to be seen in most of the Spanish cathedrals, from a belief that he who looks prayerfully upon an image of this saint will that day come to no evil end: _Christophorum videas; postea tutus eas_――Christopher behold; then mayest thou safely go; or, according to the old adage: Christophori sancti, speciem quicumque tuetur, Istâ nempè die non morte mala morietur. These colossal images are at first startling, but one soon learns to like the huge, kindly saint who walked with giant steps in the paths of holiness; bore a knowledge of Christ to infidel lands of suffering and trial, upheld amid the current by his lofty courage and strength of will, which raised him above ordinary mortals, and carrying his staff, ever green and vigorous, emblem of his constancy. No legend is more beautifully significant, and no saint was more popular in ancient times. His image was often placed in elevated situations, to catch the eye and express his power over the elements, and he was especially invoked against lightning, hail, and impetuous winds. His name of happy augury――the Christ-bearer――was given to Columbus, destined to carry a knowledge of the faith across an unknown deep. This reminds us that in the pavement near the end of the church is the tombstone of Fernando, the son of Christopher Columbus, on which are graven the arms given by Ferdinand and Isabella, with the motto: _A Castilla y a Leon, mundo nuevo dio Colon._ Over this stone is erected the immense _monumento_ for the Host on Maundy Thursday, shaped like a Greek temple, which is adorned by large statues, and lit up by nearly a thousand candles. This church, though full of solemn religious gloom, is by no means gloomy. It is too lofty and spacious, and the windows, especially in the morning, light it up with resplendent hues. The choir, which is as large as an ordinary church, stands detached in the body of the house. It is divided into two parts transversely, with a space between them for the laity, as in all the Spanish cathedrals. The part towards the east contains the high altar, and is called the _Capilla mayor_. The other is the _Coro_, strictly speaking, and contains the richly-carved stalls of the canons and splendid choral books. They are both surrounded by a high wall finely sculptured, except the ends that face each other, across which extend _rejas_, or open-work screens of iron artistically wrought, that do not obstruct the view.