Part 10
To the dawn of the sixteenth century also belonged the famous leaning tower at Zaragoza, the Torre Nueva, now demolished; while the Lonja or Exchange commemorates the reign of Juana la Loca, or as the inscription states, of her and her son, Don Carlos, ‘conregnantes’ (1551). This is one of the many buildings scattered over Spain and Europe generally which were intended to accommodate brokers and business men, who resolutely refuse to swarm in the appointed spots--witness our own Royal Exchange, the Lonjas of Seville and Granada, etc. The exterior belongs to no recognised style. The round-headed door is flanked by two windows of similar shape; above runs a sort of imitation gallery, then two more rows of round-headed windows, finished off with a fine eaves-cornice. The soffits of the arches are elaborately carved. At each corner of the edifice is a little tower, roofed with white and green tiles. The interior is divided into a nave and aisles by twenty-four columns, of which seventeen are embedded in the walls. From their Ionic capitals spring seventeen arches, which at the points of intersection are studded with gilt bosses. The Lion of Zaragoza may be distinguished among the decorations, and over the door and on the walls the arms of Spain. O’Shea says that the ‘gigantones’--gigantic figures representing the four quarters of the globe, carried about in processions--are kept here.
* * * * *
A great many of the fine old mansions (_solares_) of the aristocracy and merchants of Zaragoza disappeared in the siege, or to permit of modern improvements. Those which remain date mostly from the sixteenth century. The finest, on the whole, is the Casa de la Infanta, so-called as having been the residence of La Vallabriga, a lady banished from Madrid for marrying the Infante Don Luis. The house was built by a rich merchant named Gabriel Zaporta in the middle of the sixteenth century. A square entrance admits to a court, round which runs a gallery, upheld by columns on fluted pedestals, and formed of caryatide figures interlocked. On these rest the capitals, elaborately carved with masks, and on these again is borne the gallery, the arches and parapet of which are enriched with medallions, masks, grotesques, and foliage. The decoration is a fine specimen of the plateresque style. The staircase, in the same style, is worthy of note.
The fine old Casa de Comercio, described in several guide-books of recent date, no longer exists. The noble mansion of the Counts of Sastago housed Philip III. in 1599; and the Audiencia occupies the site of the ancestral home of the De Luna family, to which belonged the anti-pope Benedict XIII. and the wicked Count in Verdi’s opera.
We have left almost to the last that ambitious but meretricious memorial of the decadence, the new cathedral, or Iglesia del Pilar. The Apostle James (Santiago), according to tradition, visited the city forty years after the birth of Christ. He was favoured by a vision of the Blessed Virgin, poised on a pillar of jasper, and attended by angels. He built a modest chapel on the spot, which soon became a great resort of pilgrims. This was replaced in the thirteenth century by a large church, which was demolished to make room for the present building, erected in 1686 by Don Francisco Herrera. The design, bad enough in itself, was made worse by Ventura Rodriguez seventy years later. The exterior hardly merits description, though the domes or cupolas with their brilliant green, yellow, and white tiling are not without a certain bizarre beauty.
Spanish writers are as severe as others in their condemnation of this spacious edifice: ‘The baroque style’ (says Don J. M. Quadrado), ‘as timid and clumsy in the general proportion of the work as it was audacious and presumptuous in detail, gave space not repose to the Pilar--size without grandeur. The eye measures vainly this square of 1500 feet, and observes the nave and aisles equal in dimensions; it rests on the twelve square piers--enormous masses which might serve for the bases of towers, recoils from the bare vault, from the thick cornice, from the ridiculous foliage of the capitals, the arches, etc. This disagreeable impression is intensified by the strange and confused disposition of the temple, which, divided into two by the Shrine and the High Altar, presents two centres of attraction, and obstructs the nave with objects masking each other.’
The only objects of particular interest in this vast edifice are those just named, which stand back to back. The Shrine or Capilla Santa constitutes a chapel within a chapel, the exterior being rectangular, the interior elliptical. Overhead is an oval dome borne on four Corinthian columns, with capitals richly gilded, and over this again another cupola or lantern painted by a namesake (not a relative) of Velazquez. There are four smaller domes painted by Goya and Bayeu. The profusion of rich marbles, the elaboration of the architecture, the brilliancy of the frescoes, and the multitude of statues give this chapel a sumptuous and not inartistic appearance. Around are hung banners taken from the infidels. The Sacred Pillar is almost entirely concealed, but there is a hole in the casing through which the devout may kiss it. On each side of the chapel imposing staircases lead to the crypt, in which lie several archbishops and canons, and the heart of Don Juan José of Austria, brother of Carlos II.
The High Altar of the cathedral is of alabaster and in the Gothic style, the work of one Damian Forment, an early sixteenth-century artist. The lower reliefs, separated by slender pilasters, represent the Espousals of the Virgin, the Annunciation, the Visitation, the Nativity, the Adoration of the Magi, the Crucifixion, and the Resurrection. Above, in canopied niches, are the Assumption, the Nativity, and the Presentation. The canopies are richly adorned with the figures of saints. At the sides are two large statues of St. James and St. Braulio--objects of special devotion--and at the apex of the altar-screen are two angels supporting Our Lady of the Pillar. The whole is undoubtedly the finest work of art in the cathedral.
The choir stalls merit attention. They were designed by the Navarrese Estebán de Obray, and carved by the Florentine Giovanni Moreto and Nicolás de Jobato between 1542 and 1548. The infinite number and variety of the designs, the delicacy and intricacy of the work, suggest that it was accomplished in two or more generations rather than in six years. Equally admirable is the bronze _reja_ by Juan Tomás Celina (1574) on a marble base, sculptured by the Majorcan artist, Guillermo Salvá.
The sacristy contains an immense variety of offerings to the shrine by pilgrims from all parts of the world. These had been accumulating for centuries, and the Chapter were able some years ago to raise a sum of £20,000 by disposing of only a portion of them. Without profanity we might perhaps say that the Virgen del Pilar is to Zaragoza what Diana was to the Ephesians. Hundreds make a living by selling pictures and models of the shrine, and a surprising number of silversmiths do a roaring trade in images and medals. Yet it is not quite wise or safe for the traveller to scoff at a devotion which largely inspired the heroic defence of 1808, and supplied the place of arms, strategy, and able leadership.
Close by, the yellow Ebro is spanned by the seven arches of the Puente de Piedra. Its origin is of unknown antiquity. It was here in 1435, when one of the arches collapsed--presaging the destruction by the Genoese of the Aragonese fleet which sailed that day; and the inscription mentioning Alfonso V., and the date 1437, can only refer to its reconstruction. And across this bridge we pass into the stern, desert country of Aragon, and so on to the distant, gleaming Pyrenees.
[Illustration: PLATE 1
GENERAL VIEW OF VALLADOLID]
[Illustration: PLATE 2
GENERAL VIEW OF VALLADOLID]
[Illustration: PLATE 3
THE BRIDGE OF PIEDRA
VALLADOLID]
[Illustration: PLATE 4
LA ACERA DE SAN FRANCISCO]
[Illustration: PLATE 5
THE TOWN HALL
VALLADOLID]
[Illustration: PLATE 6
THE OLD PARISH CHURCH
VALLADOLID]
[Illustration: PLATE 7
HOUSE IN WHICH CHRISTOPHER COLUMBUS DIED, 1506
VALLADOLID]
[Illustration: PLATE 8
HOUSE WHERE KING PHILIP II. WAS BORN, 1527
VALLADOLID]
[Illustration: PLATE 9
THE ROYAL PALACE OF PHILIP III.
VALLADOLID]
[Illustration: PLATE 10
CHURCH OF SAN JUAN DE LETRAN
VALLADOLID]
[Illustration: PLATE 11
COLLEGE OF THE ESCOCESES
VALLADOLID]
[Illustration: PLATE 12
COLLEGE OF THE INGLESES
VALLADOLID]
[Illustration: PLATE 13
INTERIOR VIEW OF THE LIBRARY
VALLADOLID]
[Illustration: PLATE 14
INTERIOR OF THE MUSEUM
VALLADOLID]
[Illustration: PLATE 15
FAÇADE OF THE MUSEUM
VALLADOLID]
[Illustration: PLATE 16
MUSEUM. BACK OF A CHOIR STALL. BY BERRUGUETE
VALLADOLID]
[Illustration: PLATE 17
MUSEUM. DETAIL OF THE CHOIR STALLS OF SAN BENITO
VALLADOLID]
[Illustration: PLATE 18
MUSEUM. SEVERAL FRAGMENTS OF CHOIR STALLS BY BERRUGUETE
VALLADOLID]
[Illustration: PLATE 19
MUSEUM. HEAD OF ST. PAUL. WOOD CARVING. COMMENCEMENT OF EIGHTEENTH CENTURY
VALLADOLID]
[Illustration: PLATE 20
MUSEUM. CENTRE-PART OF A WOODEN ALTAR-PIECE END OF THE FIFTEENTH CENTURY
VALLADOLID]
[Illustration: PLATE 21
MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE
VALLADOLID]
[Illustration: PLATE 22
MUSEUM. FRAGMENTS OF CHOIR STALLS. BY BERRUGUETE
VALLADOLID]
[Illustration: PLATE 23
MUSEUM. ALTAR-PIECE CARVED IN WOOD. END OF FIFTEENTH CENTURY
VALLADOLID]
[Illustration: PLATE 24
MUSEUM. THE ASSUMPTION OF THE VIRGIN. BY RUBENS
VALLADOLID]
[Illustration: PLATE 25
MUSEUM. ST. ANTHONY OF PADUA AND THE CHILD JESUS. BY RUBENS
VALLADOLID]
[Illustration: PLATE 26
MUSEUM. THE ANNUNCIATION. BY JOSÉ MARTINEZ
VALLADOLID]
[Illustration: PLATE 27
MUSEUM. THE HOLY FAMILY. BY RAPHAEL
VALLADOLID]
[Illustration: PLATE 28
MUSEUM. ST. FRANCIS AND A LAY BROTHER BY RUBENS
VALLADOLID]
[Illustration: PLATE 29
ST. JOACHIM AND THE VIRGIN AS A CHILD BY MURILLO
VALLADOLID]
[Illustration: PLATE 30
PROVINCIAL MUSEUM. ST. BRUNO
VALLADOLID]
[Illustration: PLATE 31
CENTRE OF THE FAÇADE OF ST. GREGORIO
VALLADOLID]
[Illustration: PLATE 32
DETAIL OF THE FAÇADE OF ST. GREGORIO (LEFT SIDE)
VALLADOLID]
[Illustration: PLATE 33
DETAIL OF THE FAÇADE OF ST. GREGORIO (RIGHT SIDE)
VALLADOLID]
[Illustration: PLATE 34
LEFT ANGLE IN THE COURT OF ST. GREGORIO
VALLADOLID]
[Illustration: PLATE 35
GALLERY IN THE COURT OF ST. GREGORIO
VALLADOLID]
[Illustration: PLATE 36
DETAIL OF THE COURT OF ST. GREGORIO
VALLADOLID]
[Illustration: PLATE 37
INTERIOR GATE OF ST. GREGORIO
VALLADOLID]
[Illustration: PLATE 36
FAÇADE OF ST. PABLO
VALLADOLID]
[Illustration: PLATE 39
LOWER PART OF THE FAÇADE OF ST. PABLO
VALLADOLID]
[Illustration: PLATE 40
DETAIL OF THE PORTAL OF ST. PABLO
VALLADOLID]
[Illustration: PLATE 41
LOWER CENTRAL PART OF THE FAÇADE OF ST. PABLO
VALLADOLID]
[Illustration: PLATE 42
PORTAL OF ST. PABLO
VALLADOLID]
[Illustration: PLATE 43
DETAIL OF THE RIGHT-HAND SIDE OF THE PORCH OF ST. PABLO
VALLADOLID]
[Illustration: PLATE 44
DETAIL OF THE LEFT-HAND SIDE OF THE PORCH OF ST. PABLO
VALLADOLID]
[Illustration: PLATE 45
GENERAL VIEW
OVIEDO]
[Illustration: PLATE 46
TOWER OF THE CATHEDRAL
OVIEDO]
[Illustration: PLATE 47
PRINCIPAL ENTRANCE TO THE CATHEDRAL
OVIEDO]
[Illustration: PLATE 48
PRINCIPAL GATE OF THE CATHEDRAL
OVIEDO]
[Illustration: PLATE 49
CATHEDRAL. VIEW OF THE INTERIOR
OVIEDO]
[Illustration: PLATE 50
CATHEDRAL. THE RETABLO
OVIEDO]
[Illustration: PLATE 51
LA CAMARA SANTA; OR PRIMITIVE CHAPEL OF SAN MIGUEL WHERE ARE PRESERVED THE RELICS SAVED BY PELAYO FROM THE HANDS OF THE MOORS
OVIEDO]
[Illustration: PLATE 52
COFFIN IN OVIEDO CATHEDRAL, AND DETAILS OF THE SEPULCHRE FROM COVADONGA
OVIEDO]
[Illustration: PLATE 53
OLD TOWER OF THE CATHEDRAL
OVIEDO]
[Illustration: PLATE 54
CATHEDRAL. OAKEN ARK, OR CHEST CONTAINING HOLY RELICS, IN THE CAMARA SANTA
OVIEDO]
[Illustration: PLATE 55
SECTION, PLAN, AND DETAILS OF THE CAMARA SANTA IN THE CATHEDRAL
OVIEDO]
[Illustration: PLATE 56
CATHEDRAL. CROSS OF THE ANGELS, IN THE CAMARA SANTA
OVIEDO]
[Illustration: PLATE 57
CROSSES AND CASKETS OF THE ASTURIAS
OVIEDO]
[Illustration: PLATE 58
CATHEDRAL. CROSS OF VICTORY, OR OF PELAYO, IN THE CAMARA SANTA
OVIEDO]
[Illustration: PLATE 59
CAPITAL, REPRESENTING THE DEATH OF FAVILA THE FATHER OF PELAYA
OVIEDO]
[Illustration: PLATE 60
SANTA MARIA DE NARANCO
OVIEDO]
[Illustration: PLATE 61
THE PARISH CHURCH OF SANTA MARIA DE NARANCO
OVIEDO]
[Illustration: PLATE 62
CHURCH OF SAN MIGUEL DE LINEO
OVIEDO]
[Illustration: PLATE 63
PARISH CHURCH OF SAN JUAN DE PRIORIO
OVIEDO]
[Illustration: PLATE 64
CHURCH OF SAN JUAN DE PRIORIO
OVIEDO]
[Illustration: PLATE 65
PORTALS, TOWER, AND DETAILS OF THE CHURCHES OF ST. CLARA, ST. JOHN, AND OUR LADY DE LA VEGA, THE LAST-NAMED FOUNDED IN THE TWELFTH CENTURY
OVIEDO]
[Illustration: PLATE 66
DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 67
PLAN AND DETAILS OF SANTA MARIA DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 68
PLAN, PRINCIPAL ENTRANCE, AND DETAILS OF THE CHURCH OF SAN JUAN DE AMANDI (CONCEJO DE VILLAVICIOSA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 69
PLAN, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF SAN JUAN DE AMANDI (CONCEJO DE VILLAVICIOSA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 70
PLAN, PORCH, AND DETAILS OF THE PARISH CHURCH OF VILLAVICIOSA (CONCEJO DE VILLAVICIOSA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 71
FRONT, LONGITUDINAL SECTION, AND DETAILS OF THE PARISH CHURCH OF VILLAVICIOSA (CONCEJO DE VILLAVICIOSA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 72
PLAN AND SECTION OF CHURCH OF SAN SALVADOR DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 73
TRANSVERSE SECTION AND WINDOWS OF THE CHURCH OF SAN SALVADOR DE VALDEDIOS (CONCEJO DE VILLAVICIOSA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 74
PLANS, SECTIONS, AND DETAILS OF THE PAROCHIAL CHURCHES OF PRIESCA AND FUENTES (CONCEJO DE VILLAVICIOSA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 75
DETAILS OF CHURCH OF SANTA MARIA DE VILLAMAYOR (CONCEJO DEL INFIESTO)
PROVINCE OF OVIEDO]
[Illustration: PLATE 76
DETAILS OF SANTA MARIA DE VILLAMAYOR (CONCEJO DE INFIESTO)
PROVINCE OF OVIEDO]
[Illustration: PLATE 77
PLAN, SECTIONS, AND DETAILS OF SAN ADRIAN DE TUÑON (CONCEJO DE VILLANUEVA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 78
DETAILS OF HERMITAGE OF SANTA CRISTINA (CONCEJO DE LA POLA DE LENA)
PROVINCE OF OVIEDO]
[Illustration: PLATE 79
DETAILS OF SEPULCHRES IN THE CLOISTERS OF THE COLLEGIATE CHURCH OF COVADONGA (CONCEJO DE CANGAS DE ONIS)
PROVINCE OF OVIEDO]
[Illustration: PLATE 80
DETAILS OF PARISH-CHURCH OF UJO (CONCEJO DE MIERES)
PROVINCE OF OVIEDO]
[Illustration: PLATE 81
DETAILS OF PAROCHIAL CHURCH OF UJO (CONCEJO DE MIERES)
OVIEDO]
[Illustration: PLATE 82
GENERAL VIEW OF SEGOVIA FROM THE NIEVAS
SEGOVIA]
[Illustration: PLATE 83
GENERAL VIEW OF SEGOVIA]
[Illustration: PLATE 84
THE ROMAN AQUEDUCT
SEGOVIA]
[Illustration: PLATE 85
THE ALCAZAR AND CATHEDRAL FROM THE FUENCISLA
SEGOVIA]
[Illustration: PLATE 86
GENERAL VIEW FROM THE NIEVAS
SEGOVIA]
[Illustration: PLATE 87
OLD HOUSES IN THE PLAZA MAYOR
SEGOVIA]
[Illustration: PLATE 88
VIEW OF THE WALLS
SEGOVIA]
[Illustration: PLATE 89
AQUEDUCT OVER THE RIVER CASTILLA
SEGOVIA]
[Illustration: PLATE 90
THE CATHEDRAL FROM THE HOYOS HILL
SEGOVIA]
[Illustration: PLATE 91
VIEW OF THE CATHEDRAL FROM THE SQUARE
SEGOVIA]
[Illustration: PLATE 92
VIEW OF THE CATHEDRAL FROM THE SQUARE
SEGOVIA]
[Illustration: PLATE 93
CASA DE LOS PICOS
SEGOVIA]
[Illustration: PLATE 94
CHURCH OF SANTA CRUZ
SEGOVIA]
[Illustration: PLATE 95
PORCH OF THE CHURCH OF SANTA CRUZ
SEGOVIA]
[Illustration: PLATE 96
CHURCH OF SANTA CRUZ
SEGOVIA]
[Illustration: PLATE 97
VIEW OF THE MINT AND THE PARRAL
SEGOVIA]
[Illustration: PLATE 98
FAÇADE OF THE PARRAL
SEGOVIA]
[Illustration: PLATE 99
CLOISTERS OF THE PARRAL
SEGOVIA]
[Illustration: PLATE 100
GENERAL VIEW OF TURÉGANO]
[Illustration: PLATE 101
TURÉGANO CASTLE
PROVINCE OF SEGOVIA]
[Illustration: PLATE 102
GENERAL VIEW OF COCA CASTLE
PROVINCE OF SEGOVIA]
[Illustration: PLATE 103
ANOTHER VIEW OF COCA CASTLE
PROVINCE OF SEGOVIA]
[Illustration: PLATE 104
ST. ANDREW’S GATE
SEGOVIA]
[Illustration: PLATE 105
THE ARCH OF THE FUENCISLA
SEGOVIA]
[Illustration: PLATE 106
GATE OF SANTIAGO
SEGOVIA]
[Illustration: PLATE 107
THE ALCAZAR BEFORE THE FIRE IN 1862
SEGOVIA]
[Illustration: PLATE 108
THE ALCAZAR FROM THE HOYOS HILL
SEGOVIA]
[Illustration: PLATE 109
VIEW OF THE ALCAZAR
SEGOVIA]
[Illustration: PLATE 110
THE ALCAZAR FROM THE CAVES
SEGOVIA]
[Illustration: PLATE 111
FAÇADE OF THE ALCAZAR BEFORE THE FIRE IN 1862
SEGOVIA]
[Illustration: PLATE 112
SEPULCHRES OF THE FAMILY OF THE MARQUESES DE VILLENA IN THE CHURCH OF THE PARRAL
SEGOVIA]
[Illustration: PLATE 113
CHURCH OF ST. NICHOLAS
SEGOVIA]
[Illustration: PLATE 114
GENERAL VIEW OF THE CHURCH OF VERA CRUZ
SEGOVIA]
[Illustration: PLATE 115
PORCH OF THE CHURCH OF VERA CRUZ
SEGOVIA]
[Illustration: PLATE 116
COURTYARD OF THE MARQUIS OF ARCOS’ HOUSE
SEGOVIA]
[Illustration: PLATE 117
FAÇADE OF ST. JOHN
SEGOVIA]
[Illustration: PLATE 118
CHURCH OF ST. JOHN. SEGOVIA FROM THE EAST
SEGOVIA]
[Illustration: PLATE 119
SAN JUAN DE LOS CABALLEROS
SEGOVIA]
[Illustration: PLATE 120
CHURCH OF ST. MARTIN
SEGOVIA]
[Illustration: PLATE 121
PORCH OF ST. MARTIN
SEGOVIA]
[Illustration: PLATE 122
PARISH CHURCH OF ST. MARTIN
SEGOVIA]
[Illustration: PLATE 123
ARCH OF THE PORTICO, CORNICE AND CAPITALS OF THE PORTICO OF THE PARISH CHURCH OF ST. MARTIN
SEGOVIA]
[Illustration: PLATE 124
GENERAL VIEW OF ST. STEPHEN
SEGOVIA]
[Illustration: PLATE 125
PORTICO OF ST. STEPHEN
SEGOVIA]
[Illustration: PLATE 126
TOWER OF ST. STEPHEN AND EXTERIOR DETAILS
SEGOVIA]
[Illustration: PLATE 127
CHURCH OF SAN LORENZO
SEGOVIA]
[Illustration: PLATE 128
CHURCH OF SAN LORENZO
SEGOVIA]
[Illustration: PLATE 129
LATERAL FAÇADE OF THE CHURCH OF SAN LORENZO
SEGOVIA]
[Illustration: PLATE 130
THE CHURCH OF SAN LORENZO, WITH DETAILS OF CAPITALS
SEGOVIA]
[Illustration: PLATE 131
DETAILS OF THE CHURCH OF SAN LORENZO
SEGOVIA]
[Illustration: PLATE 132
INTERIOR OF SAN MILLÁN. THE EPISTLE SIDE
SEGOVIA]
[Illustration: PLATE 133
INTERIOR OF SAN MILLÁN. THE GOSPEL SIDE
SEGOVIA]
[Illustration: PLATE 134
ARCHES AND EAVES OF SAN MILLÁN
SEGOVIA]
[Illustration: PLATE 135
SECTIONAL ELEVATIONS OF THE PARISH CHURCH OF SAN MILLÁN
SEGOVIA]
[Illustration: PLATE 136
PLAN, AND DETAILS OF THE PARISH CHURCH OF SAN MILLÁN
SEGOVIA]
[Illustration: PLATE 137
DETAILS OF THE PARISH CHURCH OF SAN MILLÁN
SEGOVIA]
[Illustration: PLATE 138
DETAILS OF THE PARISH CHURCH OF SAN MILLÁN
SEGOVIA]
[Illustration: PLATE 139
PLAN, AND DETAILS OF THE CHURCH OF THE CONVENT OF CORPUS CHRISTI
SEGOVIA]
[Illustration: PLATE 140
INTERIOR OF THE CONVENT OF SANTO DOMINGO AND TOWERS
SEGOVIA]
[Illustration: PLATE 141
PAINTED SOCLES IN THE INTERIOR OF THE TOWER OF SANTO DOMINGO, COMMONLY CALLED THE TOWER OF HERCULES
SEGOVIA]
[Illustration: PLATE 142
FAÇADE OF THE CONVENT OF OUR LADY DE LA SIERRA
SEGOVIA]
[Illustration: PLATE 143
RUINS OF THE CHAPEL OF THE CONVENT OF OUR LADY DE LA SIERRA
SEGOVIA]
[Illustration: PLATE 144
INTERIOR OF THE RUINED CONVENT OF OUR LADY DE LA SIERRA
SEGOVIA]
[Illustration: PLATE 145
PORCH OF THE CONVENT OF OUR LADY DE LA SIERRA
SEGOVIA]
[Illustration: PLATE 146
GENERAL VIEW OF THE ROMAN AQUEDUCT
SEGOVIA]
[Illustration: PLATE 147
THE ROMAN AQUEDUCT
SEGOVIA]
[Illustration: PLATE 148
THE ROMAN AQUEDUCT]
[Illustration: PLATE 149
THE ROMAN AQUEDUCT
SEGOVIA]
[Illustration: PLATE 150
THE ROMAN AQUEDUCT
SEGOVIA]
[Illustration: PLATE 151
THE ROMAN AQUEDUCT
SEGOVIA]
[Illustration: PLATE 152
THE ROMAN AQUEDUCT
SEGOVIA]
[Illustration: PLATE 153
A DANCE IN THE PLAZA DEL PUEBLO DE NIEVA, SEGOVIA. BY A. GARCIA MENCIA. (No. 181, EXHIBITION OF 1871)]
[Illustration: PLATE 154
ENRIQUE IV. CONDUCTING THE INFANTA ISABEL THROUGH THE STREETS OF SEGOVIA]
[Illustration: PLATE 155
GROUP OF PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 156
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 157
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 158
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 159
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 160
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 161
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 162
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 163
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 164
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 165
PEASANTS OF THE PROVINCE
SEGOVIA]
[Illustration: PLATE 166
VIEW OF ZAMORA]
[Illustration: PLATE 167
VIEW OF ZAMORA]
[Illustration: PLATE 168
WALLS AND POSTERN GATE WITH THE HOUSE OF DOÑA URRACA
ZAMORA]
[Illustration: PLATE 169
STONE BRIDGE OVER THE DUERO
ZAMORA]
[Illustration: PLATE 170
BRIDGE OVER THE DUERO
ZAMORA]
[Illustration: PLATE 171
VIEW OF THE CATHEDRAL
ZAMORA]
[Illustration: PLATE 172
FAÇADE OF THE CATHEDRAL
ZAMORA]
[Illustration: PLATE 173
CATHEDRAL. GATE OF THE BISHOP
ZAMORA]
[Illustration: PLATE 174
THE CATHEDRAL. EAST FRONT
ZAMORA]
[Illustration: PLATE 175
CATHEDRAL. GATE OF THE BISHOP
ZAMORA]
[Illustration: PLATE 176
CATHEDRAL. GATE OF THE BISHOP
ZAMORA]
[Illustration: PLATE 177
ANCIENT CISTERCIAN MONASTERY OF MORERUELA
PROVINCE OF ZAMORA]
[Illustration: PLATE 178
ANCIENT CISTERCIAN MONASTERY OF MORERUELA
PROVINCE OF ZAMORA]
[Illustration: PLATE 179
ANCIENT CISTERCIAN MONASTERY OF MORERUELA
DETAIL OF THE INTERIOR
PROVINCE OF ZAMORA]
[Illustration: PLATE 180
ANCIENT CISTERCIAN MONASTERY OF MORERUELA.
DETAIL OF THE INTERIOR
PROVINCE OF ZAMORA]
[Illustration: PLATE 181
ANCIENT CISTERCIAN MONASTERY OF MORERUELA. CHANCEL
PROVINCE OF ZAMORA]
[Illustration: PLATE 182
ANCIENT CISTERCIAN MONASTERY OF MORERUELA: EXAMPLE OF THE VAULTING
PROVINCE OF ZAMORA]
[Illustration: PLATE 183
ANCIENT CISTERCIAN MONASTERY OF MORERUELA. INTERIOR
PROVINCE OF ZAMORA]
[Illustration: PLATE 184
ANCIENT CISTERCIAN MONASTERY OF MORERUELA. TRANSEPT AND NAVE
PROVINCE OF ZAMORA]
[Illustration: PLATE 185
ANCIENT CISTERCIAN MONASTERY OF MORERUELA
DETAIL OF A WINDOW DEEPLY RECESSED
PROVINCE OF ZAMORA]
[Illustration: PLATE 186
ANCIENT CISTERCIAN MONASTERY OF MORERUELA
TRANSEPT PORCH
PROVINCE OF ZAMORA]
[Illustration: PLATE 187
SANTA MARIA LA NUEVA. DETAIL OF THE EXTERIOR
PROVINCE OF ZAMORA]
[Illustration: PLATE 188
SANTA MARIA LA NUEVA. DOORWAY IN THE WALL ON THE EPISTLE SIDE
PROVINCE OF ZAMORA]
[Illustration: PLATE 189
SANTA MARIA LA NUEVA. CAPITALS OF RECESSED WINDOWS
PROVINCE OF ZAMORA]
[Illustration: PLATE 190
CHURCH OF MAGDALEN]
[Illustration: PLATE 191
PRINCIPAL DOOR OF THE CHURCH OF THE MAGDALEN
ZAMORA]
[Illustration: PLATE 192
PLAN AND SECTIONS OF THE PARISH CHURCH OF ST. PETER
ZAMORA]
[Illustration: PLATE 193
DETAILS OF THE PARISH CHURCH OF ST. PETER (NAVE)
ZAMORA]
[Illustration: PLATE 194
HOUSE OF THE CID]
[Illustration: PLATE 195
TAPESTRY OF THE BEGINNING OF THE FIFTEENTH CENTURY
ZAMORA]
[Illustration: PLATE 196
DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON PEDRO Y PEDRET
ZAMORA]
[Illustration: PLATE 197
PAINTING IN THE TOWN HALL BY RAMON PEDRO Y PEDRET
ZAMORA]
[Illustration: PLATE 198
PAINTING ON THE UPPER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON PEDRO Y PEDRET
ZAMORA]
[Illustration: PLATE 199
PAINTING ON THE LOWER PART OF THE CENTRE HALL OF THE TOWN HALL. BY RAMON PEDRO Y PEDRET
ZAMORA]
[Illustration: PLATE 200
THE ROYAL ESCUTCHEON. DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON PEDRO Y PEDRET
ZAMORA]
[Illustration: PLATE 201
ST. FERDINAND AND KING JOHN II. DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON PEDRO Y PEDRET
ZAMORA]
[Illustration: PLATE 202
THE ARMS OF THE TOWN. BY RAMON PEDRO Y PEDRET
ZAMORA]
[Illustration: PLATE 203
QUEEN URRACA AND ARIAS GONZALO. DECORATIVE PAINTING IN THE TOWN HALL. BY RAMON PEDRO Y PEDRET
ZAMORA]
[Illustration: PLATE 204
TROPHIES OF ARMS AND ARMOUR IN THE TOWN HALL BY RAMON PEDRO Y PEDRET
ZAMORA]
[Illustration: PLATE 205
THE HOUSE OF THE MOMOS
ZAMORA]
[Illustration: PLATE 206
BRIDGE OF ROCOBAYO OVER THE ESLA
ZAMORA]
[Illustration: PLATE 207
STONE QUARRIES OF THE TOWN OF VALDEROJO
ZAMORA]
[Illustration: PLATE 207
STONE QUARRIES OF THE TOWN OF VALDEROJO
ZAMORA]
[Illustration: PLATE 208
EARTHWORKS OF THE ANCIENT CITY OF TORO]
[Illustration: PLATE 209
NORTH AND CENTRE GATES OF THE COLLEGIATE CHURCH OF TORO]
[Illustration: PLATE 210
PLAN, EXTERIOR VIEW, AND DETAILS OF THE COLLEGIATE CHURCH OF TORO]
[Illustration: PLATE 211
GROUP OF PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO
PROVINCE OF ZAMORA]
[Illustration: PLATE 212
GROUP OF PEASANTS OF THE VILLAGE OF CARBAJALES
PROVINCE OF ZAMORA]
[Illustration: PLATE 213
PEASANTS OF THE VILLAGE OF BERMIGO DE SAYAGO
PROVINCE OF ZAMORA]
[Illustration: PLATE 214
GENERAL VIEW OF AVILA]
[Illustration: PLATE 215
GENERAL VIEW OF AVILA]
[Illustration: PLATE 216
VIEW OF AVILA]
[Illustration: PLATE 217
GATE OF THE ALCAZAR
AVILA]
[Illustration: PLATE 218
GATE OF SAN VICENTE
AVILA]
[Illustration: PLATE 219
GATE OF SAN VICENTE
AVILA]
[Illustration: PLATE 220
GATE OF SAN VICENTE
AVILA]
[Illustration: PLATE 221
GATE OF SAN VICENTE
AVILA]
[Illustration: PLATE 222
A STREET IN AVILA]
[Illustration: PLATE 223
VIEW OF THE CATHEDRAL
AVILA]
[Illustration: PLATE 224
EXTERIOR OF THE CATHEDRAL]
[Illustration: PLATE 225
ENTRANCE TO THE CATHEDRAL
AVILA]
[Illustration: PLATE 226
PLAN OF CATHEDRAL]
[Illustration: PLATE 227
AVILA CATHEDRAL]
[Illustration: PLATE 228
SIDE DOOR OF THE CATHEDRAL
AVILA]
[Illustration: PLATE 229
CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK
AVILA]
[Illustration: PLATE 230
CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK
AVILA]
[Illustration: PLATE 231
CATHEDRAL. PULPIT OF REPOUSSÉ IRON WORK
AVILA]
[Illustration: PLATE 232
INTERIOR OF THE CATHEDRAL
AVILA]
[Illustration: PLATE 233
CATHEDRAL. DETAIL OF THE INTERIOR
AVILA]
[Illustration: PLATE 234
CATHEDRAL. DETAIL OF THE CHOIR
AVILA]