The Cathedral of Burgos is rich in Gothic tombs. The statues of St. Ferdinand and Beatrice of Swabia, on the north wall of the cloisters, are among the finest specimens of portrait sculpture. In the same place is the late Gothic tomb of Don Gonzalo de Burgos. The monument of Archbishop Maurice (died 1238), which is in the centre of the choir, is also a work of special importance, showing, as it does, the skill of the Spanish artists in enamelled copper (Plate 43). Of the same style is the tomb of Jaime of Aragon (Plate 46), who died in 1334, in Tarragona Cathedral, and two monuments in the Cathedral of Leon, that of Martin, the first bishop of the city (Plate 47), the other of Don Ordoño II., who died 923 (Plate 48). All three monuments are of excellent workmanship, and important as fine specimens of portrait sculpture. We may mention also the sarcophagus of St. Vincent and his sisters, SS. Sabina and Criseta, in the Church of San Vicente at Avila (Plate 49), with notable reliefs of the thirteenth century, and surmounted by a Gothic canopy of a later date--about 1465--resting upon coupled columns. But indeed it is difficult to make a selection among the numerous monuments that claim attention. One work stands out as a masterpiece. The magnificent tomb of Archbishop Lopez de Luna, in the Seo of Zaragoza, is the most splendid example of the French-Gothic style in Spain (Plate 50). Even so calm a critic as Professor Carl Justi pronounces this work “a masterpiece.” Mitre on his head, a cross in his hand, and dressed in rich pontifical robes, the figure reclines on the sarcophagus. The face, set in the calm of death, is modelled by a master hand. Behind, placed in a niche which is cut in the thickness of the wall, stand a company of monks and nuns, who weep for their benefactor. Other figures are grouped along the inner face of the tomb; each is marked with character, and is carved with fine skill. But it is not possible to convey in words the effect of this splendid and simple work. In its style it may be compared with the mausoleum of Philippe the Bold, the masterpiece of Burgundian art. It is of the same date, and M. Marcel Dieulafoy believes that the Spanish monument must have been executed in Spain by Aragonese artists who had learnt the art of carving in France. This opinion of French influence directing the native artists is supported by the fact that the Tarragona monument is not a solitary example. This French style of carving spread over the Peninsula; the cathedrals of Burgos, Leon, and Toledo--to name a few out of many churches--are rich in similar monuments. It is necessary to remember this close connection between the arts of France and Spain. The great ecclesiastical orders of France, and especially that of Cluny, gave inspiration to the Romanesque and Gothic periods. It was not until the last third of the fifteenth century, when a new art method came from the Netherlands, that the French influence weakened. Spanish art was almost