Arzobispo, Cuenca, and Oviedo--only the two first remain. These colleges
bore the same relation to the Escuelas Menores that our Staff College
does to Sandhurst. Here graduates were prepared for the highest posts in
church and state. The College of San Bartolomé was founded in 1401 by
Bishop de Anaya, whose sons were educated within its walls, and
transferred to the present site sixteen years later. Vergara says that
it produced seven cardinals, eighteen archbishops, seventy bishops, and
innumerable judges and councillors of state. Like so many other similar
institutions, originally intended for the poor and scholarly, the
college soon became the preserve of the rich and aristocratic. The
quarterings on the applicant’s shield were more carefully examined than
his pretensions to scholarship, and when Carlos III. undertook to reform
the college, it had earned the name of a hot-bed of vice. Its inward
reformation corresponded with its material restoration. Little or
nothing remains of the original structure. A spacious flight of steps
leads up to the handsome portico in the Grecian style, with its four
Corinthian columns and triangular pediment. The whole building is simple
and massive, and crowned by a balustrade, in the centre of which are
displayed the arms of the Anayas; the main façade the chapel with a
heavy dome and Churrigueresque entrance. The inner court or _patio_ is
surrounded by a double gallery, the lower formed by sixteen Doric
columns, the upper by as many Ionic. The magnificent staircase, dividing
after the first flight into two branches, with its arches, Corinthian
columns, and windows all in stone, surpasses any similar feat of
architecture in Spain.
In the western part of the city, where abundant evidence yet remains of
the frightful destruction wrought by the French in Wellington’s day,
stands the interesting Colegio del Arzobispo, better known as the
Colegio de los Irlandeses. Founded by Alfonso de Fonseca, successively
Archbishop of Santiago and Toledo, it dates from the year 1521. The
portal is in the classic style, with eight Ionic columns, a medallion of
Santiago, and the archiepiscopal escutcheon; the adjoining façade is of
the late Gothic. Above it rises the square cupola of the chapel designed
by Pedro de Ibarra, and containing a retablo which ranks one of
Berruguete’s finest works. The subjects of the eight panels of which it
is composed are: the Ascension, Baptism, Flight into Egypt, the
Adoration of the Shepherds, the Presentation in the Temple, the Finding
of Moses, the Descent of the Holy Ghost, and Ananias and Sapphira. The
whole was executed in less than eighteen months. Under a simple marble
slab rests the body of Archbishop de Fonseca.
The galleries of the _patio_ are formed by fluted columns and adorned
with the heads of warriors very skilfully executed.
This college is now occupied, as its modern name implies, by Irish
theological students, whose original seminary was founded by Philip II.
in 1592. A college for Scottish Catholics was founded at the same time
in Valladolid.
Of the forty colleges which once composed the University of Salamanca,
the three described above alone remain. Most have utterly disappeared;
of others, a few columns or chambers still exist, forming part now of
buildings of another sort. The Colegio de Calatrava has survived, as a
building, the three other colleges founded by the great military orders.
It was extensively restored at the end of the eighteenth century, but
the old doorway was spared with the saint’s head and knights upholding
the banner of the order carved above it. The fine court has been
dismantled, and the large chapel with transept and cupola has been
stripped of the paintings and altar-pieces which once adorned it.
MINOR CHURCHES
Among the sacred edifices of Salamanca, next to the two cathedrals,
ranks the church and convent of the Dominicans, variously known as Santo
Domingo and San Estéban. The Dominicans, on their establishment at
Salamanca in the year 1221, were first housed at San Juan el Blanco.
Thirty years later they removed to San Estéban. Their convent was
honoured in 1484 by the presence of Columbus, who found a generous host,
a powerful protector, and a mind sufficiently broad to comprehend his
project in the Friar Diego de Deza, afterwards grand inquisitor of
Spain. His scheme, rejected by the university, was carefully considered
by this learned man, and recommended to the queen. In gratitude,
Columbus named the first town founded by him in the New World, Santo
Domingo, after the order which had befriended him. From this monastery,
too, departed the first Christian missionaries for America.
The building itself, unfortunately, has disappeared. It was pulled down
in 1524 to make room for the present superb edifice, designed by Juan de
Alava, the fellow-workman of Hontañon, who was succeeded by four other
architects, till the completion of the work in 1610. The church is
accounted one of the two or three most important monuments of the middle
Renaissance period in Spain. The main façade, in the soft sandstone
usual here, exhibits a marvellous profusion of figures, ‘excellently
wrought, beautiful of themselves,’ remarks a critic, ‘but lacking in
appropriateness, and not forming a part of a comprehensive scheme.’ On
each side of the doorway, between pillars, are seen the figures of four
of the Dominican saints; above, between four similarly placed statues of
the doctors of the church, is an admirable relief of the Martyrdom of
St. Stephen, executed by Juan Ceroni of Milan, who has carved his name
and the date (1610) on the stones which were the instruments of the
saint’s death. Above this, again, is a Crucifixion, overshadowed by the
great arch which encloses the whole façade. The medallions and friezes
exhibit very careful and graceful workmanship.
The side façades are mainly Gothic in character. Each buttress is
surmounted by an ornate pinnacle. The nave is almost as spacious as that
of the cathedral. The six-pointed vaults spring from fluted columns, and
are brilliant with gilding. The windows of three lights and the
rose-windows above are filled with good stained glass. The gorgeous
retablo, which cost the Duke of Alba 4000 of his pine trees, is the work
of Churriguera; its garishness is redeemed by the fine painting of the
Martyrdom of St. Stephen by Claudio Coello, and the curious
twelfth-century image of the Virgin de la Vega in gilt bronze. Over the
choir, built by Bishop de Aranjo, is the fine Apotheosis of St.
Dominic, a fresco by Palomino. The frescoes over the altar of the Rosary
and in the chapel of the Cristo de la Luz are by his contemporary,
Villamor. In the chapel of St. John is the tomb of Don Lope de Paz, the
defender of Rhodes and Eubœa, and in a wooden urn in the Reliquary
chapel are contained the ashes of the terror of the Low Countries,
Fernando de Toledo, Duke of Alba.
The chapter-house is a grandiose apartment, with pillars of the Doric
order, and a Corinthian altar beneath a canopy. Here may be seen some
bas-reliefs of the thirteenth century from the old church. In the
magnificent sacristy is the tomb of Bishop Herrera of Tuy, who died in
1632, and is shown in a kneeling posture. More interesting is the
cloister, with its early Renaissance arcading and fanwork vaulting. Some
of the medallions and reliefs which adorn the cloister were designed by
Alfonso Sardiña in 1626. The noble staircase adorned by a Magdalene,
which was executed by order of the illustrious Dominican theologian,
Fray Domingo Soto, of whom it was punningly said, ‘Qui scit Sotum, scit
totum.’
The seminary, built in 1617 by Gómez de Mora for the Society of Jesus,
is a building of the type more commonly admired by Spaniards than other
peoples. It is vast and heavy, commanding respect by its bulk rather
than its proportions. Over the façade, with its six gigantic columns,
rise two lofty steeples, flanking an acroterium with very bad statuary.
The cupola or lantern is not ungracefully constructed, but spoilt with
indifferent ornamentation. The interior is cold and monotonous, though
free from the extravagant decoration of the epoch of its construction.
The sacristy, which contains four copies of paintings by Rubens, is vast
even for this vast church, the richest Jesuit establishment in Spain.
Another great but much less admirable pile is the church of the
Recollect Augustine nuns, the convent having been founded in 1626 by the
favourite of Felipe IV., the Count of Monterey, as a retreat for his
sister, Doña Catilina. The architect was Juan Fontana. The church is in
the usual shape of a Latin cross, and is richly adorned with coloured
marbles, jasper, and lapis lazuli. The architecture was spoilt by
injudicious repairs effected on the collapse of the dome in 1680. The
tombs of the founder and his wife are in indifferent taste, but the
statues are good. The church is rich in paintings. Ribera’s Conception
hangs over the high altar, and the handsome retablo is adorned by his
Virgin de la Piedad. In the transept are two other works of the same
master--Our Lady of the Rosary and the Nativity. These paintings were
bought in Naples by Monterey, then viceroy, at the time of the papal
pronouncement on the mystery of the Immaculate Conception. According to
Ford, it is believed that better pictures are preserved in the convent
itself, which is not open to visitors.
San Benito is an interesting church, originally founded by the Galician
settlers in 1104, and rebuilt in the late Gothic style by the Maldonado
family in the fifteenth century. The tombs of several members of that
family are within. The statues of Arias Perez Maldonado and his wife lie
to the right and left of the chancel. The knight wears armour, and a
page rests at his feet; the lady wears the costume of the age of Isabel
the Catholic. Here also sleeps that haughty lord of Monleón, whose wife
was so reluctant to save his life at the expense of his castle. From
this church the Maldonado faction took the name of San Benito; the
opposite faction, descended from Maria la Brava, affected the church of
Santo Tomé de los Caballeros. There are some good tombs of the
fourteenth and sixteenth centuries in the church of San Isidoro,
founded by the French settlers of Count Raymond. The Portuguese built
the little church dedicated to St. Thomas of Canterbury, which still
preserves a triple apse and windows in the Romanesque style. The doorway
is Gothic, and the tomb of Bishop de Velasco, supported by lions,
obviously of the Renaissance. San Martin, built by settlers from Toro,
though injured by a fire in 1854, preserves many ancient features. Some
of the columns of the nave are Byzantine, and the doorway, with its
triple-pointed arch, belongs to the best Gothic period. The south front
is Renaissance. This is the burial-place of the Santisteban family. An
architectural curiosity to which Street calls attention, is the little
circular church of San Marcos, close to the wall at the north end of the
city, with its three apses vaulted with semi-domes, while the rest of
the edifice is roofed with wood. This odd little church was built as a
chapel royal by Alfonso IX. in 1202.
The only church of interest besides those enumerated above is the Sancti
Spiritus, built about 1190, and granted to the Knights of St. John of
Jerusalem in 1222. Afterwards, with the adjacent convent, it passed into
the possession of an aristocratic sisterhood. Rebuilt in 1541 by Leonor
de Acevedo, the portal is in the Renaissance style, and the interior in
late Gothic. The lower choir has fine artesonado work and well-carved
stalls. The retablo, which dates from 1659, displays fine reliefs of the
life of St. James, and good statues of the apostles. Near the entrance
are the tombs of the great benefactors of the convent, Martin Alfonso,
natural son of Alfonso IX., and his wife, Maria Mendez, a Portuguese
lady (1270). Another tomb is that of Pedro Vidal, an ecclesiastic, who
died in 1363.
DOMESTIC AND MUNICIPAL BUILDINGS
Salamanca contains several old mansions of the nobility, which might
well have delighted Prout. However remote may have been the date of
their foundation, later restoration has given them for the most part a
plateresque or Renaissance aspect. The Casa de las Salinas was built for
the Fonseca family in 1538, and was afterwards used as a place of
storage for salt. It is considered to be the best example of the
plateresque style in the city. The four arches of the principal façade
spring from granite columns with very well chiselled capitals. Good also
are the busts in medallions between the arches. The second story is
pierced by three square windows, supported by splendid masculine
figures, emblematic of the victories of Charles V., and in the best
style of the period. Hardly inferior to these are the cherubs and
grotesques on the columns of the jambs. Angels’ heads appear over the
arches of the gallery which crowns the edifice. The beautiful _patio_ is
adorned by arches similar to those of the façade. Round the court runs a
mean wooden gallery carried on sixteen brackets superbly carved with
terminal figures in every sort of posture, and supporting delightfully
fantastic monsters. These figures are among the best sculptures in
Salamanca, and merit close examination.
We find the five lilies of the Maldonados, those old Capulets of the
city, displayed over the entrance of the Casa de las Conchas, built for
the family in 1512. The house derives its name from the thirteen rows of
shells decorating its front. The most interesting features of the
building are the windows, each divided by a slender central shaft, and
with delicate traceries in the early plateresque style. Quadrado states
that the Jesuits, wishing to acquire the site, offered an ounce of gold
for each of the shells, but the owners declined to give up the property
at any price.
The unfinished palace of the counts of Monterey dates from the same
epoch (1530). It is a massive building of three low stories, the upper
pierced with an elegant gallery, and surmounted by a beautiful
balustrade composed of figures and foliage intertwined. Above the
general level rise square towers with open galleries, exhibiting some
good decorative details. The lower stories of the mansion are devoid of
interest.
Very suggestive of Salamanca’s fiery, flourishing days is the device
over the doorway of an old house in the little Plaza de San
Cebrian--‘Quod tibi non vis, alteri non facias.’ Close by in an
underground cellar the famous Enrique de Villena is said to have studied
magic under a sacristan from a neighbouring church. Not far away, we
believe, is a house which we failed to find, called the Casa de las
Batallas, where a temporary peace was patched up between the rival
factions of the city in 1478--a peace commemorated by a text sculptured
above the arch, ‘Ira odium generat, concordia nutrit amorem.’
Close to the Casa de las Salinas stands another memorial of that stormy
time--the battered Torre del Clavero, built in 1470 by a knight of the
Order of Alcantara, Francisco de Sotomayor. Its eight faces are
strengthened by projecting bartizan turrets, not placed as is usual at
the angles, and adorned with rude sculpture. It forms an interesting
example of Castilian military architecture. Close by were formerly the
headquarters of the Templars, and not far away is the street called
after the ‘Yellow Well,’ from which St. Juan of Sahagun miraculously
rescued a drowning child.
The centre of the city is occupied by the fine Plaza Mayor, planned in
1720 by Don Andres de Quiñones. The square compares very favourably with
the finest open spaces of the kind in Europe. It is surrounded by a
colonnade of twenty-two arches on each side, above which rise three
stories, to a pierced parapet with pinnacles. Archways, surmounted by an
acroterium, in the centre of each side, afford communication with the
adjoining streets. The arcades are adorned with medallions of Spanish
worthies. The bust of Cortes is said to mark the site of the house he
lodged in when a student. In this square, which is occupied by gardens
and is the fashionable promenade, bull-fights on an enormous scale have
been organised, and from the balconies the townsmen have more than once
looked down on the death-agonies of some wretched malefactor. One side
is occupied by the town hall (Ayuntamiento). Its architecture is
strictly in keeping with the surrounding line of houses. The façade,
supported on a gallery of five arches, is flanked by fluted columns,
statues appear between the windows, and on each side of the clock-tower
rising above the parapet.
This modern centre of what activity Salamanca can boast may be compared
with the old resorts of the population--the Plaza de la Yerba, and the
Plaza de San Boal, where Englishmen will look with interest at the
palace of the Marques de Almarza, built about the end of the fifteenth
century. Here lodged the Iron Duke in those days when Spain and England
stood side by side for war, as they now do, and we hope may ever do, in
the cause of peace.
Printed by T. and A. CONSTABLE, Printers to His Majesty
at the Edinburgh University Press
[Illustration: PLATE 1.
GENERAL VIEW OF LEON.]
[Illustration: PLATE 2.
VIEW FROM THE CEMETERY.
LEON.]
[Illustration: PLATE 3.
CATHEDRAL: VIEW FROM THE NORTH.
LEON.]
[Illustration: PLATE 4.
CATHEDRAL: GENERAL VIEW.
LEON.]
[Illustration: PLATE 5.
LEON CATHEDRAL.]
[Illustration: PLATE 6.
CATHEDRAL: DOOR OF THE CROSS-AISLE (RESTORED).
LEON.]
[Illustration: PLATE 7.
LEON CATHEDRAL.]
[Illustration: PLATE 8.
LATERAL FAÇADE OF THE CATHEDRAL.
LEON.]
[Illustration: PLATE 9.
LONGITUDINAL SECTION OF THE CATHEDRAL.
LEON.]
[Illustration: PLATE 10.
CATHEDRAL: STAINED GLASS WINDOW OF THE THIRTEENTH CENTURY.
LEON.]
[Illustration: PLATE 11.
CATHEDRAL: STAINED GLASS WINDOW OF THE FOURTEENTH CENTURY.
LEON.]
[Illustration: PLATE 12.
PLAN OF THE CATHEDRAL.
LEON.]
[Illustration: PLATE 13.
CATHEDRAL: CENTRAL GATE OF THE PRINCIPAL PORCH.
LEON.]
[Illustration: PLATE 14.
CATHEDRAL: RIGHT GATE OF THE PRINCIPAL PORCH.
LEON.]
[Illustration: PLATE 15.
CATHEDRAL: DETAIL OF THE LOWER PART OF THE PRINCIPAL PORTICO.
LEON.]
[Illustration: PLATE 16.
CATHEDRAL: ARCH OF THE CENTRAL PORTICO.
LEON.]
[Illustration: PLATE 17.
CATHEDRAL: ARCH OF THE RIGHT DOOR.
LEON.]
[Illustration: PLATE 18.
CATHEDRAL: LEFT GATE OF PRINCIPAL PORCH.
LEON.]
[Illustration: PLATE 19.
CATHEDRAL: GATE OF THE CORO.
LEON.]
[Illustration: PLATE 20.
CATHEDRAL: DOOR OF THE CHAPEL OF ST. ANDREW.
LEON.]
[Illustration: PLATE 21.
CATHEDRAL: PAINTED WALLS.
LEON.]
[Illustration: PLATE 22.
CATHEDRAL: STATUE OF OUR LADY LA BLANCA IN THE PRINCIPAL PORCH.
LEON.]
[Illustration: PLATE 23.
CATHEDRAL: A SEPULCHRE.
LEON.]
[Illustration: PLATE 24.
CATHEDRAL: SEPULCHRE OF DON ORDOÑO II.
LEON.]
[Illustration: PLATE 25.
CATHEDRAL: SEPULCHRE OF MARTIN, FIRST BISHOP OF LEON.
LEON.]
[Illustration: PLATE 26.
CATHEDRAL: DETAIL OF THE DOOR OF THE CHAPEL OF ST. ANDREW.
LEON.]
[Illustration: PLATE 27.
CATHEDRAL: THE CLOISTERS. OUR LADY DEL FORO AND THE OFFERINGS OF THE
KINGS.
LEON.]
[Illustration: PLATE 28.
CATHEDRAL: SPANDRIL OF CENTRAL GATE. THE LAST JUDGMENT.
LEON.]
[Illustration: PLATE 29.
CATHEDRAL: SPANDRIL OF CENTRAL GATE. THE LAST JUDGMENT.
LEON.]
[Illustration: PLATE 30.
CATHEDRAL: DETAIL OF THE RIGHT GATE.
LEON.]
[Illustration: PLATE 31.
CATHEDRAL: DETAIL OF THE GATE OF THE CHAPEL OF SAN ANDRÉS.
LEON.]
[Illustration: PLATE 32.
CATHEDRAL: VARIOUS STATUES FROM THE CROSS AISLE.
LEON.]
[Illustration: PLATE 33.
CATHEDRAL: DETAIL OF THE RIGHT-HAND PORTICO.
LEON.]
[Illustration: PLATE 34.
CATHEDRAL: THE BACK OF THE CHOIR.
LEON.]
[Illustration: PLATE 35.
CATHEDRAL: THE CHOIR STALLS.
LEON.]
[Illustration: PLATE 36.
CATHEDRAL: THE CHOIR STALLS.
LEON.]
[Illustration: PLATE 37.
CATHEDRAL: DETAIL OF THE CHOIR.
LEON.]
[Illustration: PLATE 38.
CATHEDRAL: CHOIR STALLS. THE GUARDIAN ANGEL OF PARADISE, AND THE
ARCHANGEL ST. MICHAEL.
LEON.]
[Illustration: PLATE 39.
CATHEDRAL: CHOIR STALLS. NOAH, ADAM AND EVE.
LEON.]
[Illustration: PLATE 40.
CATHEDRAL: CHOIR STALLS. THE ARCHANGEL GABRIEL AND ABRAHAM.
LEON.]
[Illustration: PLATE 41.
CATHEDRAL: CHOIR STALLS. ISAAC AND JACOB.
LEON.]
[Illustration: PLATE 42.
CATHEDRAL: CHOIR STALLS. ESAU.
LEON.]
[Illustration: PLATE 43.
CATHEDRAL: CHOIR STALLS. SAMSON.
LEON.]
[Illustration: PLATE 44.
CATHEDRAL: CHOIR STALLS. ST. MATHIAS AND ST. MARK.
LEON.]
[Illustration: PLATE 45.
CATHEDRAL: CHOIR STALLS. ST. LUKE AND ST. BARTHOLOMEW.
LEON.]
[Illustration: PLATE 46.
CATHEDRAL: CHOIR STALLS. ST. ANDREW AND ST. PETER.
LEON.]
[Illustration: PLATE 47.
CATHEDRAL: CHOIR STALLS. SANTIAGO ALFEO AND ST. PHILIP.
LEON.]
[Illustration: PLATE 48.
CATHEDRAL: CHOIR STALLS. ST. JOHN THE EVANGELIST AND SANTIAGO.
LEON.]
[Illustration: PLATE 49.
CATHEDRAL: CHOIR STALLS. SAINT MARY MAGDALENE AND SANTO DOMINGO.
LEON.]
[Illustration: PLATE 50.
CATHEDRAL: IN THE CHOIR. ST. NICODEMUS AND VALOUR.
LEON.]
[Illustration: PLATE 51.
CATHEDRAL: CHOIR STALLS. ST. MARTHA AND ST. LUCY.
LEON.]
[Illustration: PLATE 52.
CATHEDRAL: CHOIR STALLS. ST. FRANCIS AND ST. CATHERINE.
LEON.]
[Illustration: PLATE 53.
CATHEDRAL. CHOIR STALLS. ST. FROYLAN AND ST. NICHOLAS.
LEON.]
[Illustration: PLATE 54.
CATHEDRAL: CHOIR STALLS. SAN VITORINO AND SAN MARTIN.
LEON.]
[Illustration: PLATE 55.
CATHEDRAL: CHOIR STALLS. SANTA CRISTINA AND SANTA ELENA.
LEON.]
[Illustration: PLATE 56.
CATHEDRAL: CHOIR STALLS. SAN GREGORIO AND SAN GERONIMO.
LEON.]
[Illustration: PLATE 57.
CATHEDRAL: CHOIR STALLS. SAN SILVESTRE AND SAN LUPERCIO.
LEON.]
[Illustration: PLATE 58.
CATHEDRAL: CHOIR STALLS. SAN LORENZO AND SAN VICENTE.
LEON.]
[Illustration: PLATE 59.
CATHEDRAL: CHOIR STALLS. SAN CELEDONIO AND SAN ESTEBAN.
LEON.]
[Illustration: PLATE 60.
CATHEDRAL: CHOIR STALLS. A SAINT.
LEON.]
[Illustration: PLATE 61.
CATHEDRAL: DETAIL OF THE CHOIR STALLS.
LEON.]
[Illustration: PLATE 62.
CATHEDRAL: DETAIL OF THE CHOIR STALLS.
LEON.]
[Illustration: PLATE 63.
CATHEDRAL: STATUE OF THE VIRGIN.
LEON.]
[Illustration: PLATE 64.
CATHEDRAL: DETAIL OF THE CLOISTERS.
LEON.]
[Illustration: PLATE 65.
CATHEDRAL: BAS-RELIEFS IN THE CLOISTERS.
LEON.]
[Illustration: PLATE 66.
FAÇADE OF THE COLLEGIATE CHURCH OF SAN ISIDORO.
LEON.]
[Illustration: PLATE 67.
GATE OF PARDON: COLLEGIATE CHURCH OF SAN ISIDORO.
LEON.]
[Illustration: PLATE 68.
COLLEGIATE CHURCH OF SAN ISIDORO.
LEON.]
[Illustration: PLATE 69.
PRINCIPAL GATE OF THE COLLEGIATE CHURCH OF SAN ISIDORO.
LEON.]
[Illustration: PLATE 70.
PANTEON OF THE KINGS IN THE COLLEGIATE CHURCH OF SAN ISIDORO.
LEON.]
[Illustration: PLATE 71.
SPANDRIL OF GATE OF PARDON: COLLEGIATE CHURCH OF SAN ISIDORO.
LEON.]
[Illustration: PLATE 72.
FRESCO OF THE PANTEON OF THE KINGS IN THE COLLEGIATE CHURCH OF SAN
ISIDORO, END OF ELEVENTH CENTURY.
LEON.]
[Illustration: PLATE 73.
SECTIONS AND DETAILS OF THE PANTEON OF SAN ISIDORO.
LEON.]
[Illustration: PLATE 74.
COLLEGIATE CHURCH OF SAN ISIDORO: PAINTING ON THE WALL OF THE PANTEON OF
THE KINGS.
LEON.]
[Illustration: PLATE 75.
COLLEGIATE CHURCH OF SAN ISIDORO: PAINTINGS ON THE WALLS OF THE PANTEON
OF THE KINGS.
LEON.]
[Illustration: PLATE 76.
COLLEGIATE CHURCH OF SAN ISIDORO: CHALICE AND PATEN OF DOÑA URRACA, AND
CROSS.
LEON.]
[Illustration: PLATE 77.
COLLEGIATE CHURCH OF SAN ISIDORO: IVORY CROSS OF KING FERNANDO I. AND
SANCHA HIS WIFE.
LEON.]
[Illustration: PLATE 78.
COLLEGIATE CHURCH OF SAN ISIDORO: RELICS, CONTAINING ST. MARTIN’S HAND,
ST. JOHN BAPTIST’S JAW, ONE OF ST. ISIDORO’S FINGERS, AND SOME OF THE
VIRGIN’S HAIR.
LEON.]
[Illustration: PLATE 79.
COLLEGIATE CHURCH OF SAN ISIDORO: CHALICE AND CRUCIFIX IN FILIGREE GOLD.
LEON.]
[Illustration: PLATE 80.
COLLEGIATE CHURCH OF SAN ISIDORO: IVORY COFFER.
LEON.]
[Illustration: PLATE 81.
COLLEGIATE CHURCH OF SAN ISIDORO: GOTHIC CRUCIFIX IN GOLD.
LEON.]
[Illustration: PLATE 82.
SAN MIGUEL DE ESCALADA: GENERAL VIEW OF THE CONVENT.
LEON.]
[Illustration: PLATE 83.
SAN MIGUEL DE ESCALADA: EXTERIOR OF THE TEMPLE AND PORTICO.
LEON.]
[Illustration: PLATE 84.
SAN MIGUEL DE ESCALADA: INTERIOR OF THE CHURCH.
LEON.]
[Illustration: PLATE 85.
SAN MIGUEL DE ESCALADA: INTERIOR OF THE CHURCH.
LEON.]
[Illustration: PLATE 86.
SAN MIGUEL DE ESCALADA: SOUTHERN FAÇADE, PLAN, AND DETAILS. (TOWN HALL,
GRADEFES.)
LEON.]
[Illustration: PLATE 87.
SAN MIGUEL DE ESCALADA: LONGITUDINAL AND TRANSVERSE SECTIONS AND
DETAILS. (TOWN HALL. GRADEFES.)
LEON.]
[Illustration: PLATE 88.
DETAILS OF SAN MIGUEL DE ESCALADA. (TOWN HALL, GRADEFES.)
LEON.]
[Illustration: PLATE 89.
SAN MIGUEL DE ESCALADA: A CAPITAL IN THE CHURCH.
LEON.]
[Illustration: PLATE 90.
OUR LADY DEL MERCADO.
LEON.]
[Illustration: PLATE 91.
OUR LADY DEL MERCADO: BARRED WINDOW IN THE PRINCIPAL FAÇADE.
LEON.]
[Illustration: PLATE 92.
CHURCH OF SAN PEDRO DE LOS HUERTOS.
LEON.]
[Illustration: PLATE 93.
GENERAL VIEW OF THE CONVENT OF SAN MARCOS.
LEON.]
[Illustration: PLATE 94.
PRINCIPAL FAÇADE OF THE CONVENT OF SAN MARCOS.
LEON.]
[Illustration: PLATE 95.
DETAIL OF THE FAÇADE OF THE CONVENT OF SAN MARCOS.
LEON.]
[Illustration: PLATE 96.
ENTRANCE TO THE CONVENT OF SAN MARCOS.
LEON.]
[Illustration: PLATE 97.