In fulfilment of a vow, he mutters his prayers three times a day before these idols, an occupation which daily employs two full hours. He also imposes on himself very painful mortifications, talks very little, reads gloomy books, and remains whole hours with his eyes shut, so that he is on the high road to become either a madman or a saint. The wife's fanaticism is much more social, and her pious imaginations bear the stamp of the mildness and softness of her sex. She has got herself received a "slave of the Holy Trinity" (esclava de la Santissima Trinidad), of which she has obtained a certificate in form from her confessor, and in consequence of which she is bound every day to decorate a large picture with flowers and tapers, to repeat a certain number of prayers before it, and to pay a certain sum weekly to her confessor, an agent of the Trinity; yet all this does not seem to her sufficient for salvation, and she has besides an image of the Holy Virgin, which she very punctually supplies with all the necessary habiliments, both for day and night, besides tapers, flowers and all that can contribute to ornament the happy idol. "This devout esclava is a little woman very affable and complaisant, whose religious sentiments do not at all interfere with other terrestrial feelings, while her impassive husband seems to have arrived at all the spirituality of the blessed." [Illustration: PLATE 84 SARAGOZA LA LONJA MDW 1869] PLATE LXXXIV. _SARAGOSSA._ EXTERIOR OF THE EXCHANGE. THERE is something about the exterior of this fine building essentially Florentine in style. The bold overhanging and crowning cornice, the Ricardi-Palace kind of windows, the simplicity of the Mezzanine, and indeed the introduction of a Mezzanine at all, associated with the severity of the rectangular structure, massive in a noble simplicity, rather recall the work of the grand masters of Tuscan Architecture at the end of the fifteenth century, than any styles, Plateresque or Greco-Roman, one recognises as peculiarly Spanish. The name of the architect appears to have been lost, but there is no question as to the date of its erection, which is given by an inscription which runs beneath a cornice in the interior, and states that it was completed in "1551, reynando Donya Jona y Don Carlos su hijo."