To write of all the churches and convents of Toledo would be to burthen the reader with a needless and confusing fatigue. It is enough to know that the city was pre-eminently a hieratic centre to understand that both were once innumerable. To-day they are still too many to remember and certainly more than are worth visiting. Some, like San José, are of no architectural value whatever, only known as a poor little hall which contains some of El Greco's finest pictures. The fame of others, like San Roman, rests upon their mudejar towers, which give so quaint and individual an air to the general aspect of Toledo from the hills or the river. Others again, like San Tomé, combine both attractions in a pure mudejar tower and El Greco's most wonderful masterpiece, the Burial of Count Ruiz de Orgaz, as well as Alonzo Cano's Prophet Elia in sculptured wood, a marvellous specimen of Spanish wood-sculpture. Of _Santo Domingo el Antiguo_ nothing here need be said since I have already written about it in my chapter on El Greco. Perhaps one of the finest of the minor churches is San Andrès. It was transformed after the conquest by order of Alonso VI. from a mosque into a Christian church as the remains of Moorish inscriptions as late as the sixteenth century would indicate. In the lateral nave above the transept there [Illustration: SAN TOMÉ] are still traces of Arabian architecture in the vaults and stucco ornamentation of the same period. But the general appearance of the edifice is more modern, of a sober Gothic style, less highly decorated, but to my thinking more graceful in form than San Juan de los Reyes. The three long naves appear to be of a more recent date than the transept and _capilla major_. The pillars that sustain the dome are extremely graceful, and there is a bold freshness about the arches between that give the whole an air of distinction which none of the other minor churches of Toledo possess. The general effect is delightfully harmonious. In each of the chapels of the aisles there is something to examine. The founder of the restored temple, as the long inscription in Gothic letters along the friezes of the transept tells us, was Francisco de Rojas, commendador and ambassador at the court of Maximilian I., buried here in 1523. The high altar is of wrought wood of the sixteenth century, with paintings of that period of some merit. The shafts of the transept are in excellent taste, and on one of the lateral altars, under the retablo of painted wood, is a little sculptured Mater Dolorosa by an unknown artist, exquisitely touching and life-like. It has the beauty of a profound and tremulous sensibility and a vivid sweetness that reminded me of a lovely St Scholastica of painted wood by Pereira I saw at Santiago de Compostello, but the Spanish painter who accompanied me to San Andrès assures me that it is not a Pereira. The hand that wrought this symbol of gracious grief remains unknown to fame like that which