In the days of its might Toledo could boast of nearly two hundred thousand inhabitants. The city lost power when the capital of Spain was transferred to Valladolid. It is now scarcely more than a museum and resort of tourists and students of art. The streets are silent and unfrequented; there is but little evidence of commerce, and the manners and customs of the people have escaped the influences of to-day. Toledo is indeed old-world, a veritable relic of antiquity, in spite of its railway station and large hotel, often thronged with Americans. The history of Toledo under the Moors is constantly recalled by the gates, defences, and buildings that remain. We enter Toledo by two arches and a bridge, over the swirling Tagus, and immediately we are, as it were, projected into the period of the Moorish conquest. This bridge, the Puente de Alcantara, was first built by the conquerors, but the present structure, though Moorish in design, was made in the thirteenth century. Older is the Puerta del Sol, a work of the Mudéjares, with the typical horseshoe arches and towers. The arch of the Zocodover, the bridge of San Martin, and the Church of Santa Maria la Blanca each show the Moorish spirit in their architecture. In the Casa de Mesa is a room in the design of the Mudéjares, the reconciled Moors, who remained and followed their crafts in Spain, after the reconquest of the country by the Spaniards. The ceiling is a fine specimen of Arabian art. At the School of Infantry are further traces of the Moors, while in the Church of El Transito will be found treasures of the east. Many of the churches have Morisco towers, such as San Roman, Santo Tomé, San Miguel, and San Servando. Santo Tomé was once a mosque; it is now a Gothic church. The interior of El Cristo de la Luz is typically Moorish. The magnificent cathedral stands on the site of an earlier church which the Moors shattered, erecting in its place a mosque. In 1227 Fernando laid the stone of the present edifice; and over two hundred years were spent in the labour of erecting and adorning it, while vast wealth was employed in the work, and thousands of artists, craftsmen and labourers employed. Under Mendoza and other prelates, Flemish artists worked in the cathedral. The architecture is Gothic, with many traces of Baroque and Mudéjar art. There is a very lofty and beautiful tower, with a steeple surmounting it. The flying buttresses are exceedingly graceful; the eight doorways of great beauty. A splendid façade, with a wealth of statues, faces the west. It has three portals and a fine rose window, and is flanked by towers. The Puerta de los Leones is noble Renaissance work, splendidly sculptured with rich ornaments.