=Cathedrals.=--Another northern centre of the Early Spanish Renaissance was =Burgos=. Here the master of the plateresque style was Diego de Siloe, sculptor and architect, who built the celebrated =Golden Staircase= in the Cathedral, to connect the higher levels of the old, thirteenth century Puerta de la Coroneria, with the floor of the north transept by a flight of 39 steps, which has a gilded balustrade, richly embellished and bearing the arms of Bishop Fonseca. In 1520 Siloe was summoned to =Granada= to superintend the building of the =Cathedral= which had been designed in the Gothic style by Enrique de Egas. This, the earliest and most remarkable of the Renaissance cathedrals of Spain, represents an application of the Classic orders to the piers which support the vaulting. But its most distinctive feature is that the sanctuary or _capilla mayor_, instead of terminating in an apse, is fully circular in plan and crowned by a lofty dome, under which, in a flood of light, stands the high altar. Two other important examples of Renaissance =Cathedrals= are those of =Jaen= and =Valladolid=, while amongst the Gothic edifices that were embellished with magnificent Renaissance portals may be mentioned the =Cathedrals= of =Malaga= and =Salamanca= and the =Church of Santo Domingo= in the latter city and of =Santa Engracia= in =Saragossa=. Also of the Early Renaissance period are the octagonal lantern of =Burgos Cathedral=, designed by Vigarni, called de Borgoña, because he was born in Burgundy, famous as a sculptor even more than as an architect; and the towers of the =Cathedral del Pilar= and of =La Seo= in =Saragossa=. The last named, octagonal in plan and consisting of four stories, diminishing in size and crowned with a lantern, bears some resemblance to the English steeples of Wren. =Casa Lonja.=--The most splendid Municipal building of Spain is the =Casa Lonja=, or Exchange for merchants, in Seville, which was built in 1583-1598 by Diego de Riano from a design, not closely adhered to, by Juan de Herrera. The most highly decorated façade, which is on the side removed from the Square, shows a more than usual following of the Italian style in its system of pilasters and entablatures and the repetition and treatment of the windows. Yet the style is used with a decorative freedom, characteristically Spanish.