Here and there, in the interior as in the exterior, we find, mixed with or decorating the Gothic, Moorish and Renaissance details and the later extravagances which followed the decline of the Gothic. Even where the carvers are expressing themselves in Gothic or Renaissance details, we frequently observe an extreme richness, a love of chiaroscuro, of sparkling jewel-like light and shade, and intricately woven ornamentation which betrays the influence of the Arab. We see the Morisco, a kind of fusion of French and Moorish, in many places. The triforium of the choir is decidedly Moorish in its design, although it is Gothic in all its details and has carvings of heads and of the ordinary dog-tooth enrichment instead of merely conventionalized leaf and figure ornament. It consists of a trefoil arcade. In the spandrels between its arches are circles with heads and, above these, triangular openings pierced through the wall. The moldings of all the openings interpenetrate, and the whole arcade has the air of intricate ingenuity so usual in Moorish work. Again, in the triforium of the inner aisle we find Moorish influence,--the cusping of the arcade is not enclosed within an arch but takes a distinct horseshoe outline, the lowest cusp near the cap spreading inward at the base. We see Moorish tiles, we find Moorish cupolas as in the Mozarabic chapel, and Moorish doorways, as the exquisite one leading into the Sala Capitular,--here and there and everywhere, we suddenly come upon details betraying the Arab intimacy. The children of the Renaissance also embellished in their new manner, not only in the magnificent carvings of the choir but in a variety of places, for instance, the doors themselves contained within the Moorish molds leading to the Sala just mentioned, the entire chapel of St. Juan, the Capilla de Reyes Nuevos, portions of the Puerta del Berruguete, and the bronze doors of the Gate of the Lions. Again, on the capitals and bases of many of the piers, with the exception of those of the central nave, Byzantine influence may be seen. So each age, according to its best ken, dealt with the Cathedral. In among the varying styles of architectural decoration, the sister arts embellish the stone surfaces or are hung upon them. There are paintings by Titian, Giovanni Bellini, and Rubens, by El Greco, Goya, and Ribera; Italian and Flemish tapestries, and frescoes too. Probably the greater portion of the main walls were covered with them, for here and there traces are still to be seen and a tree of Jesse remains in the tympanum of the south transept, and near it an enormous painting of Saint Christopher.