Besides the general relicary and the peculiar chapel for the Santa Forma, there is another smaller relicary, called the Camarin, into which Father Buendia conducted me. Here I was shewn an earthen pitcher, one of those which contained the water that Jesus turned into wine; and affixed to the pitcher, there is a writing, narrating the manner in which the vessel found its way into the Escurial. I was also shewn three caps of Pope Pius V.; and a stone which was taken from his Holiness’ bladder; besides several manuscripts written by the hand of St. Teresa, and St. Augustin; and the ink-horn of the former saint. I might still have been gratified by the sight of more relics; but I was anxious to visit the sacristy, which contains relics of another kind. The sacristy itself, in its walls, roof, and floor, equals in beauty, any part of the Escurial; but the beauty of jaspers and precious stones, and the excellent workmanship of many rare and beautiful woods, are unheeded, where attractions are to be found so far excelling them. It is in the sacristy of the Escurial, where the choicest works of the most illustrious painters of the great schools are preserved; and of these we may say, what can rarely be said of any collection, that among the forty-two pictures that adorn the sacristy, there is not one that is not a _chef d’œuvre_. Among these, there are three of Raphael, one of them known all over the world by the name of La Perla; two of Leonardo da Vinci; six of Titian, and many of Tintoretto, Guido, Veronese, and other eminent masters. La Perla represents the Virgin embracing the infant Jesus, with her right arm round his body, while he rests his feet upon her knee; the Virgin’s left hand lies upon the shoulder of Saint Anne, who kneels at her daughter’s side; her elbow resting upon her knee, and her head supported by her hand. The child, St. John, offers fruits to the infant Christ in his little garment of camel-skin; and Jesus accepting them, turns at the same time his smiling face towards his mother, who is looking at St. John. Such is the subject of La Perla, a picture that would have placed Raphael where he now stands among the illustrious dead, even if he had never painted the Transfiguration,--any critique upon a painting of Raphael would be impertinent. While I was occupied with the treasures of the sacristy, a bell rang for prayers; and as it was contrary to the rules of the monastery to leave the door of the sacristy open, I was locked in, while Father Buendia went to his devotions. This was precisely the most agreeable thing that could have happened: a large chair, which looked as old as the days of Philip II., stood below the altar of the Santa Forma; and drawing it into the middle of the sacristy, and sitting down, I spent the next half-hour luxuriously; not as might have been imagined, in admiration of the immortal works around me; but in a waking dream, that carried me away