To be easily distinguished among the religious compositions are the figures of Juan II. and his Queen Isabel, kneeling on faldstools and attended by their guardian angels. Above the tabernacle a superb cluster of angels encircles a crucifix, over which is seen the symbolical figure of the pelican. Very fine, also, is the seat occupied by the celebrating priest during the sermon. It is the work of Martin Sanchez, and is an exquisite specimen of Gothic carving, described by one authority as ‘one of the most beautiful and sumptuous pieces of ecclesiastical furniture of its kind and period in Spain or elsewhere.’ But the supreme objects of interest in this Castilian Charterhouse are the superb tombs of Juan II., his queen, and their son, the Infante Alfonso. These were designed and in great measure executed by Gil de Siloe, by order of Isabel the Catholic. The effigies of the king and queen recline on an alabaster tomb, the ground plan of which is a star of eight points formed by two squares placed diagonally. On the angles of the lower slab are placed figures of children supporting the royal escutcheon, and accompanied by lions. Each of the sixteen spaces between the points of the star is occupied by the statue of an apostle or a cardinal virtue placed in a niche. The tracery of this part of the tomb is indescribably rich. The angles of the upper slab are rounded off and marked by pinnacles, statuettes, and the statues of the Four Evangelists. Here and there the charming figures of cherubim, all in different postures, seem about to detach themselves from the marble. In the intervals between the points of the substructure are disposed lions in various attitudes: on some _amorini_ are mounted, while others are about to devour nude children. Such fantastic conceptions--monsters, genii, etc.--are displayed in marvellous profusion all over the surface of the monument. All this detail, which, in Street’s opinion, is for beauty of execution, vigour, and animation of design, finer than any other work of the age, serves but as a setting for the recumbent figures of Juan II. and Queen Isabel of Portugal--the parents of that other and more famous Isabel. The king is shown in his crown and robes; the face is weak, but beautiful, boyish almost, smooth-shaven, and framed by long curling locks; on the breast falls a magnificent collar of state. The right hand, which held the sceptre, has been broken off, the left, with a natural gesture, gathers up the folds of the robe. On the feet are pattens, which seem to have been in use by both sexes in Spain in the fifteenth century. The robe is of the most magnificent description, encrusted with embroidery and precious stones. The statue of the queen remains intact. Her gloved hands hold an open book, from which she seems to have raised her eyes to regard the spectator between half-closed lids. Her mantle is as splendid as her husband’s. Siloe’s embroidery in