bridge, and ascend a zigzag pathway cut in the rock to the little alameda, which looks like a shelf squeezed in at the angle of the town; from thence is a striking view of the valley; continue along the pathway that leads to the summit of the ridge at the end of which the town is built; cross the tableground until you look down upon the valley of the Huecar; about a quarter of a mile from Cuenca some steps cut in the rock lead down to a spring or streamlet which finds its way down the slopes by a devious course into the Huecar; thus irrigating numerous gardens filled with fine vegetables and fruit-trees, and feeding the creepers which mantle luxuriantly the crags and stones. The pathway which leads down to the bottom of the happy Rasselas valley runs just beyond a tank where picturesque washerwomen congregate, forming artistic groups and colours. ‘The Huecar is but a brook, from being so much drained off to water the gardens on the low ground near it.
As we descend, obs. the beautiful views of the bridge and convent of San Pablo, perched on a precipice, with the surrounding cliffs, rocks, and mountains; keeping a path which conducts to the level of the Bridge, cross it to the church of the now-ruined Dominican monastery: this viaduct, worthy of the Romans, which rivals in height and solidity the arches of Merida, Alcantara, and Segovia, rises 150 ft., 350 ft. long, connecting the broken riscos or rocks. It is reared on colossal piers, and was built in 1523 for the convenience of the monks by Francisco de Luna, at the cost of the Canon Juan de Pozo. Allowed to get out of repair, it has been most bunglingly mended: examine the E. face of the pier nearest the city; the modern parapet, negligently built within its original position, is considered here a very proper restoration; thus only mules and foot-passengers can pass where two carriages could formerly, and, what is worse, the approaching decay of the whole bridge is accelerated.
The façade of San Pablo has unfortunately been modernised with a most absurd portal. The retablo of the high altar is composed of the riches jaspers; the order is Corinthian. The figures of 3 monks are placed between the pillars in the divisions. The interior of the church is simple; two bold semi-circular arches from each side of the nave, each recess containing a chapel: the groining of the roof is good; the stones are pointed or marked by yellows and gilding.
Returning over the bridge and ascending into the town you soon reach the plaza and Cathedral.
§ 4. Cathedral.
The Cathedral was founded in 1178 by Alonso VIII., who removed to this new bishopric the ancient sees of Valera and Arcos: it was consecrated by the prelate Don Rodrigo Ximenez de Rada. The style of the edifice is simple and severe Gothic with a semi-circular E. termination. The façade fronting the Plaza was modernised in 1664–9 by a blunderer named José Arroyo, according to the order of the blundering chapter, which once was very rich in cash, although miserably poor in good taste. These Goths also painted the interior yellow, picked out with black; white at least would have been more appropriate, in imitation of the cathedral at Siena, and in compliment to Diego de Mendoza, a Cuencan, who then ruled so long in that city, and who now is buried in this cathedral. Of his great family was Don Garcia Hurtado de Mendoza, fourth Marquis of Cañete, the hero of the Araucanian war, which forms the subject of the Epic of Spain by Ercilla.[1]
Look especially at the fine painted windows and the circular sweep. The apsis behind the high altar is very striking, and the mazes of columns intersect each other quite orientally, recalling the Mezquita of Cordova; the arches, semi-Moorish and semi-Gothic, spring from a bold cornice, which ‘projects beyond the heads of the lower columns. The ornate semi-
- ↑ See ‘Los Hechos,’ &c., by Suarez de Figueroa, 4to., Mad., 1613.
