The north-west cloister and the north-east cloister are both adorned with Doric columns, but in the case of the upper storey it is of later date and does not correspond with the lower. Both these cloisters have fountains enclosed in elegant Gothic miniature temples, _templetes_ with arches, columns, and pinnacles. We passed on to the south-east cloister through a small passage with elegantly decorated doors: this one is separated from the last by the eastern transept of the chapel; it is more like the first cloister than the other two, with its fountain, its bronze statue, and its handsome granite basin, all of which attracted our attention. We noticed its pretty doorways leading to the kitchen and the dispensary, and the smaller doorway leading to the vestry, all of these were ornamented with _plateresque_ tracery. The chapel occupies the centre of the building, and is in the form of a Latin cross, with a shortened head, so often found in churches of the last decade of the fifteenth and in the early years of the sixteenth century; the shortened head is the sacristy. The most interesting portion of this chapel is its transept, which is separated from the nave by a strikingly artistic railing of beaten iron which, like the one in the portico of the hospital, is the work of Master Guillen: on it we distinguish the Arms of Spain, the Imperial Eagle, and the scallop shell of St. James. Sanchez says of the transept: “It is in the Gothic style peculiar to the architecture of Galicia”; and then he complains bitterly of the barbaric coating of whitewash which covers the beautiful granite vaulting, the balustrades, and the finely sculptured columns. Spanish architects divide the Gothic style into three periods, and it is to the third or last of these that the architecture of this chapel belongs, while its ornamentation is _plateresque_. In all its lines and in all its component parts there exists the most perfect harmony and the most correct composition imaginable; it is consequently a very beautiful example of the transition epoch, in which the florid elements of the Gothic style mingled with those of the _plateresque_ to form, as it were, a new style of architecture. In describing it thus I am not venturing to give a new and unauthorised opinion, I am simply repeating a truth that has been endorsed by every _connoisseur_ who has had the privilege of visiting this beautiful little chapel. Entering the chapel by the door from the first cloister we note a graceful font for consecrated water, very shallow, and supported by a slender pedestal--it is enriched with Gothic moulding. Ancient fonts were always large enough to allow for the immersion of infants; this one probably dates from the end of the fifteenth century, and its sculpture is of the same class as that of other parts of the chapel. The beaten iron candelabra is also good work, though gilded and silvered in a tasteless manner.