By the door next to the Capilla de San Miguel we pass into the Sagrario (sacristy) occupying the site of the old mosque, which it replaced in 1705. It was designed by Don Francisco Hurtado and Jose de Bada, and it is well that the responsibility for so meretricious a piece of architecture should be divided. It may be dismissed as Churrigueresque. It is not, fortunately, devoid of interest. In one of the chapels is buried “the magnificent cavalier, Fernando del Pulgar, Lord of El Salar,” as the inscription records. This valiant knight and true, during the last campaign against Granada, rode into the city with fifteen horsemen, and set a lighted taper on the floor of the mosque, and, as others say, nailed a paper bearing the Ave Maria on the door. This exploit earned for him and his descendants the extremely valuable privilege of wearing their hats in the Cathedral. De Pulgar’s bones have fared better than those of the good Archbishop de Talavera, which were scattered when the old mosque was demolished. The Sagrario possesses several good paintings, including a San José by Cano, of whose works the Cathedral buildings, as may have been noticed, contain a fine selection. By the door next to the Capilla de Pulgar, and a darkish passage, the Chapel Royal may be entered. The oldest purely Christian building in Granada is the convent and chapel of San Jeronimo, a foundation transferred here from Santa Fé immediately after the Reconquest. The convent is now a cavalry barracks, and is not to be inspected by the curious. The church, built by Diego de Siloe, is in the form of a Latin cross--stern, plain, dignified. The walls are adorned with frescoes representing scenes from the Passion, portraits of the Fathers of the Church, and angels playing on the harp and singing. They were executed in 1723 by an obscure painter called Juan de Medina. Eight chapels open on the aisles and nave, one containing a fine retablo, with the Entombment as subject. The principal chapel exhibits Siloe’s skill at its best. He is said to have realised in its construction “his lofty ideal of effecting a truly Spanish Renaissance; an ideal which bore little fruit, since some of his followers confined themselves to the strictest classicism, others to the development of the plateresque.” Very much in the spirit of the Renaissance is the decoration of the chapel with the statues of the worthies of the classic world, Cæsar, Pompey, Hannibal, Homer, and others, side by side with Old Testament characters. Strange, this admiration for a pagan civilisation co-existent with violent religious fanaticism against all contemporary non-Catholics!