THE Archi-episcopal Palace of Alcala de Heñares is a building of many periods and many styles. Founded upon the Old Alcazar, of which vestiges remain, it contains several pretty mediæval windows, one of which Mr. Street thought not unworthy of his pencil. The late Plateresque details of its double Patios arrested my attention, and I was pleased to observe in them a more than usual elegance of moulding, and originality, with propriety of style. On account of their possession of these qualities, their invention and the execution of the medallion-heads and ornaments have been ascribed to Alonzo Berruguete, whose studies in Florence have been looked upon as the main agents in purifying the then prevalent tendency to exuberance in Plateresque design to which he might have surrendered himself, but for his opportunities of becoming acquainted with the works of Michael Angelo and other great contemporary masters of Italian Art. If Berruguete had no hand in this work, (and I have been able to find no proof whatever that he had), it lends greater probability to the theory I have ventured to broach in the description of the next sketch, which is taken from another but contemporary part of the same building. Another attribution of the design of these details has been to Alonso de Covarrubias, but I can find no other authority for it than the fact that Ponz considered them to resemble certain windows of the Alcazar at Toledo which were known to have been designed by that master. [Illustration: PLATE 34 EL ARZOBISPADO ALCALA DE HENARES] PLATE XXXIV. _ALCALA-DE-HEÑARES._ DETAIL FROM THE ARZOBISPADO. ALTHOUGH commonly described as Plateresque, the architecture of the Patio of the Archbishop's Palace at Alcala de Heñares, of which my sketch represents the detail of the upper story, excites a far more forcible reminiscence of good cinque-cento work. It seems to have been executed principally by Spaniards of the sixteenth century, but still to have been founded on pure Italian models. This is particularly shown, as it appeared to me, in the regular form of the bell and volutes of the capitals of the columns with the well drawn and cut acanthus leaves, and the regular eggs and tongues of the cornice. Recognising this, and noticing the correspondence in style between the execution of this work, and that of the architectural parts of the monument to Cardinal Cisneros alluded to in the description of the last sketch but one, I could not but fancy it possible that the same artist, Domenico of Florence, who is allowed to have produced that monument, may, after its completion, have been retained to work upon the Patios of the Archi-episcopal Palace; and possibly also upon some portions of the façade of the University which was not as we know set in hand until some time after the Cardinal's death. [Illustration: PLATE 35 TOLEDO MDW 1869] PLATE XXXV. _TOLEDO_. VIEW OF THE REMAINS OF A MOORISH FORTRESS ON THE RIVER.