In its early days many a noted prelate and honored churchman was laid to rest within the holy precinct of the choir in front of the high altar or in the rough old sepulchres of the surrounding chapels. With the moving of the choir, and probably also a change in the church ceremonies, came a rearrangement of the apse and the Capilla Mayor's relation to the new rites. The retablo back of the high altar, consisting of Plateresque ornament, belongs for the most part to the Renaissance. The Evangelists and church fathers are by Pedro Berruguete (not as great as his son, the sculptor Alfonso), Juan de Borgoña and Santos Cruz. In the centre, facing theambulatory behind, is a fine Renaissance tomb of the renowned Bishop Alfonso Tostada de Madrigal. He is kneeling in full episcopal robes, deeply absorbed either in writing or possibly reading the Scriptures. The workmanship on mitre and robe is as fine as the similar remarkable work in Burgos, while the enclosing rail is a splendid example of the blending of Gothic and Renaissance. The glass in the apse windows is exceptionally rich and magnificently brilliant in its coloring. It was executed by Alberto Holando, one of the great Dutch glaziers of Burgos, who was given the entire contract in 1520 by Bishop Francisco Ruiz, a nephew of the great Cardinal Cisneros. Such, in short, are the characteristics of the chevet of the Cathedral of Avila, constructed in an age when its builders must have worked in a spirit of hardy vigor with the trowel in one hand and the sword in the other. As we see it to-day, it imparts a feeling of mystery, and its oriental splendor is enhanced by the dim, religious light.