Still going northward, and without crossing the limits of the old country, we reach the venerable town of Agramunt, notable for its late Romanesque church with a portal similar to the Puerta dels Fillols at Lerida. We reach at last Seo de Urgel at the very foot of the Pyrenees. As a see, the place is of immemorial antiquity. Its bishops (who are co-sovereigns with France of the Republic of Andorra) attained the zenith of their power and splendour in the eleventh century. The town has figured in every border war and was the seat of the audacious reactionary caucus which called itself a regency and declared Ferdinand VII. unfit to govern while he was obedient to the constitution. The actual cathedral was consecrated by Bishop Eribal in 1040, but its construction lasted well on into the next century. It resembles a church of southern France more than one of Cataluña. The façade is divided vertically by two buttresses, horizontally by string courses into three stages, the lowest of which is pierced by the simple round arched west porch, the middle by three round-headed windows, the highest forming a sort of attic, by a round-headed window and two _rosaces_. The interior is divided into a nave and aisles with transept and lantern. The treasury is interesting for its collection of documents dating back to the time of the Carlovingian kings. Returning from Lerida to Barcelona we pass the castle of Bellpuig, the seat of the great family of Anglesola--a massive fortress of red stone, restored in the sixteenth century. Its magnificent staircase still gives one some idea of the pomp and state of its former lords. The village extends from the castle to the church--a situation which inspired the erudite topographer of this country (Piferrer) with reflections that remind one of Don Quixote’s address to the goatherds. The church contains the tomb of Don Ramon de Cordova, one of the ablest lieutenants of Gonzalo de Cordova. His effigy, armed and holding his helmet, reclines in a sleeping posture on an urn adorned with reliefs of marine gods and monsters and upheld on the backs of sirens, whose hands are webbed; the sepulchral arch is formed by six Ionic columns, against which lean figures expressive of mourning; over the tomb is a relief of the Entombment. In niches on each side of the arch are two life-size figures emblematic of Victory; above them, two figures leaning forth from medallions appear to extend laurels toward the hero. The plinth and cornice of this superb tomb are adorned with reliefs illustrating the victories and achievements of the deceased, who was as distinguished as an admiral as a general. His body remains in the urn practically incorrupt. The tomb is the work of Juan Nolano.