The Picturesque Antiquities of Spain. Wells Nathaniel Armstrong

faces the principal front of the cathedral. This little antique monument charms, by the quaint symmetry of its design and proportions, and perhaps even by the terribly mutilated state of the four fragments of Cupids, which, riding on the necks of the same number of animals so maltreated as to render impossible the discovery of their race, form projecting angles, and support the basin on their shoulders. Four mermaids, holding up their tails, so as not to interfere with the operations of the Cupids, ornament the sides of the basin, which are provided with small apertures for the escape of the water; the top being covered by a flat circular stone, carved around its edge. This stone,—a small, elegantly shaped pedestal, which surmounts it,—and the other portions already described, are nearly black, probably from antiquity; but on the pedestal stands a little marble virgin, as white as snow. This antique figure harmonises by its mutilation with the rest, although injured in a smaller degree; and at the same time adds to the charm of the whole, by the contrast of its dazzling whiteness with the dark mass on which it is supported. The whole is balanced on the capital of a pillar, of a most original form, which appears immediately above the surface of a sheet of water enclosed in a large octagonal basin.

      FOUNTAIN OF SANTA MARIA.

      LETTER VI.

      CARTUJA DE MIRAFLORES. CONVENT OF LAS HUELGAS

Burgos.

      The Chartreuse of Miraflores, situated to the east of the city, half-way in the direction of the above-mentioned monastery of San Pedro de Cardeñas, crowns the brow of an eminence, which, clothed with woods towards its base, slopes gradually until it reaches the river. This spot is the most picturesque to be found in the environs of Burgos,—a region little favoured in that respect. The view, extending right and left, follows the course of the river, until it is bounded on the west by the town, and on the east by a chain of mountains, a branch of the Sierra of Oca. Henry the Third, grandfather of Isabel the Catholic, made choice of this position for the erection of a palace; the only remnant of it now existing is the church, which has since become the inheritance of the Carthusian monks, the successors of its royal founder.

      The late revolution, after sparing the throne of Spain, displayed a certain degree of logic, if not in all its acts, at least in sparing, likewise, two or three of the religious establishments, under the protection of which the principal royal mausoleums found shelter and preservation. The great Chartreuse of Xeres contained probably no such palladium, for it was among the first of the condemned: its lands and buildings were confiscated; and its treasures of art, and all portable riches, dispersed, as likewise its inhabitants, in the direction of all the winds.

      In England the name of Xeres is only generally known in connection with one of the principal objects of necessity, which furnish the table of the gastronome; but in Andalucia the name of Xeres de la Frontera calls up ideas of a different sort. It is dear to the wanderer in Spain, whose recollections love to repose on its picturesque position, its sunny skies, its delicious fruits, its amiable and lively population, and lastly on its once magnificent monastery, and the treasures of art it contained. The Prior of that monastery has been removed to the Cartuja of Burgos, where he presides over a community, reduced to four monks, who subsist almost entirely on charity. This amiable and gentleman-like individual, in whom the monk has in no degree injured the man of the world,—although a large estate, abandoned for the cloister, proved sufficiently the sincerity of his religious professions,—had well deserved a better fate than to be torn in his old age from his warm Andalucian retreat, and transplanted to the rudest spot in the whole Peninsula, placed at an elevation of more than four thousand feet above the level of the Atlantic, and visited up to the middle of June by snow-storms. At the moment I am writing, this innocent victim of reform is extended on a bed of sickness, having only recently escaped with his life from an attack, during which he was given over.

      This Cartuja possesses more than the historical reminiscences with which it is connected, to attract the passing tourist. It owes its prolonged existence to the possession of an admirable work of art,—the tomb of Juan the Second and his Queen Isabel, which stands immediately in front of the high altar of the church. This living mass of alabaster, the work of Gil de Siloë, son of the celebrated Diego, presents in its general plan the form of a star. It turns one of its points to the altar. Its mass, or thickness from the ground to the surface, measures about six feet; and this is consequently the height at which are laid the two recumbent figures.

      N. A. Wells. deb. W. I. Starling, "84"

      INTERIOR OF THE CHURCH OF MIRAFLORES, NEAR BURGOS.

      It is impossible to conceive a work more elaborate than the details of the costumes of the King and Queen. The imitation of lace and embroidery, the exquisite delicacy of the hands and features, the infinitely minute carving of the pillows, the architectural railing by which the two statues are separated, the groups of sporting lions and dogs placed against the foot-boards, and the statues of the four Evangelists, seated at the four points of the star which face the cardinal points of the compass,—all these attract first the attention as they occupy the surface; but they are nothing to the profusion of ornament lavished on the sides. The chisel of the artist has followed each retreating and advancing angle of the star, filling the innermost recesses with life and movement. It would be endless to enter into a detailed enumeration of all this. It is composed of lions and lionesses, panthers, dogs,—crouching, lying, sitting, rampant, and standing; of saints, male and female, and personifications of the cardinal virtues. These figures are represented in every variety of posture,—some standing on pedestals, and others seated on beautifully wrought arm-chairs, but all enclosed respectively in the richest Gothic tracery, and under cover of their respective niches. Were there no other object of interest at Burgos, this tomb would well repay the traveller for a halt of a few days, and a country walk.

      At the opposite side of the town may be seen the royal convent of Las Huelgas; but as the nuns reserve to themselves the greater part of the church, including the royal tombs, which are said to be very numerous, no one can penetrate to satisfy his curiosity. It is, however, so celebrated an establishment, and of such easy access from the town, that a sight of what portions of the buildings are accessible deserves the effort of the two hundred yards' walk which separates it from the river promenade. This Cistercian convent was founded towards the end of the twelfth century by Alonzo the Eighth,—the same who won the famous battle of the Navas de Tolosa. It occupies the site of the pleasure-grounds of a royal retreat, as is indicated by the name itself. In its origin it was destined for the reception, exclusively, of princesses of the blood royal. It was consequently designed on a scale of peculiar splendour. Of the original buildings, however, only sufficient traces remain to confirm the records of history, but not to convey an adequate idea of their magnificence. What with the depredations of time, the vicissitudes of a situation in the midst of provinces so given to contention, and repeated alterations, it has evidently, as far as regards the portions to a view of which admission can be obtained, yielded almost all claims to identity with its ancient self.

      The entire church, with the exception of a small portion partitioned off at the extremity, and containing the high altar, is appropriated to the nuns, and fitted up as a choir. It is very large; the length, of which an estimate may be formed externally, appearing to measure nearly three hundred feet. It is said this edifice contains the tomb of the founder, surrounded by forty others of princesses. The entrance to the public portion consists of a narrow vestibule, in which are several antique tombs. They are of stone, covered with Gothic sculpture, and appear, from the richness of their ornaments, to have belonged also to royalty. They are stowed away, and half built into the wall, as if there had not been room for their reception. The convent is said to contain handsome cloisters, courts, chapter-hall, and other state apartments, all of a construction long subsequent to its foundation. The whole is surrounded by a complete circle of houses, occupied by its various dependants and pensioners. These are enclosed from without by a lofty wall, and face the centre edifice, from which they are separated by a series of large open areas. Their appearance is that of a small town, surrounding a cathedral and palace.

      The convent of the Huelgas takes precedence of all