marble, his moulding of the draperies, are as delicate as the work of the weaver of the robes itself could ever have been. The lace-work is so fine that one expects a breath of wind to ruffle it. Assuredly, the price paid to the architect (442,667 maravedis) was not an exorbitant one. The same skill is apparent in the kneeling effigy of the Infante Alfonso, who died while in rebellion against his half-brother Enrique III., at the age of fifteen years. Also by Siloe, this monument is contained within a recessed arch in the north wall of the sanctuary, festooned with a vine to which children cling. Men-at-arms support the tomb, over which is seen a vigorous figure of St. George and the Dragon. The monument is hardly less significant than that of the young prince’s parents. All three tombs were a labour of love with Isabel the Catholic, who looked upon this church as in quite a peculiar sense the property of her family. It is said that on seeing the escutcheon of the family of Soria painted on one of the stained-glass windows, she at once broke it with one of her attendants’ swords, admonishing the community that they must accept no other patronage than hers. And to-day, in truth, what glory there is at this forlorn monastery is of her creation. A statue, in painted wood, of St. Bruno, founder of the Carthusian Order, in one of the chapels, deserves notice if only as one of the rare specimens of Portuguese art--it was the work of one Manoel Pereira. It is difficult to treat of the minor churches of Burgos in chronological order, for here, as in so many other cities, the existing fabric of the earliest-founded church may be of recent date, and far surpassed in antiquity by the actual masonry of some less historic fane. Street assigns the date of San Estéban to somewhere between the years 1280 and 1350. It stands on the castle hill, and exhibits some features of architectural interest. The portico is good Gothic work of the late thirteenth century, the reliefs representing the martyrdom of the patron saint. An early instance of realism is the stones adhering to the folds of the saint’s robe in one of the statues. Above is a fine wheel-window of the middle fourteenth century. The church consists of three parallel naves, all terminating in apses. At the west end is a raised gallery for the choir, with a fine late Gothic balustrade. Some beautiful arabesque work may be seen in the last chapel in the south aisle; the retablos and pulpit are comparatively modern. This church, which belonged by the way to the Knights Templars, is entered through an early fourteenth-century cloister--one of the smallest to be met with.