brought it to the village of La Guardia. At Passiontide, they met at a grotto outside La Guardia, and submitted the baby to a repetition of the insults and outrages Christ had endured; then lanced him, tore out his heart, and buried the little body. The child's mother was blind, and at this instant miraculously recovered her sight. Not content with this, they bribed a recently converted Jew, Juan Gomez, to steal a host, paying him thirty reals for the sacrilege, and sent him off with the child's heart to Zamora. Thus the crime was traced to Juan Gomez, who, opening his prayer-book in the cathedral of Avila, on his return, attracted attention by the wonderful projection of bright rays from the leaves. He was instantly seized, examined, papers were found on him, and he and the gang of Jewish torturers of babies were burnt by the Inquisition. This charming little temple was built for Levi by the Jew, D. Meir Abdeli, a rabbi to whom an elaborate Hebrew inscription on one wall does honour as a man of transcendent virtue. The architecture is _Morisco_. Slowly the restorers are unveiling the admirably-wrought stucco walls, where the sculpture is as fine and delicate as the most exquisite lace, and has lain for centuries under a degrading coat of whitewash. You must mount the high scaffolding with lighted wax or lamp, and here you may examine at your leisure the inexhaustible delights of the Moorish-Andalusian style in its most florid period. The prodigality of ornament is as amazing as the Gothic wealth of sculpture of San Juan de los Reyes, but I confess this pleases far more. It is much more charming, more fairy-like, with that delicately-sensual note which forms the eternal witchery of the East. The friezes are magnificent, and nothing could be prettier than the effect of the semi-horseshoe windows and their frail pillars and arches. Above the famous Hebrew inscriptions, quotations from the Psalms mostly, run a row of arches, highly decorated, resting on slim columns fancifully wrought. Here the extreme elegance of design and finish touches upon preciosity. The Moorish windows are most lovely, perfect little poems in stone, of a marvellous fragility and grace. From their dainty lines and traceries, you look in stupor up at the massive _artesonado_ ceiling, with its geometrical figures, its infinitude of design carven in heavy wood--blurred, it is true, and brutally defaced by time and neglect. Here and there the woodwork is discoloured, here and there hopelessly degraded; but some notion of its pristine magnificence may be gathered even yet.