None of the Spanish cathedrals have a better type of Plateresque architecture and decoration than the sacristy, built during the first half of the seventeenth century. The plan is that of a Greek cross, 70 by 40 feet, and about 120 feet high. Its dome, spanning the great central vault, is a distinct feature in any comprehensive exterior view of the Cathedral. The Sacristy is filled with curious and priceless relics, treasures, and vestments belonging to the church. As Santa Justa and Santa Rufina are in a manner the patron saints of Seville, their picture by Goya hanging here is of interest. Both of them hold vessels of the character of soup dishes; and their faces, taken from Seville models, are of decidedly earthly types. To the west of the façade as you enter, lies the large sagrario, or parish church. It is a building entirely by itself, 112 feet long, with a single nave spanned by a dangerously bold barrel vault. Here and there among the chapels you come suddenly on famous subjects by great masters, names renowned in Spanish history or striking works of art. Learning and statesmanship are honored in great Mendoza's monument: the silent mailed effigies of the Guzmans commemorate the thrilling exploits of Spanish arms. What sympathies are stirred as you stand uncovered before the tomb of the great and deeply wronged Discoverer! We hear again the passionate appeals and the vain pleadings of his undaunted faith. The living head was left to whiten within prison walls; its effigy is now proudly carried on the four gorgeous shoulders of the Spanish states; the poor bones, after their weary travels from Valladolid to the Carthusian monastery of Las Cuevas, from Hispaniola to Havana, have finally found a resting-place within the very walls where they were once treated with such contumely,--for here lies the Great Admiral, Cristoforo Colon. You pass paintings by Alfonso Cano, Ribera, Zurbaran, Greco and Goya,--Murillo's Immaculate Conception, better known than all his other works; Montañez' exquisite Crucifixion, canvases by Valdes, Herrera, Boldan and Roelas. There are subjects curious and out of keeping with our present artistic sentiments, saints walking about with their heads instead of breviaries under their arms, dresses more fitting for the ballroom than the wintry scenery amid which they are worn, marriage ceremonies of the Virgin, Adam and Eve, entirely forgetful of their lost Eden in the contemplation of the Virgin's halo, keys with quaint old Arab inscriptions: "May Allah render eternal the dominion of Islam in this city," saints with removable hair of spun gold and jointed limbs, others snatched from quiet altar service to plunge into the turmoil of battle on the saddle bow of reigning kings. Verily a museum of historical curiosities as well as of the fine arts, satisfying sensational cravings as well as the finer artistic sense.