The archives of the cathedral contain a Bible, at one time believed to have been the gift of Charlemagne, and enriched with the signature of Charles V. of France. Another treasure is an illuminated code dating from the tenth century, and relating to the Apocalypse--a chapter in Holy Writ which at that period, when the end of the world was believed to be at hand, greatly occupied the minds of men. Not far from the cathedral, and nearer to the river Oñar, is the collegiate church of San Feliu or San Felix rising proudly above the town. Its tall campanile is visible from every part of the town and is a familiar landmark for miles around. It was built in 1392, and is in three stages: the first or lower stage, quite plain, the second adorned with graceful windows, the third putting forth shoots in the shape of tapering finials. “It is seldom,” says Street, “that the junction of tower and spire is more happily managed than it is here; and before the destruction of the upper part of the spire the whole effect must have been singularly graceful.” Though the church seems to have been almost entirely rebuilt in the fourteenth century, as a foundation, St. Feliu dates back to the eighth century and was used by the Christians during the Moorish occupation, which, by the way, only lasted sixty-eight years. The interior seems, like the cathedral’s, to have consisted of a single nave, but to this aisles have been added, the whole terminating in a tri-apsidal chevet. The west front dates from the seventeenth century. The high altar has some good paintings and sculpture, the canopies over the tomb of San Feliu and the statues of the Virgin and St. Narcissus being especially notable. The modern chapel of the last-named saint is gorgeously enriched with jasper of many colours. In this church is buried the heroic Don Mariano Alvarez de Castro, beneath a monument, dating from 1880, executed in Carrara marble and in the reddish yellow stone of the country. The tomb is crowned by a mourning female figure, which I have been told is a portrait of the general’s wife. The sepulchre of San Feliu dates from the thirteenth century and is sculptured with compositions representing scenes from the saint’s life. Leaving San Feliu by the south door, we pass through the dark and massive Portal de Sobreportas, formed by two huge round towers, connected by a modern intervening story, and at the end of a long gloomy lane reach a Capuchin convent. The object of our visit is a soi-disant Moorish bath, covered in by a graceful little pavilion with eight slender columns.