THIS is unquestionably one of the most important of the Palaces of the ancient nobility left in Spain, worthy of the renown of the Mendozas, long Seigneurs of Guadalaxara. In spite of its present picturesque aspect, however, architecturally speaking, it is a strange jumble of incongruities; and offers but a ghost of the beauty it must have possessed upon its first construction towards the end of the fifteenth century from 1461 onwards. Splendour it must have possessed in perfection at the date at which it excited warm admiration in the breast of the captive sovereign, Francis I. of France, who was here magnificently entertained by the then Duque del Infantado. The top story with its remains of continuous arcading and balconies, the walls, the splendid doorway, and above all the Patio, with the exception probably of the top cornice and the Doric columns of the ground-floor arcade, all belong to the original construction. These remains afford sufficient indication of what has been destroyed to make way for Italian decoration and barbarous repair, to enable the practised eye to see the whole as it once existed; before a vulgar desire for novelty, and especially for foreign novelty induced the desecration of the integrity of the design. One might have fancied that every true Spaniard would have regarded this palace almost as a holy place, from its having received the last breath of the great Cardinal Mendoza--the "Rex tertius," whom Felipe Vigarny, or some other dextrous sculptor, portrayed in the carvings of the Cathedral at Granada,[51] riding with Ferdinand and Isabella, and receiving the keys of the Alhambra from the hands of the unfortunate "Boabdil el Chico." The interior of this Palace is fully as rich and remarkable as the exterior. The Patio which is about eighty feet long by fifty-six wide, (about two-thirds of the size of the court-yards of the Royal Exchange and the India Office), is surrounded by arcades of two stories, each about twenty feet in height. Both series of arches are of a Gothic and fantastic form, with spandrels filled in on the lower story with lions, and on the upper with winged griffins. Between each arch are columns, surmounted with armorial bearings, eagles, and grouped finials. The whole, if coarsely, is very spiritedly carved, and produces a stately and simple, though rich effect. The saloons are large and lofty, with remains of beautiful half Moorish ceilings, and much effective Italian fresco decoration of good colour and enriched with harmonious Arabesque ornament. The state of this once splendid structure is unfortunately as dilapidated as the national finances. What more can or need be said? Everything going to pieces for want of that "stitch in time," which nowhere, and in nothing, in Spain, seems ever likely "to save nine." [Illustration: PLATE 79 GUADALAXARA SAN MIGUEL MDW 1869] PLATE LXXIX. _GUADALAXARA._ DOORWAY OF THE MONASTERY OF SAN MIGUEL.