[Illustration: BURGOS. THE CAPILLA MAYOR] The triforium is composed of wide bays with an uneven number of closed lights in each. A single arch, the mouldings of which are surmounted by carved heads, spans each group. The clerestory contains a little modern glass, most of the old having been destroyed by a powder explosion in the fort on the hill above. In the _coro_ the _silleria_ are exquisitely carved; the main panels represent subjects from the New Testament, the lower, which are divided by pilasters with arabesques, represent scenes of martyrdom. Philip Vigarni, who was responsible for this fine _coro_, surpassed himself in some of its decoration, which adds one more item to all that ought to be thoroughly studied in the great Cathedral. On the north side of the High Altar, in front or which hangs a magnificent silver lamp, are the tombs of three of the Infantes of Castile. Behind this, the _trassagrario_ is covered with well-executed reliefs in white stone, some of this is very soft and has crumbled away a good deal. Every morning a deposit of dust is swept up and it will soon be necessary to thoroughly restore these fine panels or the designs will be lost for ever. They represent the Agony in the Garden, our Lord bearing the Cross, the Crucifixion, the Descent, the Resurrection and the Ascension. The three centre are by Vigarni, and the others by Alfonso de los Rios. Nearly all the chapels are replete with interest, be it architecture, tombs, pictures or relics, but of them all the Capilla del Condestable is the grandest. Built in 1487 by John of Cologne for the Hereditary Constable of Castile, Don Pedro Fernandez de Velasco, it is the private property of the Duque de Frias. The _reja_, the masterpiece of Cristobal Andino, bears date MDXXIII. and is certainly the finest in the Cathedral. It is a worthy entrance to this magnificent octagon, which, viewed from outside, rises detached from the main building with eight elaborate pinnacles pointing heavenwards. The tracery of the pierced ceiling of the Lantern with its gilded bosses, vies in intricacy with that of the Cathedral itself. There is a double clerestory with sculptured knights at the bases of the columns holding coloured metal banners. The undercutting of the mouldings in the arches is very marvellous, the lowest course is formed of detached figures hanging downwards and from a little distance off looks like a piece of lacework. In front of the _retablo_ and High Altar are the superbly sculptured tombs of the Constable and his wife. He is in full armour, she lies by his side on a richly embroidered cushion with her little lap-dog nestling comfortably in the folds of her robe near her feet. The chapel teems with interest; the wealth of red marble from the quarries of Atapuerca and the very effective chequer arrangement of black and white steps leading to the High Altar give it just the note of colour its whiteness otherwise would lack.