A convent for Carmelite friars was built in the seventeenth century on the site of St. Teresa’s family mansion, in the western part of Avila. The church, in the style of the Renaissance, faces a large, sunny square, on one side of which is a fine old palace with sculptured doors and windows and emblazoned shields. Near by is the _Posada de Santa Teresa_. The whole convent is embalmed with her memory. Her statue is over the door of the church. All through the corridors you meet her image. The cloisters are covered with frescoes of her life and that of St. John of the Cross. Over the main altar of the church, framed in the columns of the gilt retable, is an alto-relievo of St. Teresa, supported by Joseph and Mary, gazing up with suppliant hands at our Saviour, who appears with his cross amid a multitude of angels. The church is not sumptuous, but there is an atmosphere of piety about it that is very touching. The eight side-chapels are like deep alcoves, each with some scene of the Passion or the life of the Virgin. The transept, on the gospel side, constitutes the chapel of Our Lady of Mt. Carmel, from which you enter a little oratory hung with lamps and entirely covered with paintings, reliquaries, and gilding, as if art and piety had vied in adorning it. It was on this spot St. Teresa first saw the light in the year 1515, during the pontificate of Leo X. A quieter, more secluded spot in which to pray could not be desired. But Avila is full of such dim, shadowy oratories, consecrated by some holy memory. Over the altar where Mass is daily offered is a statue of St. Teresa, sad as the Virgin of Many Sorrows, representing her as when she beheld the bleeding form of Christ, her face and one hand raised towards the divine Sufferer, the other hand on her arrow-pierced breast. She wears a broidered cope and golden rosary. Among the paintings on the wall are her Espousals, and Joseph and Mary bringing her the jewelled collar. Two little windows admit a feeble light into this cell-like solitude. The ceiling is panelled. Benches covered with blue cloth stand against the wall. And there are little mirrors under the paintings, in true modern Spanish taste, to increase the glitter and effect. The De Cepeda coat of arms and the family tree hang at one end, appropriate enough here. But in the church family distinctions are laid aside. There only the arms of the order of Mt. Carmel, St. Teresa’s true family, are emblazoned. In a little closet of the oratory we were shown some relics of the saint, among which were her sandals and a staff――the latter too long to walk with, and with a small crook at the end. It might have been the emblem of her monastic authority.