STANDING high above the yellow Tagus, which, confined in a deep gorge, rushes and swirls far below between precipitous granite cliffs, Toledo was always an ideal position for a fortress before modern firearms rendered Nature's defences of little avail.

Its name is associated with the great Cardinals of the Rodrigo, Tenorio, and Foncesca families, as well as scions of the houses of Ximenes, Mendoza, Tavera, and Lorenzana. The wealth of these Prelates was immense, and their power, Ecclesiastical and Temporal, proportionate. They practically had no rivals, they certainly feared none, they ruled kings as well as countries, and their allegiance to Rome was purely nominal. They made wars and fought in them. For their patronage of art and literature future generations have had good cause to be grateful. They built schools and improved the means of communication throughout the land. Under their influence the Church was omnipotent, and they have written their names deep in the pages of Spanish history. In fact, so great was the power of Toledo's clergy that it grew to be the cause of the foundation of the Capital at Madrid. Philip II., who removed the Court from Valladolid to Toledo, found it better, after a short residence here, to take himself and his Court to a town where he no longer encountered the arrogance of Ecclesiastical rule.

Under the Romans, who captured it in 193 B.C., "Toletum" became the capital of Hispania. Leovigild removed hither from Seville, and his successor, Reccared, who embraced the orthodox form of Christianity, made it the ecclesiastical as well as political capital of his dominions.

For nearly four centuries, from 712, when the Moors took Toledo, it was under their rule; but divided counsels and the treachery of the down-trodden Hebrew enabled Alfonso VI. to enter in triumph with the Cid. The King then styled himself Emperor, and promoted the Archbishop to the Primacy of Spain. Under Alfonso's rule the city grew rapidly in every way. Churches and convents were built, defences strengthened, and Toledo knew no rival.

With far-seeing wisdom, Moor and Christian were allowed to intermarry, and lived together in peace for wellnigh one hundred and fifty years. The advent in 1227 of that ecclesiastical firebrand, St. Ferdinand, however, altered this. One of his first acts was to pull down the Mosque, wherein the Moors of the city, by Alfonso's royal prerogative, had been allowed to worship, and commence the building on its site of the great Cathedral.

TOLEDO. THE CATHEDRAL
TOLEDO. THE CATHEDRAL

For two hundred years and more did the architects who followed Pedro Perez add bit by bit, leaving their mark on its stones. Partly constructed of granite it is immensely strong. A softer stone has been used with great discretion in the decorative portions of the building.

No comprehensive view of the Cathedral is obtainable, so closely do the houses surround it on the south and east, and creep up the hill on which it is built, on the north. The west front is best seen from the Plaza Ayuntamiento, a pleasant little garden which the Town Hall bounds on one side. I managed a sketch from the narrow street below this garden.

Only one of the two towers of the west faÇade is finished as originally intended. The other is capped by a dome, designed by El Greco, that painter of the weird, and under which is the chapel wherein the MozÁrabic ritual is celebrated daily at 9 A.M.

The great west door, La Puerta del Perdon, is enriched with embossed bronze work. Flanking on it either side are the doors of Las Palmas, and de los Escribanos. The arches of all three have figures in the jambs, which are continued round each arch in the very best Gothic of the fifteenth century. Above the doors the faÇade is adorned with a sculptured Last Supper and colossal figures in niches. In the centre is a splendid rose window twenty-eight feet in diameter.

The north transept is entered from the steep Calle de la Chapineria by La Puerta del Reloj, the oldest doorway of the Cathedral. Its bronze doors, of later date than the doorway, were cast to match those of La Puerta de los Leones in the south transept. This doorway's name is derived from the Lions, which holding shields, occupy positions on its pillars. Another entrance is through La Puerta de la Presentacion which opens on the cloisters.

The effect produced by the magnificent interior is much enhanced by the beauty of the glass which fills most of the windows. The earliest are on the north side of the nave, and form a series which was commenced in 1418 and finished one hundred and fifty years later. The glass in the rose window over the west door is superb, and the same may be said for that in the north transept and the wheel window over La Puerta de los Leones.

There is no triforium, and the transepts do not project beyond the nave. The arches of the very beautiful chancel serve as niches for figures. Here in each bay is a rose window forming a clerestory, and the colours in the glass of these shine like jewels in a crown.

TOLEDO. THE SOUTH TRANSEPT
TOLEDO. THE SOUTH TRANSEPT

There are in all twenty chapels, every one of which contains something worth study. The lofty retablo in the Capilla Mayor is of the richest Gothic. Above is a colossal Calvary of later workmanship. Cardinal Ximenes built this chapel, among the many monuments of which are the tombs of Spain's earliest kings. Separating it from the crucero is a magnificent Plateresque reja, on either side of which stands a gilded pulpit.

Behind the retablo is the transparente, much admired by Toledans, but the one jarring note in the finest of Spain's Cathedrals. This theatrical mass of marble figures, in the midst of which the Archangel Rafael kicks his feet high in the air and squeezes a gold fish in one hand! is lit from a window let into the roof of the apse.

The Capilla de Reyes Nuevos contains the tombs of the kings descended from Henry II. His tomb and that of his wife, as well as the spouse of Henry III., a daughter of John of Gaunt Duke of Lancaster, are among the many that crowd the walls.

The Capilla de San Ildefonso is an extremely beautiful example of early Gothic work. The much-mutilated tomb in the centre of Cardinal Albornoz is a masterpiece of the same style. Many other great Ecclesiastics rest in this elegant octagon, notably Inigo de Mendoza, Viceroy of Sardinia, who was killed at the siege of Granada.

The Capilla de Santiago was erected in 1435 by Alvaro de Luna, the man who saved Spain for Juan II. by repressing the turbulent nobles, and who for his fidelity was rewarded by disgrace and execution in the Plaza Mayor at Valladolid. The scallop shells which decorate the walls represent de Luna's office of Grand Master of the Order of Santiago.

Cardinal Ximenes re-established the MozÁrabic Ritual, which is celebrated in the Capilla MozÁrabe, as a reminder to the Pope that Spain did not owe implicit allegiance to Rome.

The small detached Capilla de la Descension de Nuestra SeÑora stands against the second pier in the north aisle. It marks the spot where the Virgin came down and presented San Ildefonso with the casulla or chausable.

The Salle Capitular is a grand example of early sixteenth-century work, with a Plateresque frieze and gilt artesonado ceiling by Francisco de Lara. It contains a series of portraits of the Cardinal Archbishops of Toledo, and frescoes by Juan de BorgoÑa. The work of this painter is to be met with throughout the Cathedral.

The coro occupies two bays of the nave and is a veritable museum of carving and sculpture. Its silleria are in two rows. The lower is of walnut and enriched with scenes representing the campaigns of Ferdinand and Isabella. The upper of the same wood is a perfect classical contrast and is inlaid not carved. Berruguete, whose work may be best studied in Valladolid, executed the seats on the south side, and Vigarney those on the north. A small figure of the Virgin in blackened stone looks really ancient. It stands in the middle of the coro on a pedestal. Nicolas de Vergara was responsible for the two reading desks, which are masterpieces of gilded metal work.

The Gothic cloisters enclose a delightful garden, and have an upper cloister reached by a door in the Archbishop's Palace. From this pleasant claustro alto a very good idea of the size of the Cathedral is obtained.

Space does not permit me to enlarge on the manifold works of art which this noble building contains. The pictures, the iron work—though I must just mention a beautifully fanciful knocker of two nude nymphs hanging downwards from the head of a satyr whose hands clasped together form the handle, which adorns La Puerta de la Presentacion—the sculpture, notably that on the respaldo, or outer wall of the coro, and the many relics in the Treasury, would all occupy more than I can afford. Suffice it to say that nowhere in Spain is there a Gothic building of such well-proportioned dimensions, such simplicity in its leading features, such a fine idea in the interior of the spacing out of light and shade, as in this magnificent Cathedral—the grandest of the three due to French influence.

And Toledo's churches? There are nearly sixty still remaining, every street seems to contain one! And Toledo's convents? There are almost as many. Of the former, San Juan de los Reyes, on the high ground above the bridge of Saint Martin, the last remnant left of a once wealthy Franciscan convent, was built by Cardinal Ximenes in commemoration of the "Catholic Kings" victory of Toro. On its outer walls still hang the manacles and chains of the captive Christians who were set free at the conquest of Granada, and the interior is embellished with the arms of Ferdinand and Isabella, and covered with sculptured heraldry.

TOLEDO. THE ZÓCODOVER
TOLEDO. THE ZÓCODOVER

Santa Maria la Blanca, originally a Jewish synagogue, is in the MudÉjar style, and has some charming arabesques, with a fine cedar ceiling said to be of wood from the trees at Lebanon. Almost opposite—we are in the Juderia, or Jews' quarter, to the south-east of San Juan de los Reyes—is another synagogue, el Transito. Built in 1366 by Samuel Levi, Pedro the Cruel's treasurer, in the Moorish style, it is almost a better piece of architecture than Santa Maria la Blanca. Levi lived next door, in the house known now as La Casa del Greco, that painter having occupied it during his residence in Toledo. The house and synagogue are connected by a secret passage from the vaults of the former. These are of immense size and strength, and in Levi's day held an enormous amount of treasure—too much for the poor man's good. His royal master, when sufficient was accumulated, put him to death and appropriated all he could find.

El Cristo de la Luz, one of the most interesting churches in Toledo, was originally a tiny mosque. It is divided into nine different compartments by four columns, from the capitals of which spring sixteen arches. It was here that Alfonso VI. attended the first Mass after the city was captured. Close by is the Convent of San Domingo el Real, where a glimpse may be had of picturesque nuns while at their devotions during early service.

As the station 'bus rattled up the steep winding ascent to the Despacho Central we dashed through the ZocodovÉr, the square celebrated for numerous auto de fÉs and other executions. All day long it is crowded with sauntering folk, who walk up and down, quietly enough now, on the scene of much former cruelty, bloodshed, and many bull-fights.

On its eastern side a fine Moorish arch leads down the hill by a footpath to the Bridge of AlcÁntara. Immediately the arch is passed on the left lies the old Hospital de Santa Cruz. It is one of the best examples of the Transition to Renaissance in Spain. The portal is deeply undercut and elaborately carved in soft "white rose" stone and marble. The inner gate is plateresque and only surpassed by San Marcos at Leon and the gateway of the university at Salamanca. Cardinal Mendoza's arms adorn the beautiful patio, which has a double arcade of great elegance, and the stone work on the balustrade of the staircase leading out of this is very fine. Opposite, on the other side of this steep descent, are the Military Governor's quarters which are dominated by the huge AlcÁzar, now the Military Academy for Infantry Cadets. Destroyed by fire in 1886, the present edifice, rebuilt soon after, is seen in the illustration of the AlcÁntara Bridge rising a great square mass on the top of the hill. It was the fortress and palace of Moorish days. Alvaro de Luna had a share in its alteration and Herrera completed it to the present size by additions executed for Philip II. Many a time has it been sacked by the conquerors of Toledo and many a prisoner of note passed his last hours within its gloomy walls, before being led out to death in the ZocodovÉr.

TOLEDO. THE ALCÁNTARA BRIDGE
TOLEDO. THE ALCÁNTARA BRIDGE

Both Toledo's bridges are magnificent. The AlcÁntara, crossed on the way from the station, has but a couple of arches which span the mighty river at a great height. It is defended by a gateway at either end, that on the inner side being the Moorish Tower in my sketch. The Bridge of Saint Martin has one arch of enormous span with four smaller, which carry it over the rushing Tagus. Between these two bridges from the opposite bank of the river one gets the best idea of Toledo's strength. Nothing in Spain surpasses the grim majesty of the city, which rises above the sun-baked and wind-blistered crags that form the gorge below through which the river has cut its way. No spot could have been better chosen for defence than the hill enclosed in this "horseshoe" of mad waters. Small wonder that within its encircling walls grew up a race of Prelates whose rule spread far beyond the borders of Castile, and whose powerful hand was felt in countries of an alien tongue.

Of the eight city gates the most interesting is the Puerta del Sol, a Moorish structure with two towers on either side of a horseshoe arch. It is close to the little church of el Cristo de la Luz, and from either of the towers a very good idea is obtained of Toledo's defences. Near the Puerta del Cambon, another of the gates, is the site of the old palace of the last of the Spanish Goths, Roderic, who lost his life on the banks of the Guadalete near Cadiz when giving battle to Tarik and his Berbers.

My whole impression of Toledo was that of a city of gloom. Its larger houses were forbidding in the extreme. In these a huge portal, with armorial bearings and massive pillars, defended by a stout iron-bound door, opens into a dark porch, from which one enters the patio through an equally strong entrance. The windows that look on to the street are heavily barred and none are within reach of the pedestrian. Its streets, too narrow and steep for vehicular traffic, are as silent as the grave (most Spaniards wear shoes made of esparto grass or soft leather), save when a young cadet from the AlcÁzar passes along rattling his sword, and attracts the attention of the seÑoritas who sit high up in those inaccessible balconies. Built on the Moorish plan, these tortuous thoroughfares twist and turn like a maze, and it seemed to me that the sun never entered them.

Houses and streets, walls and towers, still remain as they were in the great Cardinal's days, and stand, even now, as symbols of the iron rule of the Church. The Cardinal's hat is to be found graved in stone over many a door, and the "Sheaf of Arrows," the arms of the "Catholic Kings," is still to be seen over the entrance of what was once the palace of Pedro the Cruel.

Toledo blades are still made and proved in the ugly factory a mile outside the city. Toledo ware (made in Germany) is sold by most of the shops. The growing trade in liquorice is a modern industry, but if it were not for another recent innovation, the Military Academy, it would take no stretch of the imagination to carry one back again into the Middle Ages and to sink one's individuality and become a human atom under the rule of the great Church.