clearly Roman masonry in the substructure and general form.
On other places, subsequent generations of artificers have left
unmistakeable autographs inscribed in most legible and durable forms,
attesting dates of construction, dilapidation, restoration, and then
again dilapidation, through centuries of tempestuous existence. One of
the most picturesque bastions of these old walls is the one shown in my
sketch which groups exceedingly well with the fine Romanesque steeple of
San Isidro, which stands on the west of the Church but altogether
detached from it. Both Church and steeple date from about the middle of
the twelfth century, and possess great historical and architectural
interest. Their historical interest is due to their association with the
fervidly pious Queen Sancha; and to the fact that in the Pantheon, or
chapel dedicated to Santa Catilina at the north-west end of the Church,
probably grouped around the body of the Saint, repose Kings and Queens
of Spain from Fernando I. and Dona Sancha the founders of the Church,
through eight generations. Their architectural interest is derivable
from the constructional and ornamental details dwelt upon by Mr. Street,
to whose excellent account of the building the reader may be referred.

[Illustration: PLATE 9

LEON SAN MARCOS

MDW 1869]

PLATE IX.

_LEON._

CONVENT OF SAN MARCOS.

ON the 3rd of September, 1512, a meeting took place between certain
ecclesiastics of the Chapter of Salamanca, and nine of the most famous
architects of Spain, the minute or "proces verbal" of which would form a
model for what might often be done in this country with much advantage
to all concerned in the initiation of any great architectural work. The
object of the Junta was to settle the principal difficulties of the
design of the new Cathedral of Salamanca, then about to be begun.
Interesting as are all the conclusions arrived at upon this memorable
occasion, it is not with them we have now to concern ourselves, but with
the circumstance only that, amongst the signatures attached to the
document[7] occurs that of Juan de Badajoz, the architect of the noble
facade of the celebrated Convent of the Knights of Santiago at Leon,
which forms the subject of our ninth sketch. In the following year to
that of the meeting at Salamanca, Juan de Badajoz was summoned in
concert with Juan Gil de Hontanon and Juan de Alava to report on the
repairs necessary to the Cathedral at Seville. For