The entrance to the south transept has been entirely rebuilt, but the original reliefs and statuary of the three doors have been preserved and re-erected. Some old Byzantine capitals may be distinguished among the Gothic work. The south-west door is relieved with a diaper of fleurs-de-lys and castles, and lions and castles. The sculpture of the tympanum is equal to that of the west front, and shows the Saviour and the Evangelists, the twelve Apostles, and the Death of the Blessed Virgin. The colossal statue on the central shaft is that of San Froilan, an early bishop of Leon. Above is a row of four windows of two lights, and an enormous rose-window. The glory of the cathedral is its stained glass, which fills the innumerable windows. Most of this is comparatively modern, and, though good in tone, is inferior to the fifteenth-century glass still existing in the windows of the Capilla Mayor, the Capilla de Santiago, and the north transept. The three rows of windows reach high up to the vaultings of the roof, those of the chapels being of two lights, those of the clerestory of four. It is strange that with such exquisite examples of colouring before them, the restorers of the church should have had the bad taste to bedaub the arches of the aisles with ochre, and to whitewash the pillars and vaults, marking the stonework with red lines. We could well have spared, moreover, the elaborate plateresque work in the choir, which, though good in itself, is dissonant from the general character of the building; and the Churrigueresque retablo of the Capilla Mayor, representing the Assumption of the Blessed Virgin. The sanctuary and choir, which in so many churches are the most interesting feature, are of quite secondary importance at Leon. The Capilla Mayor, however, contains the remains of San Froilan in two silver reliquaries of the Renaissance style, and the relics of two other bishops (Alvitas and Pelagius) in plain marble urns. The choir stalls date from the fifteenth century, and are well carved. The best work is seen in the panels behind the stalls, the subjects being the generation of Christ, the Visitation, the Revolt of Satan, and the Descent into Hell.