Part 2

La Cartuja de Miraflores: Choir Stalls, 241

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

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

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

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

La Cartuja: Tomb of the Infante, 246

La Cartuja: Compartment of King’s Tomb, 247

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

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

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

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

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

Cathedral and La Cartuja: Effigies from Tombs, 253

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

Convent of Las Huelgas: View of the Temple, 255

Convent of Las Huelgas: Façade of the Monastery, 256

Convent of Las Huelgas: Patio de San Fernando, 257

Convent of Las Huelgas: Entrance to the Church, 258

Convent of Las Huelgas, 259

Church of Las Huelgas, 260

A Sepulchre in the Convent of Las Huelgas, 261

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

Cloisters and Sepulchre in the Convent of Las Huelgas, 263

A Sepulchre in the Convent of Las Huelgas, 264

A Sepulchre in the Convent of Las Huelgas, 265

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

Convent of Las Huelgas: View of the Choir, 267

Convent of Las Huelgas: The Cloisters, 268

Convent of Las Huelgas: Cloisters of San Fernando, 269

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

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

Convent of la Huelgas: The Cloisters, 272

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

Gate of the King’s Hospital, 274

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

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

Cloisters in the Monastery of Santo Domingo de Silos, 277

Monastery of Santo Domingo de Silas (Silos), 278

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

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

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

The Arch of Fernan Gonzalez, 282

Gate of the Hospital of St. John, 283

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

Gate of the House of the ‘Cordon,’ 285

House of the ‘Cordon,’ 286

Church of San Gil: Chapel of the Nativity, 287

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

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

Gate of the Church of San Lesmes, 290

Altar-piece in San Lesmes, 291

Porch of the Church of San Estéban, 292

Entrance to the Parish Church of San Nicolás, 293

Altar-piece in San Nicolás de Bari, 294

Archway of Santa Maria, Sixteenth Century, 295

Gate of Santa Maria, 296

The Arco de Santa Maria, 297

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

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

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

Provincial Museum: Sepulchre of Don Juan de Padilla, 301

Interior View of the Provincial Museum, 302

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

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

Coffin of Briviesca: Preserved in the Provincial Museum, 305

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

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

Church of Gamonal, 308

Interior of the Church of Gamonal, 309

Portal of the Church of the Villa de Sasamón, 310

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

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

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

Monastery of Fresdelval: Portal, 314

Monastery of Fresdelval: Hospice, 315

Monastery of Fresdelval: Cloisters, 316

Monastery of Fresdelval: Window in the Ruined Temple, 317

Monastery of Fresdelval: Window in the Ruined Temple, 318

Olmillos Castle, 319

A Courtyard, 320

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

Lerma: The College, 322

Lerma: Interior of the Collegiate Church, 323

Lerma: Sepulchre of the Cardinal Duke of Lerma, 324

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

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

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

Bridge of Horadada, 328

SALAMANCA

Cathedral, from the East, 329

General View from the School, 330

General View of Salamanca, 331

General View of Salamanca, 332

A Portion of Salamanca, 333

Roman Bridge over the Tormes, 334

Bridge of Bejar, 335

View of the Ancient Wall, 336

Principal Nave of the Old Cathedral, 337

Nave of Cross-aisle of the Old Cathedral, 338

Sepulchres in the Old Cathedral, 339

Longitudinal Section of the Old Cathedral, 340

Sepulchres in the Old Cathedral, 341

Sepulchres in the Cross-aisle, Old Cathedral, 342

Sepulchre in the Cloisters of the Old Cathedral, 343

Sepulchre in the Cloisters of the Old Cathedral, 344

Sepulchre in the Cloisters of the Old Cathedral, 345

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

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

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

Capitals and Effigies in the Old Cathedral, 349

Capitals in the Old Cathedral, 350

The Old Cathedral, 351

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

The Cathedral, 353

View of the Cathedral from the ‘Seminario,’ 354

Cathedral: East Façade, 355

Tower of the Cathedral, 356

Cathedral: The Tower del Gallo, 357

Principal Façade of the Cathedral, 358

Principal Nave in the Cathedral, 359

Cathedral: View of the Cross-aisle, 360

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

Cathedral: View of the Sacristy, 362

Cathedral: Chapel in the Cloisters, 363

Chapel of St. Barbara in the Cathedral Cloisters, 364

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

Cathedral: General View of the Puerta del Nacimiento, 366

Cathedral: Gate of the Nativity, 367

Cathedral: Gate of St. Clement, 368

Cathedral: Gate of the ‘Ramos,’ 369

Cathedral: Gate of the Patio Chico, 370

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

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

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

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

Cathedral: Chair and Table in the Chapter Hall, 375

General View of the Church of Santo Domingo, 376

Detail of the Façade of Santo Domingo, 377

Façade of the Church of Santo Domingo, 378

Detail of the Façade of Santo Domingo, 379

Cloisters of Santo Domingo, 380

Interior of the Church of Santo Domingo, 381

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

Interior View of the Sacristy of Santo Domingo, 383

Door of the Conference Hall of Santo Domingo, 384

General view of the Cloisters of Santo Domingo, 385

Cloisters of Santo Domingo, 386

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

Door of the church of St. Martin, 388

Gate of the Church of St. Martin, 389

Door of the Church of San Justo, 390

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

Gate of the Church of San Benito, 392

Parish Church of the Holy Spirit, 393

Portal of the Parish Church of the Holy Spirit, 394

Church of the Third Order of St. Francis, 395

View of the Seminary from the Irlandeses, 396

View of the Seminary, 397

Chapter Hall in the Seminary, 398

The Seminary: Abraham offering Melchisedech Bread and Wine, 399

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

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

General View of the University, 402

Façade of the University, 403

Upper Part of the Façade of the University, 404

Lower Part of the Façade of the University, 405

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

Façade of the University, 407

Library in the University, 408

University: Altar of the Chapel, 409

Gallery in the University, 410

Portico of the University, 411

Details of the Porch of the University, 412

Details of the Porch of the University, 413

Door of the Library of the University, 414

Court of the College of the Irlandeses, 415

Façade of the College of the Irlandeses, 416

Porch of the College of the Irlandeses, 417

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

Court of the College of the Irlandeses, 419

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

Gate of the Santa Maria de las Dueñas, 421

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

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

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

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

Capitals in the College of the Vega, 426

Statue of Our Lady of the Vega, 427

The House of Salinas, 428

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

Detail of the Courtyard of the House of Salinas, 430

General View of the College of Calatrava, 431

Staircase in the College of Calatrava, 432

Tower of the ‘Clavero,’ 433

General View of the School, 434

Façade of the School, 435

Interior Gate of the School, 436

Entrance to the School, 437

Porch of the Archivos of the School, 438

Courtyard of the School, 439

Back of the School, 440

Courtyard of the School, 441

Principal Façade of the House of the Shells, 442

Grated Window of the House of the Shells, 443

Triple Grated Window of the House of the Shells, 444

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

Doorway in the House of the Shells, 446

Courtyard in the House of the Shells, 447

House of Monterey, 448

Tower of the House of Monterey, 449

House of Monterey, 450

La Plaza Mayor, 451

The Town Hall, 452

Patio de la Gobernación, 453

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

River Gate through which Hannibal entered, 455

House of Doña Maria the Brave, 456

Avenue of the Campo of San Francisco, 457

Statue of Fr. Luis de Leon, 458

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

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

Peasants’ Dance, by D. Fierros, 461

Charro, or Peasant of the Province, 462

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

I

LEON

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

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

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

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