the
+Jews of Toledo should eat pork! Under these circumstances it is not to
+be wondered that the Spanish Jews beheld with dawning hope the
+successful progress of the Mohammedans in Northern Africa. A secret
+intelligence was established with these Semitic conquerors of a newer
+faith, and thanks to the constant intercourse between the Jews of Africa
+and those of Spain, Musa and Tarik were fully supplied with the most
+minute particulars of the Visigothic State.</p>
+
+<p>The period of the Khalifate was the Golden Age of Spanish Jewry. The
+numbers of the race,<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> depleted by persecution, were increased by the
+advent of upwards of twelve thousand Yemenite Jews, invited by the
+Moorish conquerors. Never since the days of Solomon had the Children of
+Israel known such peace and prosperity. Possessed already of a
+remarkably high degree of culture, they communicated their knowledge to
+the Arabs, who showed themselves generous patrons and protectors. Nor
+were the new rulers of Spain slow to perceive the advantages to be
+derived from the subject race’s commercial enterprise and talent for
+affairs. Though the versatility of the Jew at this time was one of his
+most remarkable characteristics, it was above all as a physician that he
+was esteemed by Muslims and Christians alike. In this capacity he became
+the indispensable and most trusted companion of sovereigns and prelates,
+and penetrated into the very arcana of power. From Court physician to
+Minister the transition in those days of personal government was easy,
+and we find Hasdai ben Isaac Ibn Shaprut occupying both positions under
+Abd-ur-Rahman I.</p>
+
+<p>As far as was consistent with their religious beliefs, the Jews of
+Toledo assimilated themselves with the conquerors. The minutes of the
+congregation were kept in Arabic down to the end of the thirteenth
+century, and that language was sedulously cultivated and almost
+exclusively<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> employed by the brilliant succession of Jewish theologians
+and humanists who made the city a centre of literary and scholastic
+activity.</p>
+
+<p>We have it on the authority of Mr. S. P. Scott that, under the Muslim
+dominion, the Jews were allowed to elect a king, always a prince of the
+House of Judah, “who, while not openly invested with the insignia of
+royalty, received the homage and tribute of his subjects.” It is
+illustrative of the respect of the race for learning that the erudite
+Rabbi Moses, when recognised exposed as a slave at Cordoba, was
+immediately elected to this dubious royalty.</p>
+
+<p>The Jews of Toledo must have viewed with unpleasant apprehensions the
+re-establishment of the Catholic monarchy. Yet at first it seemed they
+had no cause for alarm. Alfonso VI., as we know, granted to them the
+liberal privileges by which the Muslims also benefited. But in the
+charter confirming the customs of the Mozarabes (1091) it was made plain
+that no penalty would be exacted of a Christian for the murder of a Jew
+or Muslim. The result might have been foreseen. Seventeen years after,
+the people rose in savage fury, broke into the synagogues and butchered
+the rabbis in their pulpits, burnt and pillaged every Jewish house, and
+slaughtered the luckless objects of their animosity without mercy. But
+it was the people, rather than the governing classes,<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> who manifested
+this violent racial prejudice. As in every other land, in spite of
+persecution, the Chosen People grew in wealth and abated not their
+industry and commercial activity. It was they who brought to the grim
+Gothic city the choicest products of the East; they alone who could
+combat the ravages of disease; they alone who could supply the needy
+king and nobles with the coin for which in Italy men paid as much as one
+hundred and twenty per cent. interest. Spain hated the Jew, but could
+not as yet do without him.</p>
+
+<p>The rule of Alfonso VI.’s successors could not have been excessively
+harsh, for many Jewish families, hounded out of Southern Spain by an
+unusual manifestation of Mohammedan bigotry, took refuge within the
+walls of Toledo. Thanks to the influence of Fermosa, the Jewish mistress
+of Alfonso VIII., many of her race exercised important functions at the
+Court. But the fanatical temper of the populace attributed to the favour
+shown these unbelievers the disaster of Alarcos, and the beautiful
+favourite and her friends were murdered in the very presence of the
+king.</p>
+
+<p>“At the beginning of the thirteenth century,” says Mr. Joseph Jacobs,
+B.A., in the “Jewish Encyclopædia,” “the Shushans, the Al-Fakhkhars, and
+the Alnaquas, were among the chief Jewish families of Toledo, Samuel Ibn
+Shushan being nasi [the chief of Sanhedrim] about 1204. His<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> son built a
+synagogue which attracted the attention of Abraham ben Nathan of Lunel,
+who settled in Toledo before 1205. During the troubles brought upon
+Castile by the men of ‘Ultrapuertos’ in 1211-12, Toledo suffered a riot;
+and this appears to have brought the position of the Jews more closely
+to the attention of the authorities. In 1219 the Jewish inhabitants
+became more strictly subject to the jurisdiction of the Archbishop of
+Toledo, who imposed upon every Jew over twenty years old an annual
+poll-tax of one-sixth of a gold mark; and any dispute about age was to
+be settled by a jury of six elders, who were probably supervised by the
+nasi, at that time Solomon ben Joseph Ibn Shushan. In the same year
+papal authority also interfered with the affairs of the Toledo Jews,
+ordering them to pay tithes on houses bought by them from Christians,
+‘as otherwise the Church would be a considerable loser.’<span class="lftspc">”</span></p>
+
+<p>A significant phrase! But not only houses and land all over the country
+were mortgaged to the Jews, but also church plate and even the sacred
+vessels. Jewish usurers were said to drink out of the chalices used for
+the Precious Elements. The exasperation of the Christians was
+disregarded by Alfonso X. the Learned, who entertained a profound
+respect for the erudition and traditions of the Jews. A Hebrew, Don Zag
+Ibn Said, directed<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> the compilation of the famous Alfonsine Tables; and
+under the patronage of the monarch, Toledo became famous for its
+translations from the Arabic into Hebrew, Latin, and Spanish. The rabbis
+distinguished themselves in medicine and astronomy. While doing his
+utmost to draw the oppressed race within the fold of the Catholic
+church, the Learned King granted permission to the Jews of Toledo to
+erect that beautiful synagogue which, under the name of Santa Maria la
+Blanca, ranks to-day among the national monuments of Spain.</p>
+
+<p>“The Spanish Jews,” says Mr. Scott, “by reason of the peculiarities of
+their situation, the hostility of their rulers&mdash;which their pecuniary
+resources and natural acuteness often baffled, but never entirely
+overcame&mdash;and their successive domination by races of different origin,
+faith, and language, were impressed with mental peculiarities and
+characteristics not to be met with in their brethren of other countries.
+Their religious formalism was proverbial, and the Hebrew of Toledo
+observed more conscientiously the precepts of the Pentateuch and Talmud
+than the Hebrew of Damascus or Jerusalem.” Thus we find the Jews of
+Toledo siding against the rationalising theories of the great
+Maimonides, himself a native of Cordoba, and whose tomb is a conspicuous
+landmark on the western shore of the Sea of Galilee.<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span></p>
+
+<p>Don Amador de los Rios reproduces an ancient record for the year 1290,
+stating the amount of tribute payable by the various Jewish communities
+of Castile. Out of a total of 2,801,345 maravedis the Israelites of the
+city of Toledo contributed 216,500, and those in the entire archdiocese
+1,062,902 maravedis. The pomp of Catholic public worship and the wealth
+of the clergy are partially accounted for by these figures.</p>
+
+<p>Up till then, always the most valuable (from a European point of view)
+and the most prosperous element of the population of Toledo, the Jews
+assumed yet greater prominence in the reign of Pedro I. That prince was
+declared by his numerous enemies to be the substituted child of a
+Jewess, and his Court was reviled as a Jewish Court. He showed favour to
+the race in many ways. His treasurer and confidential adviser was the
+famous Don Samuel Ha Levi. Whether or not the Jewish statesman’s
+administration was in the interests of Castile, it is too late in the
+day to say; but there can be no doubt that he was a loyal servant of his
+king and a devoted friend of his own people. He it was who caused to be
+erected Toledo’s other great synagogue, now called the Transito. He was
+a warm ally of the beautiful Maria de Padilla, Pedro’s gentle mistress,
+and for years, with consummate astuteness, defended himself against the
+insidious and violent attacks<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> of his innumerable enemies. His enormous
+wealth&mdash;honestly or dishonestly acquired&mdash;brought about his downfall. In
+the very year (1360) the synagogue was completed, Samuel was seized at
+Seville, and, by order of the king, placed upon the rack. The haughty
+Hebrew is said to have died of sheer indignation. Pedro shed crocodile
+tears over his ill-starred Minister’s fate, and greedily confiscated his
+property. His fortune was found to consist of 70,000 doubloons, 4000
+silver marks, twenty chests filled with treasure, and eighty Moorish
+slaves. The property of all Levi’s relatives was also forfeited to the
+Crown, and was valued at 300,000 doubloons. Pedro did not, however,
+withdraw his favour from the Jews as a race. It had been well for them
+if he had. Their loyalty to the Bluebeard King earned for them the
+detestation of the partisans of Enrique de Trastamara, and brought
+about, as we have seen, the massacre of 1355, in which 1200 Jews
+perished.</p>
+
+<p>The new king, Enrique, took advantage of a riot said to have been
+excited by the arrogance of the converted Jews in 1367, and in which
+1600 houses were burnt to the ground, to impose a tribute of no less
+than twenty thousand gold doubloons on the afflicted people.</p>
+
+<p>It was possibly due to the presence of a large Israelite population that
+Toledo, very much against<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> its will, had been held for King Pedro in
+1369. It was, in consequence, fiercely assailed by its own archbishop,
+Don Gomez Manrique, while Pedro sent an army largely composed of
+Saracens to its relief. The city was a prey to famine, internecine
+warfare, pestilence, and to every description of calamity. The killing
+of Pedro and the accession of Enrique were hailed as an ineffable boon
+by the wretched citizens. But from that hour the position of the Jews
+grew more and more pitiable. Their prosperity waned, and with it the
+prosperity of the old city in which they had so long been unwelcome
+guests.</p>
+
+<p>Their final ruin as a community was effected mainly at the instance of
+St. Vicente Ferrer, the Dominican. Visiting the city in 1391 he so
+inflamed the devout populace with apostolic zeal that they burst into
+the larger of the two Juderias or Ghettos, put practically the whole of
+its inhabitants&mdash;including the venerable rabbis, Judah ben Asher and
+Israel Alnaqua&mdash;to the sword, sacked the quarter from end to end, and
+demolished most of the synagogues. The saintly Ferrer reappeared at
+Toledo twenty years later, but there were nominally no Jews left to
+massacre. The Hebrews that remained had been “converted.” The good friar
+did what he could, and induced the Toledans to confiscate the synagogue
+built in Alfonso X.’s reign and convert it into the<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> Christian Church of
+Santa Maria la Blanca. We suggest that it should have been renamed San
+Vicente del Sangre.</p>
+
+<p>The work of destruction was done thoroughly, and henceforward we hear
+little in the story of Toledo of the Children of Israel. But their names
+have not been altogether forgotten. Mr. Jacobs gives a long list of
+members of that luckless congregation, famous for their learning and
+science. He enumerates theologians, physicians, astronomers,
+grammarians, satirists, poets and astrologers. Toledo, thanks to these
+latter, achieved an unenviable reputation as a centre of the magic art.
+Indeed, this was known at one time as the Arte Toledana. “It is said”
+(we quote Mr. Jacobs) “that Michael Scott learned his magic from a
+Toledo Jew named Andreas, who translated works on magic from the
+Arabic.” The same writer elsewhere says: “The Spanish Jews differed but
+little from the Christian population with regard to customs and
+education. They were fond of luxury, and the women wore costly garments
+with long trains, also valuable jewellery; this tended to increase the
+hatred of the population towards them. They were quarrelsome and
+inclined to robbery, and often attacked and insulted one another even in
+their synagogues and prayer-houses, frequently inflicting wounds with
+the rapier or sword they were accustomed to carry.<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span>” With royal
+permission a Jew might have two wives.</p>
+
+<p>Deprived of the more legitimate pastime of Jew-baiting, the Toledans
+began to turn their swords against each other and their sovereign.
+“Never,” remarks Gamero, “had the nobility shown itself so arrogant and
+rebellious as during the reign of Juan II.” Envy of that great man and
+powerful Minister, Don Alvaro de Luna, was mainly the cause of this. The
+leading families took different sides, and the streets frequently were
+slippery with the blood of the citizens. The Alcalde, Pero Lopez de
+Ayala, declared against the great Constable and held the town as an
+independent seigneurie against the king’s forces for five years. King
+Juan had deserved better things of his lieges of Toledo, for in 1431 he
+had entertained them on his return from his campaign in Andalusia with
+festivities and pageants of the gayest character. The people took part
+in bull fights and games in the Zocodover, while the knights and
+<i>ricoshombres</i> jousted and feasted in the Vega. The Alcazar re-echoed to
+the music of lute and lyre, and the songs of the minstrels. But Toledo
+was not to be subdued with kindness. The artisan class presently
+revolted on the imposition of a new tax, the tumult being the occasion
+of the saying, <i>Soplara il odrero, y alborozarse la Toledo</i> (Let the
+ironmonger blow and Toledo will rise).<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> Next, the cruel and miserly
+governor, Pedro Sarmiento, followed Ayala’s example, and demanded of the
+king the dismissal of the noble Constable. The royal forces were set at
+defiance, and a pitched battle was fought below the walls. The fortune
+of the day remained with the rebels, and Sarmiento was able for a time
+to dictate to his sovereign. He was at last crushed, but was able to
+carry off an enormous amount of treasure loaded on two hundred mules.</p>
+
+<p>These events had produced a permanent feud between the families of Ayala
+and Silva, only terminated by the marriage of the heir and heiress of
+the respective houses. Toledo, during the first three-quarters of the
+fifteenth century, was a prey to incessant warfare. Sometimes the whole
+town would be contending against external foes for or against the king,
+sometimes it would be the nobles contending with the people, or the
+church with the nobles. Toledo, as a whole, supported its archbishop,
+Carrillo, when in 1465 he pronounced sentence of dethronement on Enrique
+IV. Three years later that unlucky monarch managed, by winning over the
+Ayalas to his side, to make his entry into the city. The proud chief of
+the family was himself obliged to flee from the town in 1471. The king
+was besieged in the Alcazar; the balance inclined sometimes to this
+party, sometimes to that. The old animosities between the<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> Ayalas and
+the Silvas blazed up again from time to time; and under its weak
+sovereign Toledo had its fill of fighting. But those brave days were
+drawing to a close, and in 1474, came one before whom even Toledans had
+to bend the knee and whom, recognising in her a stronger spirit, they
+afterwards delighted to honour. The accession of Isabel the Catholic on
+the death of Enrique IV., and to the exclusion of the rightful heiress,
+Juana, calumniously nicknamed La Beltraneja, marks the beginning of a
+new era in the history of Spain, and therefore of Toledo.<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span></p>
+
+<h2><a name="BUILDINGS_OF_THE_CASTILIAN_PERIOD" id="BUILDINGS_OF_THE_CASTILIAN_PERIOD"></a>BUILDINGS OF THE CASTILIAN PERIOD</h2>
+
+<p class="nind"><span class="smcap">The</span> earliest specimens of post-Moorish architecture in Toledo partake
+more or less of the character of fortifications. For many years, as we
+have seen, after the Reconquest the Christians’ hold upon the city was
+precarious, and the first efforts of the Castilian kings was naturally
+towards strengthening its defences. The history of the walls of Toledo
+is obscure and confused; but it seems certain that a wall has always
+extended within historic times across the northern side of the loop
+formed by the river. The Conqueror Alfonso VI. strengthened and added to
+this defence by the erection of the newer or outer wall, inclosing the
+suburb or Arrabal del Antequeruela. He also appears to have restored the
+inner or Moorish wall, and has left traces on the magnificent Puerta del
+Sol, a Moorish work which must have been quite new in his day. Indeed,
+it may possibly have been built by Moorish masons after the Reconquest.
+It is a noble and impressive portal to the grand old city, and most
+powerfully impresses the beholder. Quadrado will<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> have it that so
+dignified a monument can have been the work only of a ruling race, in
+the days of its liberty and glory; it could not have been the mere
+afterglow of the ascendency and taste of a nation now subjugated. We
+may, however, be permitted to doubt whether the political decadence of a
+people becomes <i>instantly</i> manifested in its artistic life. The gateway
+forms a high tower with two flanking turrets, one square and abutting on
+the wall, the other rounded and finishing off the <i>enceinte</i>. The portal
+is composed of a succession of four arches, all being of the horseshoe
+shape, though the outer arches are more pointed than the inner ones.
+Above the outermost arch is a double row of arcades of brickwork, the
+arches intersecting. Over the second arch is a circular medallion in
+relief, representing the Virgin offering the chasuble to St. Ildefonsus.
+Another relief in marble is supposed to represent the summary punishment
+of Fernan Gonzalez by St. Ferdinand, for the seduction of two young
+women. The battlements are of a type common enough in Spanish Christian
+architecture, but which Mr. Street thinks was derived originally from
+the Moors. Another writer, Mr. O’Shea, remarks: “This gate with its warm
+orange tints, that contrast so admirably with the lapis-lazuli azure of
+the cloudless sky, its battlement fringing the top, and opening vistas<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span>
+of most novel aspect, is a treasure for an artist.” The exceeding
+quaintness and majesty of this gateway have moved many writers to
+express themselves almost too rapturously. Toledo’s other gates&mdash;the
+Puerta Nueva de Visagra and the Puerta del Cambrón&mdash;date from a much
+later period.</p>
+
+<p>The rude, dismantled pile of the Castle of San Servando, which crowns
+the height opposite to the Bridge of Alcantara, marks the site of a
+monastery, erected by Alfonso VI. in gratitude for his escape from the
+rout of Sacralias (1086). It was peopled by Benedictines from Sahagun
+and Cluny. These holy men soon found by the defensive works with which
+their new home was provided that their duties would not be entirely of a
+clerical description. Yusuf-ben-Tashfin, the Almoravide leader, almost
+destroyed the building during his abortive siege of Toledo, and Alfonso
+subsequently gave the establishment the aspect and features of a
+fortress. As such it bore the brunt of the repeated Saracen onslaughts
+in the first half of the twelfth century. It was abandoned in
+consequence by the monks, and was bestowed by Alfonso VIII. on the
+Knights Templars. It continued in their possession till the suppression
+of the Order in 1312. It seems to have fallen into ruins soon after, and
+was rebuilt about 1386, on the initiative of the great archbishop,
+Tenorio.<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> It is not a very interesting monument. It is built of masonry,
+with facings of red brick here and there. Three of its four sides are
+standing, and the same number of towers. These bear a resemblance to the
+outer or circular tower of the Puerta del Sol. The windows and arches
+exhibit Moorish, or rather Mudejar, influence. The castle in its day
+must have been a fine specimen of the mediæval stronghold. To-day its
+ruin is complete. It serves as a home to the owl and the bat, and the
+very ghosts of monks and templars seem to have deserted it as
+uninhabitable.</p>
+
+<p>The castle is referred to by Calderon and other writers, and seems at
+one time to have been a favourite spot for duels.</p>
+
+<p>The increased importance of Toledo as the capital of Castile
+necessitated the improvement of its communications with the outside
+world. The Bridge of Alcantara was, at the time of the Reconquest, the
+only permanent traject across the Tagus, and the bridge of boats on the
+western side of the town having been swept away, Alfonso X. (1252-1289)
+decreed the construction of a stone bridge now known as the Puente de
+San Martin. It was built of five arches and lasted till the reign of
+Pedro I., when it was blown up by that king’s partisans to obstruct the
+entry of Enrique de Trastamara. It continued in a practically demolished
+condition for twenty years,<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> when the great archbishop, Pedro Tenorio,
+determined to restore the missing arches at his own expense. It is said
+that the architect entrusted with the work found, to his dismay, the
+night before the day fixed for the opening, that, owing to some
+oversight in his calculations, the whole fabric would collapse on the
+removal of the scaffolding. He made known the cause of his anxiety to
+his wife; and she rose at dead of night, and setting fire to the whole
+structure preserved her husband’s reputation and, not impossibly, his
+life. The reconstructed bridge was, of course, without fault or flaw. A
+final reconstruction took place in 1690. On the town side, the Puente de
+San Martin is defended by two square towers. Above the archway are two
+inscriptions relating to the works executed by order of Charles II. The
+further extremity of the bridge is defended by another square
+battlemented tower with a horseshoe arch. Its two bridges are among the
+most picturesque features of Toledo.</p>
+
+<p>With the obvious exception of the cathedral, the most interesting
+monuments of what we may term the middle age of Toledo are the two
+synagogues, now styled Santa Maria la Blanca and El Transito. The Jews,
+as we have seen, everywhere loom large in the annals of Toledo.</p>
+
+<p>The first-named of these temples derives its<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> actual name from a
+tradition that a Christian church occupied the site in Visigothic times,
+to account for the dedication of which a legend is repeated similar to
+that of Santa Maria ad Nives at Rome. It is situated on what was once
+the Jewry or Ghetto, on the western side of the city, not far from the
+Puente de San Martin. Its foundation&mdash;as a synagogue&mdash;is variously
+ascribed to the period of the Reconquest, to the last days of the
+Moorish dominion, and to the latter period of the Khalifate. The first
+date seems the most probable. It continued to be used for the Jewish
+worship till 1405, when, as has been already told, it was seized and
+converted into a Catholic church. It has long since become a merely
+secular monument. The exterior, approached through the most miserable
+and sordid neighbourhood, is very far from reflecting the splendour the
+Jews enjoyed at its foundation. The façade, mean and dilapidated like
+the rest of the exterior, is probably of much more recent construction
+also. Within, a strange, fantastic impression is created. The phrase,
+“How are the mighty fallen!” involuntarily rises to the lips as one
+contemplates the traces of grandeur and elegance subsisting amid ruin
+and decay. The temple is symbolical of the race: exotic, reminiscent of
+a lost glory, depressed, oppressed. There is, however, no trace or
+suggestion of the primitive Hebrew architectural style<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> about the
+building. The traditions of Jerusalem were either unknown to, or had
+been forgotten by, those who reared these walls&mdash;likely enough Moors,
+whose skill was always at the disposal of Christian and Jew. In fact,
+the synagogue may be taken as a fine example of late Saracenic work. The
+plan consists of a nave with two aisles on each side. The nave was
+prolonged in the seventeenth century so as to form a chancel. The
+building is 81 feet long by 63 feet wide. The nave reaches to a height
+of 60 feet, and is 15 feet broad, while the aisles measure only 12 feet
+and rise from 40 to 50 feet high. The nave and aisles are separated by
+four rows of octagonal columns, from which spring bold horseshoe arches
+of the true Moorish type. The capitals are of stucco and elaborately
+designed with floral devices, in which the fir-cone is conspicuous;
+there is a vague suggestion of Byzantine influence. Mr. Street imagines
+them to be much later than the original capitals which they overlay.
+“All the Moorish decorative work seems to have been executed in the same
+way in plaster. This was of very fine quality, and was evidently cut and
+carved as if it had been stone, and seldom, if ever, I think, stamped or
+moulded, according to the mistaken practice of the present day. The
+consequence is that there is endless variety of design everywhere
+and&mdash;wherever it was desired&mdash;any amount of<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> undercutting. The spandrels
+above the arches are filled in with arabesque patterns, and there is a
+cusped wall arcade below the roof.” All this stucco work appears to date
+from about the time of Alfonso X., or perhaps from a later restoration.
+Above the nave is an exquisite frieze in low relief, formed of lines
+interlacing and crossing each other. The roof is of pine-wood, and <i>not</i>
+of Lebanon cedar, as at one time alleged. Mr. Street thinks “the
+pavement is very good, but must be about the date of the conversion of
+the synagogue into a church. It is divided into compartments by border
+tiles laid down the length of the church on either side of the columns.
+The spaces between them are filled in with a rich diaper of encaustic
+and plain red tiles, whilst the general area between these richer bands
+is paved with large red, relieved by an occasional encaustic, tiles. The
+latter have patterns in white, dark blue, and yellow, and in all cases
+they are remarkable for the beautiful inequality of the colours of the
+surface of the design. Both colour and material are in themselves better
+than the work of our tile manufacturers of the present day and
+illustrate very well the difference between hand-work and machinework.”
+The Catholics added three altars in the plateresque style, which, it is
+unnecessary to say, do not harmonise with the rest of the edifice. One
+of the retablos is attributed to Berruguete.<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p>
+
+<p>Comparing this old Jewish meeting-place with the other and later
+synagogue, Miss Hannah Lynch remarks: “As a religious temple, as the
+expression of solemn worship rooted in the strange and mysterious East,
+the former is by far the more imposing, the more earnest and harmonious.
+Prayer in the <i>Transito</i> seems a matter of graceful and artistic
+dilettanteism; here it appears a great racial cry of the soul.”</p>
+
+<p>The later vicissitudes of this synagogue are curious. About the middle
+of the sixteenth century it was converted by Cardinal Siliceo into an
+asylum for the professional frail ones of Toledo; but about half a
+century later the establishment ceased to exist&mdash;whether because there
+was no more frailty in Toledo or no more repentance, we are not told.
+Subsequently it was turned into a barracks, and then (O’Shea says) into
+a dancing-hall.</p>
+
+<p>The Transito (so called after the Transit of the Blessed Virgin, <i>i.e.</i>,
+the Assumption) is situated in the same quarter. We have already told
+the story of its foundation by Samuel Ha Levi, the powerful treasurer of
+Pedro I. Upon the expulsion of the Jews from Spain in 1492, it was
+handed over to the Order of Calatrava, who dedicated it to St. Benedict
+(San Benito). This synagogue is also purely Moorish in style, but of the
+later or Granadan period. Its plan differs radically from that of Santa
+Maria la Blanca. It constitutes a<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> parallelogram, undivided into naves
+and aisles, 76 feet by 31 feet, and 44 feet high. The effect is simple
+and graceful. The side walls are quite plain up to the height of about
+twenty feet, where a broad frieze of stucco runs round the building,
+with floral and star pattern designs, and bordered by inscriptions in
+Hebrew. Above this is an arcade with double shafts, and extremely rich
+capitals. The arches are of the horseshoe form, cusped into seven
+points. Eight of the arches contain lattice-work of the most beautiful
+design. Indeed, the whole of the arcading is rich and graceful beyond
+all praise. The western wall, where was formerly the Rabbinical chair,
+and is now the altar, is profusely decorated with patterns,
+inscriptions, and coats of arms, down to within seven feet of the floor.
+In the opposite wall windows have been pierced, breaking into the
+frieze. The roof is of cedar, and a fine specimen of <i>artesonado</i> work.
+Across it run tie-beams, superfluous in this case, but of which the
+Moorish builders were fond. The rafters slope down equally to a deep
+cornice, which is carried right across the angles, “so as to give
+polygonal ends to the roof.”</p>
+
+<p>On either side of the altar are long Hebrew inscriptions now illegible,
+and the precise meaning of which has been a subject of fierce and
+perpetual controversy. The text on the Epistle<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> side may be translated:
+“The mercies which God hath shown us, raising up amongst us judges and
+princes to deliver us from our enemies and oppressors.... And we of this
+land have built this house with a strong and mighty arm. The day that it
+was built was great and delightful for the Jews, who, attracted by the
+fame of these things, came from the ends of the earth to see ... if a
+ruler should be given us who should be as a tower of strength ... to
+govern our commonwealth.... And there was raised up to help us, Samuel
+[Levi,] and God was with him and with us, and who found for us grace and
+mercy. He was a man of peace, powerful among all the people, and a great
+builder. These things were accomplished in the reign of the King Don
+Pedro; may God be his helper, enlarge his dominions, prosper him and
+succour him, and place his seat over all princes. May God be with him
+and all his house, and may every man be humbled before him ... and let
+those who hear his name rejoice to hear it in all the Kingdoms, and let
+it be manifest that he has been unto Israel a defender and a shield.”
+The inscription on the Gospel side proclaims the Rabbi Myir Abdali as
+the architect and extols his pre-eminent virtues, and pathetically
+celebrates the return of good and prosperous times&mdash;times not destined
+to last for the luckless race!<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span></p>
+
+<p>In the neighbourhood of the synagogue exists the skeleton of the palace
+built by the great Jewish treasurer. It afterwards passed into the hands
+of the Marquises of Villena, and is associated with Don Enrique de
+Aragon, uncle of Juan II., a very interesting personality. He was a man
+of vast learning, and was, probably in consequence, reputed to be a
+magician and in league with the Evil One. Indeed, his magnificent
+library, including his own writings, was, in after years, burnt by order
+of the Inquisition. Beneath the mansion are still to be found various
+subterranean chambers, which popular superstition declares to have been
+the scene of Don Enrique’s conferences with Satan and his satellites.
+This necromancer was indeed Marquis of Villena, but it is by no means
+certain that he inhabited this house, which afterwards became the
+property of another family (the Pachecos), on whom the title was
+conferred by Enrique IV. The palace was deliberately burnt by its owner,
+the Duque de Escalona, in the reign of Charles V., it having been
+contaminated, as he thought, by the temporary residence within its walls
+of the Constable de Bourbon, then in arms against his own country. The
+Castilian grandee’s sense of honour was not a mere pose. The building is
+now the property of the Marquis de la Vega, who has tastefully restored
+it. It receives additional interest from<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span> its having been, as is now
+believed, the home of El Greco.</p>
+
+<p>Two ruinous structures are pointed out as the palaces of Don Pedro and
+of Enrique de Trastamara respectively. The latter probably belonged to
+one of the Counts of Trastamara, not to the king who bore that title. It
+is in the Moorish style, with horseshoe arches, friezes, and <i>ajimeces</i>.
+The so-called palace of Don Pedro is of the same class of architecture,
+but has much less to show&mdash;a horseshoe arch, a dado, and an almost
+illegible Arabic inscription which reads, “Lasting glory and perpetual
+prosperity to the master of this house.”</p>
+
+<p>Better examples of the Mudejar (or late Moorish) style are the Casa del
+Mesa and the Taller del Moro. The former is situated close to the church
+of San Román, and was built soon after the Reconquest by that prominent
+Toledan, Esteban Illán. The saloon is one of the very best examples of
+this style of architecture. It is 60 feet long by 22 feet wide, and 36
+feet high. The artesonado ceiling is thus described by Street: “The
+patterns are formed by ribs (square in section) of dark wood with a
+white line along the centre of the soffit of each. The sides of the ribs
+are painted red, and the recessed panels have lines of white beads
+painted at their edges, and in the centre an arabesque on a dark blue
+ground. The<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> colours are so arranged as to mark out as distinctly as
+possible the squares and patterns into which it is divided, and the
+sinking of some panels below the others allows the same pattern to be
+used for borders and grounds with very varied effect. The reds are
+rather crimson in tone, and the blues very dark.” The entrance&mdash;of a
+slightly horseshoe pattern&mdash;is framed in exquisite and luxuriant
+traceries. So also is the opposite <i>ajimez</i> window, but here the designs
+show Gothic influence. A high dado of <i>azulejos</i> and a very deep cornice
+and frieze of delicate workmanship complete the decoration of this very
+beautiful hall.</p>
+
+<p>The Taller del Moro is (quite without foundation) said to occupy the
+site of the massacre of the <i>Noche Toledana</i>. It was so called because
+it was used as a workshop during the building of the cathedral. There is
+a conflict of opinion as to its age, but it probably dates from about
+the time of the Reconquest. The Arabic inscriptions, however, imply that
+it was intended for the habitation of a Moor, the Latin texts being
+doubtlessly added by later owners. The Taller consists of a large hall,
+54 feet long by 23 feet wide, and of two adjacent smaller apartments. It
+exhibits the artesonado ceiling, the delicate stucco-work and friezes
+with star-like and floral designs we are led to expect in specimens of
+Mudejar architecture. Street doubts if the stucco-<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span>work dates further
+back than 1350. The portal is in good Gothic style, and was added by
+Cardinal Mendoza.</p>
+
+<p>As in all other Spanish cities, after their reacquisition by the
+Christians, in Toledo, for many, many years, Moorish architects and
+masons continued to be employed even in the construction of sacred
+edifices. This accounts for the mixed Christian and Saracenic style of
+several of the churches, even where these had not originally been
+mosques. The interesting church of San Román had been a Mohammedan
+temple remodelled to the requirements of Christian worship, while the
+tower or steeple is a Mudejar work added by Esteban Illán, and (to quote
+Mr. Street), “the finest example of its class to be seen here.” The
+steeple is of rough stone and brick, of a warm brown tone, and quite
+plain for more than half its height. The upper stages are pierced with
+windows which exhibit a very ungraceful trefoiled variation of the
+horseshoe arch&mdash;then fast dying out. Notwithstanding, the steeple has a
+noble and rugged appearance, like most things Toledan. The church itself
+has been so often restored, that it is hard to assign it to any one
+epoch. The Capilla Mayor is of the sixteenth century, and of the
+plateresque style. One of the altars has a front of black stone, carved
+at the edges in imitation of an altar-cloth with embroidery and lace.<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>
+Here and there traces may be detected of the original mosque. The
+steeples of the churches of Santa Magdalena, Santo Tomé, San Pedro
+Martir, San Miguel, Santa Leocadia, and La Concepcion, resemble that of
+San Román, but differ greatly in size.</p>
+
+<p>The minor churches of Toledo are not specially interesting. Without the
+walls, however, is one with noteworthy characteristics. The little
+“basilica” of the Cristo de la Vega occupies the site of the famous
+church of St. Leocadia, built by the Visigothic King, Sisebuth, in the
+seventh century, to mark the place of the virgin saint’s martyrdom.
+Several of the great councils were held here. The story is told that the
+saint appeared in person here to St. Ildefonso, in the presence of King
+Recceswinth, and having expressed her satisfaction at the theologian’s
+masterly defence of the virginity of the Blessed Virgin, allowed him,
+with the royal dagger, to cut off a piece of her veil as a souvenir of
+her visit. This event naturally raised the “basilica” in the estimation
+of the devout. It was demolished by the Moors, and restored in 1162. It
+underwent many restorations and was finally ruined by the French during
+the War of Independence. The present edifice represents little more than
+the apse of the chapel of the Cristo de la Vega. There was a miraculous
+crucifix, attached to which<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> is a particularly silly legend. Two lovers
+had plighted their troth before the image, and the man afterwards denied
+the promise. The girl adjured the Christ to bear witness to the truth of
+her statement, and the figure obligingly extended a wooden arm while a
+voice from on high proclaimed, “<i>I testify.</i>” Another version has it
+that the figure testified in favour of a Christian who (<i>mirabile
+dictu</i>) had lent money to a Jew; and yet another, that it expressed
+approbation of the magnanimity of a cavalier who had pardoned his enemy
+under extraordinary circumstances. Whatever it may have done, the
+crucifix has long since disappeared. An Arabic inscription deduces that
+Mohammed ben Rahman, first King of Toledo, was buried here, <small>A.D.</small> 743. As
+there was no king in the city of that year, and as the first independent
+sovereign was otherwise named, the inscription must be apocryphal or
+else the word “king” must signify in the original merely <i>Vali</i> or
+governor.</p>
+
+<p>A legend, better known and rather less silly than that of the Cristo de
+la Vega, deals with the love affairs of an imaginary Moorish princess,
+called Galiana “la mora mas celebrada de toda la moreria,” the daughter
+of an equally mythical king, called Galafre. <i>He</i> is linked up with
+history by some writers alleging him to have been the nephew of the
+wicked Count Julian, Galiana was<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> the apple of her parent’s eye, and for
+her delectation he built a palace abounding in all conceivable delights.
+The young lady had, in some way, compromised herself with a gigantic
+Moor, Bradamante by name; and to rid her of this truculent wooer, no
+less a personage than Charlemagne appeared on the scene. All, of course,
+ended happily (except for Bradamante) by the conversion of the lovely
+princess and her marriage to the gallant Frank. In the Puerta del Rey,
+outside the town, may still be seen a building dilapidated, let out in
+tenements, which is pointed out as the Palace of Galiana. The place was
+a mansion of the great Guzman family and exhibits traces of fine Moorish
+work&mdash;horseshoe arches, twin-windows, a defaced inscription or two, some
+tiling, and arabesques&mdash;enough, in short, to conjure up a splendid
+Moorish palace, which, however, need not have antedated the Reconquest.</p>
+
+<p>The building is the property of H.I.M. the Empress Eugénie, and it is
+somewhat to be regretted that her attention has not been directed to its
+present condition and to the chance here presented of retarding the
+decay of a valuable monument of antiquity.<span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p>
+
+<h2><a name="THE_CATHEDRAL" id="THE_CATHEDRAL"></a>THE CATHEDRAL</h2>
+
+<p class="nind"><span class="smcap">Transcending</span> in importance all the other monuments of Toledo and,
+indeed, of Castile, is the Cathedral&mdash;one of the noblest specimens of
+Gothic architecture the world affords. The metropolitan church of Spain,
+it is sumptuous without gaudiness, austere without gloominess, admirably
+interpreting the spirit of Spanish Catholicism before it withered under
+the chilling influence of Philip II. and the Inquisition. The Cathedral
+of Toledo does not impress the foreigner as typically national. Indeed
+it corresponds no longer to the temper of the nation. And it was raised
+as a protest against those Moorish influences which have passed into the
+life and art of Spain, and without which nothing can be taken as
+representatively Spanish.</p>
+
+<p>The Cathedral of Toledo, then, is Gothic, and may be said to embody the
+ideals of old Spain&mdash;of the young fighting nation that looked forward,
+not backward. Splendid as the Mosque seized by Archbishop Bernard and
+converted to Christian uses may have been, it was the work of the
+infidel. In 1227 King Ferdinand III. and the<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> Archbishop Don Rodrigo de
+Rada were able at last to give effect to a determination arrived at some
+years before; and on August 14 the first stone of a new temple, which
+should never have been contaminated by Muslim rites, was laid with
+solemn ceremony. The name of the architect continues to be a matter of
+controversy. An epitaph in the sacristy of the Capilla de los Doctores
+affords some clue to his identity. It runs as follows:</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">Agni: jacet: Petrus Petri: magister<br /></span>
+<span class="i0">Eclesia: Scte: Marie: Toletani: fama:<br /></span>
+<span class="i0">Per exemplum: pro more: huic: bona:<br /></span>
+<span class="i0">Crescit: qui presens: templum: construxit<br /></span>
+<span class="i0">Et hic quiescit: quod: quia: tan: mire:<br /></span>
+<span class="i0">Fecit: vili: sentat: ire: ante: Dei:<br /></span>
+<span class="i0">Vultum: pro: quo: nil: restat: multum:<br /></span>
+<span class="i0">Et sibi: sis: merce: qui solus: cuncta:<br /></span>
+<span class="i0">Coherce: obiit: x dias de Novembris:<br /></span>
+<span class="i0">Era: de M: et CCCXXVIII (<small>A.D.</small> 1290).<br /></span>
+</div></div>
+</div>
+
+<p>“Petrus Petri” is interpreted by Spanish writers “Pedro Perez,” but we
+incline to Mr. Street’s view that the correct rendering is probably
+Pierre le Pierre, the architect having been, as the name implies, a
+Frenchman. “This, at any rate,” continues Mr. Street, “is certain: the
+first architect of Toledo, whether he were French or Spanish, was
+thoroughly well acquainted with the best French churches, and<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span> could not
+otherwise have done what he did. In Spain, there was nothing to lead
+gradually to the full development of the Pointed style. We find, on the
+contrary, buildings, planned evidently by foreign hands, rising suddenly
+without any connection with other buildings in their own district, and
+yet with most obvious features of similarity to works in other countries
+erected just before them. Such is the case with the cathedrals at
+Burgos, at Leon, and at Santiago, and such even more decidedly is the
+case here. Moreover, in Toledo, if anywhere, was such a circumstance to
+be expected. In this part of Spain there was in the thirteenth century
+no trained school of native artists. Even after the conquest the Moors
+continued to act as architects for Christian buildings whether secular
+or ecclesiastical, and, indeed, to monopolise all the art and science of
+the country which they no longer ruled. In such a state of things I can
+imagine nothing more natural than that, though the Toledans may have
+been well content to employ Mohammedan art in their ordinary works, yet,
+when it came to be a question of rebuilding their cathedral on a scale
+vaster than anything which had as yet been attempted, they would be
+anxious to adopt some distinctly Christian form of art; and lacking
+entirely any school of their own, would be more likely to secure the
+services of a Frenchman than<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> one of any other nation.... But however
+this may have been, the church is thoroughly French in its ground-plan
+and equally French in all its details for some height from the ground;
+and it is not until we reach the triforium of the Choir that any other
+influence is visible; but even here the work is French work, only
+slightly modified by some acquaintance with Moorish art....”</p>
+
+<p>The stupendous fabric, once begun, whether by French or Spanish hands,
+took two hundred and sixty-six years to finish. From the death of the
+first architect in 1270 to the year 1425 the names of the architects
+have been lost. During this period, the successive styles of
+architecture naturally influenced the original scheme and found
+expression in the building. It was in January 1493 that the roof was
+finished and the main structure completed. Certain chapels, such as the
+Reyes Nuevos, Sagrario, &amp;c., were later additions. Among the later
+architects we find Rodrigo Alfonso, Alvar Gomez, Martin Sanchez, and
+Juan Guas. The stone employed inside (according to O’Shea) was quarried
+at Oliguelas, some nine miles from the city. It becomes harder with age.
+“The external portion is all of Berroqueña stone, save the ornamentation
+of the portals, which is also of Oliguelas white stone.”</p>
+
+<p>The Cathedral forms an oblong, semicircular at the eastern end, and
+lying east and west. In<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> width it is exceeded only by the Cathedrals of
+Milan and Seville, measuring 178 feet broad by 395 feet long. On the
+north side are the cloisters and additional chapels and sacristies. From
+the eastern side project the chapels of the Reyes Nuevos, San Ildefonso,
+and Santiago, and the Winter Chapter-room. The plan of the interior is
+easy of comprehension. The nave extends from the western entrance to the
+Capilla Mayor: on either side of it are two aisles which are continued
+round and behind this chapel in a semicircular sweep. Street extols the
+skill with which this arrangement has been carried out. Between the
+Choir and the Capilla Mayor a transept extends across the church, not
+projecting, however, beyond the outer walls of the farther aisles. The
+eighty-eight pillars which support the fabric and mark off these
+divisions are composed each of from eight to sixteen light columns,
+standing on the same base. The capitals are moulded in plain foliage.
+The arches resting on these pillars make up the seventy-two vaults of
+which the roof is composed. The aisles rise gradually in towards the
+central nave, which is 116 feet high. The crypt or substructure
+corresponds in its divisions and the number of its piers to the edifice
+above. The pavement is of bluish white marble arranged in chequers.</p>
+
+<p>In the original plan no side-chapels appear to<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span> have been contemplated.
+But the chapel of Santa Lucia was added by Archbishop de Rada in memory
+of Alfonso VI. And, in addition to chapels built since the rest of the
+church, the spaces between the buttresses in the outer aisles have been
+railed off so as to form twenty-three chapels of various styles and
+periods. The interior is lit by 750 stained-glass windows of rich hues
+that delight the spectator. They depict episodes from the Scriptures,
+and are said to have been as carefully designed as if intended for close
+inspection. Among the artists were Dolfin (1418), De Vergara, Albert of
+Holland, Maese Cristobal, Juan de Campos, Vasco Troya, and Pedro
+Francés. The effect of the light falling in rays of richest colour on
+the pavement and columns is magical. The walls are denuded of colour and
+rudely whitewashed.</p>
+
+<p>The centre of the Cathedral is occupied by the choir (<i>Coro</i>), to the
+east of which, separated by the transept, is the Capilla Mayor. The
+choir is enclosed by walls and cloisters, except on the side facing the
+Capilla Mayor, where it is railed in by the magnificent reja, designed
+by Domingo de Cespedes and Hernando Bravo (1548). Like the corresponding
+railing of the High Chapel opposite, this work was formerly heavily
+silver-plated and gilded, but at the time of the French invasion it was
+recoated with iron to secure it<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> from spoliation. Unfortunately, no
+means have yet been discovered of restoring the reja to its original
+state. Among the elaborate ornamentation may be noticed the arms of
+Cardinal Siliceo and of the Ayala family, with the interwoven
+inscriptions <i>Procul esto prophani</i> and <i>Psale et psile</i>. The Choir is
+paved with white marble inlaid with dark. The vaulting above the Choir
+itself rises to the height of a hundred feet, the aisle round it to
+ninety feet, and the outer aisle to thirty-five feet. In the outer aisle
+are small chapels placed between the buttresses. Mr. Street describes
+this part of the building in great detail and considers that the
+original scheme of the Cathedral is only to be seen here. The triforium,
+formed of an arcade of cusped arches, in the outer wall of the inner
+aisle exhibits Moorish influence. “It would be impossible,” writes the
+authority just mentioned, “to imagine any circumstance which could
+afford better evidence of the foreign origin of the first design than
+this slight concession to the customs of the place in a slightly later
+portion of the works. An architect who came from France, bent on
+designing nothing but a French church, would be very likely, after a few
+years’ residence in Toledo, somewhat to change in his views, and to
+attempt something in which the Moorish work, which he was in the habit
+of seeing, would have its influence. The detail<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> of this triforium is,
+notwithstanding, all pure and good....”</p>
+
+<p>The Choir is enriched by a magnificent screen, lecterns, and stalls. The
+screen, or <i>respaldo</i>, which at one time seems to have been continued
+right across the transept, encloses the Choir on three sides, and
+consists of an arcade carried on fifty-two columns of jasper and marble,
+and supporting and enclosing admirable statuary and sculpture. Above the
+capitals of the columns is a series of fifty-six medallions in high
+relief, dating from 1380, and representing scenes from the Old
+Testament. These reliefs are worthy of close study, and are beautiful
+examples of simple and faithful mediæval treatment. The series is
+supplemented by a medallion with a bust by Berruguete and the statues of
+Innocence and Sin, by Nicolas de Vergara&mdash;works on which Street outpours
+the vials of his wrath.</p>
+
+<p>Of the wonderful Choir Stalls of Toledo everyone has heard. They are
+unsurpassed triumphs of the carver’s art. The lower tier, including
+fifty seats, is the work of Maese Rodrigo, and dates from 1495. The
+stalls are of walnut wood, and the carving portrays the campaign against
+Granada by the Catholic Sovereigns. The carving being almost
+contemporary with the events illustrated has given these reliefs an
+historical as well as an artistic value. The names of the<span class="pagenum"><a name="page_109" id="page_109">{109}</a></span> fortresses
+are here and there indicated by labels, and the designs are somewhat
+marred by the introduction of fanciful monsters. The whole breathes very
+much of the mediæval spirit, and we can, therefore, hardly complain of a
+certain stiffness and lack of variety. They form an admirable contrast
+to the finer, more finished work of the upper tier of stalls, executed
+fifty years later by Berruguete and Philip of Burgundy, surnamed
+Vigarni. Thirty-five seats, including the Primate’s, are the work of the
+Spaniard, the thirty-six opposite exhibiting the skill of the
+Burgundian. “They were wrought,” says O’Shea, “in rivalry of each other,
+and finished in 1543; and as Cardinal Tavera’s inscription runs:
+‘Certaverunt turn artificum ingenia; certabunt semper spectatorum
+judicia.’<span class="lftspc">”</span> The stalls are placed in recesses of alabaster, and separated
+by fine red jasper columns, with capitals in white marble. Over the
+recesses is a series of alabaster figures in low relief of the prophets
+and patriarchs. The carvings on the stalls themselves depict episodes
+from both the New and Old Testaments. The work breathes the spirit of
+the Renaissance, interpreted by Berruguete and his colleague with a
+skill, it has been truly observed, worthy of Benvenuto Cellini himself.
+Berruguete was a pupil of Michelangelo. His work is more vigorous than
+that of Vigarni,<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span> who excels in elegance and softness of outline.
+Street’s denunciations of these triumphs of the carver’s art are a
+curious instance of the length to which an artistic bias may lead a
+clever writer and critic. The reliefs representing the visits of the
+Blessed Virgin to Purgatory and to St. Ildefonso are not by Philip of
+Burgundy, but by his brother Gregorio.</p>
+
+<p>Very fine are the reading-desks, with friezes of gilded bronze, executed
+by the two Vergaras in the middle of the sixteenth century. Those on the
+Epistle side are carved in low relief with the stories of David and
+Saul, the Blessed Virgin and St. Ildefonso, and the Apocalypse; those on
+the Gospel side, the stories of St. Ildefonso, the Ark of the Covenant,
+and the Passage of the Red Sea. In the centre of the Choir is a
+magnificent brass lectern upheld by a great eagle with wings outspread;
+its eyes are of red stones and it crushes with its talons a struggling
+dragon. It was executed in 1646 by Salinas. The pedestal on which it
+stands is older by two hundred years, and is thoroughly Gothic in
+character, with buttresses, pinnacles, and statuary. The work is said to
+be German. The pedestal is borne by six lions, finely sculptured.</p>
+
+<p>The northern entrance to the transept, which separates the Choir from
+the Capilla Mayor, affords the best and least interrupted view of the<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span>
+Cathedral. That view impressed the writer with its calm majesty and
+sanctity, but by way of contrast it is worth while recording the
+impressions of a traveller only lately returned (Mr. Stewart Dick): “My
+first feeling was one of disappointment&mdash;a feeling that even now has
+hardly worn away.</p>
+
+<p>“It is vast and cold. A white expanse. Huge pillars towering up to a
+great height. A blaze of harsh daylight. In the middle, blocking up the
+view down the nave, the tawdry gilt of the Coro. Doors opening and
+banging all round, people promenading, sitting on the bases of the
+pillars and talking with undropped voices. You ask yourself with
+amazement, Is this a church? The form is here, but where is the spirit?</p>
+
+<p>“In fact, it is only in the evening that Toledo Cathedral comes into its
+own. It is quiet and peaceful then. The promenaders have all gone away,
+the blaring of the organ has ceased, and through the open door you hear
+the twittering of birds in the cloisters. The shadows darken among the
+pillars, the beautiful windows begin to glow, and a soft light fills the
+upper part of the church. It is like the opening of a flower.</p>
+
+<p>“Then at last you begin to feel the impressiveness and the dignity of
+those avenues of mighty pillars. The trivialities that annoyed you are
+lost, the effects are broad, grand, and majestic, and at<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> last the
+building is a temple; it seems as if the Holy Spirit had entered with
+the fall of the twilight.”</p>
+
+<p>The Capilla Mayor, or High Chapel, occupies the eastern end of the nave,
+the aisles sweeping round behind it. The hinder portion was originally
+the Capilla de los Reyes Viejos, the chapel in which were entombed
+Sancho el Bravo, Sancho el Deseado, Alfonso VII., and others. In the
+year 1498 the two chapels were thrown into one by Cardinal Cisneros, who
+left the royal tombs for a time undisturbed. The High Chapel, according
+to O’Shea, measures 56 feet in length, 50 feet in breadth, and 116 feet
+in height. The piers are sculptured with the effigies of kings,
+prelates, and saints, and with “a multitude of angels playing on
+different instruments, and with outspread wings, that want but incense
+to raise them again from the spot where they have alighted.” The walls
+of the chapel are pierced or of open-work, the stone in parts being
+almost transparent, and thus adding to the brightness of the effect. Two
+rows of statuary enhance the beauty of the stonework, which is among the
+earliest portions of the fabric. But these walls, for all their
+magnificence, are put in the shade by the superb reja or railing, facing
+that of the Choir, and contemporary with it. This work is thus described
+by Señor Riaño: ‘The reja is 42 feet wide by 19 inches high; it<span class="pagenum"><a name="page_113" id="page_113">{113}</a></span> rests
+on a pediment of marble ornamented with masks and bronze work upon which
+rises the reja, which is divided horizontally by means of a frieze of
+ornamentation, and this again vertically into five compartments. In each
+vertical division there is a pilaster of four sides formed of <i>repoussé</i>
+plates, carved with a fine ornamentation in the Renaissance style; this
+is again terminated with life-size figures in high relief of bronze. The
+second compartment rises upon the band which divides it in a horizontal
+sense; it follows the same decoration in its pilasters, and is
+terminated by a series of coats of arms, torches, angels, and a variety
+of foliage which finishes the upper part. Upon the centre, hanging from
+a thick chain, supported from the roof, is suspended a life-size Rood of
+admirable effect, which completes the decoration. In several spots there
+are labels with mottoes in Latin; in one of them appears the following
+inscription, and the date of 1548, when the splendid work was finished:
+‘Anno MDXLVIII. Paul III. P.M. Carol. V. Imper. Rege. Joannes Martinez
+Siliccus Archiepiscopus Tolet. Hispaniae Primat.’ The railings of the
+reja are silvered, and the reliefs and salient points gilt. The artist
+who made it was Francisco Villalpando, a native of Valladolid; this
+model was chosen in preference to those of several artists, who
+presented their plans in competition before the ecclesiastical<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span>
+authorities; it is calculated that ten years elapsed before it was
+finally finished, Villalpando was greatly distinguished likewise as a
+sculptor and architect.” By him are the gilt pulpits in the plateresque
+style, made from the bronze tomb that the Great Constable, De Luna, had
+caused to be designed for himself. On a pier at the extremity of the
+chapel is the statue of the celebrated shepherd, Martin Alhaga, who is
+said to have, semi-miraculously, guided Alfonso VIII. and his army to
+the rear of the Moorish forces at Las Navas de Tolosa&mdash;thus securing the
+victory to the Christians. The king, who alone saw his features, is said
+to have designed the statue. Opposite is the figure of the Moorish
+Alfaqui, Abu Walid, whose intercession secured the old mosque to the
+Catholics, in the manner already narrated.</p>
+
+<p>The splendour of the High Altar, with its jasper and bronzes, renders a
+detailed description impossible and inadequate. Its magnificent retablo,
+rising to the very roof, is the richest gem of the Cathedral. Designed
+by Philip Vigarni (Borgoña), and painted and gilded by his brother Juan,
+numerous other masters contributed to its excellences. We may name
+Maître Petit Jean (of France or Aragon), Almonacid (a converted Moor),
+Copin (a Dutchman), Francesco of Antwerp, Fernando del Rincon, Egas, and
+Pedro Gumiel. The retablo is of wood and<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span> divided into five compartments
+by gorgeous columns. The subjects are from the New Testament, and are
+worked out with immense and ornate elaboration. The whole is crowned
+with a colossal Calvary. Behind the High Altar is placed that
+extraordinary example of eighteenth-century bad taste, the too famous
+<i>Transparente</i>. The whole architecture, painting, statues, carving and
+bronze is the work of the same person, Narciso Thomé who completed it in
+1734. Much as we may denounce the taste (or rather the lack of it) of
+this triumph of the Churrigueresque style, we are obliged to admire the
+wonderful execution of this misdirected genius.</p>
+
+<p>The royal tombs lie around the High Altar. They were placed in recesses,
+sculptured in the Gothic style by Diego Copin of Holland, by order of
+Cardinal Cisneros in 1507. The arches are peculiarly graceful and light.
+The tombs themselves date from much earlier times. Here sleep their last
+sleep Alfonso VII., Sancho el Bravo, Sancho el Deseado, and several
+Infantes. To the left of the altar is the sepulchre, more glorious than
+any king’s, of the great Cardinal Mendoza, erected by order of Isabel
+the Catholic, who owed so much to him. It was the work of Covarrubias,
+and is all of precious marbles. One side is formed by the sarcophagus
+with its recumbent effigy, the other by an altar. Above this<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span> last is a
+medallion representing the Archbishop Adoring the Cross. Part of the
+wall was demolished to make room for this stately mausoleum. Beneath the
+Capilla Mayor is a subterranean chapel, not of special interest. It
+contains a Burial of Christ by Copin, deserving of an inspection that in
+the dim light is well-nigh impossible, and some pictures by Ricci.</p>
+
+<p>At the eastern extremity of the Cathedral, behind the Capilla Mayor and
+projecting beyond the general outline, is the chapel of San Ildefonso.
+Erected by Archbishop de Rada, it remains the last important
+middle-pointed feature of the building, though considerably modified by
+Cardinal Albornoz in the latter part of the fourteenth century. It is
+eight-sided, and has beautiful traceried windows, and arches richly
+moulded and decorated. In arched recesses, beneath gabled and pinnacled
+canopies, are the tombs of Cardinal Albornoz, and several members of his
+family. There is much beautiful detail on the tomb of Don Iñigo de
+Mendoza, who fell at Granada in 1491; and the sepulchre of the Bishop of
+Avila by Tejada is a noble temple of the plateresque. The altar is
+modern. St. Ildefonso was the prelate who distinguished himself by his
+advocacy of the doctrine of the Immaculate Conception. In return he is
+said to have received signal marks of favour from the Blessed Virgin,
+who invested<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> him with a cassock, came down to attend Matins in his
+company, and so forth.</p>
+
+<p>To the north of this chapel is the larger Capilla de Santiago, likewise
+projecting beyond the original ground plan, and dating from 1435. It was
+built by order of the Great Constable, Alvaro de Luna, to be the place
+of sepulchre of himself and wife, on the site of an earlier chapel
+dedicated to St. Thomas à Becket. The plan is similar to that of the
+last chapel described. Outside, the flat-pitched tile roof is finished
+with a battlement and circular turrets at the angles. The most
+conspicuous features of the chapel are the tombs, in Carrara marble, of
+the Constable Alvaro de Luna and his wife Doña Juana Pimentel. The
+Constable is shown in full armour, and at each corner of his tomb kneels
+a knight of Santiago, of which order he was Grand Master. Four
+Franciscan monks attend on his lady. In niches in the wall repose
+kinsmen of the ill-fated Constable, the tombs all having been executed
+by permission of Isabel the Catholic, by Pablo Ortiz in 1488,
+thirty-five years after De Luna’s death on the scaffold at Valladolid.
+The tombs designed for the Constable in his lifetime were to have been
+furnished with life-size figures in bronze, which, by mechanical
+contrivance, were to have risen each time Mass was celebrated, and to
+have remained during the service in a<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> kneeling posture. These figures
+were destroyed by the Infante Don Enrique, and the bronze was used by
+Villalpando for the pulpits in the Capilla Mayor. The retablo of the
+High Altar reveals the portraits of the founder and his wife by Juan de
+Segovia. “The chapel,” says Mr. Street, “bears evidence in the
+‘perpendicular’ character of its panelling, arcading and crocketing, of
+the poverty of the age in the matter of design. At this period, indeed,
+the designers were sculptors rather than architects, and thought of
+little but the display of their own manual dexterity.”</p>
+
+<p>Passing down a corridor between this chapel and that of Santa Leocadia
+we reach the Capilla de los Reyes Nuevos, lying quite outside the
+original plan of the Cathedral. It was founded by Enrique II. of
+Trastamara, and contains his tomb, his wife’s, and the sepulchres of
+Enrique III., his Queen, Katharine of Lancaster, Juan I. and Queen
+Leonor, and the effigy of Juan II., who is buried near Burgos. The
+chapel is a fine specimen of the Renaissance style, reconstructed by
+Alfonso de Covarrubias in 1534. The portal is fine, and is guarded by
+two kings armed and bearing escutcheons. During Mass, a gorgeously
+apparelled functionary holds upright a mace, crowned and jewelled, and
+with the arms of Spain.</p>
+
+<p>The side-chapels of the Cathedral are not, on<span class="pagenum"><a name="page_119" id="page_119">{119}</a></span> the whole, as interesting
+as one would expect in a building of such antiquity and associations. To
+the south of the Capilla de San Ildefonso is the Capilla de la Trinidad;
+next comes the entrance to the Chapter House or Sala Capitular, an early
+sixteenth-century work with an artesonado ceiling in red, blue, and
+gold, excelling anything of the kind in Andalusia. The thirteen frescoes
+adorning the walls of the Chapter House are by Juan de Borgoña, who was
+also responsible for the earlier series of portraits of the archbishops.
+Copin’s work is to be recognised in the archiepiscopal throne, the other
+stalls being by Francisco de Lara. Returning to the church through a
+portal in the Moorish style, we find on the left the chapel of San
+Nicolas, followed by the chapels of San Gil, San Juan Bautista, Santa
+Ana, and the Reyes Viejos, founded in 1290 as the Capilla del Espritu
+Santo, with a fine reja by Céspedes. The chapel of Santa Lucia, founded
+by Archbishop de Rada, is, of course, in the best Gothic style, and has
+“an extremely rich recessed arch in stucco, of late Moorish work&mdash;a
+curious contrast to the fine pointed work of the chapel.”</p>
+
+<p>The Capilla de San Eugenio contains the alabaster effigy of Bishop del
+Castillo (1521), and the tomb in the Mudejar style of the Alguacil
+Fernan Gudiel (1278). The statue of the saint is by Copin,<span class="pagenum"><a name="page_120" id="page_120">{120}</a></span> the
+paintings on the retablo by Juan de Borgoña. Adjacent to the chapel is
+the colossal figure of Saint Christopher, usually seen in Spanish
+churches. This figure is probably coeval with the fabric, but was
+restored in 1638. A primitive style of art is also to be seen in the
+altar-piece of the Capilla de San Martin. The next two chapels&mdash;de la
+Epifania and de la Concepcion&mdash;do not present any features of special
+interest.</p>
+
+<p>In the south-west angle of the church is the interesting Mozárabic
+Chapel, built in 1504 by Enrique de Egas, under the orders of the famous
+Cardinal Ximenes de Cisneros. It is devoted to the celebration of Mass
+and the offices of the church according to the Mozárabic ritual, which
+till the middle of the last century was followed in six of the parish
+churches. The Cupola dates from 1626, and was the work of Jorge Manuel
+Theotocopuli. The porch is Gothic, and the reja in good Renaissance
+style, executed by Juan Frances in 1524. The frescoes, of no great
+value, painted by Juan de Borgoña, represent the expedition against
+Oran, in which the great Cardinal took part. Miss Hannah Lynch gives a
+vigorously worded account of a service in this chapel according to its
+peculiar rite: “The quaint old ritual may be heard every morning at 9
+<small>A.M.</small>, and will be found extremely puzzling to follow. The canons, in a
+sombre, flat<span class="pagenum"><a name="page_121" id="page_121">{121}</a></span> monotone, chant responses to the officiating priest at the
+altar. The sound combines the enervating effect of the hum of wings,
+whirr of looms, wooden thud of pedals, the boom and rush of immense
+wings circling round and round. After the first stupefaction, I have
+never heard anything more calculated to produce headache, nervous
+irritation, or the contrary soporific effect. In summer, it must be
+terrible.”</p>
+
+<p>At the opposite, or north-west, angle of the church is the Chapel of San
+Juan or of the Canons, so called because Mass can be celebrated here
+only by those dignitaries. It was built in 1537 by Covarrubias in the
+Renaissance style, and occupies the site of the old tower chapel, called
+the Quo Vadis. The ceiling is of artesonado, in gold and black, with
+carved flowers and figures. Since 1870 this chapel has been the
+repository of the Cathedral Treasure, styled Las Alhajas, or the Jewels.
+Here is kept the gorgeous <i>custodia</i>, or portable tabernacle, made by
+order of Cardinal Cisneros by Juan de Arfe, who began it in 1517 and
+completed it without assistance in 1524. This triumph of the
+silversmith’s craft is in the form of a Gothic temple, eight feet high,
+with all the architectural details, such as columns, arches, and
+vaultings, the whole resembling delicate lacework. Scenes from the life
+of our Saviour are illustrated in reliefs. There are no fewer than<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span> two
+hundred and sixty statues of various sizes, all exhibiting the same
+skill. The tabernacle was gilded over in 1595 by Valdivieso and Morino.
+The <i>viril</i> inside, in which the Host is exposed, was made of the first
+gold brought from America, is completely covered with precious stones,
+and weighs twenty-nine pounds. In the Treasure is also included the
+mantle of the Virgen del Sagrario, considered by Señor de Riaño the most
+remarkable specimen of embroidery that exists in Spain. It is described
+in the following manner: “It is made of twelve yards of cloth of silver,
+entirely covered with gold and precious stones. In the centre is an
+ornament of amethysts and diamonds. Eight other jewels appear on each
+side of enamelled gold, emeralds, and large rubies; a variety of other
+jewels are placed at intervals round the mantle, and at the lower part
+are the arms of Cardinal Sandoval [seventeenth century] enamelled on
+gold and studded with sapphires and rubies. The centre of this mantle is
+covered with flowers and pomegranates embroidered in seed-pearls of
+different sizes. Round the borders are rows of large pearls. Besides the
+gems which are employed in this superb work of art, no less than 257
+ounces of pearls of different sizes, 300 ounces of gold thread, 160
+ounces of small pieces of enamelled gold, and eight ounces of emeralds
+were used.” The beautiful dish,<span class="pagenum"><a name="page_123" id="page_123">{123}</a></span> repoussé in silver, the designs on
+which represent the Rape of the Sabines and the Death of Darius, was
+believed to be the work of Benvenuto Cellini, but is now ascribed to the
+Flemish artist, Mathias Méline. Among the Alhajas are also four
+geographical globes, with large silver figures, gleaming with
+gems&mdash;eighteenth-century work. Of historical interest is the sword, said
+to have been worn by Alfonso VI. on his entry into Toledo, and the
+original letter written by St. Louis of France to the Chapter, bestowing
+sacred relics obtained from the Great Emperor: “Given at Etampes, the
+year of our Lord, 1248, month of May.” Other objects of value are the
+Cope of Cardinal Albornoz and the Cruz de la Manga, made in the
+sixteenth century by Gregorio de Varona, a native of the city. Here,
+also, are the archiepiscopal cross, planted by Cardinal Mendoza on the
+summit of the Alhambra in 1492, and the Golden Bible in three volumes,
+dating from the twelfth century. It is to be doubted if the accumulation
+of these splendid objects, intended for diverse practical uses, in one
+collection, serves to show any of them to the best advantage.</p>
+
+<p>On the north aisle are the chapels of Teresa de Haro, Nuestra Señora de
+la Antigua&mdash;where the Spanish colours used in the Moorish campaigns were
+blessed&mdash;of the Pila Bautismál, with a<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> beautiful bronze font, and a
+reja by Céspedes; and the large Capilla de San Pedro, built in 1442 in
+the Gothic style by Archbishop de Rojas. The founder’s fine monument was
+placed here in the eighteenth century. On the other side of the Puerta
+del Reloj is the Capilla de la Virgen del Sagrario, noted for a statue
+of the Blessed Virgin, which she is said to have kissed on her visit to
+St. Ildefonso. The statue is of dark-coloured wood, and was formerly
+clothed in a mantle embroidered by Felipe Corral; and composed of gold,
+rubies, emeralds, and pearls, now kept in the Treasury. In this chapel
+the degree of doctor is conferred on licentiates. The two small chapels
+of the Cristo and of Santa Leocadia are adjacent to the entrance to the
+Capilla de los Reyes Nuevos.</p>
+
+<p>Adjoining the Chapel of the Virgen del Sagrario are a set of apartments,
+built with it upon the site of an old hospital, by Nicolas de Vergara,
+junior, at the close of the sixteenth century. These rooms are the
+Sacristia, Vestuario, Cuarto de la Custódia, and Ochavo. The Sacristia,
+entered through a portal 26 feet high, contains paintings by El Greco,
+to be noticed in the chapter on that master; the ‘Betrayal of Christ,’
+by Goya; and a ceiling fresco by Luca Giordano, representing the Miracle
+of San Ildefonso. The Vestuario contains pictures by several Italian
+masters, among them ‘Paul III.’ by Titian; a<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span> replica of the portrait at
+Naples; a ‘Madonna’ by Rubens; and a ‘St. Francis’ by El Greco. The
+Custodia was till lately the Cathedral Treasury. The Ochavo, at the back
+of the Capilla de la Virgen, is richly adorned and contains the
+collection of relics, among them massive silver caskets, wonderfully
+wrought, for the bones of the saints Leocadia and Eugenius.</p>
+
+<p>The vestments preserved here, to the number of forty sets, belong mostly
+to the fifteenth and sixteenth centuries, and are of the most splendid
+description. “Each set [says Riaño] generally includes a chasuble,
+dalmatic, cope, altar frontal, covers for the gospel stands, and other
+smaller pieces. The embroideries on the orphreys, which are formed of
+figures of saints, are as perfect as the miniatures on illuminated MSS.”</p>
+
+<p>The Cloisters to the north-west of the church were built by Cardinal
+Tenorio in 1389. They are not, as Miss Lynch observes, to be compared
+with those of Burgos, of Santiago, or of Oviedo. The garden they enclose
+lends a brighter, gayer note to the columned and arched galleries than
+is found in those other cathedrals. The frescoes in the lower cloister
+were painted by Francisco Bayeu, and illustrate the lives of St.
+Eugenius and the legend of the <i>Niño perdido</i>.</p>
+
+<p>We should, perhaps, have described the exterior of the Cathedral first,
+but from the sight<span class="pagenum"><a name="page_126" id="page_126">{126}</a></span>seer’s point of view the interior is, of course, more
+important. It is a general subject of complaint that it is extremely
+difficult to obtain a good view of any considerable part of the fabric
+from the outside, nor does it stand out as conspicuously from a distance
+as its imposing dimensions would lead one to suppose. The best view is
+to be obtained from the church of Nuestra Señora de la Valle, above the
+Puente de San Martin. The exterior, with its flying buttresses, finials,
+and rose-windows, reflects the Gothic spirit of the interior. The west
+façade is flanked by two towers, that above the Chapel of the Canons
+alone being complete. It is 295 feet high, and was begun by order of
+Archbishop Tenorio, in 1380, by Rodrigo Alfons, and completed under
+Archbishop Contreras in 1440 by Alvar Gomez. On the summit is a small
+spire, surmounted by a cross, a vane, and an arrow. Here are hung the
+bells, among them the famous Campana Gorda, weighing nearly two tons,
+and whose note reaches to Madrid. The tower also contains a peal called
+the Matraca, worked continuously by mechanism from Maundy Thursday till
+Easter Saturday. The view from the summit is far-reaching and inspiring.</p>
+
+<p>Among the finest features of this noble church are its eight principal
+entrances. In the western façade are three portals&mdash;the Puerto del
+Perdon<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> in the centre, flanked by the Puertas de los Escribános and de
+la Torre. All date from the first half of the fifteenth century and are
+in the Gothic style. The Puerta del Perdon forms a noble arch, richly
+ornamented, and divided into two smaller arches by a column surmounted
+by the figure of Christ, above which are the Twelve Apostles. Above
+these again is a relief in the Renaissance style representing the gift
+of the Chasuble to San Ildefonso. The smaller doors are in single
+arches, and are sculptured with statues of angels and patriarchs. The
+Puerta de los Escribános is so called because through it the notaries
+enter the church to take their oaths. It is also called the Puerta del
+Juicio. Above it is a long inscription commemorating the taking of
+Granada and the expulsion of the Jews. Above the portals the façade is
+adorned with a colossal sculpture of the Last Supper, the Saviour and
+the Apostles being seated each in a niche, and the table reaching from
+buttress to buttress. The façade is pierced with a beautiful rose-window
+thirty feet across with a glazed arcade beneath.</p>
+
+<p>On the south side are the Puertas Llana and de los Leones. The former in
+the classic style, was made by Ignacio Haám in 1800. The Puerta de los
+Leones gives access to the transept, and is a magnificent Gothic work,
+erected in 1460 by the Fleming, de Egas, and ornamented by Juan<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span> Alemán.
+The sculpture of the portal is perfect. The six columns of the atrium
+are surmounted by six lions holding shields. Here are the famous bronze
+doors, wrought by Villalpando and Ruy Diaz del Corral in 1545. The
+wood-carving and decoration employed a great many masters, among whom
+may be mentioned Velasco, Troyas, and the two Copins. Between them was
+divided the sum of 68,672 maravedis. At the opposite or northern end of
+the transept is the Puerta del Reloj, dating from the beginning of the
+fifteenth century, and so named from the clock above it. The door is of
+bronze and above it is a fine rose-window of about the same period. It
+is considered by Street the best example of stained glass now remaining
+in the Cathedral. West of this, the Puerta de Santa Catalina leads into
+the eastern cloister. The decoration is profuse. St. Catharine, and the
+instruments of her martyrdom, are shown, with the arms of Spain and the
+Tenorio family. The Puerta de la Presentacion, also leading into the
+cloister, is in the Renaissance style, and dates from 1565. Pedro
+Castañeda, Juan Vasquez, Torribio Rodriguez, Juan Manzano, and Andrés
+Hernandez are named as the designers of this very fine portal. The
+cloisters are entered from the west side next to the tower, by the
+Puerta del Mollete, so called because <i>molletes</i> or rolls were or are
+distributed to the poor here.<span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
+
+<p>The chapel and cloister of San Bias on the north side of the cloisters
+are the most important additions made to the structure in the fifteenth
+century. The chapel contains the monument of the founder, Cardinal
+Tenorio, and “in the cloister walls,” says Street, “a door which, in the
+capricious cusping and crocketing of its traceried work, illustrates the
+extremes into which Spanish architects of this age ran in their
+elaboration of detail and affectation of novelty.<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span>”</p>
+
+<h2><a name="THE_DECLINE_OF_THE_CITY" id="THE_DECLINE_OF_THE_CITY"></a>THE DECLINE OF THE CITY</h2>
+
+<p class="nind"><span class="smcap">Toledo</span>, up till then hardly distinguished for its loyalty to the Crown,
+loved Isabel the Catholic, and on her account, perhaps, rendered
+obedience to her Aragonese husband. The Catholic sovereigns liked the
+city, and generally held their Court there. The magnificent Cardinal
+Mendoza was the prime mover in the expedition against Granada, and
+planted the Cross on the summit of the Alhambra. The power of the
+primacy was in no way diminished by the consolidation of the monarchy,
+and Toledo still looked rather to its archbishop than to its king for
+guidance and governance. Under Ferdinand and Isabel it prospered
+exceedingly. The arts of peace were studied, industries flourished, and
+the more adventurous and restless spirits found an outlet for their
+energies in colonial enterprises beyond the seas instead of cutting each
+other’s throats in the byways of the city. Toledo became courtly and
+urbane. The luckless princess, Juana, was born at the Alcazar in 1479;
+and here the Infanta Isabel was married on April 29, 1498, to the King
+of Portugal. Only a few months later her corpse<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span> was brought hither from
+Zaragoza, to be laid in the convent of Santa Isabel.</p>
+
+<p>The death of Queen Isabel, and the proclamation of Juana and Felipe I.
+on May 22, 1502, put an end to the long spell of peace. Toledo sided at
+first with Ferdinand against his son-in-law, and was held by the Silvas
+against the latter’s forces under the Marquis de Villena. In the
+following year (1506) the Ayalas, supported by the townsmen generally,
+took possession of the town, and resolved to maintain its liberties
+against the Flemish favourites and centralising tendencies of the new
+<i>régime</i>. The Silvas, as a matter of course, ranged themselves on the
+opposite side, and the streets ran red with blood. Toledo was herself
+again.</p>
+
+<p>The accession of the Flemish prince, Charles, afterwards emperor,
+determined the Castilians to make a stand for national independence.
+What city had so good a claim to be the headquarters of the movement,
+the focus of anti-foreign agitation, as Toledo the turbulent? In 1520
+occurred the outbreak of the <i>Comuneros</i> movement. At its head were four
+gentlemen of Toledo: Hernando Dávalos, Gonzalo Gaytan, Pedro de Ayala,
+and (greatest of all) Juan de Padilla. Twenty thousand citizens rallied
+to the cry of “Padilla y Comunidad!” and the movement spread from the
+Tagus to Salamanca and west<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span>wards to the frontiers of Portugal. To
+Juana, imprisoned at Tordesillas, herself a Toledan, protestations of
+loyalty and devotion were addressed. But denounce her son’s fraudulently
+obtained sovereignty she would not. Meanwhile Charles’s forces were not
+idle. The Alcaide, Clemente de Aguayo, held the tower of San Martin, and
+Don Juan de Silva, the Alcazar, against the insurgents. But the townsmen
+were victorious. Padilla, however, was defeated at Villalar, and
+executed, with his brave lieutenants, Juan Bravo and Maldonado.</p>
+
+<p>In the Comunero leader’s dauntless wife, Maria de Pacheco, liberty found
+a new champion and Spain a new heroine. “She was found praying at the
+foot of the Cross,” says Miss Lynch, “when her servants brought her the
+news of Padilla’s defeat and death. She rose, robed herself in black,
+and walked to the Alcazar between her husband’s lieutenants, Dávalos and
+Acuña, who bore a standard representing Padilla’s execution. They named
+her captain of the insurgents, and found her implacable and violent, but
+still a sovereign commander.” For sixteen months under this Castilian
+Joan of Arc the old city of the Visigoths held out against the armies of
+Charles V. Routed in a bloody sortie on October 16, 1521, by Zuñiga,
+prior of San Juan, the Comuneros were obliged, ten days later, to<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span>
+abandon the gates to the besiegers. A truce was agreed to, while the
+demands of the citizens should be presented to the Emperor. Maria
+remained in her own house, as in a fortress, guarded by her faithful
+troops. But on February 3 the murder of a citizen brought on a renewal
+of the conflict. Desperate battle waged in every street and lane. Maria,
+assailed and valiantly defended in her stronghold, at last cut her way
+through, and retired to Portugal, dying at Oporto years afterwards. The
+townsmen were worsted, and sullenly submitted. Toledo had fought her
+last fight.</p>
+
+<p>Her day was over. Charles V. forgave her, and would come at times to
+live in the Alcazar. She was still the capital of Spain. But her haughty
+temper and the arrogance of her clergy matched ill with the policy of
+Philip II. In 1560 Madrid&mdash;upstart, provincial Madrid&mdash;was proclaimed
+the <i>única corte</i>. Less important than under the Khalifate, Toledo
+became a mere provincial town. But the Church did not desert her. She is
+still the metropolitan see of Spain.</p>
+
+<p>Let us see what the monarchs of United Spain did for the old city, and
+what monuments remain of the days when it was Court and capital.</p>
+
+<p>The church of San Juan de los Reyes, near the Puente de San Martin, was
+built in 1476 by Ferdinand and Isabel, in thanksgiving for the victory
+of Toro gained over the Portuguese allies of Juana,<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span> nicknamed “la
+Beltraneja.” The first architect was a Fleming, Juan Guas, one of the
+builders of the cathedral. The church was intended to receive the ashes
+of the royal founders, but after the capture of Granada it was decided
+to establish the mausoleum in that city, and the completion of San Juan
+de los Reyes was delayed till the seventeenth century. In consequence,
+the architecture exhibits the transition from the Late Gothic to the
+Late Renaissance style. “Nothing,” remarks Street, “can be more
+elaborate than much of the detail of this church, yet I have seen few
+buildings less pleasing or harmonious.” The exterior is unpromising, and
+is decorated, if we can use the word in such a connection, with festoons
+of rusty chains which fettered the limbs of the Christians in Moorish
+prisons. The chief entrance, to the north, was completed by Covarrubias
+in 1610, and is in the decadent style of architecture. It is adorned
+with inferior statuary, and the arms and initials of the Catholic
+sovereigns.</p>
+
+<p>The interior is composed of a single nave, two hundred feet long and
+from forty-three to seventy feet wide. There are four chapels on one
+side and three on the other. At the east end of the church is a shallow
+five-sided apse, forming the Capilla Mayor. Over the junction of the
+nave and transept is an octagonal cupola, resting on four fine pillars,
+with a pointed dome and a window in each<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span> face. At the west end of the
+church is a deep gallery, containing the choir. The altar dates from the
+Renaissance period, and is brought well forward into the nave. It came
+from the suppressed church of Santa Cruz. Above it is a blue velvet
+canopy, embroidered with the eagle, the symbol of St. John. The whole
+fabric is enriched with statuary, tracery, carving, and heraldic devices
+in almost reckless profusion. The yoke and the arrows&mdash;the devices of
+the Catholic sovereigns&mdash;and their coats of arms are repeated again and
+again. Among the inscriptions is one commemorating the foundation of the
+church. It runs: “Este monasterio é églesia mandaron hacer los muy
+esclarecidos Principes é señores D. Hernando é Doña Isabel, Rey y Reina
+de Castilla, de Leon, de Aragon, de Sicilia, los cuales señores por
+bienaventurado matrimonio y uñaron los dichos Reinos, seyendo el dicho
+rey y señor natural de los reinos de Aragon y Sicilia, y seyendo la
+dicha señora Reina y señora natural de los Reinos de Castilla y Leon; el
+cual fundaron á gloria de nuestro señor Dios, y de la bienaventurada
+Madre suya, nuestra Señora la Virgén Maria, y por especial devocion que
+le ovieron.”</p>
+
+<p>Admirable as is the church in its general structure, and in the detail
+and execution of its ornamentation, it is garish and ostentatious. There
+is a superabundance of light and luxury. Here<span class="pagenum"><a name="page_136" id="page_136">{136}</a></span> there is no dim religious
+light, no suggestion of mystery or devotion. Prayer would seem
+incompatible with the whole character of the edifice. More favourable
+was the opinion of Théophile Gautier, who declared that “Gothic art
+never produced anything more suave, more elegant, or more fine.”</p>
+
+<p>Attached to the church is the convent, bestowed on the Franciscans, and
+pillaged by the French in 1808. It has been converted into a museum,
+which does not contain much of great interest. The most important
+exhibits are fragments of Visigothic inscriptions and Moorish tile-work.</p>
+
+<p>The cloister of San Juan de los Reyes is a gem of florid Gothic, and the
+finest part of the whole fabric. There are two galleries, one above the
+other, the lower with traceried openings, the upper with large open
+arches. As in the church, there is here an excess of decoration, hardly
+a square inch on pillar, arch, and vaulting being free from sculptured
+ornamentation. There is a bewildering profusion of statues of angels,
+men, and animals, of scroll-work and foliage, heraldic devices and
+inscriptions. The whole is dazzlingly white&mdash;more like a temple of the
+Sun than a shrine of “the pale Galilean.” The original effect, perhaps,
+was less crude, for the church and cloisters have been recently
+restored, and, it must be confessed, not too skilfully.<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p>
+
+<p>A most beautiful specimen of azulejo work has been built into the
+north-west wall. It comes from the suppressed monastery of the Calced
+Augustines, and is said to have been a part of the ornamentation of the
+ancient palace of Don Rodrigo&mdash;wherever that may have been situated.</p>
+
+<p>Before the finishing touches had been put to San Juan de los Reyes, the
+last important Gothic work of Toledo, the erection of one of the two
+earliest examples of the Renaissance style in Spain had been begun. The
+hospital of Santa Cruz was built between the years 1494 and 1514 by
+Enrique de Egas, of Brussels, some ten years after he had completed the
+college of the same name at Valladolid. The hospital was designed by the
+founder, the mighty Cardinal Mendoza, as an asylum for foundlings. He
+died in 1495, and left 75,000 ducats to the queen for the completion of
+the work. Isabel it was who chose the site overlooking the bridge of
+Alcantara, where formerly the palace of the legendary King Galafre is
+fabled to have stood. Among other stories connected with the spot is
+that of a Leonese princess wedded against her will to a Moorish prince,
+her union with whom was prevented by the intervention of an angel. As in
+all the early specimens of Spanish Renaissance architecture, the
+groundwork of the building approximates to the Gothic, the new ideas
+manifesting themselves in the deco<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span>ration and carving. The portal is
+superb. The reliefs represent the Adoration of the Cross by St. Helena,
+St. Peter, St. Paul, and the founder, Cardinal Mendoza, two pages also
+appearing, bearing mitre and helmet. Other reliefs, exquisitely
+chiselled, have for subjects the espousals of St. Joachim and St. Anne,
+and Charity. The four cardinal virtues are shown, and everywhere, amidst
+a maze of ornamentation, occur Mendoza’s arms and device. The
+plateresque windows, with their rejas in the local style, are deserving
+of admiration. Entering, we find a vast <i>patio</i>, enclosed by a double
+arcaded gallery of marble, and, crossing it, ascend a grand staircase
+with a fine ceiling of the <i>artesonado</i> kind. The chapel, in the form of
+a Maltese cross, has also a fine ceiling, and Gothic pillars,
+beautifully carved, that attest the splendid appearance once presented
+by this dismantled building. Some of the columns adorning Santa Cruz
+were brought from the Visigothic church of Santa Leocadia.</p>
+
+<p>To the same period belongs the Franciscan convent and church of San Juan
+de la Penitencia, begun by order of Cisneros in 1514, and finished by
+his secretary, Fray Francisco Ruiz, Bishop of Avila. The semi-Moorish
+palace of the Pantojas was utilised in its construction, and the whole
+building bears traces of Arabic, or rather Mudejar, workmanship.
+Entering the chapel by a porch<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> adorned with the great Cardinal’s arms
+and foliations in the Gothic style, we find ourselves in a sombre
+edifice of a single nave, revealing a curious medley of styles. The roof
+is a fine example of the artesonado. Over the transept, which is divided
+from the nave by a plateresque reja, is a cupola with a stalactite roof
+of the Moorish pattern. The principal retablo is early Renaissance, and
+several of the altars may be classed as Baroque. The most interesting
+feature of the church is the tomb of the Bishop of Avila, who died in
+1528. It is in the Renaissance style, and was the work of a Lombard
+artist. It is wrought in Sicilian marble, and is thus described by Ponz:
+“Above a large stone divided by three pilasters to form three pedestals
+there are an equal number of statues seated, representing Faith, Hope,
+and Charity. Between the pilasters are the arms of the Bishop&mdash;five
+castles. In a framed recess are the urn, couch, and recumbent figure. In
+front of the urn are seen two weeping children, and within the recess
+four angels draw aside the curtains. On either side are two Doric
+pillars supporting the frieze, which is inscribed, ‘Beati mortui qui in
+Domino moriantur.’ On the edge are two antique columns admirably
+executed. Between these columns and pilasters are statues, St. James and
+St. Andrew, and above, the figures of children. Over all is a bas-relief
+of the<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> Annunciation, with the statues of St. John the Divine and St.
+John Baptist, one-half the size of the Virtues below.”</p>
+
+<p>The Emperor-King Charles V. had, as we have seen, small reason to love
+Toledo, but he did something for the permanent embellishment of the
+city, and the last architectural monuments reared on its craggy
+peninsula belong to his era.</p>
+
+<p>It is difficult to ascribe the Alcazar, to which reference has so often
+been made, to any one epoch. It has undergone so many vicissitudes, so
+many reconstructions, that the name, as we have employed it, must be
+understood to represent a site rather than the actual palace. A
+stronghold of some sort has always been here&mdash;possibly, in Roman times,
+the Arx, where tradition avers the martyr Leocadia suffered death. The
+Arabian geographer, Jerif al Edris, writing in 1154, describes Toledo as
+“a town great in extent and population, extremely strong, with fine
+ramparts, and an Alcazaba, fortified and impregnable.” This citadel was
+doubtless the Alcazar, which was strengthened and rebuilt by successive
+Castilian kings, and is said to have been the residence of the Cid, the
+first Christian Alcaide. Added to, reconstructed, partially demolished
+and repeatedly restored, it must have presented an aspect rude and
+heterogeneous enough when, in 1538, Charles V. ordered Alonso de
+Covarrubias<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span> and Luis de Vega to rebuild the palace entirely on the
+lines of the new Alcazar of Granada. The Flemish Emperor may, then,
+fairly be considered the founder of the present fortress-palace, though
+it has since his time undergone radical transformations. It was burnt
+down during the War of Succession in 1710, restored sixty years later,
+destroyed again by the French in 1810, and devastated by a third
+conflagration as late as 1887. Since 1882 it has been the seat of the
+Royal Military Academy.</p>
+
+<p>The northern façade was constructed after the designs of Covarrubias,
+and looks on the square created by Ferdinand and Isabel in 1502. The
+reconstruction was so complete that probably no stone of the older
+façade was left in its place. The façade is severe and majestic,
+revealing classical influence, though not without important traces of
+the plateresque. It is flanked by towers, and adorned with a handsome
+portal&mdash;the work of Enrique de Egas, brother-in-law of Covarrubias. Over
+the door are the Imperial arms, supported by the figures of two heralds
+or mace-bearers. The fortress-like eastern façade is believed to be a
+part of the original Alcazar as restored by Alfonso X.; the western side
+of the building dates from the reign of the Catholic sovereigns, and the
+southern, with massive Doric pillars and square turrets, was built after
+designs by Juan de Herrera.<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span></p>
+
+<p>The inner court, or <i>patio</i>, is described by a Spanish writer as
+“solemn, grandiose, full of majesty ... constructed for the
+dwelling-place of the August Cæsar.” It forms a spacious parallelogram
+and is enclosed by an arcade in two storeys with columns of the
+Corinthian order. Above the capitals are displayed the escutcheons of
+the various kingdoms ruled over by Charles. The modern restorers of the
+palace have adorned the court with a statue of the Emperor in the Roman
+costume in which he was so fond of being represented.</p>
+
+<p>The finest feature of the palace must have been the staircase, designed
+by Villalpando and Herrera, which has been to some extent restored after
+its destruction by Stahremberg in 1710. One of the widest staircases in
+the world, “it ends,” says Miss Hannah Lynch “in the void!” In truth,
+the Alcazar is not to-day a very interesting building. It is, in
+reality, quite impossible to identify the scenes of the romantic and
+historical episodes which we know occurred in one or other of the
+successive Alcazars. But the room in which Alfonso VI. died and the
+window at which the hapless Blanche de Bourbon wept, <i>pace</i> the local
+guides, must have disappeared to the last stone and fragment ages ago.
+All that can be said of the palace to-day is that it forms an imposing
+landmark, and affords from its northern terrace one of the finest views
+of Toledo.<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p>
+
+<p>To the age of Charles V. (or Carlos I. as in Spain he would properly be
+called) belongs the Hospital de San Juan Bautista, styled the Hospital
+de Afuera (outside) in the suburb of Covachuelas. The building was begun
+in 1541 by order of Archbishop Juan de Tavera, who died on his return
+from the baptism of Prince Carlos at Valladolid. The building was
+carried on after Bustamente’s death by the two Vergaras, and completed
+about 1600. The façade dates from the eighteenth century and is still
+unfinished. The courtyard, spacious and imposing, is divided into two
+and enclosed by colonnades. A fine Renaissance portal by Berruguete
+leads into the large chapel, which is in the form of a cross and
+surmounted by a dome. The pavement is of black and white marble. Before
+the altar is the tomb of Archbishop Tavera by Berruguete. This is one of
+the finest monuments in Spain. It was finished by Berruguete when he was
+over eighty years old, in 1561, his death taking place the same year in
+one of the rooms under the great clock. His sons received nearly a
+million maravedis for the work. “The Cardinal,” says Théophile Gautier,
+“is stretched out upon his tomb in his pontifical habit. Death has
+pinched his nose with its strong fingers, and the last contraction of
+the muscles, in their endeavour to retain the soul about to leave the
+body for ever, puckers up the corners of the mouth and lengthens the
+chin;<span class="pagenum"><a name="page_144" id="page_144">{144}</a></span> never was there a cast taken after death more horribly true; and
+yet the beauty of the work is such, that you forget any amount of
+repulsiveness that the subject may possess. Little children in attitudes
+of grief support the plinth and the Cardinal’s coat of arms. The most
+supple and softest clay could not be more easy or more pliant; it is not
+carved, it is kneaded!”</p>
+
+<p>The hospital contains some of El Greco’s most notable work, which will
+be noticed in the chapter on that master.</p>
+
+<p>To Charles V. Toledo also owes the grand New Gate of Visagra, built in
+1550, and restored in 1575. It consists of two separate structures, or
+gateways, enclosing a <i>patio</i>. On the exterior of the north gate is
+shown the double eagle with the Spanish arms and a Latin
+inscription&mdash;all in sculptured granite. On the inside is a fine statue
+of St. Eugenio, variously attributed to Berruguete and Monegro. The
+statues of Gothic kings, a life-sized angel with unsheathed sword,
+elegant capitals and balconies, combine to make this gateway one of the
+finest approaches possessed by any city in the world.</p>
+
+<p>The Ayuntamiento, or town hall, of Toledo was erected in the time of
+Ferdinand and Isabel by the corregidor Gomez Manrique, and enlarged and
+restored between 1576 and 1618 by the corregidor Juan Tello, under the
+supervision of El Greco. The façade is composed of two storeys,<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> the
+first consisting of nine arches with Doric columns which spring from
+massive pillars, the second of as many arches with Ionic columns. The
+edifice is surmounted by two towers, crowned with steeples and
+weather-vanes. On the fine staircase may be read in letters of gold on a
+blue ground this admonition to the civic dignitaries of Toledo:</p>
+
+<div class="poetry">
+<div class="poem"><div class="stanza">
+<span class="i0">Nobles, discretes varones,<br /></span>
+<span class="i0">Que gobernais á Toledo,<br /></span>
+<span class="i0">En aquellas escalones,<br /></span>
+<span class="i0">Desechad las aficiones,<br /></span>
+<span class="i0">Codicio temor, y miedo,<br /></span>
+<span class="i0">For los comunes provechos,<br /></span>
+<span class="i0">Dejad los particulares;<br /></span>
+<span class="i0">Pues vos fizo Dios pilares<br /></span>
+<span class="i0">De tan riquisimos techos,<br /></span>
+<span class="i0">Estad firmes y derechos.<br /></span>
+</div></div>
+</div>
+
+<p>The Summer Council Chamber is handsomely decorated with <i>azulejos</i>, and
+contains some battle pictures. The portraits of Carlos II. and his wife
+are the work of Carreño.</p>
+
+<p>The celebrated Bridge of Alcantara, of which mention has so often been
+made in these pages, belongs indifferently to all the epochs of Toledo’s
+history, so no apology is needed for mentioning it here. “It constitutes
+to-day as in the past,” writes Amador de los Rios, “the principal
+entrance to the city, and, constructed very wisely on one of the
+narrowest parts of the river, it is formed of a great central arch of
+more than twenty-eight metres in<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> breadth, resting on the right on a
+solid pile, often demolished, behind which is a smaller semicircular
+arch, which is, in turn, sustained by the bridge head, founded on the
+rock and pierced by a still smaller arch or passage, where several
+Visigothic remains have been discovered.” At the outer or country end of
+the historic bridge formerly stood a fortified tower, which was in 1787
+replaced by the existing structure. This is in a pretentious style, and
+is decorated with various inscriptions, among them one commemorating the
+building by order of Philip V. The majestic hexagonal tower on the town
+side, with its picturesque turrets, dates probably from 1259. Above it
+is a statue of St. Ildefonso, by Berruguete. Over the archway are
+sculptured the badges of Ferdinand and Isabel (the yoke and bundle of
+arrows), commemorating the restoration of the tower, in 1489, by Gomez
+Manrique. A noble bridge is this of Alcantara; old&mdash;old as the city&mdash;the
+work of all Toledo’s rulers, and like Toledo, grim, stern, rude,
+destined, it would seem, to endure for ever. Romans, Visigoths, Moors
+and Castilians have lingered on it, triumphed on it, fled across it,
+fought upon it, and across it to-day must walk every traveller entering
+with reverence this great temple of the mediæval and bygone.<span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
+
+<h2><a name="EL_GRECO" id="EL_GRECO"></a>EL GRECO</h2>
+
+<p>BY</p>
+
+<p><span class="smcap">Albert F. Calvert and C. Gasquoine Hartley</span></p>
+
+<p>Domeniko Theotokopuli,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> known to us to-day as El Greco, was the first
+great painter of Spain, and in his strange and fascinating art, the
+Spanish School compels for the first time the attention of the world.
+And El Greco was not Spanish. He was born in Crete, it would seem about
+the year 1548, and died at Toledo in 1614. Learning his art in Venice,
+in his early manner he is a pure Venetian, owing much to the work of the
+Bassani, and more to the inspiration of Tintoretto, but in Toledo he
+became Spanish and himself, developing there a manner in which the
+special temper of the race finds an expression passionate enough, not
+equalled again, indeed, until the advent of Goya.</p>
+
+<p>There will always be some men imaginative, entirely personal, who, like
+El Greco, seek to express themselves, and in so doing, quite unwittingly
+probably, express the life of their age. Having<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> the
+interpretative&mdash;creative would perhaps be the truer word&mdash;genius, their
+work becomes, as it were, a mirror, which reflects not the man alone,
+but the circumstances that have formed his life. For, after all, what
+the artist does is to use up what he has seen.</p>
+
+<p>This is why El Greco seems to chronicle for us our impressions of
+Toledo, and of Spain.</p>
+
+<p>Surely no other painter has lived in a city in such strong agreement
+with his spirit. Think of the place&mdash;wind-swept, heat-dried,
+extraordinarily austere, yet flushed with colour, ochre-red shading to
+unusual greens; heaped upon its rocky throne above the yellow flowing
+Tagus, its rugged silhouette straight cut against a sky hard and clear
+as enamel; and, beyond, the sierra like a great brown sea in which it
+all stands as an island starting from the waves. A suggestion of
+strenuousness seems to linger everywhere, a spirit, personal and keen,
+cruel almost as the sword-blades the city fashions. The very buildings,
+placed upon the crags beneath the great hulk of the Alcazar, repeat this
+impression, they rise in sharp upward and downward lines like an
+arrangement of swords, and make their appeal by the strange strength of
+their aspect. The streets are a tortuous net of steep-rising
+passage-ways. A city strongly itself that has suffered no change,
+fantastic as a city seen in a dream.<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
+
+<p>Yes, to those who know Toledo, the impression of the character of the
+city upon El Greco will bring no surprise. His art corresponds perfectly
+with its setting. Everywhere his work is around you, for El Greco is one
+of those painters who has but a single home. He built churches and other
+buildings&mdash;the classic façade of the Ayuntamiento, for instance, was
+modelled on his design; he carved statues, he painted pictures, there
+are canvases of his in the museum, in the cathedral, and in many of the
+churches. And in all this mass of work, it is the living force behind it
+that is the first impression that you gain; a kind of driving power that
+fascinates you, just as Toledo fascinates you, by reason of its power.
+El Greco was a painter able to create&mdash;that is the secret of it all.
+And, be it remembered, the artist does not find his matter straight from
+the springs of his brain, what he is able to see he sets down, and that
+is all. His art is great in exact measure as it is able to transfer this
+vision from him to us. In this way El Greco, to whom vision seems to
+have been the whole of life, does in his pictures transfer to us the
+entire impression of Toledo, so that it is difficult to speak of his art
+without making Toledo the refrain.</p>
+
+<p>And as we wait with his pictures and note, after the first surprise has
+left us, the qualities of the work, throughout they confirm this. The
+very<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> form of his composition is moulded upon Toledo. Just as its
+buildings cluster around the Alcazar, almost as bees swarming about
+their queen, so he groups everything around a central figure. Never,
+after he came to Toledo, did El Greco use Italian backgrounds. And in
+his long, lithe figures, so fantastic in their hard outlines, sometimes
+we catch that suggestion of the sword that haunts Toledo. Then when we
+come to more tangible things, we find to-day El Greco’s models in the
+dark peasants of Toledo. Nowhere else can we quite believe in the
+reality of those coldly fervent, self-absorbed, ecstatic men, who greet
+us with such fascination from his canvases, their lean, long profiles
+suggesting again that aspect of a sword.</p>
+
+<p>Then, El Greco’s colour was drawn from the landscape around him. And
+colour, if we may credit the truth of the conversation recounted by
+Pacheco, was to him the one quality in painting, form, drawing, all
+else, being of secondary significance. This, too, was learnt in Toledo,
+where colour has an allurement&mdash;illusive and insistent. Toledo it was
+showed him the existence of cold tones, and the fascination of its greys
+and livid greens led him to anticipate modern colour, at a time when
+every one else was painting warm tonalities. In the Convent of San Juan
+de los Reyes, now the Museo Provincial, is that ‘Bird’s-Eye View<span class="pagenum"><a name="page_151" id="page_151">{151}</a></span> of
+Toledo,’ the picture in which we have a portrait of George Manuel
+Theotokopuli, El Greco’s son. At first you will be astonished, it is the
+strangest landscape in the world. But wait with the picture&mdash;always the
+danger with El Greco is that you will not linger enough. The painter who
+sees for himself must be studied, not dismissed as he who but sets down
+the common vision of things. And El Greco does give us the real Toledo
+in this fantastic landscape. Do you doubt this? Then go when night falls
+upon the city to some such vantage-point as the Puerta del Cambón, where
+beneath the dome of the evening sky you will see Toledo, heaped roof
+against roof, tower against tower. You will forget the strangeness of
+the picture’s statement, as you come to see that it is just this effect
+that El Greco has caught. Now you will recognise the reality of those
+bluish whites, those tones of green that surprised you, and, in
+gladness, you will yield to the truth, the beauty&mdash;are not the two the
+same?&mdash;of the painter’s vision, and avow how much he has taught you to
+see.</p>
+
+<p>Always El Greco’s pictures leave an impression of their own upon the
+spectator; and this is the test of vital work. It is personality that
+counts in art. Whether he paints the visible truth of outward things, as
+in his portraits&mdash;that wonderful series in the Prado, for instance, in<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span>
+which he startles us with his revelation of his model&mdash;or pure fancies
+of the mind, as ‘The Vision of Philip II.,’ in the Escorial, a picture
+that would seem to have no conscious reference to things seen, one feels
+that he had something definite to express. And although his style at
+first may have been formed largely on that of the great Venetian
+painters, of Tintoretto especially&mdash;a “sort of shorthand of the
+Venetian,” Mr. Ricketts calls it&mdash;in all his pictures there is but one
+personality&mdash;that of himself. At the back of his art was a force of
+passionate character&mdash;unbalanced? Yes! capricious and arbitrary; a
+tyrannical need that compelled expression. But in spite of his singular
+conventions and, from a theorist’s point of view, the strangeness and
+exaggeration of his qualities, he does convey his meaning, splendidly
+effective, if not the best. And because of this intensity of vision we
+have those pictures of exaggerated statement that give credit to the
+fable of the painter’s madness, such as the ‘St. John the Baptist,’ in
+the Hospital San Juan Bautista, a picture which many have found ugly,
+while the few see in its new conception a striving for personal
+utterance, and find many things in its suggestion.</p>
+
+<p>El Greco stumbled in his methods maybe, never in his purpose, which was,
+it would seem to us, the significance of movement. All his strange<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span>
+skill, the power of his imagination, his new knowledge of colour and
+light, are used in this service, to bring home to us the vision of
+movement that everywhere he saw. Even in his portraits it is this that
+holds us. There is something more in them than the outward likeness;
+there is a power of reaching to and showing us the unquiet spirit
+within. He makes his portraits live and speak. This quality is present
+in all his work. Every picture is built up by its effect; and this
+effect is movement&mdash;life. By concentrating on a particular passage, by a
+contempt for detail and peddling accuracy, he directs our minds to this
+principal thing. His interest, as it were, compels ours; he realises his
+vision and makes us share in his imagination.</p>
+
+<p>But it may be said that in many of these pictures the effect is forced;
+in the ‘St. Maurice,’ the rejected altar-piece of the Escorial, for
+instance, in the ‘Baptism of Christ’ and the ‘Descent of the Holy
+Spirit,’ in the Prado, and in many pictures in Toledo, easily
+recognised, in which realities are replaced by a series of conventions.
+It is not necessary to wait to particularise examples. Certainly one
+does not see in the pictures of other painters those greens, those ashen
+whites and crimsons, those livid blacks; El Greco’s use of colour is
+unusual and his own. Light is not used as he uses it, as a quantity<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span> for
+emotional appeal; those faces, so elongated or contracted, and with such
+extravagant expressions, those figures with hard anatomical outlines, do
+not correspond with life as we see it. Yes, this is true. But look
+longer at these pictures.... Well, would it be possible to gain their
+<i>effects</i> without the <i>defects</i>? If things are forced out of harmony it
+is for the sake of “telling strongly.” All this search for expression is
+done quite consciously. El Greco throughout was strong enough to be true
+to himself and to his imagination. He knew that no system of art is
+final, that the achievements of artists are, in truth, the stones
+wherewith the Temple of Art is built. Imagination does not see
+commonplaces. And we recall the statement of Blake&mdash;he, too, a painter
+of visions of the mind: “He who does not imagine in stronger and better
+lineaments, and in stronger and better light, than his perishing mortal
+eye can see, does not imagine at all.”</p>
+
+<p>El Greco might have said these words.</p>
+
+<p>And the man? There is a portrait Domeniko Theotokopuli has left of
+himself now in the Museum of Seville. In it we see the long, striking
+profile, with its large, strong nose, restless eyes and straight mouth,
+cruel slightly, framed by the great white ruff that forms such fitting
+setting to the fine head. The forehead is high, the dark hair scant upon
+the temples. We may read in<span class="pagenum"><a name="page_155" id="page_155">{155}</a></span> the face, and still more in the perfectly
+shaped hands&mdash;the left holds a square palette upon which are the five
+primary colours, white, black, yellow-ochre, vermilion, and lake, the
+colours he used most frequently&mdash;the fastidiousness of the artist, the
+instinct for beauty; we may read a peculiar suggestion of mysticism and
+ardour; self-assertion, too, and impatience&mdash;both wait in those long,
+nervous fingers. It is a face of genius, but of a kind restless,
+unbalanced, decadent perhaps. And we understand the driving energy that
+burned to fever, so that at times the balance was lost between the
+painter’s aim and the result, and we realise that the work of such a man
+must be introspective, experimental, neurotic.</p>
+
+<p>We know nothing almost of El Greco’s life, and if external happenings
+were all, the most original painter of Spain would remain an unexplained
+personality. His very name is uncertain, and contemporary writers,
+disregarding the Theotokopuli, speak of him as Domeniko Greco. We do not
+know the year in which he was born, for the information given by
+Palomino in “El Museo” must certainly be questioned, no register of his
+birth as yet having been found among the Cretan archives, or in the
+parochial books of the Greek colony in Venice, the city in which it
+seems certain that he lived&mdash;a pupil, we may well think, of Tintoretto,
+rather than of Titian; and this in<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span> spite of the letter of his friend
+and compatriot the miniature-painter, Clovio,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> in which Clovio speaks
+of the young Greek painter’s skill, tells of his coming to Rome, and,
+after commending him to the patronage of the Cardinal Nepote Farnese,
+refers to his having learnt his art from the greatest Venetian. But the
+testimony of his work gives more truth than this statement; his early
+pictures, their authorship so long unknown, again and again have been
+attributed to Tintoretto, to Bassano, to Veronese even, never to Titian.</p>
+
+<p>That El Greco was a Cretan we know by his signature, always in Greek, on
+many pictures, Λομήνικος Θεοτοκόπουλος Κρήσεποίει&mdash;the ‘San<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span> Maurice,’
+in the Escorial, is one. And again, when called, in 1582, by the
+Tribunal of the Inquisition to act as interpreter in the case of a
+Cretan accused of being a Morisco, he describes himself as “Domeniko
+Theotokopuli, native of Candia, painter, resident in Toledo,” as we
+learn from a document discovered by Señor Cossio, to whose research, and
+to that of Señor Foradada and of Señor de Beruete, we owe the few
+discovered facts of El Greco’s life.</p>
+
+<p>We know that Domeniko Greco came to Toledo some time before 1577, and in
+that year he was at work in the convent of Santo Domingo el Antigua,
+where the Church was built and its statues carved by him, and where he
+painted the screens of the fine retablo; that further, he would seem
+never to have left Toledo; that he married there, and had a son, George
+Manuel, who was architect and sculptor to the cathedral from 1628 to his
+death in 1631, and also a daughter, whose portrait figures in several
+pictures&mdash;in ‘Christ Despoiled of his Vestments,’ in the cathedral, for
+one; that he died in Toledo, and was buried in Santo Domingo el Antigua
+on April 7, 1614<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a>
+<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span>
+&mdash;and that is about all. We have record of much
+work&mdash;Toledo still has more than fifty Grecos&mdash;and there were pictures
+painted for the small town of Illescas, and also for Madrid. We read of
+two lawsuits, one undertaken to compel the Cathedral Chapter to pay in
+full for the ‘Expolio,’<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> the second to vindicate the painter’s right
+to sell his pictures without paying the tax levied upon merchandise.
+These lawsuits, his pictures, with their dates and signatures, certain
+contracts and receipts, are the few facts to be reported.</p>
+
+<p>It would seem that this strange, self-contained life wished to be
+silent; for it is perhaps not too fanciful to read this meaning into
+that answer given by El Greco when asked, in connection<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span> with the writ
+served on him for the ‘Expolio,’ whether he had been brought to Toledo
+to paint the retablo of Santo Domingo: “I am neither bound to say why I
+came to this city nor to answer the other questions put to me.” Here we
+gain hints of certain very real traits of character.</p>
+
+<p>And, if the facts of his life are meagre enough, we can find suggestions
+of this same temper, silent, yet passionate, in that visit of Pacheco to
+the Toledan painter when he was old, in 1611, of which we have spoken
+before. Pacheco tells us that El Greco was a student of many things, a
+writer on art, a great philosopher given to witty sayings, a sculptor
+and architect as well as a painter. He writes of much work that<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span> he saw,
+and speaks in particular of a cupboard in which were models in clay of
+each picture El Greco had finished. The two painters talked on many
+subjects, of colour and its supreme quality in painting, of Michael
+Angelo and his failure as a colourist. But in all the account of
+Pacheco, always so minutely laborious, it is significant to note in one
+sentence the impression he formed of Domeniko Greco: “He was in all
+things as singular as in his painting.”</p>
+
+<p>Nor will it do to overlook the testimony of Giuseppe Martinez, whose
+“Practical Letters on the Art of Painting,” though not printed until
+1866, were written a century before. He too speaks of Domeniko Greco as
+of extravagant disposition, and in proof recounts that he engaged
+musicians to play to him that he might “enjoy an additional luxury
+during meals.” The prudent Aragonese condemns this “too much
+ostentation,” but we capture again some fresh clues and hints of this
+strangely effective personality&mdash;a fanatic of life, a fanatic of
+painting.</p>
+
+<p>But we have not settled the account of genius when we have called it
+unusual, fanatic, or decadent. It is the solution of the dull that
+genius is extravagant consciously. El Greco can have had no desire, no
+power, to repeat the easy, the commonplace. If strange, exaggerated
+even, his art is without a trace of affectation. When he<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span> painted a
+vision he felt it natural to symbolise his idea in the way that he did.
+In colour, in form, he painted only what his imagination saw, gaining in
+colour fresh harmonies for himself, and a new suggestion of movement in
+his imaginative compositions, to which our imagination must find answer.</p>
+
+<p>El Greco understood all nature as a Living Presence; his art was a
+series of experiments to express this. And every one must be struck with
+the peculiar development of this special personality in his art from
+stage to stage&mdash;stages that with sufficient accuracy may be divided into
+three periods.</p>
+
+<p>The first is the pupil’s search for truth; the Venetian stage, in which
+we find a consciousness of tradition, showing itself in the
+still-fettered design, in the attitudes of the figures, in the use of
+warm colour, in a flowing quality in the paint, and, especially perhaps,
+in the landscape backgrounds, so Venetian with palaces and marble-paved
+piazzas; yet mingled with all this tradition is an emphatic personality,
+an ardour of expression, very difficult to define, seen in such early
+pictures as ‘The Blind Man,’ in the Parma Gallery, or ‘The Cardinal,’ in
+the National Gallery, both painted before 1577. Over the whole Venetian
+period the influence of Tintoretto is obvious; while the portraits of
+these years<span class="pagenum"><a name="page_162" id="page_162">{162}</a></span> recall in their method the work of the Bassani; and of the
+pre-Spanish pictures, as, for instance, the ‘Cleansing of the
+Temple,’<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a> now in the possession of the Countess of Yarborough, and the
+replica of the same subject on a small scale, in the Cook collection at
+Richmond, Surrey, a picture of real beauty that testifies to El Greco’s
+skill in miniature&mdash;these, and many other works, were thought until
+quite recently to be the work of the Venetians, the first being
+attributed to Paul Veronese, the latter to Tintoretto, and this in spite
+of their marked character.</p>
+
+<p>And the Venetian influence remained in the first years in Toledo. It is
+seen in the beautiful Virgin in the early ‘Assumption,’ painted for the
+central altar-screen of Santo Domingo el Antigua, but now in the
+Prado.<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a> But the chief work of this period is the ‘Christ Despoiled of
+His Vestments,’ still in the sacristy of the cathedral in Toledo, for
+which it was painted in 1577. Here, perhaps, in the fine simplicity of
+the grouping, in the dignity of the inspired head of the Saviour, in the
+rich and strong colour and in the vivid light and shade,<span class="pagenum"><a name="page_163" id="page_163">{163}</a></span> we have the
+best results of all El Greco learnt in Venice. But even in this
+beautiful picture we see the development, or rather the co-existence, of
+his two styles: on the one hand carefully and thoroughly worked-out
+qualities, a balanced art remembered from Venice, but with it all a
+power that was his own, that seized the elements in the picture and gave
+them life&mdash;his life. And again, we have in the excessive height of the
+Christ, in the hands of many of the figures in this picture and in the
+‘Assumption,’ first hints of the special conventions with which the name
+of El Greco is certainly most associated.</p>
+
+<p>We come to the second stage, in which the painter, forgetting tradition,
+seeks to set down his vision in his own way; it is the period of
+experiment, as we see it first in the ‘St. Maurice,’<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> painted in 1581,
+that strange picture, rejected, as we may so well believe, by Philip
+II., who, misunderstanding, as many have done since, the intensity of
+feeling that animates the work, attributed its exaggerated expression to
+madness. Here, and in other pictures of this time, in the seizing
+‘Vision of Philip II.’ and in the ‘St. John the Baptist’ in particular,
+we have splendid<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span> examples of imaginative work. Maybe the details are
+impossible, perhaps absurd&mdash;many have found them so&mdash;but for others the
+inspiration of the painter triumphs, and the longer they gaze at these
+visions the more they are impelled. For, be it remembered, the idea
+should be the starting-point in all imaginative pictures, and should
+control both the design and its treatment, and these Greco’s are
+splendid in this respect. Whether the imagination is exaggerated and
+perverted in wilful experiment, whether from an uncertain technical
+equipment, or whether it is, as we would think, the natural and true
+expression of intense dramatic vision, it is not easy to say. Who shall
+decide whether to call these mad pictures or visions that breathe the
+sublime? That is a question hard to answer in much of El Greco’s
+characteristic work. Perhaps the truth is that we dislike too readily
+what we do not easily understand. El Greco goes back to first principles
+and speaks in symbols with which we are not familiar. Those spectres of
+human kind that surprise us in so many of his pictures in Toledo, in
+those in the Prado, as well as in these two in the Escorial, do not
+suggest life as we see it; but they are inspired&mdash;they do convey his
+meaning. This painter’s method is a real enigma; he essayed surprising
+effects by separating colour into its original values; he used light as
+a means of emotional appeal, giving us some<span class="pagenum"><a name="page_165" id="page_165">{165}</a></span>times most delicate
+harmonies, sometimes discordant contrasts. Domeniko Greco had to teach
+his world to see what he saw, and in this way he came, it may seem to
+some, to over-emphasise what to him was truth.</p>
+
+<p>And his third stage was a fevered expression of his imaginative vision.
+We have entered a new world of extraordinary restlessness, the
+restlessness that must exist when spirit struggles from the bonds of the
+flesh. Toledo, the ardent arid city, burnt fiercely in El Greco’s blood,
+and, more and more, he seems to have felt that it was not enough to
+record facts; to have cared less to give æsthetic pleasure; but that the
+object of his art should be to clothe abstract ideas with life. It is
+something of all this that we find in his later pictures. In each there
+is emphasis&mdash;or, if you like, exaggeration&mdash;of statement; in the
+‘Coronation of the Virgin’ in San José, for instance, a picture that in
+a strange, left-handed way carries us forward to the picture by
+Velazquez<a name="FNanchor_H_8" id="FNanchor_H_8"></a><a href="#Footnote_H_8" class="fnanchor">[H]</a> on the same subject. The exaggeration is equally visible in
+the ‘Assumption’ in San Vicente, more beautiful, and the most
+interesting of these rare visions, a picture in which we have
+movement&mdash;the very sensation of a figure<span class="pagenum"><a name="page_166" id="page_166">{166}</a></span> passing through the air as we
+have, perhaps, in no other picture. It is even stronger in the group of
+pictures in Madrid, the ‘Baptism,’ the ‘Descent of the Holy Spirit,’ the
+‘Resurrection,’ and the ‘Christ Dead in the Arms of God’; it meets us
+again in the ‘St. Joseph with the Child Jesus,’ and in the ‘Virgin and
+Child with Saints Justa and Gertrude,’<a name="FNanchor_I_9" id="FNanchor_I_9"></a><a href="#Footnote_I_9" class="fnanchor">[I]</a> both in San José, the church
+that is the museum of so much of the master’s work&mdash;pictures all similar
+in their intense sentiment; while emphasis burns to a white flame of
+ardent expression in the famed ‘St. John the Baptist,’ the wonderful
+picture of which we have spoken already. It is there, too, in the
+‘Christ Crucified,’ one in the Prado, one in San Nicolas, surely the
+most terrible realisation possible of that scene of sacrifice, in which
+the agony of spirit so outweighs the agony of the flesh, and sky and
+earth seem to take their share in the struggle.</p>
+
+<p>It is impossible to translate the effect of these animated religious
+pictures into words. El Greco was not content to embody the old myths in
+fresh forms, but he gave fresh forms to the ideas that are, as it were,
+the soul of each myth&mdash;that which lives when the form of the stories
+change. Even in his pictures with few figures, such for instance, as the
+‘Mary and Jesus,’ in San Vicente, the<span class="pagenum"><a name="page_167" id="page_167">{167}</a></span> ‘St. Francis,’ of which there are
+four replicas in Toledo, or that earlier picture, a beautiful rendering
+of a difficult theme, ‘La Veronica,’ one of the series painted for the
+Santo Domingo el Antigua in 1575-76, we have this exaggeration. Then,
+sometimes, exaggeration, which in each picture, after all, only
+emphasises the idea, disappears altogether, and we are given figures of
+singular beauty, as the ‘San Martin,’ in San José, or the really fine
+Madonnas&mdash;dark, oval-faced angels that surprise us at times with a
+beauty of type we hardly expect from El Greco. But, as a rule, in the
+pictures of this period, roughly marked by the painting of that
+experimental picture the ‘St. Maurice,’ there is this intensity of
+expression; and especially we find a new, and often strange, use of
+colour; colour, as well as form, being used as a means of dramatic
+statement, with a result that to many is exaggeration. For El Greco
+learnt first, perhaps, from the Venetians, and afterwards certainly in
+Toledo, many new possibilities of colour&mdash;that it has a quality that
+speaks, and further that the appeal of a picture depends first of all on
+the tone of its colour. It is for this reason he used colour as a means
+of emotional appeal; it was another quality by which to convey his idea
+to the world. For El Greco held truly that the province of art is to
+interpret, not to imitate. Every development of his art<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span> seems to have
+come from his own mind, hardly at all from the work of other painters;
+from the first he was true to his ideals. And always his pictures seem
+to be more the work of his soul than of his hand; which, in other words,
+is to say that he was greater as an artist than as a painter.</p>
+
+<p>Domeniko Greco, like so many of the painters of Spain, was great in
+portraiture; and some of his portraits, such as those of Antonio
+Covarrubias and of Juan de Alava, in the Museo de San Juan de Los Reyes,
+that of Cardinal Tavera, in the Hospital de Afuera, the whole series in
+the Prado, and many others not possible to name, are as fine portraits
+as have ever been done in the world. In his earliest portraits even, in
+that of Julio Clovio, in the Museum of Naples, or that of ‘A Student,’ a
+portrait, it well may be, of the young painter himself, we have the
+qualities of his later work; always it is the spirit of his model that
+he seeks.</p>
+
+<p>And this inward interpretation of life is seen, too, in that picture
+which is accounted rightly the most interesting, though not perhaps the
+most typical, of his work, ‘The Burial of Gonzalo Ruiz, Count of Orgaz,’
+still in the Church of Santo Tomé, where it was painted in 1584. Look at
+this gallery of living portraits, all the life of Toledo&mdash;the life of
+Spain&mdash;is reflected back from those ardent faces. In St. Augustine,
+splendid in ecclesiastical robes, is the magnificent<span class="pagenum"><a name="page_169" id="page_169">{169}</a></span> opulence of the
+Catholic Church; in the livid face of the dead count, in the cowled monk
+and two priests is the fervid piety of a people who have felt themselves
+in mystical communion with God; in the young, warm beauty of St. Stephen
+and the lovely acolyte is the full joy and rich colour of Spain; and
+lastly, in the long line of mourners who stand behind the group of the
+principal figures, and where the painter’s own nervous face is the sixth
+portrait counting from the right side, you have types unchanged in
+Castile to-day. And how individual is the rendering of the upper section
+of the picture in which Christ awaits in the heavens the spirit of the
+dead saint. Yes, this picture is one of the greatest pictures in Spain;
+it is always interesting.</p>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span>&nbsp; </p>
+
+<div class="figcenter" id="plt_1"><span class="smcap">Plate</span> 1
+<br />
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>TOLEDO</p>
+
+<p><i>Specially drawn for The Spanish Series</i></p>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
+
+<div class="figcenter" id="plt_2"><span class="smcap">Plate</span> 2
+<br />
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO FROM THE SOUTH-EAST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
+
+<div class="figcenter" id="plt_3"><span class="smcap">Plate</span> 3
+<br />
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF TOLEDO FROM THE SOUTH-EAST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<div class="figcenter" id="plt_4"><span class="smcap">Plate</span> 4
+<br />
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<div class="figcenter" id="plt_5"><span class="smcap">Plate</span> 5
+<br />
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF TOLEDO FROM THE CAMPO DEL REY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p>
+
+<div class="figcenter" id="plt_6"><span class="smcap">Plate</span> 6
+<br />
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
+
+<div class="figcenter" id="plt_7"><span class="smcap">Plate</span> 7
+<br />
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>STATE OF THE RUINS OF THE CIRCO MAXIMO IN THE YEAR 1848, ACCORDING TO
+THE “ALBUM ARTISTICO”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p>
+
+<div class="figcenter" id="plt_8"><span class="smcap">Plate</span> 8
+<br />
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE RIVER TAGUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p>
+
+<div class="figcenter" id="plt_9"><span class="smcap">Plate</span> 9
+<br />
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCANTARA BRIDGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p>
+
+<div class="figcenter" id="plt_10"><span class="smcap">Plate</span> 10
+<br />
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PERSPECTIVE OF ST. MARTIN’S BRIDGE AND THE DIRECTION OF THE FORTIFIED
+LINES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p>
+
+<div class="figcenter" id="plt_11"><span class="smcap">Plate</span> 11
+<br />
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PERSPECTIVE VIEW OF THE SITE OF THE AQUEDUCT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<div class="figcenter" id="plt_12"><span class="smcap">Plate</span> 12
+<br />
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ENVIRONS OF TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<div class="figcenter" id="plt_13"><span class="smcap">Plate</span> 13
+<br />
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PLAZA DE ZOCODOVER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p>
+
+<div class="figcenter" id="plt_14"><span class="smcap">Plate</span> 14
+<br />
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<div class="figcenter" id="plt_15"><span class="smcap">Plate</span> 15
+<br />
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE MARKET-PLACE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<div class="figcenter" id="plt_16"><span class="smcap">Plate</span> 16
+<br />
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE MARKET-PLACE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figcenter" id="plt_17"><span class="smcap">Plate</span> 17
+<br />
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p>
+
+<div class="figcenter" id="plt_18"><span class="smcap">Plate</span> 18
+<br />
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p>
+
+<div class="figcenter" id="plt_19"><span class="smcap">Plate</span> 19
+<br />
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p>
+
+<div class="figcenter" id="plt_20"><span class="smcap">Plate</span> 20
+<br />
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<div class="figcenter" id="plt_21"><span class="smcap">Plate</span> 21
+<br />
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<div class="figcenter" id="plt_22"><span class="smcap">Plate</span> 22
+<br />
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<div class="figcenter" id="plt_23"><span class="smcap">Plate</span> 23
+<br />
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
+
+<div class="figcenter" id="plt_24"><span class="smcap">Plate</span> 24
+<br />
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p>
+
+<div class="figcenter" id="plt_25"><span class="smcap">Plate</span> 25
+<br />
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISAGRA GATE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p>
+
+<div class="figcenter" id="plt_26"><span class="smcap">Plate</span> 26
+<br />
+<a href="images/plt_026.jpg">
+<img src="images/plt_026.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p>
+
+<div class="figcenter" id="plt_27"><span class="smcap">Plate</span> 27
+<br />
+<a href="images/plt_027.jpg">
+<img src="images/plt_027.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A STREET IN TOLEDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p>
+
+<div class="figcenter" id="plt_28"><span class="smcap">Plate</span> 28
+<br />
+<a href="images/plt_028.jpg">
+<img src="images/plt_028.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p>
+
+<div class="figcenter" id="plt_29"><span class="smcap">Plate</span> 29
+<br />
+<a href="images/plt_029-a.jpg">
+<img src="images/plt_029-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCANTARA GATE</p>
+
+<br />
+<a href="images/plt_029-b.jpg">
+<img src="images/plt_029-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCANTARA PORTAL AND BRIDGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
+
+<div class="figcenter" id="plt_30"><span class="smcap">Plate</span> 30
+<br />
+<a href="images/plt_030.jpg">
+<img src="images/plt_030.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE NORTHERN CITY WALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<div class="figcenter" id="plt_31"><span class="smcap">Plate</span> 31
+<br />
+<a href="images/plt_031.jpg">
+<img src="images/plt_031.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FORTIFICATIONS OF THE OLD BRIDGE OF BOATS, REPLACED BY THE BRIDGE OF ST.
+MARTIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p>
+
+<div class="figcenter" id="plt_32"><span class="smcap">Plate</span> 32
+<br />
+<a href="images/plt_032.jpg">
+<img src="images/plt_032.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE CITY WALLS OF “AL-HIZÉM,” FROM THE GATE OF THE DOCE
+CANTOS TO THE “PLAZA DE ARMAS” OF THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
+
+<div class="figcenter" id="plt_33"><span class="smcap">Plate</span> 33
+<br />
+<a href="images/plt_033.jpg">
+<img src="images/plt_033.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE CITY WALLS, SOUTH-WEST, REBUILT AT THE TIME OF THE
+RECONQUEST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<div class="figcenter" id="plt_34"><span class="smcap">Plate</span> 34
+<br />
+<a href="images/plt_034.jpg">
+<img src="images/plt_034.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
+
+<div class="figcenter" id="plt_35"><span class="smcap">Plate</span> 35
+<br />
+<a href="images/plt_035-a.jpg">
+<img src="images/plt_035-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE ROMAN RAMPART OF THE FIRST ENCLOSURE OF THE CITY. (PLAZA
+DE ARMAS DEL PUENTE DE ALCANTARA)</p>
+
+<br />
+<a href="images/plt_035-b.jpg">
+<img src="images/plt_035-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CAPITAL TRANSFORMED INTO A FOUNTAIN BASIN. (No. 9 CALLEJON DE
+LA LAMPARILLA)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
+
+<div class="figcenter" id="plt_36"><span class="smcap">Plate</span> 36
+<br />
+<a href="images/plt_036-a.jpg">
+<img src="images/plt_036-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL ENTRANCE TO THE HOUSE OF THE BATHS OF ABEN-YA-YIX BAJADA AL
+COLEGIO DEL INFANTES</p>
+
+<br />
+<a href="images/plt_036-b.jpg">
+<img src="images/plt_036-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>SEPULCHRAL ARCH OF THE INFANTE DON FERNANDO PEREZ IN THE BELEN CHAPEL IN
+THE CONVENT OF THE COMENDADORA DE SANTIAGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<div class="figcenter" id="plt_37"><span class="smcap">Plate</span> 37
+<br />
+<a href="images/plt_037.jpg">
+<img src="images/plt_037.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>RUINS OF POLAN CASTLE. FOURTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<div class="figcenter" id="plt_38"><span class="smcap">Plate</span> 38
+<br />
+<a href="images/plt_038.jpg">
+<img src="images/plt_038.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GUADAMAR CASTLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<div class="figcenter" id="plt_39"><span class="smcap">Plate</span> 39
+<br />
+<a href="images/plt_039.jpg">
+<img src="images/plt_039.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p>
+
+<div class="figcenter" id="plt_40"><span class="smcap">Plate</span> 40
+<br />
+<a href="images/plt_040-a.jpg">
+<img src="images/plt_040-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE EXTERIOR WALLS</p>
+<br />
+<a href="images/plt_040-b.jpg">
+<img src="images/plt_040-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>REMAINS OF THE FORTIFICATIONS IN THE JEWISH SUBURB</p>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<div class="figcenter" id="plt_41"><span class="smcap">Plate</span> 41
+<br />
+<a href="images/plt_041-a.jpg">
+<img src="images/plt_041-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF THE “ALMOFALA” (BIB-AL-MOJADHA) REBUILT IN THE FOURTEENTH
+CENTURY</p>
+<br />
+<a href="images/plt_041-b.jpg">
+<img src="images/plt_041-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>“THE ABBOT’S TOWER” IN THE NORTHERN WALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" id="plt_42"><span class="smcap">Plate</span> 42
+<br />
+<a href="images/plt_042-a.jpg">
+<img src="images/plt_042-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<a href="images/plt_042-b.jpg">
+<img src="images/plt_042-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>RUINS OF THE AQUARIA TOWER, COMMONLY CALLED “HORNO DEL VIDRIO”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
+
+<div class="figcenter" id="plt_43"><span class="smcap">Plate</span> 43
+<br />
+<a href="images/plt_043-a.jpg">
+<img src="images/plt_043-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE AQUEDUCT (LEFT BANK OF THE RIVER)</p>
+<br />
+<a href="images/plt_043-b.jpg">
+<img src="images/plt_043-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>REMAINS OF THE AQUEDUCT (RIGHT BANK OF THE RIVER)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<div class="figcenter" id="plt_44"><span class="smcap">Plate</span> 44
+<br />
+<a href="images/plt_044.jpg">
+<img src="images/plt_044.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE ROMAN CONSTRUCTION IN THE TOWER OF THE PLAZA DE ARMAS OF
+THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<div class="figcenter" id="plt_45"><span class="smcap">Plate</span> 45
+<br />
+<a href="images/plt_045.jpg">
+<img src="images/plt_045.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p>
+
+<div class="figcenter" id="plt_46"><span class="smcap">Plate</span> 46
+<br />
+<a href="images/plt_046.jpg">
+<img src="images/plt_046.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EAST SIDE OF THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<div class="figcenter" id="plt_47"><span class="smcap">Plate</span> 47
+<br />
+<a href="images/plt_047.jpg">
+<img src="images/plt_047.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>POSTERIOR FAÇADE OF THE DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
+
+<div class="figcenter" id="plt_48"><span class="smcap">Plate</span> 48
+<br />
+<a href="images/plt_048.jpg">
+<img src="images/plt_048.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA. ANTERIOR FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p>
+
+<div class="figcenter" id="plt_49"><span class="smcap">Plate</span> 49
+<br />
+<a href="images/plt_049.jpg">
+<img src="images/plt_049.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCANTARA GATE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
+
+<div class="figcenter" id="plt_50"><span class="smcap">Plate</span> 50
+<br />
+<a href="images/plt_050.jpg">
+<img src="images/plt_050.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COMMEMORATIVE INSCRIPTION IN THE AVENUE OF THE DEFENSIVE TOWER OF THE
+BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<div class="figcenter" id="plt_51"><span class="smcap">Plate</span> 51
+<br />
+<a href="images/plt_051-a.jpg">
+<img src="images/plt_051-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COAT OF ARMS OF THE CATHOLIC SOVEREIGNS IN FRONT OF THE DEFENSIVE TOWER
+OF THE BRIDGE OF ALCANTARA</p>
+<br />
+<a href="images/plt_051-b.jpg">
+<img src="images/plt_051-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>“THE KHALIF’S CAPITALS” AT No. 13 CALLE DEL COLISEO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<div class="figcenter" id="plt_52"><span class="smcap">Plate</span> 52
+<br />
+<a href="images/plt_052.jpg">
+<img src="images/plt_052.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PERSPECTIVE OF THE BRIDGE OF ALCANTARA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<div class="figcenter" id="plt_53"><span class="smcap">Plate</span> 53
+<br />
+<a href="images/plt_053.jpg">
+<img src="images/plt_053.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MARTIN’S BRIDGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p>
+
+<div class="figcenter" id="plt_54"><span class="smcap">Plate</span> 54
+<br />
+<a href="images/plt_054-a.jpg">
+<img src="images/plt_054-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MARTIN’S BRIDGE</p>
+<br />
+<a href="images/plt_054-b.jpg">
+<img src="images/plt_054-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>FAÇADE OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
+
+<div class="figcenter" id="plt_55"><span class="smcap">Plate</span> 55
+<br />
+<a href="images/plt_055-a.jpg">
+<img src="images/plt_055-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DEFENSIVE TOWERS AT THE ENTRANCE OF ST. MARTIN’S BRIDGE AND THE TOWN</p>
+<br />
+<a href="images/plt_055-b.jpg">
+<img src="images/plt_055-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>RESTORED POSTERIOR FAÇADE OF THE ARCH DE LA SANGRE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<div class="figcenter" id="plt_56"><span class="smcap">Plate</span> 56
+<br />
+<a href="images/plt_056.jpg">
+<img src="images/plt_056.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF THE AQUEDUCT (RIGHT BANK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<div class="figcenter" id="plt_57"><span class="smcap">Plate</span> 57
+<br />
+<a href="images/plt_057.jpg">
+<img src="images/plt_057.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EAST SIDE OF ST. MARTIN’S BRIDGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
+
+<div class="figcenter" id="plt_58"><span class="smcap">Plate</span> 58
+<br />
+<a href="images/plt_058-a.jpg">
+<img src="images/plt_058-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE BRIDGE</p>
+<br />
+<a href="images/plt_058-b.jpg">
+<img src="images/plt_058-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE HIGHWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
+
+<div class="figcenter" id="plt_59"><span class="smcap">Plate</span> 59
+<br />
+<a href="images/plt_059.jpg">
+<img src="images/plt_059.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MALBARDÓN GATE. ELEVENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p>
+
+<div class="figcenter" id="plt_60"><span class="smcap">Plate</span> 60
+<br />
+<a href="images/plt_060.jpg">
+<img src="images/plt_060.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISAGRA GATE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p>
+
+<div class="figcenter" id="plt_61"><span class="smcap">Plate</span> 61
+<br />
+<a href="images/plt_061.jpg">
+<img src="images/plt_061.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>UPPER PART OF THE VISAGRA GATE. BUILT IN 1550</p>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<div class="figcenter" id="plt_62"><span class="smcap">Plate</span> 62
+<br />
+<a href="images/plt_062.jpg">
+<img src="images/plt_062.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>TOWER IN THE CITY WALLS OF “THE SUBURB OF SAN ISIDORO,” NEAR THE NEW
+BRIDGE OF VISAGRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<div class="figcenter" id="plt_63"><span class="smcap">Plate</span> 63
+<br />
+<a href="images/plt_063-a.jpg">
+<img src="images/plt_063-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HYDRAULIC MACHINE AND REMAINS OF THE WALLS IN THE QUARTER OF THE
+CURTIDORES, NEAR THE RIVER</p>
+<br />
+<a href="images/plt_063-b.jpg">
+<img src="images/plt_063-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>WALLS OF THE SUBURB OF SAN ISIDORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" id="plt_64"><span class="smcap">Plate</span> 64
+<br />
+<a href="images/plt_064.jpg">
+<img src="images/plt_064.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<div class="figcenter" id="plt_65"><span class="smcap">Plate</span> 65
+<br />
+<a href="images/plt_065.jpg">
+<img src="images/plt_065.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA. THE SIDE WHICH JOINS THE WALL AND THE SIDE
+DEFENSIVE TOWER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span></p>
+
+<div class="figcenter" id="plt_66"><span class="smcap">Plate</span> 66
+<br />
+<a href="images/plt_066.jpg">
+<img src="images/plt_066.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA. DEFENSIVE AND SIDE TOWER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span></p>
+
+<div class="figcenter" id="plt_67"><span class="smcap">Plate</span> 67
+<br />
+<a href="images/plt_067.jpg">
+<img src="images/plt_067.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA. REMAINS OF THE EASTERN FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span></p>
+
+<div class="figcenter" id="plt_68"><span class="smcap">Plate</span> 68
+<br />
+<a href="images/plt_068-a.jpg">
+<img src="images/plt_068-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE PRINCIPAL FAÇADE OF THE OLD GATE OF VISAGRA</p>
+<br />
+<a href="images/plt_068-b.jpg">
+<img src="images/plt_068-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>INTERIOR OF THE OLD GATE OF VISAGRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p>
+
+<div class="figcenter" id="plt_69"><span class="smcap">Plate</span> 69
+<br />
+<a href="images/plt_069.jpg">
+<img src="images/plt_069.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT GATE OF VISAGRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span></p>
+
+<div class="figcenter" id="plt_70"><span class="smcap">Plate</span> 70
+<br />
+<a href="images/plt_070.jpg">
+<img src="images/plt_070.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE TOWER CALLED “PUERTA BAJA DE LA HERRERIA,” NOW “GATE OF THE SUN”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
+
+<div class="figcenter" id="plt_71"><span class="smcap">Plate</span> 71
+<br />
+<a href="images/plt_071.jpg">
+<img src="images/plt_071.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CASTLE OF SAN SERVANDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" id="plt_72"><span class="smcap">Plate</span> 72
+<br />
+<a href="images/plt_072-a.jpg">
+<img src="images/plt_072-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CASTLE OF SAN SERVANDO. ANCIENT ENTRANCE IN THE WEST FAÇADE</p>
+<br />
+<a href="images/plt_072-b.jpg">
+<img src="images/plt_072-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>CASTLE OF SAN SERVANDO. SOUTH-EAST ANGLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" id="plt_73"><span class="smcap">Plate</span> 73
+<br />
+<a href="images/plt_073.jpg">
+<img src="images/plt_073.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF THE CASTLE IN SAN SERVANDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" id="plt_74"><span class="smcap">Plate</span> 74
+<br />
+<a href="images/plt_074.jpg">
+<img src="images/plt_074.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF VALMADRON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<div class="figcenter" id="plt_75"><span class="smcap">Plate</span> 75
+<br />
+<a href="images/plt_075.jpg">
+<img src="images/plt_075.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF CAMBRÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<div class="figcenter" id="plt_76"><span class="smcap">Plate</span> 76
+<br />
+<a href="images/plt_076.jpg">
+<img src="images/plt_076.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BAÑO DE LA CAVA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p>
+
+<div class="figcenter" id="plt_77"><span class="smcap">Plate</span> 77
+<br />
+<a href="images/plt_077.jpg">
+<img src="images/plt_077.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE TO CAVA BATHS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
+
+<div class="figcenter" id="plt_78"><span class="smcap">Plate</span> 78
+<br />
+<a href="images/plt_078.jpg">
+<img src="images/plt_078.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>RUINS OF THE TOWER OF THE OLD BRIDGE OF BOATS, CALLED “BAÑO DE LA
+CAVA”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p>
+
+<div class="figcenter" id="plt_79"><span class="smcap">Plate</span> 79
+<br />
+<a href="images/plt_079.jpg">
+<img src="images/plt_079.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CONVENT OF SANTA FE.</p>
+
+<p>ELEVENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span></p>
+
+<div class="figcenter" id="plt_80"><span class="smcap">Plate</span> 80
+<br />
+<a href="images/plt_080.jpg">
+<img src="images/plt_080.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>WEST PORTAL IN THE OLD HERMITAGE, NOW THE INN OF SANTA ANA, ON THE SISLA
+ROAD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span></p>
+
+<div class="figcenter" id="plt_81"><span class="smcap">Plate</span> 81
+<br />
+<a href="images/plt_081.jpg">
+<img src="images/plt_081.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SAN JUSTO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<div class="figcenter" id="plt_82"><span class="smcap">Plate</span> 82
+<br />
+<a href="images/plt_082.jpg">
+<img src="images/plt_082.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE CHURCH OF SAN JUSTO.</p>
+
+<p>FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<div class="figcenter" id="plt_83"><span class="smcap">Plate</span> 83
+<br />
+<a href="images/plt_083.jpg">
+<img src="images/plt_083.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE CHAPEL OF SANTOS JUSTO AND PASTOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<div class="figcenter" id="plt_84"><span class="smcap">Plate</span> 84
+<br />
+<a href="images/plt_084.jpg">
+<img src="images/plt_084.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EFFIGIES OF JUAN GUAS, ARCHITECT OF SAN JUAN DE LOS REYES, AND OF HIS
+SON. CHAPEL OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p>
+
+<div class="figcenter" id="plt_85"><span class="smcap">Plate</span> 85
+<br />
+<a href="images/plt_085.jpg">
+<img src="images/plt_085.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EFFIGIES OF MARI ALVARES, WIFE OF JUAN GUAS, AND OF HER DAUGHTER. CHAPEL
+OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span></p>
+
+<div class="figcenter" id="plt_86"><span class="smcap">Plate</span> 86
+<br />
+<a href="images/plt_086.jpg">
+<img src="images/plt_086.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF THE TORNERIAS. EXTERIOR OF THE SOUTH FAÇADE, SOUTH-WEST
+ANGLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<div class="figcenter" id="plt_87"><span class="smcap">Plate</span> 87
+<br />
+<a href="images/plt_087.jpg">
+<img src="images/plt_087.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE MOSQUE DE LAS TORNERIAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p>
+
+<div class="figcenter" id="plt_88"><span class="smcap">Plate</span> 88
+<br />
+<a href="images/plt_088.jpg">
+<img src="images/plt_088.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH OF THE “KIBLÁH” IN THE MOSQUE DE LAS TORNERIAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p>
+
+<div class="figcenter" id="plt_89"><span class="smcap">Plate</span> 89
+<br />
+<a href="images/plt_089-a.jpg">
+<img src="images/plt_089-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF THE TORNERIAS. TREFOIL ARCHED WINDOW</p>
+<br />
+<a href="images/plt_089-b.jpg">
+<img src="images/plt_089-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>MOSQUE OF THE TORNERIAS. HORSE-SHOE WINDOW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p>
+
+<div class="figcenter" id="plt_90"><span class="smcap">Plate</span> 90
+<br />
+<a href="images/plt_090-a.jpg">
+<img src="images/plt_090-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF THE TORNERIAS. ARCHED WINDOW</p>
+<br />
+<a href="images/plt_090-b.jpg">
+<img src="images/plt_090-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>MOSQUE OF THE TORNERIAS. RECTANGULAR WINDOW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p>
+
+<div class="figcenter" id="plt_91"><span class="smcap">Plate</span> 91
+<br />
+<a href="images/plt_091.jpg">
+<img src="images/plt_091.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE DE LAS TORNERIAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<div class="figcenter" id="plt_92"><span class="smcap">Plate</span> 92
+<br />
+<a href="images/plt_092.jpg">
+<img src="images/plt_092.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF THE TORNERIAS, BUILT OVER ROMAN REMAINS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<div class="figcenter" id="plt_93"><span class="smcap">Plate</span> 93
+<br />
+<a href="images/plt_093.jpg">
+<img src="images/plt_093.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SUPPOSED ELEVATION OF THE MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" id="plt_94"><span class="smcap">Plate</span> 94
+<br />
+<a href="images/plt_094.jpg">
+<img src="images/plt_094.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SUPPOSED PLAN OF THE MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<div class="figcenter" id="plt_95"><span class="smcap">Plate</span> 95
+<br />
+<a href="images/plt_095.jpg">
+<img src="images/plt_095.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ACTUAL SITUATION OF THE NORTH-EAST FAÇADE OF THE ANCIENT MOSQUE OF
+BIB-AL-MARDÓM, A TRANSEPT AND <i>MUDEJAR</i> APSIS OF THE HERMITAGE OF SANTO
+CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span></p>
+
+<div class="figcenter" id="plt_96"><span class="smcap">Plate</span> 96
+<br />
+<a href="images/plt_096.jpg">
+<img src="images/plt_096.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO AND
+LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (RIGHT SIDE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<div class="figcenter" id="plt_97"><span class="smcap">Plate</span> 97
+<br />
+<a href="images/plt_097.jpg">
+<img src="images/plt_097.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO OF
+LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (LEFT SIDE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<div class="figcenter" id="plt_98"><span class="smcap">Plate</span> 98
+<br />
+<a href="images/plt_098.jpg">
+<img src="images/plt_098.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL NAVE IN THE MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<div class="figcenter" id="plt_99"><span class="smcap">Plate</span> 99
+<br />
+<a href="images/plt_099-a.jpg">
+<img src="images/plt_099-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCH IN THE SOUTHERN INTERIOR OF THE MOSQUE OF BIB-AL-MARDÓM</p>
+<br />
+<a href="images/plt_099-b.jpg">
+<img src="images/plt_099-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>ACTUAL ENTRANCE TO THE CASTLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p>
+
+<div class="figcenter" id="plt_100"><span class="smcap">Plate</span> 100
+<br />
+<a href="images/plt_100-a.jpg">
+<img src="images/plt_100-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF BIB-AL-MARDÓM. ARCH IN THE INTERIOR WALL, SOUTH-WEST ANGLE</p>
+<br />
+<a href="images/plt_100-b.jpg">
+<img src="images/plt_100-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>DETAIL OF THE NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p>
+
+<div class="figcenter" id="plt_101"><span class="smcap">Plate</span> 101
+<br />
+<a href="images/plt_101-a.jpg">
+<img src="images/plt_101-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BIB-AL-MARDÓM. “ARCH OF THE CROSS”</p>
+<br />
+<a href="images/plt_101-b.jpg">
+<img src="images/plt_101-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>INTERIOR FAÇADE</p>
+
+<p>EXTERIOR FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p>
+
+<div class="figcenter" id="plt_102"><span class="smcap">Plate</span> 102
+<br />
+<a href="images/plt_102.jpg">
+<img src="images/plt_102.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MOSQUE OF BIB-AL-MARDÓM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p>
+
+<div class="figcenter" id="plt_103"><span class="smcap">Plate</span> 103
+<br />
+<a href="images/plt_103.jpg">
+<img src="images/plt_103.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM (HERMITAGE OF SANTO
+CRISTO DE LA LUZ), DISCOVERED IN FEBRUARY 1899</p>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<div class="figcenter" id="plt_104"><span class="smcap">Plate</span> 104
+<br />
+<a href="images/plt_104.jpg">
+<img src="images/plt_104.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE EPIGRAPHIC MEDALLION ON THE NORTH-WEST FAÇADE OF THE MOSQUE OF
+BIB-AL-MARDÓM (HERMITAGE OF SANTO CRISTO DE LA LUZ), REBUILT IN THE YEAR
+370 AFTER THE HEGIRA (<small>A.D.</small> 980)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<div class="figcenter" id="plt_105"><span class="smcap">Plate</span> 105
+<br />
+<a href="images/plt_105-a.jpg">
+<img src="images/plt_105-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CAPITAL IN THE OLD MOORISH PARISH CHURCH OF SAN SEBASTIAN</p>
+<br />
+<a href="images/plt_105-b.jpg">
+<img src="images/plt_105-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VISIGOTH BASE WHICH SERVES AS A CAPITAL IN THE OLD MOORISH PARISH CHURCH
+OF SAN SEBASTIAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p>
+
+<div class="figcenter" id="plt_106"><span class="smcap">Plate</span> 106
+<br />
+<a href="images/plt_106.jpg">
+<img src="images/plt_106.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<div class="figcenter" id="plt_107"><span class="smcap">Plate</span> 107
+<br />
+<a href="images/plt_107.jpg">
+<img src="images/plt_107.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE HERMITAGE OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p>
+
+<div class="figcenter" id="plt_108"><span class="smcap">Plate</span> 108
+<br />
+<a href="images/plt_108.jpg">
+<img src="images/plt_108.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
+
+<div class="figcenter" id="plt_109"><span class="smcap">Plate</span> 109
+<br />
+<a href="images/plt_109.jpg">
+<img src="images/plt_109.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<div class="figcenter" id="plt_110"><span class="smcap">Plate</span> 110
+<br />
+<a href="images/plt_110.jpg">
+<img src="images/plt_110.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<div class="figcenter" id="plt_111"><span class="smcap">Plate</span> 111
+<br />
+<a href="images/plt_111.jpg">
+<img src="images/plt_111.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT MOSQUE, NOW THE HERMITAGE OF SANTO CRISTO DE LA LUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p>
+
+<div class="figcenter" id="plt_112"><span class="smcap">Plate</span> 112
+<br />
+<a href="images/plt_112.jpg">
+<img src="images/plt_112.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE HERMITAGE OF SANTO CRISTO DE LA LUZ, AND TOWERS OF
+VARIOUS CHURCHES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<div class="figcenter" id="plt_113"><span class="smcap">Plate</span> 113
+<br />
+<a href="images/plt_113.jpg">
+<img src="images/plt_113.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE TRANSITO (SYNAGOGUE), BUILT IN 1360 AT THE EXPENSE OF
+SAMUEL LEVI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
+
+<div class="figcenter" id="plt_114"><span class="smcap">Plate</span> 114
+<br />
+<a href="images/plt_114.jpg">
+<img src="images/plt_114.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE INTERIOR DECORATION OF THE CHURCH OF THE TRANSITO
+(ANCIENT SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figcenter" id="plt_115"><span class="smcap">Plate</span> 115
+<br />
+<a href="images/plt_115.jpg">
+<img src="images/plt_115.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE INTERIOR DECORATION OE THE CHURCH OF THE TRANSITO
+(ANCIENT SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<div class="figcenter" id="plt_116"><span class="smcap">Plate</span> 116
+<br />
+<a href="images/plt_116.jpg">
+<img src="images/plt_116.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE TRANSITO (SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" id="plt_117"><span class="smcap">Plate</span> 117
+<br />
+<a href="images/plt_117.jpg">
+<img src="images/plt_117.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE TRANSITO (SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<div class="figcenter" id="plt_118"><span class="smcap">Plate</span> 118
+<br />
+<a href="images/plt_118.jpg">
+<img src="images/plt_118.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE TRANSITO (SYNAGOGUE)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<div class="figcenter" id="plt_119"><span class="smcap">Plate</span> 119
+<br />
+<a href="images/plt_119.jpg">
+<img src="images/plt_119.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ENTRANCE ARCH IN THE BUILDING CALLED TALLER DEL MORO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<div class="figcenter" id="plt_120"><span class="smcap">Plate</span> 120
+<br />
+<a href="images/plt_120.jpg">
+<img src="images/plt_120.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF DECORATION IN THE MOORISH WORKSHOP</p>
+</div>
+
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p>
+
+<div class="figcenter" id="plt_121"><span class="smcap">Plate</span> 121
+<br />
+<a href="images/plt_121.jpg">
+<img src="images/plt_121.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PALACE OF THE AYALAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<div class="figcenter" id="plt_122"><span class="smcap">Plate</span> 122
+<br />
+<a href="images/plt_122.jpg">
+<img src="images/plt_122.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PALACE OF THE AYALAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<div class="figcenter" id="plt_123"><span class="smcap">Plate</span> 123
+<br />
+<a href="images/plt_123.jpg">
+<img src="images/plt_123.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE CHAPEL OF SANTO CRISTO DE LA VEGA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" id="plt_124"><span class="smcap">Plate</span> 124
+<br />
+<a href="images/plt_124.jpg">
+<img src="images/plt_124.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR AND EXTERIOR OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" id="plt_125"><span class="smcap">Plate</span> 125
+<br />
+<a href="images/plt_125.jpg">
+<img src="images/plt_125.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SECTIONS AND DETAILS OF THE ANCIENT SYNAGOGUE, NOW THE CHURCH OF SANTA
+MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" id="plt_126"><span class="smcap">Plate</span> 126
+<br />
+<a href="images/plt_126.jpg">
+<img src="images/plt_126.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PART OF THE LONGITUDINAL SECTION OF THE ANCIENT SYNAGOGUE, NOW THE
+CHURCH OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<div class="figcenter" id="plt_127"><span class="smcap">Plate</span> 127
+<br />
+<a href="images/plt_127.jpg">
+<img src="images/plt_127.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p>
+
+<div class="figcenter" id="plt_128"><span class="smcap">Plate</span> 128
+<br />
+<a href="images/plt_128.jpg">
+<img src="images/plt_128.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<div class="figcenter" id="plt_129"><span class="smcap">Plate</span> 129
+<br />
+<a href="images/plt_129.jpg">
+<img src="images/plt_129.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SANTA MARIA LA BLANCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<div class="figcenter" id="plt_130"><span class="smcap">Plate</span> 130
+<br />
+<a href="images/plt_130.jpg">
+<img src="images/plt_130.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CÁRCEL DE SANTA HERMANDAD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<div class="figcenter" id="plt_131"><span class="smcap">Plate</span> 131
+<br />
+<a href="images/plt_131.jpg">
+<img src="images/plt_131.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A GOTHIC DOORWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<div class="figcenter" id="plt_132"><span class="smcap">Plate</span> 132
+<br />
+<a href="images/plt_132.jpg">
+<img src="images/plt_132.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A DOORWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<div class="figcenter" id="plt_133"><span class="smcap">Plate</span> 133
+<br />
+<a href="images/plt_133.jpg">
+<img src="images/plt_133.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MICHAEL’S TOWER. FOURTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p>
+
+<div class="figcenter" id="plt_134"><span class="smcap">Plate</span> 134
+<br />
+<a href="images/plt_134.jpg">
+<img src="images/plt_134.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOUSE OF THE TOLEDOS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p>
+
+<div class="figcenter" id="plt_135"><span class="smcap">Plate</span> 135
+<br />
+<a href="images/plt_135.jpg">
+<img src="images/plt_135.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" id="plt_136"><span class="smcap">Plate</span> 136
+<br />
+<a href="images/plt_136.jpg">
+<img src="images/plt_136.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<div class="figcenter" id="plt_137"><span class="smcap">Plate</span> 137
+<br />
+<a href="images/plt_137.jpg">
+<img src="images/plt_137.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<div class="figcenter" id="plt_138"><span class="smcap">Plate</span> 138
+<br />
+<a href="images/plt_138.jpg">
+<img src="images/plt_138.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" id="plt_139"><span class="smcap">Plate</span> 139
+<br />
+<a href="images/plt_139.jpg">
+<img src="images/plt_139.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" id="plt_140"><span class="smcap">Plate</span> 140
+<br />
+<a href="images/plt_140.jpg">
+<img src="images/plt_140.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE FOUNTAIN OF CALERAHIGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<div class="figcenter" id="plt_141"><span class="smcap">Plate</span> 141
+<br />
+<a href="images/plt_141.jpg">
+<img src="images/plt_141.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARAB DETAILS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p>
+
+<div class="figcenter" id="plt_142"><span class="smcap">Plate</span> 142
+<br />
+<a href="images/plt_142.jpg">
+<img src="images/plt_142.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CROWNS AND CROSSES OF GUARRAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<div class="figcenter" id="plt_143"><span class="smcap">Plate</span> 143
+<br />
+<a href="images/plt_143.jpg">
+<img src="images/plt_143.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CROWNS AND CROSSES OF GUARRAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<div class="figcenter" id="plt_144"><span class="smcap">Plate</span> 144
+<br />
+<a href="images/plt_144.jpg">
+<img src="images/plt_144.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VISIGOTH CROWNS AND CROSSES FOUND AT TOLEDO AND NOW IN THE ROYAL ARMOURY
+AT MADRID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
+
+<div class="figcenter" id="plt_145"><span class="smcap">Plate</span> 145
+<br />
+<a href="images/plt_145-a.jpg">
+<img src="images/plt_145-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN PEDRO MARTIN</p>
+<br />
+<a href="images/plt_145-b.jpg">
+<img src="images/plt_145-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>CALLE DE SANTO TOMÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
+
+<div class="figcenter" id="plt_146"><span class="smcap">Plate</span> 146
+<br />
+<a href="images/plt_146.jpg">
+<img src="images/plt_146.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCAZAR ROYAL PALACE. REPRODUCTION OF THE ENGRAVING MADE IN 1566 FOR
+BRAUN’S “CIVITATES ORBI TERRARUM”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
+
+<div class="figcenter" id="plt_147"><span class="smcap">Plate</span> 147
+<br />
+<a href="images/plt_147.jpg">
+<img src="images/plt_147.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PERSPECTIVE OF THE ALCAZAR IN 1845. EAST AND NORTH FAÇADES. REPRODUCTION
+OF AN ENGRAVING IN THE WORK “TOLEDO PINTORESCA”</p>
+</div>
+
+<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p>
+
+<div class="figcenter" id="plt_148"><span class="smcap">Plate</span> 148
+<br />
+<a href="images/plt_148.jpg">
+<img src="images/plt_148.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. TAKEN FROM THE PLAZA DE ZOCODOVER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<div class="figcenter" id="plt_149"><span class="smcap">Plate</span> 149
+<br />
+<a href="images/plt_149.jpg">
+<img src="images/plt_149.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SOUTH FAÇADE OF THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<div class="figcenter" id="plt_150"><span class="smcap">Plate</span> 150
+<br />
+<a href="images/plt_150.jpg">
+<img src="images/plt_150.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. WEST FAÇADE AFTER THE LATEST RESTORATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p>
+
+<div class="figcenter" id="plt_151"><span class="smcap">Plate</span> 151
+<br />
+<a href="images/plt_151.jpg">
+<img src="images/plt_151.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p>
+
+<div class="figcenter" id="plt_152"><span class="smcap">Plate</span> 152
+<br />
+<a href="images/plt_152.jpg">
+<img src="images/plt_152.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALCAZAR. PRINCIPAL FAÇADE ON THE NORTH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p>
+
+<div class="figcenter" id="plt_153"><span class="smcap">Plate</span> 153
+<br />
+<a href="images/plt_153.jpg">
+<img src="images/plt_153.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. EAST FAÇADE, AFTER THE LATEST RESTORATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p>
+
+<div class="figcenter" id="plt_154"><span class="smcap">Plate</span> 154
+<br />
+<a href="images/plt_154.jpg">
+<img src="images/plt_154.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" id="plt_155"><span class="smcap">Plate</span> 155
+<br />
+<a href="images/plt_155.jpg">
+<img src="images/plt_155.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. THE PRINCIPAL STAIRCASE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<div class="figcenter" id="plt_156"><span class="smcap">Plate</span> 156
+<br />
+<a href="images/plt_156.jpg">
+<img src="images/plt_156.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. PRINCIPAL NORTH PORTAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p>
+
+<div class="figcenter" id="plt_157"><span class="smcap">Plate</span> 157
+<br />
+<a href="images/plt_157.jpg">
+<img src="images/plt_157.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. COURT AND PLAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<div class="figcenter" id="plt_158"><span class="smcap">Plate</span> 158
+<br />
+<a href="images/plt_158.jpg">
+<img src="images/plt_158.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
+
+<div class="figcenter" id="plt_159"><span class="smcap">Plate</span> 159
+<br />
+<a href="images/plt_159.jpg">
+<img src="images/plt_159.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT IN THE ALCAZAR. AFTER THE LATEST RESTORATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p>
+
+<div class="figcenter" id="plt_160"><span class="smcap">Plate</span> 160
+<br />
+<a href="images/plt_160.jpg">
+<img src="images/plt_160.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALCAZAR. PLAN AND DETAILS. NORTH FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<div class="figcenter" id="plt_161"><span class="smcap">Plate</span> 161
+<br />
+<a href="images/plt_161.jpg">
+<img src="images/plt_161.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE NORTH FAÇADE OF THE ALCAZAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<div class="figcenter" id="plt_162"><span class="smcap">Plate</span> 162
+<br />
+<a href="images/plt_162.jpg">
+<img src="images/plt_162.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF THE HALL OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p>
+
+<div class="figcenter" id="plt_163"><span class="smcap">Plate</span> 163
+<br />
+<a href="images/plt_163.jpg">
+<img src="images/plt_163.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
+
+<div class="figcenter" id="plt_164"><span class="smcap">Plate</span> 164
+<br />
+<a href="images/plt_164.jpg">
+<img src="images/plt_164.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p>
+
+<div class="figcenter" id="plt_165"><span class="smcap">Plate</span> 165
+<br />
+<a href="images/plt_165.jpg">
+<img src="images/plt_165.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<div class="figcenter" id="plt_166"><span class="smcap">Plate</span> 166
+<br />
+<a href="images/plt_166.jpg">
+<img src="images/plt_166.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HALL OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<div class="figcenter" id="plt_167"><span class="smcap">Plate</span> 167
+<br />
+<a href="images/plt_167.jpg">
+<img src="images/plt_167.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HALL OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<div class="figcenter" id="plt_168"><span class="smcap">Plate</span> 168
+<br />
+<a href="images/plt_168.jpg">
+<img src="images/plt_168.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HALL OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<div class="figcenter" id="plt_169"><span class="smcap">Plate</span> 169
+<br />
+<a href="images/plt_169.jpg">
+<img src="images/plt_169.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MESA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p>
+
+<div class="figcenter" id="plt_170"><span class="smcap">Plate</span> 170
+<br />
+<a href="images/plt_170.jpg">
+<img src="images/plt_170.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE COLLEGE OF THE INFANTES. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<div class="figcenter" id="plt_171"><span class="smcap">Plate</span> 171
+<br />
+<a href="images/plt_171.jpg">
+<img src="images/plt_171.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE PALACE OF THE MARTINEZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p>
+
+<div class="figcenter" id="plt_172"><span class="smcap">Plate</span> 172
+<br />
+<a href="images/plt_172-a.jpg">
+<img src="images/plt_172-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ROMAN TOWER OF SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_172-b.jpg">
+<img src="images/plt_172-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" id="plt_173"><span class="smcap">Plate</span> 173
+<br />
+<a href="images/plt_173.jpg">
+<img src="images/plt_173.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<div class="figcenter" id="plt_174"><span class="smcap">Plate</span> 174
+<br />
+<a href="images/plt_174.jpg">
+<img src="images/plt_174.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p>
+
+<div class="figcenter" id="plt_175"><span class="smcap">Plate</span> 175
+<br />
+<a href="images/plt_175.jpg">
+<img src="images/plt_175.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN OF THE CHURCH AND PROCESSIONAL CLOISTER OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" id="plt_176"><span class="smcap">Plate</span> 176
+<br />
+<a href="images/plt_176.jpg">
+<img src="images/plt_176.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<div class="figcenter" id="plt_177"><span class="smcap">Plate</span> 177
+<br />
+<a href="images/plt_177.jpg">
+<img src="images/plt_177.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GOTHIC DOORWAY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_348" id="page_348">{348}</a></span></p>
+
+<div class="figcenter" id="plt_178"><span class="smcap">Plate</span> 178
+<br />
+<a href="images/plt_178.jpg">
+<img src="images/plt_178.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF THE ARCH OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p>
+
+<div class="figcenter" id="plt_179"><span class="smcap">Plate</span> 179
+<br />
+<a href="images/plt_179.jpg">
+<img src="images/plt_179.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></p>
+
+<div class="figcenter" id="plt_180"><span class="smcap">Plate</span> 180
+<br />
+<a href="images/plt_180.jpg">
+<img src="images/plt_180.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span></p>
+
+<div class="figcenter" id="plt_181"><span class="smcap">Plate</span> 181
+<br />
+<a href="images/plt_181.jpg">
+<img src="images/plt_181.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p>
+
+<div class="figcenter" id="plt_182"><span class="smcap">Plate</span> 182
+<br />
+<a href="images/plt_182.jpg">
+<img src="images/plt_182.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>LONGITUDINAL SECTION OF THE CHURCH OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<div class="figcenter" id="plt_183"><span class="smcap">Plate</span> 183
+<br />
+<a href="images/plt_183-a.jpg">
+<img src="images/plt_183-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR, SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_183-b.jpg">
+<img src="images/plt_183-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>RETABLO, SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<div class="figcenter" id="plt_184"><span class="smcap">Plate</span> 184
+<br />
+<a href="images/plt_184.jpg">
+<img src="images/plt_184.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p>
+
+<div class="figcenter" id="plt_185"><span class="smcap">Plate</span> 185
+<br />
+<a href="images/plt_185.jpg">
+<img src="images/plt_185.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span></p>
+
+<div class="figcenter" id="plt_186"><span class="smcap">Plate</span> 186
+<br />
+<a href="images/plt_186.jpg">
+<img src="images/plt_186.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p>
+
+<div class="figcenter" id="plt_187"><span class="smcap">Plate</span> 187
+<br />
+<a href="images/plt_187.jpg">
+<img src="images/plt_187.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF GALLERY IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span></p>
+
+<div class="figcenter" id="plt_188"><span class="smcap">Plate</span> 188
+<br />
+<a href="images/plt_188.jpg">
+<img src="images/plt_188.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span></p>
+
+<div class="figcenter" id="plt_189"><span class="smcap">Plate</span> 189
+<br />
+<a href="images/plt_189.jpg">
+<img src="images/plt_189.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. WALL IN THE PRESBYTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p>
+
+<div class="figcenter" id="plt_190"><span class="smcap">Plate</span> 190
+<br />
+<a href="images/plt_190.jpg">
+<img src="images/plt_190.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<div class="figcenter" id="plt_191"><span class="smcap">Plate</span> 191
+<br />
+<a href="images/plt_191.jpg">
+<img src="images/plt_191.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" id="plt_192"><span class="smcap">Plate</span> 192
+<br />
+<a href="images/plt_192.jpg">
+<img src="images/plt_192.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" id="plt_193"><span class="smcap">Plate</span> 193
+<br />
+<a href="images/plt_193.jpg">
+<img src="images/plt_193.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DECORATION IN THE TRANSVERSE NAVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<div class="figcenter" id="plt_194"><span class="smcap">Plate</span> 194
+<br />
+<a href="images/plt_194.jpg">
+<img src="images/plt_194.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE ARMS OF ISABELLA THE CATHOLIC</p>
+</div>
+
+<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p>
+
+<div class="figcenter" id="plt_195"><span class="smcap">Plate</span> 195
+<br />
+<a href="images/plt_195.jpg">
+<img src="images/plt_195.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE TRANSEPT OF THE CHURCH OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p>
+
+<div class="figcenter" id="plt_196"><span class="smcap">Plate</span> 196
+<br />
+<a href="images/plt_196.jpg">
+<img src="images/plt_196.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></p>
+
+<div class="figcenter" id="plt_197"><span class="smcap">Plate</span> 197
+<br />
+<a href="images/plt_197.jpg">
+<img src="images/plt_197.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A DOME IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p>
+
+<div class="figcenter" id="plt_198"><span class="smcap">Plate</span> 198
+<br />
+<a href="images/plt_198.jpg">
+<img src="images/plt_198.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>REMAINS OF WINDOWS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p>
+
+<div class="figcenter" id="plt_199"><span class="smcap">Plate</span> 199
+<br />
+<a href="images/plt_199.jpg">
+<img src="images/plt_199.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CROSS-AISLE IN THE CHURCH OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_370" id="page_370">{370}</a></span></p>
+
+<div class="figcenter" id="plt_200"><span class="smcap">Plate</span> 200
+<br />
+<a href="images/plt_200-a.jpg">
+<img src="images/plt_200-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR OF SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_200-b.jpg">
+<img src="images/plt_200-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>ALTAR OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span></p>
+
+<div class="figcenter" id="plt_201"><span class="smcap">Plate</span> 201
+<br />
+<a href="images/plt_201.jpg">
+<img src="images/plt_201.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE ALTAR-PIECE IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p>
+
+<div class="figcenter" id="plt_202"><span class="smcap">Plate</span> 202
+<br />
+<a href="images/plt_202.jpg">
+<img src="images/plt_202.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COPY OF THE ORIGINAL DRAWING OF THE ARCH AND CROSS-AISLE OF SAN JUAN DE
+LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p>
+
+<div class="figcenter" id="plt_203"><span class="smcap">Plate</span> 203
+<br />
+<a href="images/plt_203.jpg">
+<img src="images/plt_203.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>LONGITUDINAL SECTION OF THE CLOISTER OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_374" id="page_374">{374}</a></span></p>
+
+<div class="figcenter" id="plt_204"><span class="smcap">Plate</span> 204
+<br />
+<a href="images/plt_204.jpg">
+<img src="images/plt_204.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p>
+
+<div class="figcenter" id="plt_205"><span class="smcap">Plate</span> 205
+<br />
+<a href="images/plt_205.jpg">
+<img src="images/plt_205.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_376" id="page_376">{376}</a></span></p>
+
+<div class="figcenter" id="plt_206"><span class="smcap">Plate</span> 206
+<br />
+<a href="images/plt_206.jpg">
+<img src="images/plt_206.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_377" id="page_377">{377}</a></span></p>
+
+<div class="figcenter" id="plt_207"><span class="smcap">Plate</span> 207
+<br />
+<a href="images/plt_207.jpg">
+<img src="images/plt_207.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_378" id="page_378">{378}</a></span></p>
+
+<div class="figcenter" id="plt_208"><span class="smcap">Plate</span> 208
+<br />
+<a href="images/plt_208.jpg">
+<img src="images/plt_208.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_379" id="page_379">{379}</a></span></p>
+
+<div class="figcenter" id="plt_209"><span class="smcap">Plate</span> 209
+<br />
+<a href="images/plt_209.jpg">
+<img src="images/plt_209.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COMPARTMENT OF THE CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_380" id="page_380">{380}</a></span></p>
+
+<div class="figcenter" id="plt_210"><span class="smcap">Plate</span> 210
+<br />
+<a href="images/plt_210.jpg">
+<img src="images/plt_210.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p>
+
+<div class="figcenter" id="plt_211"><span class="smcap">Plate</span> 211
+<br />
+<a href="images/plt_211.jpg">
+<img src="images/plt_211.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p>
+
+<div class="figcenter" id="plt_212"><span class="smcap">Plate</span> 212
+<br />
+<a href="images/plt_212.jpg">
+<img src="images/plt_212.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
+
+<div class="figcenter" id="plt_213"><span class="smcap">Plate</span> 213
+<br />
+<a href="images/plt_213.jpg">
+<img src="images/plt_213.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_384" id="page_384">{384}</a></span></p>
+
+<div class="figcenter" id="plt_214"><span class="smcap">Plate</span> 214
+<br />
+<a href="images/plt_214.jpg">
+<img src="images/plt_214.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_385" id="page_385">{385}</a></span></p>
+
+<div class="figcenter" id="plt_215"><span class="smcap">Plate</span> 215
+<br />
+<a href="images/plt_215.jpg">
+<img src="images/plt_215.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_386" id="page_386">{386}</a></span></p>
+
+<div class="figcenter" id="plt_216"><span class="smcap">Plate</span> 216
+<br />
+<a href="images/plt_216.jpg">
+<img src="images/plt_216.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN JUAN DE LOS REYES. COURTYARD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p>
+
+<div class="figcenter" id="plt_217"><span class="smcap">Plate</span> 217
+<br />
+<a href="images/plt_217.jpg">
+<img src="images/plt_217.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT IN SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_388" id="page_388">{388}</a></span></p>
+
+<div class="figcenter" id="plt_218"><span class="smcap">Plate</span> 218
+<br />
+<a href="images/plt_218.jpg">
+<img src="images/plt_218.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE MUSEUM OF SAN JUAN DE LOS REYES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p>
+
+<div class="figcenter" id="plt_219"><span class="smcap">Plate</span> 219
+<br />
+<a href="images/plt_219.jpg">
+<img src="images/plt_219.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JUAN DE LOS REYES. DETAILS ABOVE DOOR OF MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_390" id="page_390">{390}</a></span></p>
+
+<div class="figcenter" id="plt_220"><span class="smcap">Plate</span> 220
+<br />
+<a href="images/plt_220.jpg">
+<img src="images/plt_220.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_391" id="page_391">{391}</a></span></p>
+
+<div class="figcenter" id="plt_221"><span class="smcap">Plate</span> 221
+<br />
+<a href="images/plt_221.jpg">
+<img src="images/plt_221.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_392" id="page_392">{392}</a></span></p>
+
+<div class="figcenter" id="plt_222"><span class="smcap">Plate</span> 222
+<br />
+<a href="images/plt_222.jpg">
+<img src="images/plt_222.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FAÇADE OF THE PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_393" id="page_393">{393}</a></span></p>
+
+<div class="figcenter" id="plt_223"><span class="smcap">Plate</span> 223
+<br />
+<a href="images/plt_223.jpg">
+<img src="images/plt_223.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_394" id="page_394">{394}</a></span></p>
+
+<div class="figcenter" id="plt_224"><span class="smcap">Plate</span> 224
+<br />
+<a href="images/plt_224.jpg">
+<img src="images/plt_224.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_395" id="page_395">{395}</a></span></p>
+
+<div class="figcenter" id="plt_225"><span class="smcap">Plate</span> 225
+<br />
+<a href="images/plt_225.jpg">
+<img src="images/plt_225.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
+
+<div class="figcenter" id="plt_226"><span class="smcap">Plate</span> 226
+<br />
+<a href="images/plt_226.jpg">
+<img src="images/plt_226.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p>
+
+<div class="figcenter" id="plt_227"><span class="smcap">Plate</span> 227
+<br />
+<a href="images/plt_227.jpg">
+<img src="images/plt_227.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p>
+
+<div class="figcenter" id="plt_228"><span class="smcap">Plate</span> 228
+<br />
+<a href="images/plt_228.jpg">
+<img src="images/plt_228.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SECTION OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p>
+
+<div class="figcenter" id="plt_229"><span class="smcap">Plate</span> 229
+<br />
+<a href="images/plt_229.jpg">
+<img src="images/plt_229.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>LONGITUDINAL SECTION OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p>
+
+<div class="figcenter" id="plt_230"><span class="smcap">Plate</span> 230
+<br />
+<a href="images/plt_230.jpg">
+<img src="images/plt_230.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>TRANSVERSE SECTION OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p>
+
+<div class="figcenter" id="plt_231"><span class="smcap">Plate</span> 231
+<br />
+<a href="images/plt_231.jpg">
+<img src="images/plt_231.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PRINCIPAL FAÇADE OF THE CATHEDRAL AND TOWER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p>
+
+<div class="figcenter" id="plt_232"><span class="smcap">Plate</span> 232
+<br />
+<a href="images/plt_232.jpg">
+<img src="images/plt_232.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE EXTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p>
+
+<div class="figcenter" id="plt_233"><span class="smcap">Plate</span> 233
+<br />
+<a href="images/plt_233.jpg">
+<img src="images/plt_233.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. PORTAL OF THE PRINCIPAL FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p>
+
+<div class="figcenter" id="plt_234"><span class="smcap">Plate</span> 234
+<br />
+<a href="images/plt_234.jpg">
+<img src="images/plt_234.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. PRINCIPAL GATE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_405" id="page_405">{405}</a></span></p>
+
+<div class="figcenter" id="plt_235"><span class="smcap">Plate</span> 235
+<br />
+<a href="images/plt_235.jpg">
+<img src="images/plt_235.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE GATE OF THE LIONS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_406" id="page_406">{406}</a></span></p>
+
+<div class="figcenter" id="plt_236"><span class="smcap">Plate</span> 236
+<br />
+<a href="images/plt_236.jpg">
+<img src="images/plt_236.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. PORCH OF THE PRINCIPAL FAÇADE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_407" id="page_407">{407}</a></span></p>
+
+<div class="figcenter" id="plt_237"><span class="smcap">Plate</span> 237
+<br />
+<a href="images/plt_237.jpg">
+<img src="images/plt_237.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL</p>
+
+<p>THE LION DOOR</p>
+
+<p>THE LION DOOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_408" id="page_408">{408}</a></span></p>
+
+<div class="figcenter" id="plt_238"><span class="smcap">Plate</span> 238
+<br />
+<a href="images/plt_238.jpg">
+<img src="images/plt_238.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p>
+
+<div class="figcenter" id="plt_239"><span class="smcap">Plate</span> 239
+<br />
+<a href="images/plt_239.jpg">
+<img src="images/plt_239.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DOOR OF THE LOST CHILD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_410" id="page_410">{410}</a></span></p>
+
+<div class="figcenter" id="plt_240"><span class="smcap">Plate</span> 240
+<br />
+<a href="images/plt_240.jpg">
+<img src="images/plt_240.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DE LA FERIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p>
+
+<div class="figcenter" id="plt_241"><span class="smcap">Plate</span> 241
+<br />
+<a href="images/plt_241.jpg">
+<img src="images/plt_241.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL. GATE OF THE CONCEPTION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_412" id="page_412">{412}</a></span></p>
+
+<div class="figcenter" id="plt_242"><span class="smcap">Plate</span> 242
+<br />
+<a href="images/plt_242.jpg">
+<img src="images/plt_242.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. ORNAMENTAL DETAILS OF THE GATES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_413" id="page_413">{413}</a></span></p>
+
+<div class="figcenter" id="plt_243"><span class="smcap">Plate</span> 243
+<br />
+<a href="images/plt_243.jpg">
+<img src="images/plt_243.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL</p>
+
+<p>CENTRAL NAVE</p>
+
+<p>TOMB OF ALONSO DE CARRILLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_414" id="page_414">{414}</a></span></p>
+
+<div class="figcenter" id="plt_244"><span class="smcap">Plate</span> 244
+<br />
+<a href="images/plt_244.jpg">
+<img src="images/plt_244.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_415" id="page_415">{415}</a></span></p>
+
+<div class="figcenter" id="plt_245"><span class="smcap">Plate</span> 245
+<br />
+<a href="images/plt_245.jpg">
+<img src="images/plt_245.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_416" id="page_416">{416}</a></span></p>
+
+<div class="figcenter" id="plt_246"><span class="smcap">Plate</span> 246
+<br />
+<a href="images/plt_246.jpg">
+<img src="images/plt_246.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_417" id="page_417">{417}</a></span></p>
+
+<div class="figcenter" id="plt_247"><span class="smcap">Plate</span> 247
+<br />
+<a href="images/plt_247.jpg">
+<img src="images/plt_247.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. INTERIOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p>
+
+<div class="figcenter" id="plt_248"><span class="smcap">Plate</span> 248
+<br />
+<a href="images/plt_248.jpg">
+<img src="images/plt_248.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>WINDOWS IN THE PRINCIPAL NAVE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_419" id="page_419">{419}</a></span></p>
+
+<div class="figcenter" id="plt_249"><span class="smcap">Plate</span> 249
+<br />
+<a href="images/plt_249.jpg">
+<img src="images/plt_249.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. GRATING OF THE PRINCIPAL CHAPEL. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_420" id="page_420">{420}</a></span></p>
+
+<div class="figcenter" id="plt_250"><span class="smcap">Plate</span> 250
+<br />
+<a href="images/plt_250.jpg">
+<img src="images/plt_250.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_421" id="page_421">{421}</a></span></p>
+
+<div class="figcenter" id="plt_251"><span class="smcap">Plate</span> 251
+<br />
+<a href="images/plt_251.jpg">
+<img src="images/plt_251.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_422" id="page_422">{422}</a></span></p>
+
+<div class="figcenter" id="plt_252"><span class="smcap">Plate</span> 252
+<br />
+<a href="images/plt_252.jpg">
+<img src="images/plt_252.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
+
+<div class="figcenter" id="plt_253"><span class="smcap">Plate</span> 253
+<br />
+<a href="images/plt_253.jpg">
+<img src="images/plt_253.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_424" id="page_424">{424}</a></span></p>
+
+<div class="figcenter" id="plt_254"><span class="smcap">Plate</span> 254
+<br />
+<a href="images/plt_254.jpg">
+<img src="images/plt_254.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_425" id="page_425">{425}</a></span></p>
+
+<div class="figcenter" id="plt_255"><span class="smcap">Plate</span> 255
+<br />
+<a href="images/plt_255.jpg">
+<img src="images/plt_255.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_426" id="page_426">{426}</a></span></p>
+
+<div class="figcenter" id="plt_256"><span class="smcap">Plate</span> 256
+<br />
+<a href="images/plt_256.jpg">
+<img src="images/plt_256.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_427" id="page_427">{427}</a></span></p>
+
+<div class="figcenter" id="plt_257"><span class="smcap">Plate</span> 257
+<br />
+<a href="images/plt_257.jpg">
+<img src="images/plt_257.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p>
+
+<div class="figcenter" id="plt_258"><span class="smcap">Plate</span> 258
+<br />
+<a href="images/plt_258.jpg">
+<img src="images/plt_258.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. ALTAR-PIECE OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_429" id="page_429">{429}</a></span></p>
+
+<div class="figcenter" id="plt_259"><span class="smcap">Plate</span> 259
+<br />
+<a href="images/plt_259.jpg">
+<img src="images/plt_259.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE ALTAR-PIECE OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_430" id="page_430">{430}</a></span></p>
+
+<div class="figcenter" id="plt_260"><span class="smcap">Plate</span> 260
+<br />
+<a href="images/plt_260.jpg">
+<img src="images/plt_260.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p>
+
+<div class="figcenter" id="plt_261"><span class="smcap">Plate</span> 261
+<br />
+<a href="images/plt_261.jpg">
+<img src="images/plt_261.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_432" id="page_432">{432}</a></span></p>
+
+<div class="figcenter" id="plt_262"><span class="smcap">Plate</span> 262
+<br />
+<a href="images/plt_262.jpg">
+<img src="images/plt_262.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_433" id="page_433">{433}</a></span></p>
+
+<div class="figcenter" id="plt_263"><span class="smcap">Plate</span> 263
+<br />
+<a href="images/plt_263.jpg">
+<img src="images/plt_263.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE ALTAR-PIECE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_434" id="page_434">{434}</a></span></p>
+
+<div class="figcenter" id="plt_264"><span class="smcap">Plate</span> 264
+<br />
+<a href="images/plt_264.jpg">
+<img src="images/plt_264.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_435" id="page_435">{435}</a></span></p>
+
+<div class="figcenter" id="plt_265"><span class="smcap">Plate</span> 265
+<br />
+<a href="images/plt_265.jpg">
+<img src="images/plt_265.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p>
+
+<div class="figcenter" id="plt_266"><span class="smcap">Plate</span> 266
+<br />
+<a href="images/plt_266.jpg">
+<img src="images/plt_266.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE FRONTAL OF THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_437" id="page_437">{437}</a></span></p>
+
+<div class="figcenter" id="plt_267"><span class="smcap">Plate</span> 267
+<br />
+<a href="images/plt_267.jpg">
+<img src="images/plt_267.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_438" id="page_438">{438}</a></span></p>
+
+<div class="figcenter" id="plt_268"><span class="smcap">Plate</span> 268
+<br />
+<a href="images/plt_268.jpg">
+<img src="images/plt_268.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF CARDINAL MENDOZA IN THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_439" id="page_439">{439}</a></span></p>
+
+<div class="figcenter" id="plt_269"><span class="smcap">Plate</span> 269
+<br />
+<a href="images/plt_269.jpg">
+<img src="images/plt_269.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DOME OF THE PRINCIPAL CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_440" id="page_440">{440}</a></span></p>
+
+<div class="figcenter" id="plt_270"><span class="smcap">Plate</span> 270
+<br />
+<a href="images/plt_270.jpg">
+<img src="images/plt_270.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_441" id="page_441">{441}</a></span></p>
+
+<div class="figcenter" id="plt_271"><span class="smcap">Plate</span> 271
+<br />
+<a href="images/plt_271.jpg">
+<img src="images/plt_271.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p>
+
+<div class="figcenter" id="plt_272"><span class="smcap">Plate</span> 272
+<br />
+<a href="images/plt_272.jpg">
+<img src="images/plt_272.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE EXTERIOR OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_443" id="page_443">{443}</a></span></p>
+
+<div class="figcenter" id="plt_273"><span class="smcap">Plate</span> 273
+<br />
+<a href="images/plt_273.jpg">
+<img src="images/plt_273.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p><span class="pagenum"><a name="page_444" id="page_444">{444}</a></span></p><p>THE CATHEDRAL. EXTERIOR OF THE CHOIR</p>
+</div>
+
+<div class="figcenter" id="plt_274"><span class="smcap">Plate</span> 274
+<br />
+<a href="images/plt_274.jpg">
+<img src="images/plt_274.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHOIR STALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_445" id="page_445">{445}</a></span></p>
+
+<div class="figcenter" id="plt_275"><span class="smcap">Plate</span> 275
+<br />
+<a href="images/plt_275.jpg">
+<img src="images/plt_275.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHOIR STALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_446" id="page_446">{446}</a></span></p>
+
+<div class="figcenter" id="plt_276"><span class="smcap">Plate</span> 276
+<br />
+<a href="images/plt_276.jpg">
+<img src="images/plt_276.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHOIR STALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_447" id="page_447">{447}</a></span></p>
+
+<div class="figcenter" id="plt_277"><span class="smcap">Plate</span> 277
+<br />
+<a href="images/plt_277.jpg">
+<img src="images/plt_277.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE CHOIR STALLS, REPRESENTING THE RE-CONQUEST
+OF GRANADA BY FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_448" id="page_448">{448}</a></span></p>
+
+<div class="figcenter" id="plt_278"><span class="smcap">Plate</span> 278
+<br />
+<a href="images/plt_278.jpg">
+<img src="images/plt_278.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. INTERIOR OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p>
+
+<div class="figcenter" id="plt_279"><span class="smcap">Plate</span> 279
+<br />
+<a href="images/plt_279.jpg">
+<img src="images/plt_279.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_450" id="page_450">{450}</a></span></p>
+
+<div class="figcenter" id="plt_280"><span class="smcap">Plate</span> 280
+<br />
+<a href="images/plt_280.jpg">
+<img src="images/plt_280.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p>
+
+<div class="figcenter" id="plt_281"><span class="smcap">Plate</span> 281
+<br />
+<a href="images/plt_281.jpg">
+<img src="images/plt_281.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE ARCHBISHOP’S THRONE, REPRESENTING THE
+TRANSFIGURATION. BY BERRUGUETE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_452" id="page_452">{452}</a></span></p>
+
+<div class="figcenter" id="plt_282"><span class="smcap">Plate</span> 282
+<br />
+<a href="images/plt_282.jpg">
+<img src="images/plt_282.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. VIRGIN OF THE LANEROS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_453" id="page_453">{453}</a></span></p>
+
+<div class="figcenter" id="plt_283"><span class="smcap">Plate</span> 283
+<br />
+<a href="images/plt_283.jpg">
+<img src="images/plt_283.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_454" id="page_454">{454}</a></span></p>
+
+<div class="figcenter" id="plt_284"><span class="smcap">Plate</span> 284
+<br />
+<a href="images/plt_284.jpg">
+<img src="images/plt_284.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_455" id="page_455">{455}</a></span></p>
+
+<div class="figcenter" id="plt_285"><span class="smcap">Plate</span> 285
+<br />
+<a href="images/plt_285.jpg">
+<img src="images/plt_285.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p>
+
+<div class="figcenter" id="plt_286"><span class="smcap">Plate</span> 286
+<br />
+<a href="images/plt_286.jpg">
+<img src="images/plt_286.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p>
+
+<div class="figcenter" id="plt_287"><span class="smcap">Plate</span> 287
+<br />
+<a href="images/plt_287.jpg">
+<img src="images/plt_287.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF CHOIR STALLS. THE CAPTURE OF ALHAMA BY
+FERDINAND AND ISABELLA, 1482. RE-CONQUEST OF GRANADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p>
+
+<div class="figcenter" id="plt_288"><span class="smcap">Plate</span> 288
+<br />
+<a href="images/plt_288.jpg">
+<img src="images/plt_288.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_459" id="page_459">{459}</a></span></p>
+
+<div class="figcenter" id="plt_289"><span class="smcap">Plate</span> 289
+<br />
+<a href="images/plt_289.jpg">
+<img src="images/plt_289.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p>
+
+<div class="figcenter" id="plt_290"><span class="smcap">Plate</span> 290
+<br />
+<a href="images/plt_290.jpg">
+<img src="images/plt_290.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_461" id="page_461">{461}</a></span></p>
+
+<div class="figcenter" id="plt_291"><span class="smcap">Plate</span> 291
+<br />
+<a href="images/plt_291.jpg">
+<img src="images/plt_291.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_462" id="page_462">{462}</a></span></p>
+
+<div class="figcenter" id="plt_292"><span class="smcap">Plate</span> 292
+<br />
+<a href="images/plt_292.jpg">
+<img src="images/plt_292.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p>
+
+<div class="figcenter" id="plt_293"><span class="smcap">Plate</span> 293
+<br />
+<a href="images/plt_293.jpg">
+<img src="images/plt_293.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY
+FERDINAND AND ISABELLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p>
+
+<div class="figcenter" id="plt_294"><span class="smcap">Plate</span> 294
+<br />
+<a href="images/plt_294.jpg">
+<img src="images/plt_294.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p>
+
+<div class="figcenter" id="plt_295"><span class="smcap">Plate</span> 295
+<br />
+<a href="images/plt_295.jpg">
+<img src="images/plt_295.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_466" id="page_466">{466}</a></span></p>
+
+<div class="figcenter" id="plt_296"><span class="smcap">Plate</span> 296
+<br />
+<a href="images/plt_296.jpg">
+<img src="images/plt_296.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_467" id="page_467">{467}</a></span></p>
+
+<div class="figcenter" id="plt_297"><span class="smcap">Plate</span> 297
+<br />
+<a href="images/plt_297.jpg">
+<img src="images/plt_297.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_468" id="page_468">{468}</a></span></p>
+
+<div class="figcenter" id="plt_298"><span class="smcap">Plate</span> 298
+<br />
+<a href="images/plt_298.jpg">
+<img src="images/plt_298.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p>
+
+<div class="figcenter" id="plt_299"><span class="smcap">Plate</span> 299
+<br />
+<a href="images/plt_299.jpg">
+<img src="images/plt_299.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p>
+
+<div class="figcenter" id="plt_300"><span class="smcap">Plate</span> 300
+<br />
+<a href="images/plt_300.jpg">
+<img src="images/plt_300.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND
+BORGOÑA. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p>
+
+<div class="figcenter" id="plt_301"><span class="smcap">Plate</span> 301
+<br />
+<a href="images/plt_301.jpg">
+<img src="images/plt_301.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. MASONRY IN THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_472" id="page_472">{472}</a></span></p>
+
+<div class="figcenter" id="plt_302"><span class="smcap">Plate</span> 302
+<br />
+<a href="images/plt_302.jpg">
+<img src="images/plt_302.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. EXTERIOR OF THE PRESBYTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_473" id="page_473">{473}</a></span></p>
+
+<div class="figcenter" id="plt_303"><span class="smcap">Plate</span> 303
+<br />
+<a href="images/plt_303.jpg">
+<img src="images/plt_303.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. INTERIOR OF THE CHAPEL OF THE NEW KINGS WITH THE
+SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_474" id="page_474">{474}</a></span></p>
+
+<div class="figcenter" id="plt_304"><span class="smcap">Plate</span> 304
+<br />
+<a href="images/plt_304.jpg">
+<img src="images/plt_304.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE IN THE
+CHAPEL OF THE NEW KINGS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_475" id="page_475">{475}</a></span></p>
+
+<div class="figcenter" id="plt_305"><span class="smcap">Plate</span> 305
+<br />
+<a href="images/plt_305.jpg">
+<img src="images/plt_305.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF CARDINAL TAVERA IN THE CHAPEL OF THE NEW
+KINGS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p>
+
+<div class="figcenter" id="plt_306"><span class="smcap">Plate</span> 306
+<br />
+<a href="images/plt_306.jpg">
+<img src="images/plt_306.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF DON JUAN I. IN THE CHAPEL OF THE NEW KINGS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p>
+
+<div class="figcenter" id="plt_307"><span class="smcap">Plate</span> 307
+<br />
+<a href="images/plt_307.jpg">
+<img src="images/plt_307.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF DOÑA LEONOR, WIFE OF DON JUAN I., IN THE
+CHAPEL OF THE NEW KINGS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_478" id="page_478">{478}</a></span></p>
+
+<div class="figcenter" id="plt_308"><span class="smcap">Plate</span> 308
+<br />
+<a href="images/plt_308.jpg">
+<img src="images/plt_308.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPEL OF THE DESCENT OF THE VIRGIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_479" id="page_479">{479}</a></span></p>
+
+<div class="figcenter" id="plt_309"><span class="smcap">Plate</span> 309
+<br />
+<a href="images/plt_309.jpg">
+<img src="images/plt_309.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. MUZARABIC CHAPEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p>
+
+<div class="figcenter" id="plt_310"><span class="smcap">Plate</span> 310
+<br />
+<a href="images/plt_310.jpg">
+<img src="images/plt_310.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE CHAPEL OF THE VIRGEN DE LA ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p>
+
+<div class="figcenter" id="plt_311"><span class="smcap">Plate</span> 311
+<br />
+<a href="images/plt_311.jpg">
+<img src="images/plt_311.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPEL OF THE VIRGEN DE LA ANTIGUA. FOURTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_482" id="page_482">{482}</a></span></p>
+
+<div class="figcenter" id="plt_312"><span class="smcap">Plate</span> 312
+<br />
+<a href="images/plt_312.jpg">
+<img src="images/plt_312.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DOORWAY OF THE CHAPEL OF THE CANONS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_483" id="page_483">{483}</a></span></p>
+
+<div class="figcenter" id="plt_313"><span class="smcap">Plate</span> 313
+<br />
+<a href="images/plt_313-a.jpg">
+<img src="images/plt_313-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SANTA ISABEL</p>
+<br />
+<a href="images/plt_313-b.jpg">
+<img src="images/plt_313-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>ALTAR-PIECE OF SANTA CATALINA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_484" id="page_484">{484}</a></span></p>
+
+<div class="figcenter" id="plt_314"><span class="smcap">Plate</span> 314
+<br />
+<a href="images/plt_314.jpg">
+<img src="images/plt_314.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SANTA CATALINA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_485" id="page_485">{485}</a></span></p>
+
+<div class="figcenter" id="plt_315"><span class="smcap">Plate</span> 315
+<br />
+<a href="images/plt_315.jpg">
+<img src="images/plt_315.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SANTA CATALINA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p>
+
+<div class="figcenter" id="plt_316"><span class="smcap">Plate</span> 316
+<br />
+<a href="images/plt_316.jpg">
+<img src="images/plt_316.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF SANTA CATALINA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p>
+
+<div class="figcenter" id="plt_317"><span class="smcap">Plate</span> 317
+<br />
+<a href="images/plt_317.jpg">
+<img src="images/plt_317.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL OF SANTA CATALINA. FOUNDED BY THE COUNTS OF CEDILLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p>
+
+<div class="figcenter" id="plt_318"><span class="smcap">Plate</span> 318
+<br />
+<a href="images/plt_318.jpg">
+<img src="images/plt_318.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPEL OF SANTIAGO, CONTAINING THE SEPULCHRES OF DON
+ALVARO DE LUNA AND THAT OF HIS WIFE DOÑA JUANA. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_489" id="page_489">{489}</a></span></p>
+
+<div class="figcenter" id="plt_319"><span class="smcap">Plate</span> 319
+<br />
+<a href="images/plt_319.jpg">
+<img src="images/plt_319.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF DON JUAN DE ZEREZUELA IN THE CHAPEL OF
+SANTIAGO. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_490" id="page_490">{490}</a></span></p>
+
+<div class="figcenter" id="plt_320"><span class="smcap">Plate</span> 320
+<br />
+<a href="images/plt_320-a.jpg">
+<img src="images/plt_320-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CUPOLA OF THE CHAPEL “DE LOS REYES NUEVOS” IN THE CATHEDRAL</p>
+<br />
+<a href="images/plt_320-b.jpg">
+<img src="images/plt_320-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>CUPOLA OF THE “CAPILLA DE SANTIAGO,” CALLED “DE DON ALVARO DE LUNA” IN
+THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_491" id="page_491">{491}</a></span></p>
+
+<div class="figcenter" id="plt_321"><span class="smcap">Plate</span> 321
+<br />
+<a href="images/plt_321.jpg">
+<img src="images/plt_321.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF DON GIL CARRILLO DE ALBORNOZ IN THE CHAPEL
+OF SAN ILDEFONSO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p>
+
+<div class="figcenter" id="plt_322"><span class="smcap">Plate</span> 322
+<br />
+<a href="images/plt_322.jpg">
+<img src="images/plt_322.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SEPULCHRE OF GIL DE ALBORNOZ IN THE CHAPEL OF SAN
+ILDEFONSO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p>
+
+<div class="figcenter" id="plt_323"><span class="smcap">Plate</span> 323
+<br />
+<a href="images/plt_323.jpg">
+<img src="images/plt_323.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. ENTRANCE TO THE CHAPTER ROOM. SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p>
+
+<div class="figcenter" id="plt_324"><span class="smcap">Plate</span> 324
+<br />
+<a href="images/plt_324.jpg">
+<img src="images/plt_324.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_495" id="page_495">{495}</a></span></p>
+
+<div class="figcenter" id="plt_325"><span class="smcap">Plate</span> 325
+<br />
+<a href="images/plt_325.jpg">
+<img src="images/plt_325.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_496" id="page_496">{496}</a></span></p>
+
+<div class="figcenter" id="plt_326"><span class="smcap">Plate</span> 326
+<br />
+<a href="images/plt_326.jpg">
+<img src="images/plt_326.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p>
+
+<div class="figcenter" id="plt_327"><span class="smcap">Plate</span> 327
+<br />
+<a href="images/plt_327.jpg">
+<img src="images/plt_327.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS IN THE CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_498" id="page_498">{498}</a></span></p>
+
+<div class="figcenter" id="plt_328"><span class="smcap">Plate</span> 328
+<br />
+<a href="images/plt_328.jpg">
+<img src="images/plt_328.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_499" id="page_499">{499}</a></span></p>
+
+<div class="figcenter" id="plt_329"><span class="smcap">Plate</span> 329
+<br />
+<a href="images/plt_329.jpg">
+<img src="images/plt_329.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DOORWAY OF THE CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_500" id="page_500">{500}</a></span></p>
+
+<div class="figcenter" id="plt_330"><span class="smcap">Plate</span> 330
+<br />
+<a href="images/plt_330.jpg">
+<img src="images/plt_330.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF A DOORWAY IN THE CHAPTER ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p>
+
+<div class="figcenter" id="plt_331"><span class="smcap">Plate</span> 331
+<br />
+<a href="images/plt_331.jpg">
+<img src="images/plt_331.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CUPBOARD MADE BY GREGORIO PARDO (1549-1551), FOR THE
+ANTECHAMBER OF THE CHAPTER HOUSE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_502" id="page_502">{502}</a></span></p>
+
+<div class="figcenter" id="plt_332"><span class="smcap">Plate</span> 332
+<br />
+<a href="images/plt_332.jpg">
+<img src="images/plt_332.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CUPBOARD IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_503" id="page_503">{503}</a></span></p>
+
+<div class="figcenter" id="plt_333"><span class="smcap">Plate</span> 333
+<br />
+<a href="images/plt_333.jpg">
+<img src="images/plt_333.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A RICH AND GOSSAMER CARVED CEILING IN THE CHAPTER HALL
+SIXTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_504" id="page_504">{504}</a></span></p>
+
+<div class="figcenter" id="plt_334"><span class="smcap">Plate</span> 334
+<br />
+<a href="images/plt_334.jpg">
+<img src="images/plt_334.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CEILING IN THE CHAPTER HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_505" id="page_505">{505}</a></span></p>
+
+<div class="figcenter" id="plt_335"><span class="smcap">Plate</span> 335
+<br />
+<a href="images/plt_335.jpg">
+<img src="images/plt_335.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A CEILING IN THE ANTE-ROOM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_506" id="page_506">{506}</a></span></p>
+
+<div class="figcenter" id="plt_336"><span class="smcap">Plate</span> 336
+<br />
+<a href="images/plt_336.jpg">
+<img src="images/plt_336.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_507" id="page_507">{507}</a></span></p>
+
+<div class="figcenter" id="plt_337"><span class="smcap">Plate</span> 337
+<br />
+<a href="images/plt_337.jpg">
+<img src="images/plt_337.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_508" id="page_508">{508}</a></span></p>
+
+<div class="figcenter" id="plt_338"><span class="smcap">Plate</span> 338
+<br />
+<a href="images/plt_338.jpg">
+<img src="images/plt_338.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PRESENTATION PORTAL IN THE CLOISTER OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_509" id="page_509">{509}</a></span></p>
+
+<div class="figcenter" id="plt_339"><span class="smcap">Plate</span> 339
+<br />
+<a href="images/plt_339.jpg">
+<img src="images/plt_339.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR, BY THE CLOISTERS OF THE CHAPEL, OF THE PLACE OF SEPULTURE
+BUILT BY HENRY II. FOR HIS TOMB</p>
+</div>
+
+<p><span class="pagenum"><a name="page_510" id="page_510">{510}</a></span></p>
+
+<div class="figcenter" id="plt_340"><span class="smcap">Plate</span> 340
+<br />
+<a href="images/plt_340.jpg">
+<img src="images/plt_340.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. PICTURE BY BAYEU IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_511" id="page_511">{511}</a></span></p>
+
+<div class="figcenter" id="plt_341"><span class="smcap">Plate</span> 341
+<br />
+<a href="images/plt_341.jpg">
+<img src="images/plt_341.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF ST. CATHARINE IN THE CLOISTER OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_512" id="page_512">{512}</a></span></p>
+
+<div class="figcenter" id="plt_342"><span class="smcap">Plate</span> 342
+<br />
+<a href="images/plt_342.jpg">
+<img src="images/plt_342.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE GATE OF THE PRESENTATION IN THE CLOISTER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_513" id="page_513">{513}</a></span></p>
+
+<div class="figcenter" id="plt_343"><span class="smcap">Plate</span> 343
+<br />
+<a href="images/plt_343.jpg">
+<img src="images/plt_343.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_514" id="page_514">{514}</a></span></p>
+
+<div class="figcenter" id="plt_344"><span class="smcap">Plate</span> 344
+<br />
+<a href="images/plt_344.jpg">
+<img src="images/plt_344.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF THE RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_515" id="page_515">{515}</a></span></p>
+
+<div class="figcenter" id="plt_345"><span class="smcap">Plate</span> 345
+<br />
+<a href="images/plt_345.jpg">
+<img src="images/plt_345.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A BYZANTINE RELIQUARY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_516" id="page_516">{516}</a></span></p>
+
+<div class="figcenter" id="plt_346"><span class="smcap">Plate</span> 346
+<br />
+<a href="images/plt_346.jpg">
+<img src="images/plt_346.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRES IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_517" id="page_517">{517}</a></span></p>
+
+<div class="figcenter" id="plt_347"><span class="smcap">Plate</span> 347
+<br />
+<a href="images/plt_347.jpg">
+<img src="images/plt_347.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SCULPTURE IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_518" id="page_518">{518}</a></span></p>
+
+<div class="figcenter" id="plt_348"><span class="smcap">Plate</span> 348
+<br />
+<a href="images/plt_348.jpg">
+<img src="images/plt_348.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. BRONZE LECTERN AND BOOKS OF HOLY OFFICE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_519" id="page_519">{519}</a></span></p>
+
+<div class="figcenter" id="plt_349"><span class="smcap">Plate</span> 349
+<br />
+<a href="images/plt_349.jpg">
+<img src="images/plt_349.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A BRONZE PULPIT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_520" id="page_520">{520}</a></span></p>
+
+<div class="figcenter" id="plt_350"><span class="smcap">Plate</span> 350
+<br />
+<a href="images/plt_350.jpg">
+<img src="images/plt_350.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAIL OF A PULPIT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_521" id="page_521">{521}</a></span></p>
+
+<div class="figcenter" id="plt_351"><span class="smcap">Plate</span> 351
+<br />
+<a href="images/plt_351.jpg">
+<img src="images/plt_351.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PULPIT IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_522" id="page_522">{522}</a></span></p>
+
+<div class="figcenter" id="plt_352"><span class="smcap">Plate</span> 352
+<br />
+<a href="images/plt_352.jpg">
+<img src="images/plt_352.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CATHEDRAL BELLS WHICH RING WHEN THE HOST IS ELEVATED</p>
+</div>
+
+<p><span class="pagenum"><a name="page_523" id="page_523">{523}</a></span></p>
+
+<div class="figcenter" id="plt_353"><span class="smcap">Plate</span> 353
+<br />
+<a href="images/plt_353.jpg">
+<img src="images/plt_353.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. STATUE OF DON JUAN II. FIFTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_524" id="page_524">{524}</a></span></p>
+
+<div class="figcenter" id="plt_354"><span class="smcap">Plate</span> 354
+<br />
+<a href="images/plt_354.jpg">
+<img src="images/plt_354.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. ST. FRANCIS OF ASSISI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_525" id="page_525">{525}</a></span></p>
+
+<div class="figcenter" id="plt_355"><span class="smcap">Plate</span> 355
+<br />
+<a href="images/plt_355.jpg">
+<img src="images/plt_355.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A PICTURE BY BAYEU</p>
+</div>
+
+<p><span class="pagenum"><a name="page_526" id="page_526">{526}</a></span></p>
+
+<div class="figcenter" id="plt_356"><span class="smcap">Plate</span> 356
+<br />
+<a href="images/plt_356.jpg">
+<img src="images/plt_356.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_527" id="page_527">{527}</a></span></p>
+
+<div class="figcenter" id="plt_357"><span class="smcap">Plate</span> 357
+<br />
+<a href="images/plt_357.jpg">
+<img src="images/plt_357.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. COVER OF A MISSAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_528" id="page_528">{528}</a></span></p>
+
+<div class="figcenter" id="plt_358"><span class="smcap">Plate</span> 358
+<br />
+<a href="images/plt_358.jpg">
+<img src="images/plt_358.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SILVER SALVER, “THE ABDUCTION OF THE SABINE WOMEN” BY
+BENVENUTO CELLINI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_529" id="page_529">{529}</a></span></p>
+
+<div class="figcenter" id="plt_359"><span class="smcap">Plate</span> 359
+<br />
+<a href="images/plt_359.jpg">
+<img src="images/plt_359.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. CHALICE AND PATEN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_530" id="page_530">{530}</a></span></p>
+
+<div class="figcenter" id="plt_360"><span class="smcap">Plate</span> 360
+<br />
+<a href="images/plt_360.jpg">
+<img src="images/plt_360.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A SHIP THAT BELONGED TO QUEEN JUANA LA LOCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_531" id="page_531">{531}</a></span></p>
+
+<div class="figcenter" id="plt_361"><span class="smcap">Plate</span> 361
+<br />
+<a href="images/plt_361.jpg">
+<img src="images/plt_361.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>MONSTRANCE IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_532" id="page_532">{532}</a></span></p>
+
+<div class="figcenter" id="plt_362"><span class="smcap">Plate</span> 362
+<br />
+<a href="images/plt_362.jpg">
+<img src="images/plt_362.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. SWORD OF ALFONSO VI.</p>
+</div>
+
+<p><span class="pagenum"><a name="page_533" id="page_533">{533}</a></span></p>
+
+<div class="figcenter" id="plt_363"><span class="smcap">Plate</span> 363
+<br />
+<a href="images/plt_363.jpg">
+<img src="images/plt_363.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE ADORATION OF THE KINGS (SILK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_534" id="page_534">{534}</a></span></p>
+
+<div class="figcenter" id="plt_364"><span class="smcap">Plate</span> 364
+<br />
+<a href="images/plt_364.jpg">
+<img src="images/plt_364.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE VEIL OF SANTA LEOCADIA (SILK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_535" id="page_535">{535}</a></span></p>
+
+<div class="figcenter" id="plt_365"><span class="smcap">Plate</span> 365
+<br />
+<a href="images/plt_365.jpg">
+<img src="images/plt_365.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE ASSUMPTION (SILK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_536" id="page_536">{536}</a></span></p>
+
+<div class="figcenter" id="plt_366"><span class="smcap">Plate</span> 366
+<br />
+<a href="images/plt_366.jpg">
+<img src="images/plt_366.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. THE BEHEADING OF SAN EUGENIO (SILK)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_537" id="page_537">{537}</a></span></p>
+
+<div class="figcenter" id="plt_367"><span class="smcap">Plate</span> 367
+<br />
+<a href="images/plt_367.jpg">
+<img src="images/plt_367.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>KUFIC ENTABLATURE IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_538" id="page_538">{538}</a></span></p>
+
+<div class="figcenter" id="plt_368"><span class="smcap">Plate</span> 368
+<br />
+<a href="images/plt_368.jpg">
+<img src="images/plt_368.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A DALMATIC EMBROIDERED IN GOLD AND SILK. SIXTEENTH
+CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_539" id="page_539">{539}</a></span></p>
+
+<div class="figcenter" id="plt_369"><span class="smcap">Plate</span> 369
+<br />
+<a href="images/plt_369.jpg">
+<img src="images/plt_369.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. A CHASUBLE EMBROIDERED IN GOLD AND SILK. SIXTEENTH
+CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_540" id="page_540">{540}</a></span></p>
+
+<div class="figcenter" id="plt_370"><span class="smcap">Plate</span> 370
+<br />
+<a href="images/plt_370.jpg">
+<img src="images/plt_370.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_541" id="page_541">{541}</a></span></p>
+
+<div class="figcenter" id="plt_371"><span class="smcap">Plate</span> 371
+<br />
+<a href="images/plt_371.jpg">
+<img src="images/plt_371.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_542" id="page_542">{542}</a></span></p>
+
+<div class="figcenter" id="plt_372"><span class="smcap">Plate</span> 372
+<br />
+<a href="images/plt_372.jpg">
+<img src="images/plt_372.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_543" id="page_543">{543}</a></span></p>
+
+<div class="figcenter" id="plt_373"><span class="smcap">Plate</span> 373
+<br />
+<a href="images/plt_373.jpg">
+<img src="images/plt_373.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_544" id="page_544">{544}</a></span></p>
+
+<div class="figcenter" id="plt_374"><span class="smcap">Plate</span> 374
+<br />
+<a href="images/plt_374.jpg">
+<img src="images/plt_374.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EFFIGIES OF JUAN GUAS (ARCHITECT OF SAN JUAN DE LOS REYES), HIS WIFE,
+AND CHILDREN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_545" id="page_545">{545}</a></span></p>
+
+<div class="figcenter" id="plt_375"><span class="smcap">Plate</span> 375
+<br />
+<a href="images/plt_375.jpg">
+<img src="images/plt_375.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SCULPTURE IN SAN ANDRES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_546" id="page_546">{546}</a></span></p>
+
+<div class="figcenter" id="plt_376"><span class="smcap">Plate</span> 376
+<br />
+<a href="images/plt_376.jpg">
+<img src="images/plt_376.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>BANNER OF THE SALADO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_547" id="page_547">{547}</a></span></p>
+
+<div class="figcenter" id="plt_377"><span class="smcap">Plate</span> 377
+<br />
+<a href="images/plt_377.jpg">
+<img src="images/plt_377.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. PETER NATANO AND ST. THERESA SCULPTURED IN WOOD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_548" id="page_548">{548}</a></span></p>
+
+<div class="figcenter" id="plt_378"><span class="smcap">Plate</span> 378
+<br />
+<a href="images/plt_378.jpg">
+<img src="images/plt_378.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PLAN OF THE SANTA IGLESIA PRIMADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_549" id="page_549">{549}</a></span></p>
+
+<div class="figcenter" id="plt_379"><span class="smcap">Plate</span> 379
+<br />
+<a href="images/plt_379.jpg">
+<img src="images/plt_379.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA ISABEL. SIDE ALTAR-PIECE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_550" id="page_550">{550}</a></span></p>
+
+<div class="figcenter" id="plt_380"><span class="smcap">Plate</span> 380
+<br />
+<a href="images/plt_380.jpg">
+<img src="images/plt_380.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA ISABEL. DETAIL OF AN ALTAR-PIECE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_551" id="page_551">{551}</a></span></p>
+
+<div class="figcenter" id="plt_381"><span class="smcap">Plate</span> 381
+<br />
+<a href="images/plt_381.jpg">
+<img src="images/plt_381.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PARISH CHURCH OF SANTIAGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_552" id="page_552">{552}</a></span></p>
+
+<div class="figcenter" id="plt_382"><span class="smcap">Plate</span> 382
+<br />
+<a href="images/plt_382.jpg">
+<img src="images/plt_382.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>EXTERIOR OF SANTIAGO DEL ARRABAL. THIRTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_553" id="page_553">{553}</a></span></p>
+
+<div class="figcenter" id="plt_383"><span class="smcap">Plate</span> 383
+<br />
+<a href="images/plt_383.jpg">
+<img src="images/plt_383.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PULPIT IN THE CHURCH OF SANTIAGO DEL ARRABAL, FROM WHICH SAN VICENTE DE
+FERRER PREACHED AGAINST THE JEWS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_554" id="page_554">{554}</a></span></p>
+
+<div class="figcenter" id="plt_384"><span class="smcap">Plate</span> 384
+<br />
+<a href="images/plt_384.jpg">
+<img src="images/plt_384.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PAROCHIAL CHURCH OF SANTIAGO DEL ARRABAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_555" id="page_555">{555}</a></span></p>
+
+<div class="figcenter" id="plt_385"><span class="smcap">Plate</span> 385
+<br />
+<a href="images/plt_385.jpg">
+<img src="images/plt_385.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF SAN TOMÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_556" id="page_556">{556}</a></span></p>
+
+<div class="figcenter" id="plt_386"><span class="smcap">Plate</span> 386
+<br />
+<a href="images/plt_386.jpg">
+<img src="images/plt_386.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF AN ALTAR-PIECE IN THE CHURCH OF THE TRINITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_557" id="page_557">{557}</a></span></p>
+
+<div class="figcenter" id="plt_387"><span class="smcap">Plate</span> 387
+<br />
+<a href="images/plt_387.jpg">
+<img src="images/plt_387.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRES IN THE CHURCH OF ST. PETER THE MARTYR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_558" id="page_558">{558}</a></span></p>
+
+<div class="figcenter" id="plt_388"><span class="smcap">Plate</span> 388
+<br />
+<a href="images/plt_388.jpg">
+<img src="images/plt_388.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF A SEPULCHRE IN THE CHURCH OF ST. PETER THE MARTYR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_559" id="page_559">{559}</a></span></p>
+
+<div class="figcenter" id="plt_389"><span class="smcap">Plate</span> 389
+<br />
+<a href="images/plt_389.jpg">
+<img src="images/plt_389.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHURCH OF ST. PETER THE MARTYR. STATUE OF A KNEELING CANON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_560" id="page_560">{560}</a></span></p>
+
+<div class="figcenter" id="plt_390"><span class="smcap">Plate</span> 390
+<br />
+<a href="images/plt_390.jpg">
+<img src="images/plt_390.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL IN SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_561" id="page_561">{561}</a></span></p>
+
+<div class="figcenter" id="plt_391"><span class="smcap">Plate</span> 391
+<br />
+<a href="images/plt_391.jpg">
+<img src="images/plt_391.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHAPEL IN SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_562" id="page_562">{562}</a></span></p>
+
+<div class="figcenter" id="plt_392"><span class="smcap">Plate</span> 392
+<br />
+<a href="images/plt_392.jpg">
+<img src="images/plt_392.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_563" id="page_563">{563}</a></span></p>
+
+<div class="figcenter" id="plt_393"><span class="smcap">Plate</span> 393
+<br />
+<a href="images/plt_393.jpg">
+<img src="images/plt_393.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRE IN SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_564" id="page_564">{564}</a></span></p>
+
+<div class="figcenter" id="plt_394"><span class="smcap">Plate</span> 394
+<br />
+<a href="images/plt_394.jpg">
+<img src="images/plt_394.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SEPULCHRE IN SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_565" id="page_565">{565}</a></span></p>
+
+<div class="figcenter" id="plt_395"><span class="smcap">Plate</span> 395
+<br />
+<a href="images/plt_395.jpg">
+<img src="images/plt_395.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE CONVENT OF SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_566" id="page_566">{566}</a></span></p>
+
+<div class="figcenter" id="plt_396"><span class="smcap">Plate</span> 396
+<br />
+<a href="images/plt_396.jpg">
+<img src="images/plt_396.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE CONVENT OF SAN JUAN DE LA PENITENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_567" id="page_567">{567}</a></span></p>
+
+<div class="figcenter" id="plt_397"><span class="smcap">Plate</span> 397
+<br />
+<a href="images/plt_397.jpg">
+<img src="images/plt_397.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_568" id="page_568">{568}</a></span></p>
+
+<div class="figcenter" id="plt_398"><span class="smcap">Plate</span> 398
+<br />
+<a href="images/plt_398.jpg">
+<img src="images/plt_398.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_569" id="page_569">{569}</a></span></p>
+
+<div class="figcenter" id="plt_399"><span class="smcap">Plate</span> 399
+<br />
+<a href="images/plt_399.jpg">
+<img src="images/plt_399.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CONVENT OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_570" id="page_570">{570}</a></span></p>
+
+<div class="figcenter" id="plt_400"><span class="smcap">Plate</span> 400
+<br />
+<a href="images/plt_400.jpg">
+<img src="images/plt_400.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ANCIENT SEPULCHRE IN THE CONVENT OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_571" id="page_571">{571}</a></span></p>
+
+<div class="figcenter" id="plt_401"><span class="smcap">Plate</span> 401
+<br />
+<a href="images/plt_401.jpg">
+<img src="images/plt_401.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTO DOMINGO EL REAL, PRINCIPAL ALTAR-PIECE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_572" id="page_572">{572}</a></span></p>
+
+<div class="figcenter" id="plt_402"><span class="smcap">Plate</span> 402
+<br />
+<a href="images/plt_402.jpg">
+<img src="images/plt_402.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DOORWAY OF THE CONVENT OF SAN ANTONIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_573" id="page_573">{573}</a></span></p>
+
+<div class="figcenter" id="plt_403"><span class="smcap">Plate</span> 403
+<br />
+<a href="images/plt_403.jpg">
+<img src="images/plt_403.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_574" id="page_574">{574}</a></span></p>
+
+<div class="figcenter" id="plt_404"><span class="smcap">Plate</span> 404
+<br />
+<a href="images/plt_404.jpg">
+<img src="images/plt_404.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_575" id="page_575">{575}</a></span></p>
+
+<div class="figcenter" id="plt_405"><span class="smcap">Plate</span> 405
+<br />
+<a href="images/plt_405.jpg">
+<img src="images/plt_405.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE INTERIOR OF THE CONVENT OF SAN CLEMENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_576" id="page_576">{576}</a></span></p>
+
+<div class="figcenter" id="plt_406"><span class="smcap">Plate</span> 406
+<br />
+<a href="images/plt_406.jpg">
+<img src="images/plt_406.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_577" id="page_577">{577}</a></span></p>
+
+<div class="figcenter" id="plt_407"><span class="smcap">Plate</span> 407
+<br />
+<a href="images/plt_407.jpg">
+<img src="images/plt_407.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_578" id="page_578">{578}</a></span></p>
+
+<div class="figcenter" id="plt_408"><span class="smcap">Plate</span> 408
+<br />
+<a href="images/plt_408-a.jpg">
+<img src="images/plt_408-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORCH OF SANTA CRUZ</p>
+<br />
+<a href="images/plt_408-b.jpg">
+<img src="images/plt_408-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>THE HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_579" id="page_579">{579}</a></span></p>
+
+<div class="figcenter" id="plt_409"><span class="smcap">Plate</span> 409
+<br />
+<a href="images/plt_409.jpg">
+<img src="images/plt_409.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_580" id="page_580">{580}</a></span></p>
+
+<div class="figcenter" id="plt_410"><span class="smcap">Plate</span> 410
+<br />
+<a href="images/plt_410.jpg">
+<img src="images/plt_410.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURTYARD OF THE HOSPITAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_581" id="page_581">{581}</a></span></p>
+
+<div class="figcenter" id="plt_411"><span class="smcap">Plate</span> 411
+<br />
+<a href="images/plt_411.jpg">
+<img src="images/plt_411.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_582" id="page_582">{582}</a></span></p>
+
+<div class="figcenter" id="plt_412"><span class="smcap">Plate</span> 412
+<br />
+<a href="images/plt_412.jpg">
+<img src="images/plt_412.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>COURT OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_583" id="page_583">{583}</a></span></p>
+
+<div class="figcenter" id="plt_413"><span class="smcap">Plate</span> 413
+<br />
+<a href="images/plt_413.jpg">
+<img src="images/plt_413.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE PORTAL OF THE HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_584" id="page_584">{584}</a></span></p>
+
+<div class="figcenter" id="plt_414"><span class="smcap">Plate</span> 414
+<br />
+<a href="images/plt_414.jpg">
+<img src="images/plt_414.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_585" id="page_585">{585}</a></span></p>
+
+<div class="figcenter" id="plt_415"><span class="smcap">Plate</span> 415
+<br />
+<a href="images/plt_415.jpg">
+<img src="images/plt_415.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_586" id="page_586">{586}</a></span></p>
+
+<div class="figcenter" id="plt_416"><span class="smcap">Plate</span> 416
+<br />
+<a href="images/plt_416.jpg">
+<img src="images/plt_416.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTALS IN THE VESTIBULE OF THE ANCIENT HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_587" id="page_587">{587}</a></span></p>
+
+<div class="figcenter" id="plt_417"><span class="smcap">Plate</span> 417
+<br />
+<a href="images/plt_417.jpg">
+<img src="images/plt_417.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL OF SANTA CRUZ. PORTRAIT OF THE FOUNDER, CARDINAL MENDOZA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_588" id="page_588">{588}</a></span></p>
+
+<div class="figcenter" id="plt_418"><span class="smcap">Plate</span> 418
+<br />
+<a href="images/plt_418.jpg">
+<img src="images/plt_418.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL DE AFUERA. THE COURT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_589" id="page_589">{589}</a></span></p>
+
+<div class="figcenter" id="plt_419"><span class="smcap">Plate</span> 419
+<br />
+<a href="images/plt_419.jpg">
+<img src="images/plt_419.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL DE AFUERA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_590" id="page_590">{590}</a></span></p>
+
+<div class="figcenter" id="plt_420"><span class="smcap">Plate</span> 420
+<br />
+<a href="images/plt_420.jpg">
+<img src="images/plt_420.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL OF ST. JOHN BAPTIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_591" id="page_591">{591}</a></span></p>
+
+<div class="figcenter" id="plt_421"><span class="smcap">Plate</span> 421
+<br />
+<a href="images/plt_421.jpg">
+<img src="images/plt_421.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOSPITAL DE AFUERA. SEPULCHRE OF CARDINAL TAVERA. 1557. ALONZO
+BERRUGUETE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_592" id="page_592">{592}</a></span></p>
+
+<div class="figcenter" id="plt_422"><span class="smcap">Plate</span> 422
+<br />
+<a href="images/plt_422-a.jpg">
+<img src="images/plt_422-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE UNIVERSITY</p>
+<br />
+<a href="images/plt_422-b.jpg">
+<img src="images/plt_422-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>THE UNIVERSITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_593" id="page_593">{593}</a></span></p>
+
+<div class="figcenter" id="plt_423"><span class="smcap">Plate</span> 423
+<br />
+<a href="images/plt_423.jpg">
+<img src="images/plt_423.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAILS OF THE HOUSE OF MUNÁRRIZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_594" id="page_594">{594}</a></span></p>
+
+<div class="figcenter" id="plt_424"><span class="smcap">Plate</span> 424
+<br />
+<a href="images/plt_424-a.jpg">
+<img src="images/plt_424-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GATE OF AL MARDÓM</p>
+<br />
+<a href="images/plt_424-b.jpg">
+<img src="images/plt_424-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>ALTAR OF THE CHURCH OF SAN JUSTO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_595" id="page_595">{595}</a></span></p>
+
+<div class="figcenter" id="plt_425"><span class="smcap">Plate</span> 425
+<br />
+<a href="images/plt_425-a.jpg">
+<img src="images/plt_425-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF THE ARCHBISHOP’S PALACE</p>
+<br />
+<a href="images/plt_425-b.jpg">
+<img src="images/plt_425-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>IN THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_596" id="page_596">{596}</a></span></p>
+
+<div class="figcenter" id="plt_426"><span class="smcap">Plate</span> 426
+<br />
+<a href="images/plt_426-a.jpg">
+<img src="images/plt_426-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CLOISTERS OF SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_426-b.jpg">
+<img src="images/plt_426-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VIEW OF ST. MARTIN’S BRIDGE, LOOKING DOWN THE RIVER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_597" id="page_597">{597}</a></span></p>
+
+<div class="figcenter" id="plt_427"><span class="smcap">Plate</span> 427
+<br />
+<a href="images/plt_427-a.jpg">
+<img src="images/plt_427-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GALLERY OF SAN JUAN DE LOS REYES</p>
+<br />
+<a href="images/plt_427-b.jpg">
+<img src="images/plt_427-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>A MOORISH WORKSHOP</p>
+</div>
+
+<p><span class="pagenum"><a name="page_598" id="page_598">{598}</a></span></p>
+
+<div class="figcenter" id="plt_428"><span class="smcap">Plate</span> 428
+<br />
+<a href="images/plt_428.jpg">
+<img src="images/plt_428.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>HOTEL CASTILLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_599" id="page_599">{599}</a></span></p>
+
+<div class="figcenter" id="plt_429"><span class="smcap">Plate</span> 429
+<br />
+<a href="images/plt_429.jpg">
+<img src="images/plt_429.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE COURTYARD OF THE HOTEL CASTILLA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_600" id="page_600">{600}</a></span></p>
+
+<div class="figcenter" id="plt_430"><span class="smcap">Plate</span> 430
+<br />
+<a href="images/plt_430-a.jpg">
+<img src="images/plt_430-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<a href="images/plt_430-b.jpg">
+<img src="images/plt_430-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VISIGOTH CAPITALS IN THE CHURCH OF SAN SEBASTIAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_601" id="page_601">{601}</a></span></p>
+
+<div class="figcenter" id="plt_431"><span class="smcap">Plate</span> 431
+<br />
+<a href="images/plt_431.jpg">
+<img src="images/plt_431.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM</p>
+
+<table summary="">
+<tr valign="top"><td>
+<p>CAPITAL, FOURTH CENTURY<br /> AFTER THE HEGIRA</p></td>
+<td class="spc">&nbsp; </td>
+<td>
+
+<p>CAPITAL OF SANTIAGO DE LOS CABALLEROS<br /> NEAR THE ALCAZAR.<br /> FOURTH CENTURY
+AFTER THE HEGIRA</p></td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_602" id="page_602">{602}</a></span></p>
+
+<div class="figcenter" id="plt_432"><span class="smcap">Plate</span> 432
+<br />
+<a href="images/plt_432.jpg">
+<img src="images/plt_432.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITAL IN THE ARCHÆOLOGICAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_603" id="page_603">{603}</a></span></p>
+
+<div class="figcenter" id="plt_433"><span class="smcap">Plate</span> 433
+<br />
+<a href="images/plt_433-a.jpg">
+<img src="images/plt_433-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF DADO FOUND NEAR THE BASILICA OF SANTA LEOCADIA</p>
+<br />
+<a href="images/plt_433-b.jpg">
+<img src="images/plt_433-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>WINDOW OF SAN GINÉS</p>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_604" id="page_604">{604}</a></span></p>
+
+<div class="figcenter" id="plt_434"><span class="smcap">Plate</span> 434
+<br />
+<a href="images/plt_434-a.jpg">
+<img src="images/plt_434-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE TABLE IN WHITE MARBLE,
+BELONGING TO THE ALJAMA MOSQUE OF TOLEDO</p>
+<br />
+<a href="images/plt_434-b.jpg">
+<img src="images/plt_434-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE FRAGMENT FOUND AT THE
+“MIRADERO.” CARVED IN WHITE MARBLE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_605" id="page_605">{605}</a></span></p>
+
+<div class="figcenter" id="plt_435"><span class="smcap">Plate</span> 435
+<br />
+<a href="images/plt_435-a.jpg">
+<img src="images/plt_435-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITAL IN THE SOUTH-WEST ANGLE, BELONGING TO THE OLD MOSQUE, NOW THE
+HERMITAGE OF SANTO CRISTO DE LA LUZ</p>
+<br />
+<a href="images/plt_435-b.jpg">
+<img src="images/plt_435-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>THE FIFTH OF THE VISIGOTH CAPITALS OF THE HOSPITAL OF SANTA CRUZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_606" id="page_606">{606}</a></span></p>
+
+<div class="figcenter" id="plt_436"><span class="smcap">Plate</span> 436
+<br />
+<a href="images/plt_436-a.jpg">
+<img src="images/plt_436-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. SKY-LIGHT OR ORNAMENT FOUND AT TOLEDO</p>
+<br />
+<a href="images/plt_436-b.jpg">
+<img src="images/plt_436-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VISIGOTH CAPITAL IN THE PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_607" id="page_607">{607}</a></span></p>
+
+<div class="figcenter" id="plt_437"><span class="smcap">Plate</span> 437
+<br />
+<a href="images/plt_437.jpg">
+<img src="images/plt_437.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD IN THE PARISH CHURCH OF
+SAN ROMÁN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_608" id="page_608">{608}</a></span></p>
+
+<div class="figcenter" id="plt_438"><span class="smcap">Plate</span> 438
+<br />
+<a href="images/plt_438.jpg">
+<img src="images/plt_438.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL PIECES OF THE VISIGOTH PERIOD EXISTING IN THE CITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_609" id="page_609">{609}</a></span></p>
+
+<div class="figcenter" id="plt_439"><span class="smcap">Plate</span> 439
+<br />
+<a href="images/plt_439.jpg">
+<img src="images/plt_439.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_610" id="page_610">{610}</a></span></p>
+
+<div class="figcenter" id="plt_440"><span class="smcap">Plate</span> 440
+<br />
+<a href="images/plt_440-a.jpg">
+<img src="images/plt_440-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITAL OF THE SOUTH-EAST ANGLE BELONGING TO THE ANCIENT MOSQUE, NOW THE
+HERMITAGE OF SANTO CRISTO DE LA LUZ</p>
+<br />
+<a href="images/plt_440-b.jpg">
+<img src="images/plt_440-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>VISIGOTH CAPITAL OF THE OLD PARISH CHURCH OF SAN SEBASTIAN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_611" id="page_611">{611}</a></span></p>
+
+<div class="figcenter" id="plt_441"><span class="smcap">Plate</span> 441
+<br />
+<a href="images/plt_441.jpg">
+<img src="images/plt_441.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. VISIGOTH CAPITALS OF THE CHURCH OF SANTA
+EULALIA. FRAGMENT OF THE DADO OF THE BASILICA OF SANTO LEOCADIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_612" id="page_612">{612}</a></span></p>
+
+<div class="figcenter" id="plt_442"><span class="smcap">Plate</span> 442
+<br />
+<a href="images/plt_442.jpg">
+<img src="images/plt_442.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CAPITALS IN THE ARCHÆOLOGICAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_613" id="page_613">{613}</a></span></p>
+
+<div class="figcenter" id="plt_443"><span class="smcap">Plate</span> 443
+<br />
+<a href="images/plt_443-a.jpg">
+<img src="images/plt_443-a.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PROVINCIAL MUSEUM. CAPITAL OF THE FOURTH CENTURY AFTER THE HEGIRA</p>
+<br />
+<a href="images/plt_443-b.jpg">
+<img src="images/plt_443-b.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+<p>NATIONAL ARCHÆOLOGICAL MUSEUM. ARAB ASTROLABE MADE AT TOLEDO IN THE YEAR
+459 AFTER THE HEGIRA (<small>A.D.</small> 1067)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_614" id="page_614">{614}</a></span></p>
+
+<div class="figcenter" id="plt_444"><span class="smcap">Plate</span> 444
+<br />
+<a href="images/plt_444.jpg">
+<img src="images/plt_444.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_615" id="page_615">{615}</a></span></p>
+
+<div class="figcenter" id="plt_445"><span class="smcap">Plate</span> 445
+<br />
+<a href="images/plt_445.jpg">
+<img src="images/plt_445.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL FRAGMENTS ANTERIOR TO THE MAHOMETAN IRRUPTION, No. 1</p>
+</div>
+
+<p><span class="pagenum"><a name="page_616" id="page_616">{616}</a></span></p>
+
+<div class="figcenter" id="plt_446"><span class="smcap">Plate</span> 446
+<br />
+<a href="images/plt_446.jpg">
+<img src="images/plt_446.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL PARTS AND DECORATIVE REMAINS ANTERIOR TO THE MAHOMETAN
+IRRUPTION, No. 2</p>
+</div>
+
+<p><span class="pagenum"><a name="page_617" id="page_617">{617}</a></span></p>
+
+<div class="figcenter" id="plt_447"><span class="smcap">Plate</span> 447
+<br />
+<a href="images/plt_447.jpg">
+<img src="images/plt_447.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHITECTURAL PARTS AND DECORATIVE FRAGMENTS ANTERIOR TO THE MAHOMETAN
+IRRUPTION, No. 3</p>
+</div>
+
+<p><span class="pagenum"><a name="page_618" id="page_618">{618}</a></span></p>
+
+<div class="figcenter" id="plt_448"><span class="smcap">Plate</span> 448
+<br />
+<a href="images/plt_448.jpg">
+<img src="images/plt_448.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ARCHES OF VARIOUS CHURCHES OF THE FOURTEENTH AND FIFTEENTH CENTURIES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_619" id="page_619">{619}</a></span></p>
+
+<div class="figcenter" id="plt_449"><span class="smcap">Plate</span> 449
+<br />
+<a href="images/plt_449.jpg">
+<img src="images/plt_449.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DENUDATION OF OUR LORD BEFORE THE CRUCIFIXION</p>
+
+<p>EL GRECO</p>
+
+<p>SACRISTY OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_620" id="page_620">{620}</a></span></p>
+
+<div class="figcenter" id="plt_450"><span class="smcap">Plate</span> 450
+<br />
+<a href="images/plt_450.jpg">
+<img src="images/plt_450.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE VIRGIN, ST. ANNE, THE CHILD JESUS AND ST. JOHN</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPEL OF ST. ANNE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_621" id="page_621">{621}</a></span></p>
+
+<div class="figcenter" id="plt_451"><span class="smcap">Plate</span> 451
+<br />
+<a href="images/plt_451.jpg">
+<img src="images/plt_451.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>OUR LADY OF SORROWS</p>
+
+<p>EL GRECO</p>
+
+<p>SACRISTY OF THE NEW KINGS, IN THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_622" id="page_622">{622}</a></span></p>
+
+<div class="figcenter" id="plt_452"><span class="smcap">Plate</span> 452
+<br />
+<a href="images/plt_452.jpg">
+<img src="images/plt_452.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PENTECOST</p>
+
+<p>EL GRECO</p>
+
+<p>CHURCH OF THE TRINITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_623" id="page_623">{623}</a></span></p>
+
+<div class="figcenter" id="plt_453"><span class="smcap">Plate</span> 453
+<br />
+<a href="images/plt_453.jpg">
+<img src="images/plt_453.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>JESUS AND ST. JOHN</p>
+
+<p>EL GRECO</p>
+
+<p>CHURCH OF ST. JOHN THE BAPTIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_624" id="page_624">{624}</a></span></p>
+
+<div class="figcenter" id="plt_454"><span class="smcap">Plate</span> 454
+<br />
+<a href="images/plt_454.jpg">
+<img src="images/plt_454.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ASSUMPTION</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPEL OF SAN JOSÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_625" id="page_625">{625}</a></span></p>
+
+<div class="figcenter" id="plt_455"><span class="smcap">Plate</span> 455
+<br />
+<a href="images/plt_455.jpg">
+<img src="images/plt_455.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MARTIN</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPEL OE SAN JOSÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_626" id="page_626">{626}</a></span></p>
+
+<div class="figcenter" id="plt_456"><span class="smcap">Plate</span> 456
+<br />
+<a href="images/plt_456.jpg">
+<img src="images/plt_456.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE HOLY EUCHARIST. BY EL GRECO CHURCH OF SAN JOSÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_627" id="page_627">{627}</a></span></p>
+
+<div class="figcenter" id="plt_457"><span class="smcap">Plate</span> 457
+<br />
+<a href="images/plt_457.jpg">
+<img src="images/plt_457.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN JOSÉ AND THE CHILD JESUS</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF THE MAGDALENE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_628" id="page_628">{628}</a></span></p>
+
+<div class="figcenter" id="plt_458"><span class="smcap">Plate</span> 458
+<br />
+<a href="images/plt_458.jpg">
+<img src="images/plt_458.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE INTERMENT OF COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+
+<p>CHURCH OF SANTO TOMÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_629" id="page_629">{629}</a></span></p>
+
+<div class="figcenter" id="plt_459"><span class="smcap">Plate</span> 459
+<br />
+<a href="images/plt_459.jpg">
+<img src="images/plt_459.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>DETAIL OF THE INTERMENT OF COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_630" id="page_630">{630}</a></span></p>
+
+<div class="figcenter" id="plt_460"><span class="smcap">Plate</span> 460
+<br />
+<a href="images/plt_460.jpg">
+<img src="images/plt_460.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_631" id="page_631">{631}</a></span></p>
+
+<div class="figcenter" id="plt_461"><span class="smcap">Plate</span> 461
+<br />
+<a href="images/plt_461.jpg">
+<img src="images/plt_461.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_632" id="page_632">{632}</a></span></p>
+
+<div class="figcenter" id="plt_462"><span class="smcap">Plate</span> 462
+<br />
+<a href="images/plt_462.jpg">
+<img src="images/plt_462.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_633" id="page_633">{633}</a></span></p>
+
+<div class="figcenter" id="plt_463"><span class="smcap">Plate</span> 463
+<br />
+<a href="images/plt_463.jpg">
+<img src="images/plt_463.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_634" id="page_634">{634}</a></span></p>
+
+<div class="figcenter" id="plt_464"><span class="smcap">Plate</span> 464
+<br />
+<a href="images/plt_464.jpg">
+<img src="images/plt_464.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_635" id="page_635">{635}</a></span></p>
+
+<div class="figcenter" id="plt_465"><span class="smcap">Plate</span> 465
+<br />
+<a href="images/plt_465.jpg">
+<img src="images/plt_465.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_636" id="page_636">{636}</a></span></p>
+
+<div class="figcenter" id="plt_466"><span class="smcap">Plate</span> 466
+<br />
+<a href="images/plt_466.jpg">
+<img src="images/plt_466.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_637" id="page_637">{637}</a></span></p>
+
+<div class="figcenter" id="plt_467"><span class="smcap">Plate</span> 467
+<br />
+<a href="images/plt_467.jpg">
+<img src="images/plt_467.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ANNUNCIATION</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN NICHOLÁS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_638" id="page_638">{638}</a></span></p>
+
+<div class="figcenter" id="plt_468"><span class="smcap">Plate</span> 468
+<br />
+<a href="images/plt_468.jpg">
+<img src="images/plt_468.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CRUCIFIXION</p>
+
+<p>EL GRECO</p>
+
+<p>SAN NICHOLÁS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_639" id="page_639">{639}</a></span></p>
+
+<div class="figcenter" id="plt_469"><span class="smcap">Plate</span> 469
+<br />
+<a href="images/plt_469.jpg">
+<img src="images/plt_469.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN PEDRO NOLASCO</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN NICHOLÁS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_640" id="page_640">{640}</a></span></p>
+
+<div class="figcenter" id="plt_470"><span class="smcap">Plate</span> 470
+<br />
+<a href="images/plt_470.jpg">
+<img src="images/plt_470.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ASSUMPTION</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN VICENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_641" id="page_641">{641}</a></span></p>
+
+<div class="figcenter" id="plt_471"><span class="smcap">Plate</span> 471
+<br />
+<a href="images/plt_471.jpg">
+<img src="images/plt_471.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SAN EUGENIO</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN VICENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_642" id="page_642">{642}</a></span></p>
+
+<div class="figcenter" id="plt_472"><span class="smcap">Plate</span> 472
+<br />
+<a href="images/plt_472.jpg">
+<img src="images/plt_472.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. PETER</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN VICENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_643" id="page_643">{643}</a></span></p>
+
+<div class="figcenter" id="plt_473"><span class="smcap">Plate</span> 473
+<br />
+<a href="images/plt_473.jpg">
+<img src="images/plt_473.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>JESUS AND THE VIRGIN</p>
+
+<p>EL GRECO</p>
+
+<p>PARISH CHURCH OF SAN VICENTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_644" id="page_644">{644}</a></span></p>
+
+<div class="figcenter" id="plt_474"><span class="smcap">Plate</span> 474
+<br />
+<a href="images/plt_474.jpg">
+<img src="images/plt_474.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ASCENSION</p>
+
+<p>EL GRECO</p>
+
+<p>SANTO DOMINGO EL ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_645" id="page_645">{645}</a></span></p>
+
+<div class="figcenter" id="plt_475"><span class="smcap">Plate</span> 475
+<br />
+<a href="images/plt_475.jpg">
+<img src="images/plt_475.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>A SAINT (? SANTO DOMINGO EL ANTIGUA)</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_646" id="page_646">{646}</a></span></p>
+
+<div class="figcenter" id="plt_476"><span class="smcap">Plate</span> 476
+<br />
+<a href="images/plt_476.jpg">
+<img src="images/plt_476.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE BIRTH OF JESUS</p>
+
+<p>EL GRECO</p>
+
+<p>SANTO DOMINGO EL ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_647" id="page_647">{647}</a></span></p>
+
+<div class="figcenter" id="plt_477"><span class="smcap">Plate</span> 477
+<br />
+<a href="images/plt_477.jpg">
+<img src="images/plt_477.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA VERONICA WITH THE SUDARIUM</p>
+
+<p>EL GRECO</p>
+
+<p>SANTO DOMINGO EL ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_648" id="page_648">{648}</a></span></p>
+
+<div class="figcenter" id="plt_478"><span class="smcap">Plate</span> 478
+<br />
+<a href="images/plt_478.jpg">
+<img src="images/plt_478.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JOHN BAPTIST</p>
+
+<p>EL GRECO</p>
+
+<p>SANTO DOMINGO EL ANTIGUA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_649" id="page_649">{649}</a></span></p>
+
+<div class="figcenter" id="plt_479"><span class="smcap">Plate</span> 479
+<br />
+<a href="images/plt_479.jpg">
+<img src="images/plt_479.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JOHN THE EVANGELIST</p>
+
+<p>EL GRECO</p>
+
+<p>CHURCH OF SANTO DOMINGO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_650" id="page_650">{650}</a></span></p>
+
+<div class="figcenter" id="plt_480"><span class="smcap">Plate</span> 480
+<br />
+<a href="images/plt_480.jpg">
+<img src="images/plt_480.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALTAR-PIECE OF THE CONVENT OF SANTO DOMINGO</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_651" id="page_651">{651}</a></span></p>
+
+<div class="figcenter" id="plt_481"><span class="smcap">Plate</span> 481
+<br />
+<a href="images/plt_481.jpg">
+<img src="images/plt_481.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. FRANCIS OF ASSISI</p>
+
+<p>EL GRECO</p>
+
+<p>COLLEGE OF NOBLE LADIES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_652" id="page_652">{652}</a></span></p>
+
+<div class="figcenter" id="plt_482"><span class="smcap">Plate</span> 482
+<br />
+<a href="images/plt_482.jpg">
+<img src="images/plt_482.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE BAPTISM OF JESUS</p>
+
+<p>EL GRECO</p>
+
+<p>HOSPITAL OF ST. JOHN BAPTIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_653" id="page_653">{653}</a></span></p>
+
+<div class="figcenter" id="plt_483"><span class="smcap">Plate</span> 483
+<br />
+<a href="images/plt_483.jpg">
+<img src="images/plt_483.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF CARDINAL TAVERA</p>
+
+<p>EL GRECO</p>
+
+<p>HOSPITAL OF ST. JOHN BAPTIST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_654" id="page_654">{654}</a></span></p>
+
+<div class="figcenter" id="plt_484"><span class="smcap">Plate</span> 484
+<br />
+<a href="images/plt_484.jpg">
+<img src="images/plt_484.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE HIGH ALTAR OF THE TAVERA HOSPITAL</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_655" id="page_655">{655}</a></span></p>
+
+<div class="figcenter" id="plt_485"><span class="smcap">Plate</span> 485
+<br />
+<a href="images/plt_485.jpg">
+<img src="images/plt_485.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO (LEFT HALF)</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_656" id="page_656">{656}</a></span></p>
+
+<div class="figcenter" id="plt_486"><span class="smcap">Plate</span> 486
+<br />
+<a href="images/plt_486.jpg">
+<img src="images/plt_486.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TOLEDO (RIGHT HALF)</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_657" id="page_657">{657}</a></span></p>
+
+<div class="figcenter" id="plt_487"><span class="smcap">Plate</span> 487
+<br />
+<a href="images/plt_487.jpg">
+<img src="images/plt_487.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF TOLEDO</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_658" id="page_658">{658}</a></span></p>
+
+<div class="figcenter" id="plt_488"><span class="smcap">Plate</span> 488
+<br />
+<a href="images/plt_488.jpg">
+<img src="images/plt_488.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF ANTONIO COVARRUBIAS</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_659" id="page_659">{659}</a></span></p>
+
+<div class="figcenter" id="plt_489"><span class="smcap">Plate</span> 489
+<br />
+<a href="images/plt_489.jpg">
+<img src="images/plt_489.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF THE SON OF COVARRUBIAS</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_660" id="page_660">{660}</a></span></p>
+
+<div class="figcenter" id="plt_490"><span class="smcap">Plate</span> 490
+<br />
+<a href="images/plt_490.jpg">
+<img src="images/plt_490.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE CRUCIFIXION</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_661" id="page_661">{661}</a></span></p>
+
+<div class="figcenter" id="plt_491"><span class="smcap">Plate</span> 491
+<br />
+<a href="images/plt_491.jpg">
+<img src="images/plt_491.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ALLEGORY OF THE VIRGIN</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_662" id="page_662">{662}</a></span></p>
+
+<div class="figcenter" id="plt_492"><span class="smcap">Plate</span> 492
+<br />
+<a href="images/plt_492.jpg">
+<img src="images/plt_492.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF JUAN DE AVILA</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_663" id="page_663">{663}</a></span></p>
+
+<div class="figcenter" id="plt_493"><span class="smcap">Plate</span> 493
+<br />
+<a href="images/plt_493.jpg">
+<img src="images/plt_493.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>OUR SAVIOUR</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_664" id="page_664">{664}</a></span></p>
+
+<div class="figcenter" id="plt_494"><span class="smcap">Plate</span> 494
+<br />
+<a href="images/plt_494.jpg">
+<img src="images/plt_494.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JOHN THE EVANGELIST</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_665" id="page_665">{665}</a></span></p>
+
+<div class="figcenter" id="plt_495"><span class="smcap">Plate</span> 495
+<br />
+<a href="images/plt_495.jpg">
+<img src="images/plt_495.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. PETER</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_666" id="page_666">{666}</a></span></p>
+
+<div class="figcenter" id="plt_496"><span class="smcap">Plate</span> 496
+<br />
+<a href="images/plt_496.jpg">
+<img src="images/plt_496.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MATTHIAS</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_667" id="page_667">{667}</a></span></p>
+
+<div class="figcenter" id="plt_497"><span class="smcap">Plate</span> 497
+<br />
+<a href="images/plt_497.jpg">
+<img src="images/plt_497.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. PHILIP</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_668" id="page_668">{668}</a></span></p>
+
+<div class="figcenter" id="plt_498"><span class="smcap">Plate</span> 498
+<br />
+<a href="images/plt_498.jpg">
+<img src="images/plt_498.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. ANDREW</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_669" id="page_669">{669}</a></span></p>
+
+<div class="figcenter" id="plt_499"><span class="smcap">Plate</span> 499
+<br />
+<a href="images/plt_499.jpg">
+<img src="images/plt_499.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. THOMAS</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_670" id="page_670">{670}</a></span></p>
+
+<div class="figcenter" id="plt_500"><span class="smcap">Plate</span> 500
+<br />
+<a href="images/plt_500.jpg">
+<img src="images/plt_500.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. SIMON</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_671" id="page_671">{671}</a></span></p>
+
+<div class="figcenter" id="plt_501"><span class="smcap">Plate</span> 501
+<br />
+<a href="images/plt_501.jpg">
+<img src="images/plt_501.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MATTHEW</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_672" id="page_672">{672}</a></span></p>
+
+<div class="figcenter" id="plt_502"><span class="smcap">Plate</span> 502
+<br />
+<a href="images/plt_502.jpg">
+<img src="images/plt_502.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. JUDE TADEO</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_673" id="page_673">{673}</a></span></p>
+
+<div class="figcenter" id="plt_503"><span class="smcap">Plate</span> 503
+<br />
+<a href="images/plt_503.jpg">
+<img src="images/plt_503.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>AN APOSTLE</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_674" id="page_674">{674}</a></span></p>
+
+<div class="figcenter" id="plt_504"><span class="smcap">Plate</span> 504
+<br />
+<a href="images/plt_504.jpg">
+<img src="images/plt_504.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>AN APOSTLE</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_675" id="page_675">{675}</a></span></p>
+
+<div class="figcenter" id="plt_505"><span class="smcap">Plate</span> 505
+<br />
+<a href="images/plt_505.jpg">
+<img src="images/plt_505.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>AN APOSTLE</p>
+
+<p>EL GRECO</p>
+
+<p>PROVINCIAL MUSEUM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_676" id="page_676">{676}</a></span></p>
+
+<div class="figcenter" id="plt_506"><span class="smcap">Plate</span> 506
+<br />
+<a href="images/plt_506.jpg">
+<img src="images/plt_506.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE ANNUNCIATION</p>
+
+<p>EL GRECO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_677" id="page_677">{677}</a></span></p>
+
+<div class="figcenter" id="plt_507"><span class="smcap">Plate</span> 507
+<br />
+<a href="images/plt_507.jpg">
+<img src="images/plt_507.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>THE DREAM OF PHILIP II.</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPTER HALL OF THE ESCORIAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_678" id="page_678">{678}</a></span></p>
+
+<div class="figcenter" id="plt_508"><span class="smcap">Plate</span> 508
+<br />
+<a href="images/plt_508.jpg">
+<img src="images/plt_508.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>ST. MAURICE AND THE THEBAN LEGION</p>
+
+<p>EL GRECO</p>
+
+<p>CHAPTER HALL OF THE ESCORIAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_679" id="page_679">{679}</a></span></p>
+
+<div class="figcenter" id="plt_509"><span class="smcap">Plate</span> 509
+<br />
+<a href="images/plt_509.jpg">
+<img src="images/plt_509.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF EL GRECO BY HIMSELF</p>
+
+<p>SEÑOR A. DE BERUETE, MADRID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_680" id="page_680">{680}</a></span></p>
+
+<div class="figcenter" id="plt_510"><span class="smcap">Plate</span> 510
+<br />
+<a href="images/plt_510.jpg">
+<img src="images/plt_510.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>CHRIST DRIVING THE MONEY-CHANGERS FROM THE TEMPLE</p>
+
+<p>EL GRECO</p>
+
+<p>SEÑOR DE BERUETE, MADRID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_681" id="page_681">{681}</a></span></p>
+
+<div class="figcenter" id="plt_511"><span class="smcap">Plate</span> 511
+<br />
+<a href="images/plt_511.jpg">
+<img src="images/plt_511.jpg"
+width="70%"
+
+alt="[Image unavailable.]" /></a>
+
+<p>PORTRAIT OF A STUDENT (EL GRECO?)</p>
+
+<p>EL GRECO</p>
+
+<p>DON PABLO BOSCH, MADRID</p>
+</div>
+
+<p><span class="pagenum"><a name="page_682" id="page_682">{682}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_683" id="page_683">{683}</a></span>&nbsp; </p>
+
+<hr />
+
+<p class="cbig">THE<br />
+
+SPANISH SERIES<br /></p>
+
+<p class="c">Edited by ALBERT F. CALVERT</p>
+
+<p class="nind"><span class="smcap">A new</span> and important series of volumes, dealing with Spain in its various
+aspects, its history, its cities and monuments. Each volume will be
+complete in itself in a uniform binding, and the number and excellence
+of the reproductions from pictures will justify the claim that these
+books comprise the most copiously illustrated series that has yet been
+issued, some volumes having over 300 pages of reproductions of pictures,
+etc.</p>
+
+<p class="c">
+Crown 8vo         Price 3/6 net<br /></p>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+<tr valign="top"><td class="rt">1</td><td>Goya</td><td class="c" valign="bottom" colspan="3">with 600 illustrations</td></tr>
+<tr valign="top"><td class="rt">2</td><td>Toledo</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">510</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">3</td><td>Madrid</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">450</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">4</td><td>Seville</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">300</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">5</td><td>Murillo</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">165</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">6</td><td>Cordova</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">160</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">7</td><td>El Greco</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">140</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">8</td><td>Velazquez</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">142</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">9</td><td>The Prado</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">223</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">10</td><td>The Escorial</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">278</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">11</td><td>Royal Palaces of Spain</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">200</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">12</td><td>Granada and Alhambra</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">460</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">13</td><td>Spanish Arms and Armour</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">386</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">14</td><td>Leon, Burgos and Salamanca</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">462</td><td class="c" valign="bottom">”</td></tr>
+<tr valign="top"><td class="rt">15</td><td>Valladolid, Oviedo,<br /> Segovia Zamora, Avila and Zaragoza</td><td class="c" valign="bottom">”</td><td class="c" valign="bottom">390</td><td class="c" valign="bottom">”</td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_684" id="page_684">{684}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">MURILLO</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES</p>
+
+<p>While the names of Murillo and Velazquez are inseparably linked in the
+history of Art as Spain’s immortal contribution to the small band of
+world-painters, the great Court-Painter to Philip IV. has ever received
+the lion’s share of public attention. Many learned and critical works
+have been written about Murillo, but whereas Velazquez has been
+familiarised to the general reader by the aid of small, popular
+biographies, the niche is still empty which it is hoped that this book
+will fill.</p>
+
+<p>In this volume the attempt has been made to show the painter’s art in
+its relation to the religious feeling of the age in which he lived, and
+his own feeling towards his art. Murillo was the product of his
+religious era, and of his native province, Andalusia. To Europe in his
+lifetime he signified little or nothing. He painted to the order of the
+religious houses in his immediate vicinity; his works were immured in
+local monasteries and cathedrals, and, passing immediately out of
+circulation, were forgotten or never known.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">SPANISH ARMS AND ARMOUR</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
+ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY
+SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN</p>
+
+<p>Although several valuable and voluminous catalogues of the Spanish Royal
+Armoury have, from time to time, been compiled, this “finest collection
+of armour in the world” has been subjected so often to the disturbing
+influences of fire, removal, and re-arrangement, that no hand catalogue
+of the Museum is available, and this book has been designed to serve
+both as a historical souvenir of the institution and a record of its
+treasures.</p>
+
+<p>The various exhibits with which the writer illustrates his narrative are
+reproduced to the number of nearly 400 on art paper, and the selection
+of weapons and armour has been made with a view not only to render the
+series interesting to the general reader, but to present a useful text
+book for the guidance of artists, sculptors, antiquaries, costumiers,
+and all who are engaged in the reproduction or representation of
+European armoury.<span class="pagenum"><a name="page_685" id="page_685">{685}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">THE ESCORIAL</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
+MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
+FROM PICTURES AND PHOTOGRAPHS</p>
+
+<p>The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
+its gaunt, grey walls in one of the bleakest but most imposing districts
+in the whole of Spain, was erected to commemorate a victory over the
+French in 1557. It was occupied and pillaged by the French two and
+a-half centuries later, and twice it has been greatly diminished by
+fire; but it remains to-day, not only the incarnate expression of the
+fanatic religious character and political genius of Philip II., but the
+greatest mass of wrought granite which exists on earth, the leviathan of
+architecture, the eighth wonder of the world.</p>
+
+<p>In the text of this book the author has endeavoured to reconstitute the
+glories and tragedies of the living past of the Escorial, and to
+represent the wonders of the stupendous edifice by reproductions of over
+two hundred and seventy of the finest photographs and pictures
+obtainable. Both as a review and a pictorial record it is hoped that the
+work will make a wide appeal among all who are interested in the
+history, the architecture, and the art of Spain.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">TOLEDO</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
+510 ILLUSTRATIONS</p>
+
+<p>The origin of Imperial Toledo, “the crown of Spain, the light of the
+world, free from the time of the mighty Goths,” is lost in the
+impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
+city has been described by Wörmann as “a gigantic open-air museum of the
+architectural history of early Spain, arranged upon a lofty and
+conspicuous table of rock.”</p>
+
+<p>But while some writers have declared that Toledo is a theatre with the
+actors gone and only the scenery left, the author does not share the
+opinion. He believes that the power and virility upon which Spain built
+up her greatness is reasserting itself. The machinery of the theatre of
+Toledo is rusty, the pulleys are jammed from long disuse, but the
+curtain is rising steadily if slowly, and already can be heard the
+tuning-up of fiddles in its ancient orchestra.</p>
+
+<p>In this belief the author of this volume has not only set forth the
+story of Toledo’s former greatness, but has endeavoured to place before
+his readers a panorama of the city as it appears to-day, and to show
+cause for his faith in the greatness of the Toledo of the future.<span class="pagenum"><a name="page_686" id="page_686">{686}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">SEVILLE</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS</p>
+
+<p>Seville, which has its place in mythology as the creation of Hercules,
+and was more probably founded by the Phœnicians, which became
+magnificent under the Roman rule, was made the capital of the Goths,
+became the centre of Moslem power and splendour, and fell before the
+military prowess of St. Ferdinand, is still the Queen of Andalusia, the
+foster-mother of Velazquez and Murillo, the city of poets and pageantry
+and love.</p>
+
+<p>Seville is always gay, and responsive and fascinating to the receptive
+visitor, and all sorts of people go there with all sorts of motives. The
+artist repairs to the Andalusian city to fill his portfolio; the lover
+of art makes the pilgrimage to study Murillo in all his glory. The
+seasons of the Church attract thousands from reasons of devotion or
+curiosity. And of all these myriad visitors, who go with their minds
+full of preconceived notions, not one has yet confessed to being
+disappointed in Seville.</p>
+
+<p>The author has here attempted to convey in the illustrations an
+impression of this laughing city where all is gaiety and mirth and
+ever-blossoming roses, where the people pursue pleasure as the serious
+business of life in an atmosphere of exhilarating enjoyment.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">THE PRADO</p>
+
+<p>A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
+WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY
+SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG</p>
+
+<p>This volume is an attempt to supplement the accurate but formal notes
+contained in the official catalogue of a picture gallery which is
+considered the finest in the world. It has been said that the day one
+enters the Prado for the first time is an important event like marriage,
+the birth of a child, or the coming into an inheritance; an experience
+of which one feels the effects to the day of one’s death.</p>
+
+<p>The excellence of the Madrid gallery is the excellence of exclusion; it
+is a collection of magnificent gems. Here one becomes conscious of a
+fresh power in Murillo, and is amazed anew by the astonishing apparition
+of Velazquez; here is, in truth, a rivalry of miracles of art.</p>
+
+<p>The task of selecting pictures for reproduction from what is perhaps the
+most splendid gallery of old masters in existence, was one of no little
+difficulty, but it is believed that the collection is representative,
+and that the letterpress will form a serviceable companion to the
+visitor to The Prado.<span class="pagenum"><a name="page_687" id="page_687">{687}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">GRANADA AND THE ALHAMBRA</p>
+
+<p>A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
+ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
+MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION
+TO H.I.M. THE EMPRESS EUGÉNIE</p>
+
+<p>This volume is the third and abridged edition of a work which the author
+was inspired to undertake by the surpassing loveliness of the Alhambra,
+and by his disappointment in the discovery that no such thing as an even
+moderately adequate illustrated souvenir of “this glorious sanctuary of
+Spain” was obtainable. Keenly conscious of the want himself, he essayed
+to supply it, and the result is a volume that has been acclaimed with
+enthusiasm alike by critics, artists, architects, and archæologists.</p>
+
+<p>In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
+may be likened to an exquisite opera which can only be appreciated to
+the full when one is under the spell of its magic influence. But as the
+witchery of an inspired score can be recalled by the sound of an air
+whistled in the street, so&mdash;it is my hope&mdash;the pale ghost of the Moorish
+fairy-land may live again in the memories of travellers through the
+medium of this pictorial epitome.”</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">EL GRECO</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140
+OF HIS PICTURES</p>
+
+<p>In a Series such as this, which aims at presenting every aspect of
+Spain’s eminence in art and in her artists, the work of Domenico
+Theotocópuli must be allotted a volume to itself. “El Greco,” as he is
+called, who reflects the impulse, and has been said to constitute the
+supreme glory of the Venetian era, was a Greek by repute, a Venetian by
+training, and a Toledan by adoption. His pictures in the Prado are still
+catalogued among those of the Italian School, but foreigner as he was,
+in his heart he was more Spanish than the Spaniards.</p>
+
+<p>El Greco is typically, passionately, extravagantly Spanish, and with his
+advent, Spanish painting laid aside every trace of Provincialism, and
+stepped forth to compel the interest of the world. Neglected for many
+centuries, and still often misjudged, his place in art is an assured
+one. It is impossible to present him as a colourist in a work of this
+nature, but the author has got together reproductions of no fewer than
+140 of his pictures&mdash;a greater number than has ever before been
+published of El Greco’s works.<span class="pagenum"><a name="page_688" id="page_688">{688}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">VELAZQUEZ</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
+PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES</p>
+
+<p>Diego Rodriguez de Silva y Velazquez&mdash;“our Velazquez,” as Palomino
+proudly styles him&mdash;has been made the subject of innumerable books in
+every European language, yet the Editor of this Spanish Series feels
+that it would not be complete without the inclusion of yet another
+contribution to the broad gallery of Velazquez literature.</p>
+
+<p>The great Velazquez, the eagle in art&mdash;subtle, simple, incomparable&mdash;the
+supreme painter, is still a guiding influence of the art of to-day. This
+greatest of Spanish artists, a master not only in portrait painting, but
+in character and animal studies, in landscapes and historical subjects,
+impressed the grandeur of his superb personality upon all his work.
+Spain, it has been said, the country whose art was largely borrowed,
+produced Velazquez, and through him Spanish art became the light of a
+new artistic life.</p>
+
+<p>The author cannot boast that he has new data to offer, but he has put
+forward his conclusions with modesty; he has reproduced a great deal
+that is most representative of the artist’s work; and he has endeavoured
+to keep always in view his object to present a concise, accurate, and
+readable life of Velazquez.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">ROYAL PALACES OF SPAIN</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
+THE SPANISH KINGS. PROFUSELY ILLUSTRATED</p>
+
+<p>Spain is beyond question the richest country in the world in the number
+of its Royal Residences, and while few are without artistic importance,
+all are rich in historical memories. Thus, from the Alcazar at Seville,
+which is principally associated with Pedro the Cruel, to the Retiro,
+built to divert the attention of Philip IV. from his country’s decay;
+from the Escorial, in which the gloomy mind of Philip II. is perpetuated
+in stone, to La Granja, which speaks of the anguish and humiliation of
+Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
+Rio Frio, and from El Pardo, darkened by the agony of a good king, to
+Miramar, to which a widowed Queen retired to mourn: all the history of
+Spain, from the splendid days of Charles V. to the present time, is
+crystallised in the Palaces that constitute the patrimony of the Crown.</p>
+
+<p>The Royal Palaces of Spain are open to visitors at stated times, and it
+is hoped that this volume, with its wealth of illustrations, will serve
+the visitor both as a guide and a souvenir.<span class="pagenum"><a name="page_689" id="page_689">{689}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS</p>
+
+<p>The glory of Valladolid has departed, but the skeleton remains, and
+attached to its ancient stones are the memories that Philip II. was born
+here, that here Cervantes lived, and Christopher Columbus died. In this
+one-time capital of Spain, in the Plaza Mayor, the fires of the Great
+Inquisition were first lighted, and here Charles V. laid the foundation
+of the Royal Armoury, which was afterwards transferred to Madrid.</p>
+
+<p>More than seven hundred years have passed since Oviedo was the proud
+capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
+though no longer great, has still all the appurtenances of greatness,
+and with her granite massiveness and austerity, she remains an
+aristocrat even among the aristocracy of Spanish cities. Zamora, which
+has a history dating from time almost without date, was the key of Leon
+and the centre of the endless wars between the Moors and the Christians,
+which raged round it from the eighth to the eleventh centuries.</p>
+
+<p>In this volume the author has striven to re-create the ancient greatness
+of these six cities, and has preserved their memories in a wealth of
+excellent and interesting illustrations.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">LEON, BURGOS AND SALAMANCA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS</p>
+
+<p>In Leon, once the capital of the second kingdom in Spain; in Burgos,
+which boasts one of the most magnificent cathedrals in Spain, and the
+custodianship of the bones of the Cid; and in Salamanca, with its
+university, which is one of the oldest in Europe, the author has
+selected three of the most interesting relics of ancient grandeur in
+this country of departed greatness.</p>
+
+<p>Leon to-day is nothing but a large agricultural village, torpid, silent,
+dilapidated; Burgos, which still retains traces of the Gotho-Castilian
+character, is a gloomy and depleting capital: and Salamanca is a city of
+magnificent buildings, a broken hulk, spent by the storms that from time
+to time have devastated her.</p>
+
+<p>Yet apart from the historical interest possessed by these cities, they
+still make an irresistible appeal to the artist and the antiquary. They
+are content with their stories of old-time greatness and their
+cathedrals, and these ancient architectural splendours, undisturbed by
+the touch of a modernising and renovating spirit, continue to attract
+the visitor.<span class="pagenum"><a name="page_690" id="page_690">{690}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">MADRID</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450
+ILLUSTRATIONS</p>
+
+<p>Madrid is at once one of the most interesting and most maligned cities
+in Europe. It stands at an elevation of 2,500 feet above the sea level,
+in the centre of an arid, treeless, waterless, and wind-blown plain; but
+whatever may be thought of the wisdom of selecting a capital in such a
+situation, one cannot but admire the uniqueness of its position, and the
+magnificence of its buildings, and one is forced to admit that, having
+fairly entered the path of progress, Madrid bids fair to become one of
+the handsomest and most prosperous of European cities.</p>
+
+<p>The splendid promenades, the handsome buildings, and the spacious
+theatres combine to make Madrid one of the first cities of the world,
+and the author has endeavoured with the aid of the camera, to place
+every feature and aspect of the Spanish metropolis before the reader.
+Some of the illustrations reproduced here have been made familiar to the
+English public by reason of the interesting and stirring events
+connected with the Spanish Royal Marriage, but the greater number were
+either taken by the author, or are the work of photographers specially
+employed to obtain new views for the purpose of this volume.</p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">GOYA</p>
+
+<p>A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS
+PICTURES</p>
+
+<p>The last of the old masters and the first of the moderns, as he has been
+called, Francisco José de Goya y Lucientes is not so familiarised to
+English readers as his genius deserves. He was born at a time when the
+tradition of Velazquez was fading, and the condition of Spanish painting
+was debased almost beyond hope of salvation; he broke through the
+academic tradition of imitation; “he, next to Velazquez, is to be
+accounted as the man whom the Impressionists of our time have to thank
+for their most definite stimulus, their most immediate inspiration.”</p>
+
+<p>The genius of Goya was a robust, imperious, and fulminating genius; his
+iron temperament was passionate, dramatic, and revolutionary; he painted
+a picture as he would have fought a battle. He was an athletic, warlike,
+and indefatigable painter; a naturalist like Velazquez; fantastic like
+Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
+Spanish genius.</p>
+
+<p>It is impossible to reproduce his colouring; but in the reproductions of
+his works the author has endeavoured to convey to the reader some idea
+of Goya’s boldness of style, his mastery of frightful shadows and
+mysterious lights, and his genius for expressing all terrible emotions.<span class="pagenum"><a name="page_691" id="page_691">{691}</a></span></p>
+
+<hr />
+
+<p class="cun"><i>UNIFORM WITH THIS VOLUME</i></p>
+
+<p class="cbig">CORDOVA</p>
+
+<p>A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
+CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS</p>
+
+<p>Gay-looking, vivacious in its beauty, silent, ill-provided, depopulated,
+Cordova was once the pearl of the West, the city of cities, Cordova of
+the thirty suburbs and three thousand mosques; to-day she is no more
+than an overgrown village, but she still remains the most Oriental town
+in Spain.</p>
+
+<p>Cordova, once the centre of European civilisation, under the Moors the
+Athens of the West, the successful rival of Baghdad and Damascus, the
+seat of learning and the repository of the arts, has shrunk to the
+proportions of a third-rate provincial town; but the artist, the
+antiquary and the lover of the beautiful, will still find in its streets
+and squares and patios a mysterious spell that cannot be resisted.</p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="cbig">LIFE OF CERVANTES</p>
+
+<p>A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY
+OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND
+REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”</p>
+
+<p class="c">
+Size Crown 8 vo.      150 pp.       Price 3/6 net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“A popular and accessible account of the career of Cervantes.”&mdash;<i>Daily
+Chronicle.</i></p>
+
+<p>“A very readable and pleasant account of one of the great writers of all
+time.”&mdash;<i>Morning Leader.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> is entitled to the gratitude of book-lovers for his
+industrious devotion at one of our greatest literary
+shrines.”&mdash;<i>Birmingham Post.</i></p>
+
+<p>“It is made trebly interesting by the very complete set of Cervantes’
+portraits it contains, and by the inclusion of a valuable
+bibliography.”&mdash;<i>Black and White.</i></p>
+
+<p>“We recommend the book to all those to whom Cervantes is more than a
+mere name.”&mdash;<i>Westminster Gazette.</i></p>
+
+<p>“A most interesting résumé of all facts up to the present time
+known.”&mdash;<i>El Nervion de Bilbao, Spain.</i></p>
+
+<p>“The most notable work dedicated to the immortal author of <i>Don Quixote</i>
+that has been published in England.”&mdash;<i>El Graduador, Spain.</i></p>
+
+<p>“Although the book is written in English no Spaniard could have written
+it with more conscientiousness and enthusiasm.”&mdash;<i>El Defensor de
+Granada, Spain.</i><span class="pagenum"><a name="page_692" id="page_692">{692}</a></span></p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="cbig">THE ALHAMBRA</p>
+
+<p>OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE
+REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS,
+TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE
+AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND
+NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY
+PERMISSION TO H.M. KING ALFONSO XIII.</p>
+
+<p class="c">
+Size 10 x 7½.        Price £2 2s. net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“It is hardly too much to say that this is one of the most magnificent
+books ever issued from the English Press.”&mdash;<i>Building World.</i></p>
+
+<p>“One is really puzzled where to begin and when to stop in praising the
+illustrations.”&mdash;<i>Bookseller.</i></p>
+
+<p>“The most complete record of this wonder of architecture which has ever
+been contemplated, much less attempted.”&mdash;<i>British Architect.</i></p>
+
+<p>“A treasure to the student of decorative art.”&mdash;<i>Morning Advertiser.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has given us a Book Beautiful.”&mdash;<i>Western Daily Press.</i></p>
+
+<p>“It is the last word on the subject, no praise is too
+high.”&mdash;<i>Nottingham Express.</i></p>
+
+<p>“May be counted among the more important art books which have been
+published during recent years.”&mdash;<i>The Globe.</i></p>
+
+<p>“Has a pride of place that is all its own among the books of the
+month.”&mdash;<i>Review of Reviews.</i></p>
+
+<p>“Has in many respects surpassed any books on the Alhambra which up to
+the present have appeared in our own country or abroad.”&mdash;<i>El Graduador,
+Spain.</i></p>
+
+<p>“It is one of the most beautiful books of modern times.”&mdash;<i>Ely Gazette.</i></p>
+
+<p>“One of the most artistic productions of the year.”&mdash;<i>Publishers’
+Circular.</i></p>
+
+<p>“The most beautiful book on the Alhambra issued in England.”&mdash;<i>Sphere.</i></p>
+
+<p>“The standard work on a splendid subject.”&mdash;<i>Daily Telegraph.</i></p>
+
+<p>“A remarkable masterpiece of book production.”&mdash;<i>Eastern Daily Press.</i></p>
+
+<p>“A perfect treasure of beauty and delight.”&mdash;<i>Keighley News.</i></p>
+
+<p>“A magnificent work.”&mdash;<i>Melbourne Age, Australia.</i></p>
+
+<p>“Immense collection of fine plates.”&mdash;<i>The Times.</i></p>
+
+<p>“A standard work, the compilation of which would credit a life’s
+labour.”&mdash;<i>Hull Daily Mail.</i><span class="pagenum"><a name="page_693" id="page_693">{693}</a></span></p>
+
+<hr />
+
+<p class="c">BY ALBERT F. CALVERT</p>
+
+<p class="cbig">MOORISH REMAINS IN SPAIN</p>
+
+<p>BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE
+PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND
+DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY
+COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS,
+ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.</p>
+
+<p class="c">
+Crown 4to. (7½ × 10 ins.)       Price £2 2s. net<br />
+</p>
+
+<p class="c">PRESS NOTICES</p>
+
+<p>“The making of this book must surely have been a veritable labour of
+love; and love’s labour has certainly not been lost.”&mdash;<i>Pall Mall
+Gazette.</i></p>
+
+<p>“The best age of Moorish architecture in Spain is shown with remarkable
+vividness and vitality.”&mdash;<i>The Scotsman.</i></p>
+
+<p>“A most gorgeous book.... We cheerfully admit Mr. <span class="smcap">Calvert</span> into the ranks
+of those whom posterity will applaud for delightful yet unprofitable
+work.”&mdash;<i>Outlook.</i></p>
+
+<p>“A large and sumptuous volume.”&mdash;<i>Tribune.</i></p>
+
+<p>“The illustrations are simply marvels of reproduction.”&mdash;<i>Dundee
+Advertiser.</i></p>
+
+<p>“One of the books to which a simple literary review cannot pretend to do
+justice.”&mdash;<i>Spectator.</i></p>
+
+<p>“A special feature of a work of peculiar interest and value are the
+illustrations.”&mdash;<i>Newcastle Chronicle.</i></p>
+
+<p>“The illustrations are given with a minuteness and faithfulness of
+detail, and colour, which will be particularly appreciated and
+acknowledged by those who are most acquainted with the subject
+themselves.”&mdash;<i>Liverpool Post.</i></p>
+
+<p>“It is impossible to praise too highly the care with which the
+illustrations have been prepared.”&mdash;<i>Birmingham Daily Post.</i></p>
+
+<p>“It is illustrated with so lavish a richness of colour that to turn its
+pages gives one at first almost the same impression of splendour as one
+receives in wandering from hall to hall of the Alcazar of Seville; and
+this is probably the highest compliment we could pay to the book or its
+author.”&mdash;<i>Academy.</i></p>
+
+<p>“It is certainly one of the most interesting books of the
+year.”&mdash;<i>Crown.</i></p>
+
+<p>“The occasional delicacy of design and harmony of colour can scarcely be
+surpassed ... a valuable and profusely illustrated volume.”&mdash;<i>Guardian.</i></p>
+
+<p>“An excellent piece of work.”&mdash;<i>The Times.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has performed a useful work.”&mdash;<i>Daily Telegraph.</i></p>
+
+<p>“A truly sumptuous volume.”&mdash;<i>The Speaker.</i></p>
+
+<p>“Mr. <span class="smcap">Calvert</span> has given a very complete account of the evolution of
+Moresco art.”&mdash;<i>The Connoisseur.</i></p>
+
+<div class="footnotes"><p class="cb">FOOTNOTES:</p>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> This spelling of his name resembles most that used by
+himself.</p></div>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> The exact contents are as follows:
+</p>
+
+<p class="c">
+“<span class="smcap">Al Card. Farnese</span>&mdash;Viterbo.<br />
+</p>
+
+<p class="rt">
+“A’ di 16 di Nouembre, 1570.<br />
+</p>
+
+<p>
+“E’ capitato in Roma un giouane Candiotto discepolo di Titiano, che á
+mio giuditio parmi raro nella pittura; e fra l’altre cose egli ha fatto
+un ritratto da se stesso, che fa stupire tutti questi Pittori di Roma.
+Io vorrei tratenerlo sotto l’ombra de V.S. Illma. et Revma. senza spesa
+altra del vivere, ma solo de una stanza nell Palazzo Farnese per qualche
+poco di tempo, cioé per fin che egli si venghi ad accomodare meglio.
+Pero La prego et supplico sia contenta di scrivere al Conte Lodovico suo
+Maiordomo, che lo provegghi nel detto Palazzo di qualche stanza ad alto;
+che V.S. Illma. fará un’ opera virtuosa degna di Lei, e io gliene terro
+obligo. Et le bascio con reverenza le mani.
+</p><p>
+“Di V.S. Illma. et Revma. humilissimo servitore.
+</p>
+
+<p class="rt">
+“<span class="smcap">Julio Clovio.</span>”<br />
+</p>
+
+</div>
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> The record of his burial, discovered by Señor de Beruete in
+the register of the parish church of Santo Tomé, is brief: “Libro de
+entierros de Santo Tomé de 1601-1614, en siete del Abril del 1614
+falescio Domeniko Greco. No hizo testamento, recibo los sacramentos, en
+teroso en Santo Domingo el Antigua.”</p></div>
+
+<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> Two judges were appointed to settle the dispute, which
+arose from the introduction of the three Marys into the picture. The
+Chapter objected to their presence. El Greco’s defence was
+characteristic enough&mdash;What did it matter? and, besides, the women were
+a long way off. The judges disagreed; whereupon the dispute was settled
+by Alezo de Montoyo as follows:
+</p><p>
+“Having seen the said painting which has been executed by the said
+Domeniko, and the appraisements of the judge appointed by both parties,
+and other persons who understand the said painting, its execution and
+admirable finish; and the reasons which the said judges have given; and
+seeing that the said painting is one of the best that I have seen; and
+that, if it were to be estimated for all its valuable qualities, it
+would be valued at a much higher sum, which but few would care to pay
+for it; but, in view of the nature of the times and the price paid
+generally for the paintings of great artists in Castile; and in view of,
+and taking into consideration all the above and all other points that
+were necessary, I find that I must order, and I do order, that for the
+said painting the said Garcia de Loaysa, in the name of the said Holy
+Church, shall give and pay to the said Domeniko Theotokopuli three
+thousand and five hundred reals: and above this sum the said Domeniko
+Theotokopuli cannot ask, nor must he ask, for anything more for the said
+painting; and as regards the judges for the said workers, they say that
+it is improper for the Marys to be introduced into the story; as regards
+this I am sending the declaration of it to some theologians versed in
+such matters, that they may decide upon it.”</p></div>
+
+<div class="footnote"><p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> This is another rendering of the same picture; and still
+another is in the collection of Señor de Beruete, Madrid.</p></div>
+
+<div class="footnote"><p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6"><span class="label">[F]</span></a> This picture passed into the collection of the Infanta Doña
+Isabel Farnese, and is now in the Museo del Prado. The ‘Assumption’ in
+the Church of Santo Domingo el Antigua is a poor copy of the original
+picture.</p></div>
+
+<div class="footnote"><p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7"><span class="label">[G]</span></a> The picture was painted for the altar of St. Maurice, but
+it was rejected by Philip II., and the commission given to a third-rate
+Italian. To-day the picture hangs in the Sala Capitulare.</p></div>
+
+<div class="footnote"><p><a name="Footnote_H_8" id="Footnote_H_8"></a><a href="#FNanchor_H_8"><span class="label">[H]</span></a> This likeness is more striking even in another ‘Coronation
+of the Virgin,’ by El Greco, in the collection of Colonel P. Bosch,
+Madrid.</p></div>
+
+<div class="footnote"><p><a name="Footnote_I_9" id="Footnote_I_9"></a><a href="#FNanchor_I_9"><span class="label">[I]</span></a> Some authorities name these saints Sta. Inez and Sta.
+Feda.</p></div>
+
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