t folds upon the jeweled surplice. So, too,
Fernando de Villegas, who lies in the north transept and whose scholarly
face still seems to shine with the inner light which prompted him to
give his people the great Florentine's Divine Comedy.

The poetry and romance that cling to these illustrious dead are equally
present as you pass through the lovely Gothic portal into the cloisters
which fill the southeastern angle of the church and stand by the figures
of the great Burgalese that lie back of the old Gothic railings in many
niches of the arcades. To judge from the inscriptions they would, if
they could speak, be able to tell us of every phase in their city's
religious and political struggles, from the age of Henry II down to the
decay of Burgos. Saints, bishops, princes, warriors, and architects lie
beneath the beautiful, double-storied arcade. Here lies Pedro Sanchez,
the architect, Don Gonzalo of Burgos, and Diego de Santander, and here
stand the effigies of Saint Ferdinand and Beatrice of Suabia. The very
first church had a cloister to the west of the transept, now altered
into chapels. For some reason, early in the fourteenth century, the
present cloister was built east of the south transept and with as lovely
Gothic arches as are to be found in Spain. We read of great church and
state processions, marching under its vaults in 1324, so then it must
have been practically completed. Later on the second story was added,
much richer and more ornate than the lower. The oldest masonry, with its
delicate tracery of four arches and three trefoiled roses to each
arcade, seems to have been virtually eaten away by time. New leaves and
moldings are being set to-day to replace the old. The pure white, native
stone, so easy to carve into spirited crockets and vigorous strings
similar to the old, stands out beside the sooty, time-worn blocks, as
the fresh sweetness of a child's cheek laid against the weather-beaten
furrows of the grand-parent. A careful scrutiny of all the details shows
in what a virile age this work was executed. The groining ribs are of
fine outline, the key blocks are starred, the foliage is spirited both
in capitals and in the cusps of the many arches, the details are
carefully molded and distributed, and the early statues in the internal
angles and in places against the groining ribs are of rich treatment,
strong feeling, and in attitude equal to some of the best French Gothic
of the same period. The door that