The first-named of these temples derives its actual name from a tradition that a Christian church occupied the site in Visigothic times, to account for the dedication of which a legend is repeated similar to that of Santa Maria ad Nives at Rome. It is situated on what was once the Jewry or Ghetto, on the western side of the city, not far from the Puente de San Martin. Its foundation--as a synagogue--is variously ascribed to the period of the Reconquest, to the last days of the Moorish dominion, and to the latter period of the Khalifate. The first date seems the most probable. It continued to be used for the Jewish worship till 1405, when, as has been already told, it was seized and converted into a Catholic church. It has long since become a merely secular monument. The exterior, approached through the most miserable and sordid neighbourhood, is very far from reflecting the splendour the Jews enjoyed at its foundation. The façade, mean and dilapidated like the rest of the exterior, is probably of much more recent construction also. Within, a strange, fantastic impression is created. The phrase, “How are the mighty fallen!” involuntarily rises to the lips as one contemplates the traces of grandeur and elegance subsisting amid ruin and decay. The temple is symbolical of the race: exotic, reminiscent of a lost glory, depressed, oppressed. There is, however, no trace or suggestion of the primitive Hebrew architectural style about the building. The traditions of Jerusalem were either unknown to, or had been forgotten by, those who reared these walls--likely enough Moors, whose skill was always at the disposal of Christian and Jew. In fact, the synagogue may be taken as a fine example of late Saracenic work. The plan consists of a nave with two aisles on each side. The nave was prolonged in the seventeenth century so as to form a chancel. The building is 81 feet long by 63 feet wide. The nave reaches to a height of 60 feet, and is 15 feet broad, while the aisles measure only 12 feet and rise from 40 to 50 feet high. The nave and aisles are separated by four rows of octagonal columns, from which spring bold horseshoe arches of the true Moorish type. The capitals are of stucco and elaborately designed with floral devices, in which the fir-cone is conspicuous; there is a vague suggestion of Byzantine influence. Mr. Street imagines them to be much later than the original capitals which they overlay. “All the Moorish decorative work seems to have been executed in the same way in plaster. This was of very fine quality, and was evidently cut and carved as if it had been stone, and seldom, if ever, I think, stamped or moulded, according to the mistaken practice of the present day. The consequence is that there is endless variety of design everywhere and--wherever it was desired--any amount of undercutting. The spandrels above the arches are filled in with arabesque patterns, and there is a