The shafts that separate nave from side aisles are still quite Romanesque in feeling,--of polygonal core faced by four columns and eight ribs. The capitals are very simple with no carving, but merely a gilded representation of leafage, while the base molds carry around all breaks of the pier. It may be coarse and crude in feeling and execution, certainly very far from the exquisite finish of Leon, nevertheless the infancy of an architectural style, like a child's, has the peculiar interest of what it holds in promise. Like Leon, the side aisles have double roofing, allowing the light to penetrate to the nave arcade and forming a double gallery running round the church. Many of the bishops who were buried in the choir in its old location were, on its removal to the bay immediately west of the crossing, also moved and placed in the various chapels. The sepulchre of Bishop Sancho Davila is very fine. Like his predecessors, he was a fighting man. His epitaph reads as follows:-- "Here lies the noble cavalier Sancho Davila, Captain of the King Don Fernando and the Queen Doña Isabel, our sovereigns, and their alcaide of the castles of Carmona, son of Sancho Sanches, Lord of San Roman and of Villanueva, who died fighting like a good cavalier against the Moors in the capture of Alhama, which was taken by his valor on the 28th of February in the year 1490." The pulpits on each side of the crossing, attached to the great piers, are, curiously enough, of iron, exquisitely wrought and gilded. The one on the side of the epistle is Gothic and the other Renaissance, the body of each of them bearing the arms of the Cathedral, the Agnus Dei, and the ever-present lions and castles. The rejas, closing off choir and Capilla Mayor in the customary manner, are heavy and ungainly. On the other hand, the trascoro, that often sadly blocks up the sweep of the nave, is unusually low and comparatively inconspicuous. It contains reliefs of the life of Christ, from the first half of the sixteenth century, by Juan Res and Luis Giraldo. The choir itself is so compact that it only occupies one bay. The chapter evidently was a modest one. The stalls are of elaborate Renaissance workmanship. The verger now in charge, with the voice of a hoarse crow, reads you the name of the carver as the Dutchman "Cornelis 1536."