Both Acuña and the King of Portugal died, and Doña Leonor, whose morals were none too edifying, fell in love with a certain Zuñiguez; the daughter of these two was handed over to the care of a knight, Fernan by name, and Doña Leonor ordered him to found a convent, upon her death, and lock up her daughter within its walls; the mother was doubtless only too anxious to have her daughter escape the ills of this life. Unluckily she counted without the person principally concerned, namely, the daughter, for the latter fell secretly in love with her keeper's nephew. She thought he was her cousin, however, for it appears she was passed off as Fernan's daughter. Upon her mother's death she learnt her real origin, and wedded her lover. In gratitude for her non-relationship with her husband, she founded the convent her mother had ordered, but she herself remained without its walls! The least that can be said about the cathedral of Valladolid, the better. Doubtless there are many people who consider the building a marvel of beauty. As a specimen of Juan de Herrero's severe and majestic style, it is second to no other building excepting only that great masterwork, the Escorial, and perhaps parts of the Pillar at Saragosse. But as an art monument, where beauty and not Greco-Roman effects are sought, it is a failure. The original plan of the building was a rectangle, 411 feet long by 204 wide, divided in its length by a nave and two aisles, and in its width by a broad transept situated exactly half-way between the apse and the foot of the church. The form was thus that of a Greek cross; each angle of the building was to be surmounted by a tower, and the _croisée_ by an immense cupola or dome. (Compare with the new cathedral in Salamanca.) The lateral walls of the aisles were to contain symmetrical chapels, as was also the apse. From the foregoing it will be seen that symmetry and the Greco-Roman straight horizontal line were to replace the ogival arch and the generally vertical, soaring effect of Gothic buildings. The architect died before his monument was completed, and Churriguera, the most anti-artistic artist that ever breathed,--according to the author's personal opinion,--was called upon to finish the edifice: his trade-mark covers almost the entire western front, where the second body shows the defects into which Herrero's severe style degenerated soon after his death. Of the four towers and the cupola which were to render the capitol of Valladolid "second in grandeur to none excepting St. Peter's at Rome," only one tower was erected: it fell down in 1841, and is being reërected at the present time.