are covered with
tracery, representing entwined twigs, like basket-work. Over the door is
a stone fourteen feet long by three in height, covered with
_fleurs-de-lis_ on a ground of wicker-work, producing the effect of
muslin. Immediately over the arch is a large flower-pot, in which is
planted a pomegranate tree. Its branches spread on either side and bear
fruit, besides a quantity of little Cupids, which cling to them in all
directions. In the upper part they enclose a large armorial escutcheon,
with lions for supporters. The arms are those of the founder of the
college, Alonzo de Burgos, Bishop of Palencia. On either side of this
design, and separated respectively by steins of slight trees, are
compartments containing armed warriors in niches, and armorial shields.
All the ornaments I have enumerated cover the facade up to its summit,
along which project entwined branches and sticks, represented as broken
off at different lengths.

[Illustration: COURT OF SAN GREGORIO. VALLADOLID.]

The court of this edifice is as elaborately ornamented as the facade,
but it was executed at a much later period, and belongs to the
renaissance. The pillars are extremely elegant and uncommon. The doorway
of the library is well worthy of notice; also that of the refectory.
The college of San Gregorio was, in its day, the most distinguished in
Spain. Such was the reputation it had acquired, that the being announced
as having studied there was a sufficient certificate for the proficiency
of a professor in science and erudition. It is still a college, but no
longer enjoys the same exclusive renown. In the centre of the chapel is
the tomb of the founder, covered with excellent sculpture, representing
the four virtues, and the figures of three saints and the Virgin. It is
surrounded by a balustrade ornamented with elaborate carving. Berruguete
is supposed to have been the sculptor, but in the uncertainty which
exists on the subject, it would not be difficult to make a better guess,
as it is very superior to all the works I have seen attributed to that
artist. At the foot of the statue of the bishop is the following short
inscription, "Operibus credite." To this prelate was due the facade of
San Pablo; he was a Dominican monk at Burgos, where he founded several
public works. He became confessor, chief chaplain, and preacher to
Isabel the Catholic: afterwards Bishop of Cordova; and was ultimately
translated to the see of Palencia. He received