so characteristic of the Spanish school, while in the upper part of the painting one seems to see even the dust particles floating in the rays of sunlight. The shadows have a marvelous transparency. The Angel de la Guarda, or Guardian Angel, is one of the master's very best works. The purples and yellows of the angel's vesture have kept their depth and richness through all the centuries in which the colors have been drying. There might be a guide-book dealing with the paintings of the Cathedral alone. How differently it is decorated from the great Gothic cathedrals of the present Anglican Church! In Seville as in Florence, all the fine arts seemed to flower and come to perfection during the sixteenth century. Sculpture and painting were employed to embellish architecture, as in the ancient days of Greece. The sister arts walked once more hand in hand. The figures in stone and still more in terra-cotta which adorn the exterior porches and the more decorative portions of the interior are unusually fine. Many of the bishops, saints and kings have an unmistakable Renaissance feeling. Take, for instance, such a statue as the Virgin del Reposo, so dear to the Sevillians,--you feel in all the handling the period of transition. Such sculptors as Miguel Florentin, Juan Marin, and Diego de Pesquera must have been influenced by Italy when they carved the statues which adorn the Cathedral of Seville. The contact with Italy and the many Italian workmen gradually induced faithlessness to the earlier Gothic ideals of the founders and builders of the church. The great Maestro Mayor of Toledo Cathedral, Henrique de Egas, was among the first to introduce restraint in Spanish building after the fanaticism of the later flamboyant. In the time of Ferdinand and Isabella, a well-known Toledan published a Spanish abridgment of Vitruvius; this in conjunction with the influence of many foreign artists led the way to classical building. Granada was soon resurrected as a Greek-Roman "Centralbau" and even the crossing of Gothic Burgos was unfortunately restored by Borgoña after classic models. The new foreign movement found expression in architecture, in sculpture and in painting, often with the most extraordinary attempts to employ the new without discarding the old. Grotesque and fantastic ornaments crown illogical construction. The royal chapel, the chapter house, the sagrario and the great sacristy are examples of the new-born style. The first two are magnificent specimens of Spanish Renaissance. Each of them is a fine church in itself, and they can only be classed as chapels because they bear that relation and are proportioned to the immense mother church of Seville.