In the centre of the middle nave, separated from the Capilla Mayor by the transept, is the choir, in that debased Churrigueresque style of which every one speaks ill. The only things notable within it are the fine organs, and the crucifix by Pablo de Rojas. Beneath the choir is entombed Alonso Cano (died 1667), one of the greatest of Andalusian painters, and a minor canon of the Cathedral. One of his most characteristic pictures--the _Virgén de la Soledad_--is to be seen over the altar of the Capilla de San Miguel (the first chapel on the right on entering the church). It was stolen in 1873, and recovered in the city shortly after. The chapel is beautifully adorned with red marbles and serpentine. It was built by that high-minded, beneficent prelate, Archbishop Moscoso, in 1804. His tomb is by the sculptor Folch. In the chapel are placed--we do not know why--two elegant Chinese vases. Between this and the next chapel is the entrance to the sacristy or old mosque, and to the left of it a small picture, before which that really saintly saint, St. John of God, was accustomed to pray. The Capilla de la Trinidad has some good paintings, among them a _Trinity_ by Cano, two miniatures on copper by the same artist, a _Death of St. Joseph_ by Maratta, and copies of works by Raphael and Ribera. There are genuine Riberas (_The Child Jesus_, _St. Laurence_, and _St. Mary Magdalene_) and more works by Cano in the extravagant eighteenth-century chapel of Jesus Nazareno. After this comes the handsome Gothic door of the Chapel Royal, by Enrique Egas; and beyond that the Chapel of Santiago, with a fine equestrian statue of the Patron Saint of Spain, presented to the Cathedral by the City in 1640. The old painting of the Virgen del Perdon was given to Isabella the Catholic by Innocent VIII., and used to be carried about by the queen. It is publicly venerated (not worshipped or adored, please note) on the anniversary of the Reconquest, January 2. Passing the Cathedral sacristy with its handsome door by Siloe, we pause before the Puerta del Colegio. Behind the sculptured Ecce Homo, it is said Maeda carved a Lucifer of extraordinary beauty. He applied to Siloe for permission to give a proof of his skill, and was told by the testy architect to sculpture the Devil himself if he wanted to. Maeda was wag enough to take him at his word.