This side of the church exhibits in its balustrades, its ornamentation and the crocketed terminations and finials to the exterior buttresses, what is far more interesting in the Plateresque style of Spain than the purely borrowed and imitative features of the west and northern fronts. Here appear in jeweled play of light and shade, in all their imaginative and exquisite intricacy, those forms of carved string courses which were developed by the Spanish Renaissance and were essentially Spanish and national. You feel somewhere back of it the Moorish influence. It presents all the richness, the magnificence and exuberant fancy which characterizes the spirit in which its masters worked. The labor it involved must have been enormous. The splendor of the solid lacework ten to twelve feet high is thrown out by contrast with the naked walls which it crowns. The Capilla del Pulgar, which blocks the most westerly corner of the south elevation, was named in honor of Hernan Peres del Pulgar, the site of whose brave exploit it marks. In 1490, during the last siege of Granada, he determined on a deed which should outdo all feats of heroism and defiance ever performed by Moslem warriors. At dead of night, some authorities say he was on horseback, others that he swam the subterranean channel of the Darro, he penetrated to the heart of the enemy's city and fastened with his dagger to the door of their principal mosque a scroll bearing the words "Ave Maria." Before this insult to their faith had been discovered, he had regained Ferdinand's camp. A double superimposed arcade faces the southern side of the sagrario: the lower story has been brutally closed and defaced by modern additions, almost concealing its original carving. The upper story, however, which forms a balcony, strongly recalls by its fancifully twisted shafts, elliptical arches and Gothic traceried balustrade, similar early Renaissance work at Blois, where the Gothic and early Italian work were so charmingly blended. The Royal Chapel is entered through an Italian Renaissance doorway of good general design and decoration, but the Spanish cornice and balustrade crowning the outer walls are much more interesting in details. The principal member consists of a band of crowned and encircled F's and Y's, the initials of the Catholic Kings. It is broken over the window by three gigantic coats-of-arms. To the left is Ferdinand's individual device of a yoke, the "yugo," with the motto "Tato Mota" (Tanto Monta) tantamount, assumed as a mark of his equality with the Castilian Queen; to the right Isabella's device of a bundle of arrows or "flechas," the symbol of union. In the centre is the common royal shield, proudly adopted after the union of the various kingdoms of the Peninsula had been cemented. The Eagle of Saint John the Evangelist and the common crown surmount the arms of Castile and Leon, of Aragon, Sicily, Navarre, and Jerusalem and the pomegranate of Granada.