I have already incidentally mentioned that the windows are full of fine stained glass. It is all of the richest possible colour, and most of it of about the same date as the church. Modern critics would, no doubt, object to some of the drawing for its rudeness and want of accuracy. Yet to me this work seemed to be a most emphatic proof--if any were needed--that we who talk so much about drawing are altogether wrong in our sense of the office which stained glass has to fulfil in our buildings. We talk glibly about good drawing, and forget altogether the much greater importance of good colour. At Leon the drawing is forgotten altogether, and I defy any one to be otherwise than charmed with the glories of the effect created solely by the colour. At present in England our glass is all but invariably bad--nay, contemptible--in colour; whilst the so-called good drawing is usually a miserable attempt to reproduce some sentimentality of a German painter. Two schools might well be studied a little more than they are; the one should be this early school of rich colourists, and the other the beautiful works of the sixteenth and seventeenth century French glass-painters, where there is good drawing enough for any one, and generally great beauty and simplicity of colour. Finally, two practices might be suggested to our stained-glass painters,--one, that they should only use good, and therefore costly glass; and the other, that they should limit their palettes to a few pure and simple colours, instead of confusing our eyes with every possible tint of badly-chosen and cheaply-made glass. If we want religious pictures in our churches--as we do most surely--let us go to painters for them, and, with the money now in great part thrown away on stained glass, we might then have some works of art in our churches of which we might have more chance of feeling proud, and for which our successors would perhaps thank us more than they will for our glass.[122] I have detained my readers only too long, I fear, upon this cathedral, but it is too full of interest of all kinds to allow of shorter notice, and is, in its way, the finest church of which Spain can boast; at the same time the work is all so thoroughly French as to destroy, to some degree, the interest which we should otherwise feel in it. The other great architectural attraction of Leon is the church of San Isidoro “el Real.” This is altogether earlier than, and has therefore an interest entirely different from, that of the cathedral.