The choir is uninteresting; the carving of its stalls and organs in nowise comparing with the "silleria" of Seville or Burgos. The Capilla Mayor, the principal feature of the interior, is circular in form, and separated from the nave by a splendid "Arco Toral." The dome, which rises to a height of 155 feet, is carried by eight Corinthian piers. In general scheme it is pure Italian Renaissance, of noble and harmonious proportions and very richly decorated. At the foot of the pilasters stand colossal statues of the Apostles. Higher up there is a series of most remarkable paintings by Alfonso Cano and some of his pupils. Cano's represent seven incidents in the life of the Virgin,--the Annunciation, Visitation, Nativity, Assumption, etc. Though some of his carvings, and especially the dignified and noble Virgin in the sacristy, are admirable, still, to judge from this series, it was as a painter that he excelled. They show, too, how essentially Spanish he was, like his great master, Montañez. The careless, lazy quality of his temperament is sufficiently apparent, but he cannot be denied a place among the great masters of Spanish painting who immediately preceded the all-eclipsing glory of Velasquez, Murillo, and Ribera. The lights of the dome which rises over the paintings are filled with very lovely stained glass, representing scenes from the Passion by the Dutchmen, Teodor de Holanda, and Juan del Campo. On the two sides of the choir below are colossal heads of Adam and Eve carved by Cano and kneeling figures of Ferdinand and Isabella. There are endless chapels outside the outer aisles, but, in spite of some good bits of sculpture and painting here and there, one longs to sweep them out of the way and free the edifice from their encumbrance. The interior of the great sagrario is an expressionless jumble of the later Renaissance decadence,--and it is a shame that no more fitting architecture surrounds the tomb of the good Talavera, here laid to rest by his friend Tendilla, the first Alcaide of the Alhambra, with the inscription over his tomb, "Amicus Amico." The general color scheme in the interior of the Cathedral is white and gold. One feels that it is handsome, even harmonious and magnificent, but that all the mystery and religious awe that pervaded the great churches of the previous centuries have vanished forever.