A very remarkable family of German architects have left their indelible stamp upon Burgos Cathedral. In 1435 a prominent Hebrew of the tribe of Levi died as Bishop of the See, and was succeeded by his son, Alfonso de Cartagena. Alfonso not only followed in his father's footsteps, but became one of the most renowned churchmen in Spain during the early years of Ferdinand of Aragon. And he looks it too, as he lies to-day near the entrance to his old palace, in fine Flemish lace, mitre covered with pearls, and sparkling, jewelled crozier. As Chancellor of Spain, Alfonso was sent to the Council of Basle, and thereafter, like his predecessor Maurice, he returned to Burgos, bringing with him visions of church-building such as he had never dreamed of before and the architect Juan de Colonia. The Plateresque style was rapidly developing towards the effulgence so in harmony with Spanish taste. Interwoven and fused with the work Juan was familiar with from his native country, he and his sons, Simon and Diego, encouraged and royally assisted by Alfonso and his successor, D. Luis of Acuna, set about to erect some of the most striking and wonderful portions of Burgos Cathedral,--the towers of the façade, the first lantern and the Chapel of the Constable. The Chapel of Don Pedro Fernandez de Velasco, Count of Haro and Constable of Castile, was not erected with pious intent, but to the immortal fame of the Constable and his wife. In the centre of the chapel-church on a low base lie the Count and Countess. The white Carrara of the figures is strangely vivid against the dark marble on which they rest, and all is colored by the sunlight striking down through the stained glass. It is very regal. The Constable is clad in full Florentine armor, his hands clasping his sword and his mantle about his shoulders. The carving of the flesh and the veining, and especially the strong knuckles of the hands, are astonishing. The fat cushions of the forefinger and thumb seem to swell and the muscles to contract in their grip on the cross of the hilt. The robe of his spouse, Doña Mencia de Mendoza, is richly studded with pearls, her hand clasps a rosary, while, on the folds of her skirt, her little dog lies peacefully curled up.