If I am correct in attributing this peculiar church to the Angevine influence of the Queen, I prove at the same time a most important point in the history of the development of style in Spain. The planning of the church at Las Huelgas influenced largely the architects of Burgos, the capital of Castile and Leon. The groining of the only original chapel in the transept of the cathedral is a reproduction of the octopartite vault of the lantern at Las Huelgas; and one may fairly suspect that so, too, was the original lantern of the cathedral. Then, again, in a fourteenth-century chapel, north of the choir of the cathedral, we see the same device (_i.e._ the arched pendentive across the angle) adopted for obtaining an octagonal vault over a square chamber; and again in the fifteenth and sixteenth centuries, in a chapel on the south of the nave, in the old sacristy, and finally in the all but Renaissance chapel of the Constable, we have the Spanish octagonal vault, supported on pendentives, evidently copied by the German architect from the pendentives of the Romanesque churches on the Rhine. In these Burgalese examples we have a typal vault which is extensively reproduced throughout Spain, and which I last saw at Barcelona, in work of the sixteenth century. It is a type of vault, in its later form, almost peculiar to Spain, and when filled in with tracery in the cell, I believe quite so. And it is undoubtedly more picturesque and generally more scientific in construction than our own late vaults, and infinitely more so than the thin, wasted-looking vaults of the French flamboyant style. But to proceed with my notice of the church of Las Huelgas. The nave is groined throughout with a quadripartite vault; but beyond this I can say but little, as it is screened off from the church for the use of the nuns,[30] and the only view of it is obtained through the screen. The main arches between the nave and aisles are very simple, of two orders, the inner square, the outer moulded. Above these is a string-course level with the springing of the groining, and then a clerestory of long, simple lancet windows, the whole forming a noble and impressive interior. Above the nuns’ stalls on the south I noticed a good fifteenth-century organ, with pipes arranged in a series of stepped compartments, and painted shutters of the same shape; below the principal range of pipes those of one stop are placed projecting horizontally from the organ. This is an almost universal arrangement in Spanish organs, and is always very picturesque in its effect, and I believe in the case of trumpet-stops very useful, though somewhat costly.[31]