Inns: The want of a really good hotel has ever been a drawback to making a lengthened sojourn. Fonda del Norte, 3 C. de Lain Calvo, out of the Plaza Mayor, dear and indifferent. Fonda de Rafaela, 10 C. de Vitoria, opposite the cavalry barracks, fair; bargain beforehand at 30 rs. a day. Fonda Monin, 7 C. de Cantarranas, out of the Plaza Mayor, commercial and Spanish, with good table; the chief public coach offices are attached thereto. Café: El Suizo, and El Iris, both on the Espolon Viejo, at the E. extremity of which the spacious new Theatre is also situated. Casino, over the Café Suizo. Post Office, 58 Espolon Viejo. Telegraph Office in Casa del Cordon, Plaza de la Libertad. Baths: Baños del Recuerdo in Calle de los Vadillos, 37 Calle de la Puebla. Carriages can be hired at the inns named above for La Cartuja or Las Huelgas; both of which, however, are pleasant walks in fine weather of 2 m. and 1 m. respectively. Be careful to bargain beforehand. Promenades: These are laid out along the banks of the river Arlanzon, and are shaded by four rows of trees. Espolon Viejo, on city side; La Isla, on the other side, down the river (leading to Las Huelgas); La Quinta, with its fountain, up the river (leading to La Cartuja de Miraflores). 66 Burgos, on the Arlanzon, is an ancient city of 31,711 Inhab., long the capital of the kingdom of Castile and Leon, though now in a state of dulness and decay. It possesses, as a genuine old Gothic Castilian city," an especial attraction for the traveller in its Cathedral, and also in its other ancient edifices and historical associations. It was the residence of St. Ferdinand, of Alonso el Sabio, and the home of the Cid. The city is 2867 ft. above the sealevel. Its name is derived from the Iberian Briga, "a fortified eminence," which is akin to the German Burg. It bears for arms gule, a half-length figure of the king, with an orle of 16 castles or. It was first founded in 884 by Diego de Porcello, but was enlarged by Nuño Belchides, who married Sulla Bella, the fair daughter of the founder. The city was nominally subject to the Kings of Leon until the year 926, when Fruela II. treacherously massacred the descendants of the founder, and the city elected Judges (or magistrates) to govern them; the most celebrated of these were Nuño Rasura and Lain Calvo, who figure in old historical ballads. The first independent sovereign was Fernan Gonzalez, who assumed the title of Conde de Castilla, whose grand-daughter Nuña married Sancho el mayor of Navarre, whose son, Ferdinand I. of Castile, united (in 1067) the kingdoms of Leon and Castile by marrying Sancha, only daughter of Bermudo III., King of Leon. In 1085, Alonso VI. raised the rival city of Toledo to the rank of capital, which occasioned serious disputes of precedence between that city and Burgos; these were only compromised in 1349, when Alonso XI. directed Burgos to speak first in Cortes, saying that he would answer for Toledo. The Kings of Castile by thus removing their court from Burgos destroyed the sources of its prosperity. Burgos has 14 parish churches, an audiencia, 4 hospitals, a foundling hospital, elegant theatre, prisons, barrack, &c. Visit first the magnificent Gothic Cathedral, one of the finest in Spain, whether we regard the picturesque grandeur of the general design, or the exquisite variety and richness of the minute details of ornamentation. This archiepiscopal see was founded at Oca (25 m. distant). It was removed to Burgos by Alonso VI. in 1075, who at the same time gave the site of several royal palaces upon which the present cathedral was subsequently built. It was founded by Ferdinand el Santo, in honour of his marriage with Doña Beatriz, daughter of the Duke of Suabia, the first stone having been laid on the 20th July, 1221, by the king in person, assisted by the Infante Antonio de Molina, and Bishop Maurice, who (an Englishman by birth) had accompanied the Princess Beatriz to Burgos. The reigning sovereign, by virtue of his title of Señor de Vizcaya, was one of the canons of the chapter as at Leon and Toledo. Amongst the members of the chapter who have risen to the tiara was Rodrigo Borja, afterwards Pope Alexander VI. The Cathedral is built into the slope of a hill; its general effect being somewhat spoilt by the vicinity of mean buildings. The body of the ch. and E. end are early pointed, and mostly date from the foundation (1221); but the rest is composed of additions and alterations in later styles. The W. front, surmounted by 2 picturesque steeples of open work, 300 ft. high, flanking a fine rose-window, was added by the German architect John of Cologne (15th centy.), and is crowned by spires of most delicate open stone-work, which looks so fragile that one wonders it has not been blown away in this bleak wind-blown region. It is a pity the effect should be somewhat marred by modernised doorways. Finer and quite unaltered are the façades of the 2 transepts with their 3 sculptured doorways the Puerta del Sarmental, K; the Puerta Alta, or de la Coroneria, X; and in an angle of the transept, towards the E., the Puerta de la Pellejeria, b, a later picturesque work. The gorgeous central lantern, an octagon 180 ft. high, over the crossing, surrounded by 8 light turret-spires of open work, was not completed till 1567 (Juan de Vallejo, architect). In the rear of this, at the E. end, another tower surmounts the Condestable Chapel. The interior, 300 ft. long, 250 wide at the transept, 195 Eng. ft. high, is somewhat injured by the high Coro intruding to the extent of 4 bays into the nave, and by the huge piers raised to support the octagon. Owing to the angle of slope on which the cath. stands, the door of the N. transept is 30 ft. above the level of the pavement of the interior of the church itself, which is entered on this side by a gorgeously decorated double Staircase, more for show than use, designed by Diego de Siloe, in the rich style of the Renaissance. The Retablo of the high altar, opposite which hangs the banner carried by King Alfonso VIII. at the battle of Las Navas de Tolosa (see Plan, A), was designed and executed by Rodrigo and Martin de la Haya, Domingo de Berriz, and Juan de Ancheta, 1562 to 1580. It is formed of three compartments, and comprises the three orders. In the second compartment is the lifesize image of the Virgin, made of silver in 1464. The rest of the Retablo is occupied by a number of statues and relievos, representing subjects from the Life of the Virgin, the Crucifixion, Apostles, and Saints. At the right hand of the altar are the tombs of three Infantes of Castile, who were buried there in the 14th centy.: Don Juan, son of Don Alonso el Sabio; Don Sancho, brother of Enrique II., who was prisoner in England 1367; and his wife, Doña Beatriz. Two of the tombs are hidden by the Retablo. The fine silver lamp and 6 candlesticks, which are on the steps of the high altar, must be noticed. They were made at the beginning of the last century in the Renaissance style. In the Coro (B) are 103 stalls exquisitely carved in walnut and box in Renaissance style, carved with subjects from Old and New Testaments by Vigarni, 1499-1512. The higher part above the Bishop's chair, and the lower seats, are more modern and by a different hand. Under the first lectern is a monument with the effigy of Bp. Maurice, the founder, 13th centy. It is composed of wood covered with metal plates, and most interesting. In the aisle behind the high altar obs. five pieces of sculpture in high relief: 1, Agony in Garden; 2, Our Lord bearing the Cross; 3, Crucifixion; 4, Descent; and 5, Resurrection-three of them by Felipe de Vigarni or Bergoña, 1499, and the two others, the Agony and Resurrection, by P. Alonso de los Rios, 1679. The 14 chapels which surround the ch. are all distinguished by some peculiar beauty of construction, ornamentation, &c. Many of these chapels are under the patronage of different private families. Ask for the Custode | ivory triptych. The vestments are (Garzon). He will open the chapels, also first-rate and worth seeing. with the exception of that of the Condestable, which is under the charge of a special sacristan. At the E. end is the gorgeous Chapel of the Condestable (I), the grandest of them all, built for Don Pedro Fernandez de Velasco, hereditary Constable of Castile, by John de Cologne, 1487. It is an octagon in plan - very lofty; the roof displaying radiating groining and elaborate tracery in its vaulting, having the effect of lace-work. Obs. the finely-executed sculptured groups and reliefs under the entrance archway and in the arched recesses of the walls; stonebowers of intricate foliage and tracery alternating with armorial shields hung awry. The principal Retablo is elaborately carved. On each side of the chapel are two smaller ones, full of fine carvings. The one to the rt. is Gothic, that to the 1. of the Renaissance period. Close to this is an interesting picture of the 15th centy., with inscriptions in Dutch. Obs. also the superbly sculptured tombs of the Constable and his wife. The details of the effigies are exquisitely rendered. The lady is lying at full length on a richly embroidered cushion, with her rather diminutive lap-dog at her feet; the Constable, Viceroy of Castile, reposes in his armour by her side. To the rt. on entering there is a very good Flemish triptych - the Virgin and Child, surrounded by angels; at the sides, St. Simon and the Nativity. This picture belongs, undoubtedly, to the foundation. Enter the small vestry of the chapel, which contains the following interesting objects:-A Retablo of Renaissance work-the faces of the figures are very good; a very fine Magdalen, attributed to Leonardo da Vinci, probably by Luini; a splendid silver-gilt cross, decorated with enamel, and painted ivory medallions of scriptural subjects; a silver Navete for holding incense; two silver-gilt jugs; a Porta Pax; silver dish; very remarkable gold chalice, studded with pearls and precious stones; and a small [Spain, 1882.] The lofty reja (iron railing), the masterpiece of Cristobal Andino, 1523, is considered to be one of the best specimens of Renaissance iron-work known. The chapel of Santiago (L), which is the largest of them all, contains the monument of Abbot J. O. de Velasco (ob. 1557): and the tombs of Bp. Juan de Villacruces, 1463; Bp. Juan Cabeza de Vaca, and his brother Don Pedro Cabeza de Vaca (literally, "cow's head"). In the chapel of San Enrique (U) is the monument of Archbp. Peralta, the founder (ob. 1679). The kneeling effigy is of bronze; the tomb itself is of marble. In the upper part of the wall an old sepulchre may be seen, 13thcenty. work, which is said to contain the remains of the first Bishops when the see existed at Oca. In the chapel of San Juan de Sahagun there are six interesting paintings on panel of the end of the 15th centy., which represent subjects from the Passion of our Lord. They are curious specimens of the early Spanish school. Another picture there, the Mass of St. Gregory, is worth looking at by art students. This chapel also contains the much-venerated figure of the Virgin de Oca, and a large numher of old reliquaries of silver, ivory, &c.; and the shrine of Beato Lesmes. Chapel of La Presentacion (R), founded by Canon Lerma, 1519, contains his tomb with effigy. Obs. the admirable moulding of the statue and details of the sepulchre; and also the tomb of Canon Jacobo de Bilbao. This chapel, built in the Gothic and Renaissance styles, is one of the finest in the cathedral. The painting of the Virgin and Child is said by some to be by Michael Angelo, but is more probably by Sebastian del Piombo. It was the gift of a Florentine, Morri, and is a work of great merit. Chapel del Santisimo Christo (Y), first on entering the cath. by the W. door on rt., so called from an ancient image which has been an object of great veneration for more than six C centuries. It is supposed to have come from the East, and to have been carved there by Nicodemus. The image is flexible, and covered with painted buff leather. It is interesting as a work of art of the Middle Ages.* The chapel of Santa Ana (T) has the finest retablo of painted wood in the cathedral, covered with sculptures and ornamentation of the end of the 15th centy. The genealogy of the Virgin is represented in the lower part, and in the centre compartment St. Joachim and St. Anne. In the centre of this chapel is a fine statue of Bishop Acuña, and against the wall near the entrance door the Gothic monument of Dr. Fernando Diez (ob. 1492), one of the best in the cathedral. This chapel, which belongs to the Duke of Abrantes, has been lately restored, in a most unsatisfactory manner. The chapel of Santa Isabel must be visited; it is the first to the left entering by the Puerta del Sarmental. In the centre is the splendid tomb of the great Bishop Alonso de Cartagena, an admirable work of the 15th centy. The Cloisters (P) of 2 storeys are very beautiful, 14th centy. The sculptures and ornamentation of the entrance doorway are excellent work of the end of the 15th centy., and represent the Baptism of our Lord, Entrance into Jerusalem, Descent into Hell, and figures of Prophets. Obs. the interesting life-size statues between the arches in the cloisters. Those of Abraham and St. James, on each side of the old sacristy, are of the 13th centy. Look at the statues of St. Ferdinand, holding a ring in his hand, and his queen, Da. Beatriz. The tradition is, that they were placed there in remembrance of their marriage at Burgos. Inside one of the arches, to the right of the entrance doorway, is a good triptych, representing the Adoration of the Magi. The chapel, dedicated to St. Jerome, in the first * Read, in Rozmittal's Travels in Spain in 1465,' Stuttgard, 1844, the curious account of this image. of the angles which look to the inner court, has a retablo of the Renaissance period. From the cloister you enter the Old Sacristy. The carvings over the doorway represent the Descent from the Cross. This room must be well examined in its architectural details. The groups of sculptures where the arches spring from, represent hunting subjects. Ask to see the collection of embroidered vestments brought from Bâle, in the 15th centy., by Bishop Alonso de Cartagena. In another chamber (N) is preserved El Cofre del Cid, a trunk clamped with iron and now attached to the walls, which the Cid filled with sand, and then pledged to the Jews as full of gold, for a loan of 600 marks, which he afterwards honestly repaid. Adjoining this is the Chapter-house, with flat mosaic wood ceiling of Moresque character (parqueterie), coloured with gilt pendants. Here is a wellpainted Crucifixion, by Matias Cerezo. Ascend one of the towers; fine views of the city, with the convents of Miraflores and Las Huelgas, to the rt. and 1. (when looking down upon the river). Turning to the rt., up the hill, in the Calle Alta, is the arch erected by Philip II. in honour of Fernan Gonzalez. Near this, by the entrance to the cemetery, is the site of the house where the Cid was born, 1026, marked by a pillar and 2 obelisks. The house itself was removed in 1771. The Cid died at Valencia in 1099. |