The chapel of Santa Ana covers the vault intended for the archbishops, and contains a good sixteenth-century altar-piece, and a St. Jean de Matha (a Frenchman, not a Spaniard) by Bocanegra. The six chapels that follow present no features of interest. The fourth chapel on the left side of the Cathedral is named La Virgen de la Antigua, after a Gothic image greatly venerated by Ferdinand the Catholic, and regarded with great reverence by the devout of Granada. Here are two portraits by Juan de Sevilla of Ferdinand and Isabella at prayer; the king is clad in armour. The paintings are in the Venetian style. Of the retablo by Cornejo, the less said the better. Cano’s realistic heads of Saints John and Paul reflect the fondness of the pietists of his day for the morbid--they are in the Chapel of the Virgen del Carmen. The first chapel, or baptistry, was erected by Adam and Aguado, at the expense of Archbishop Galvan, who is buried here near another occupant of the episcopal throne, Don Bienvenido Monzón. The fine reliefs of Saints Jerome and Isidore are by Mora. We have now reached the entrance doors, on each side of which hangs a good painting. The three pictures over the doors represent mystic allegories. The most interesting feature of the chapter room, or Sala Capitular, is the noble porch, with its figures of Justice and Prudence, which, with the group of the Trinity, may be safely attributed to Maeda. Before leaving the Cathedral, the sacristy should be visited. It contains Cano’s _Assumption_ and two small statues by him; a _Crucifix_ by Montañez; a _Holy Family_, by Juan de Sevilla; and a _Mary Immaculate_ by Bocanegra. The treasury contains some wonderfully embroidered vestments, and good, but not extraordinary, examples of the silversmith’s craft. The signet ring of Sixtus III., and the monstrance presented by Isabella, have of course, an historical interest. A casket is also shown to visitors, who are assured it is that in which were placed the jewels pawned by Isabella to provide funds for Columbus’s first voyage. If this is true, Pandora’s box was as nothing compared to this one! The Queen’s Missal, the work of Francisco Flores, is beautifully illuminated. It is placed on the high altar on the anniversary of the Reconquest. Those interested in arms will handle with curiosity the sword of Ferdinand the Catholic; the hilt has a spherical pommel and drooping quillons with branches towards the blade, which is grooved for about two-thirds of its length. Other relics of the Catholic sovereigns are their sceptre, Isabella’s crown, the royal standards used at the Reconquest, and a chasuble said to have been embroidered by the Queen.