sculptured the symbol of divine sweetness in the head of St Francis of Assisi above the cloister door of Burgos Cathedral. There are two Grecos here badly placed. With the aid of a chair and a candle even in the early afternoon you can barely distinguish them, so high do they hang in the dim light. One is St Peter of Alcántara and the other St Francis. Visibly Grecos, but of their merits it would be impossible to write, because of the squinting view you get of them. There is a Calvary of the Genoese painter, Semini, and an Adoration of the Kings by Antonio Vanderpere, with the unedifying legend of Lot and his daughters, a copy of Guido. The church of San Pedro Martir, attached to the monastery of that order, and affiliated to St John of Latran in Rome since 1773, is as black and chill as a colossal vault. Señor Parro in _Toledo en la Mano_ writes of this dull and unbeautiful edifice in terms of flatulent praise, several pages long. He calls it the Pantheon of Toledan glory. It is certainly an excellent tomb if nothing else. The coldest churches I have ever set foot in are this and San Benito of Valladolid, both warranted to provoke pneumonia on a summer's day. In winter I should imagine the rash traveller would remain therein embalmed in ice. The architecture is of the Greco-Roman style, bewilderingly spacious without any majesty of effect in its immense proportions. Señor Parro tells us that the façade is "most lovely." My expectations were not realised. I found the corinthian columns, the cornices, the "grandiose" central arch, the pilasters perfectly insignificant, but there are two marble statues on either side, sometimes mistakenly attributed to Berruguete, extremely fine, and also a life-size statue of St Peter effective in a lesser degree. The frescoes have disappeared, and the high altar is now defaced with commonplace modern pictures of no value whatever. But the gilt wood and sculpture remain. Once the degraded squares were filled with paintings of Fray Bautista Maino, the distinguished master of Felipe IV., Velasquez's friend and patron. These vanished pictures were excellent imitations of Paul Veronese, so good that they were seized for the Musée of Madrid, and to fill up the horrid vacancy modern monstrosities, mere daubs, were ordered, which to-day grotesquely offend the eye. The celebrated _Virgen del Rosario_, an object of special devotion to the Toledans, may be seen in one of the chapels. The _plateresca_ iron-railing of the sanctuary would be remarkable in any other land, but the railings of Spain are so sumptuous that one hardly notices this one. Still it is worth inspection, being a rich and profusely gilt specimen of that special work, with a fine centre cross and a rich frieze. Attached to the cross is the standard of the great Cardinal of Spain, Pedro Gonzalez de Mendoza, pale blue damask, with four Jerusalem crosses in each corner, and in the centre an oval figure