The interior of the church is still sufficiently entire to give some idea of its original splendour. Its dimensions are rather more than two hundred feet in length, by eighty in width, and as many in height--excepting over the intersection of the nave and transept, where the ceiling rises to a hundred and eight feet. These dimensions are exclusive of three recesses on either side, forming chapels open to the nave, there being no lateral naves or aisles. The style of the whole is very ornamental; but the east end is adorned with an unusual profusion of sculpture. The transept is separated from the eastern extremity of the building, by a space no greater than would suffice for one of the arches; and its ends form the lines, which being prolonged, constitute the backs of the chapels. The royal arms, supported by spread eagles, are repeated five times on each end-wall; separated respectively by statues of saints in their niches, and surmounted by a profusion of rich tracery. These subjects entirely cover the walls to a height of about forty feet, at which elevation another inscription in honour of the founders runs round the whole interior. The transepts not being formed by open arches, the sides afford space for a repetition of the same ornament, until at their junction with the nave they are terminated by two half-piers covered with tracery, and surmounted by semi-octagonal balconies, beneath which the initials of Ferdinand and Isabella, made to assume a fancy shape, and surmounted by coronets, are introduced with singularly graceful effect. But the chief attraction of this ruin is the cloister. A small quadrangle is surrounded by an ogival or pointed arcade, enriched with all the ornament that style is capable of receiving. It encloses a garden, which, seen through the airy-web of the surrounding tracery, must have produced in this sunny region a charming effect. At present, one side being in ruins and unroofed, its communication with the other three has been interrupted; and, whether or not in the idea of preserving the other sides from the infection, their arches have been closed nearly to the top by thin plaister walls. Whatever may have been the motive of this arrangement, it answers the useful purpose of concealing from the view a gallery which surmounts the cloister, the arches of which would neutralize the souvenirs created by the rest of the scene, since they announce a far different epoch of art, by the grievous backsliding of taste evinced in their angular form and uncouth proportions. [Illustration: CLOISTER OF SAN JUAN DE LOS REYES, TOLEDO.]