The wood carvers of Spain speak the same language of sincerity as the mystic writers, and a knowledge of Luis de León, St. John of the Cross and St. Teresa, makes one better appreciate the sculptors. Not that they too are mystical. They do not soar so high. It is only a few chosen souls here and there through the centuries who can walk that perilous path, and probably they can express themselves only through the more intangible medium of speech. But these wood carvings are the fruit of men who understood the mystics and who worked in a like spirit of intense faith. I should say it was not in her paintings that the religious essence of this race was to be found, not in the somewhat posing monks of Zurbaran, nor in the gentle religiosity of Murillo's madonnas. Though a master of color, Murillo is too often akin in spirit to Carlo Dolce and Sassoferrato. It is the fashion to call these typically religious painters. But in the carved biblical scenes of _retablo_ and _sillería_ is shown more truly the inner spiritual intelligence of the serious Spaniard. Velasquez spoke for the reality of his time, its chivalry, its material force; and these masters of wood carving in more halting speech expressed the religious aspirations of the people. They worked with a realism that is often painful, yet the intensity with which they felt the scenes they depicted links them with the mystics. The wood carvings have not had justice done them, perhaps because they are for the most part painted, which certainly detracts from them. Fortunately choir-stalls were left in the natural wood, those at Burgos being a rich dark walnut with the polish that time only can give. We spent many happy hours studying this twelve years' work of the sculptor Vigarni. The seats are carved with grotesque, fantastic creatures, half man, half beast, the arm of the chair now made by an acrobat bent double backward, now by a monster with a tail in his mouth, or some bat-like demon. There is a frieze of Old Testament scenes too high to be well seen, but below them the New Testament story is told from the Annunciation to the Doubting Thomas after the Resurrection. Though the simpleness of earlier times is shown in the miniature devil that passes from the possessed man's lips, and in Mary Magdalene's dropped jaw of surprise when she meets her risen Lord, these carvings are not merely curious, they are soul-touching and beautiful. The type of face is the high-boned one the Spaniard prefers, with well-cut brows and aquiline nose. Notice the solemn beauty of Christ's face in the _qui ci ne pecato_. In the panel, the blind cured, seldom has the expression of absolute faith been better rendered than in the raised face of the old blind man. Do not pass by the Garden of Gethsemane with the three Apostles lying heavily asleep, the human shrug of the shoulder and outstretched hand of the Master: "Could ye not watch with me one hour?"