intended presumably to cover a tomb. The chapel contains many other objects of interest. The side altars display some good sculpture, the one in the Gothic, the other in the Renaissance style. There is a fine Flemish triptych, and a good statue of St. Jerome by Becerra. In the sacristy is shown the little portable ivory altar which the Constable carried about with him, and a ‘Magdalene,’ attributed by some to Da Vinci, by others to Luini. The plate, of the same age as the chapel, includes a chalice of silver-gilt, enamelled in red and white and richly jewelled; a pax in ivory and enamel, a thurible shaped like a ship; a splendid silver-gilt cross; an oval alabaster relief of the Madonna; and other treasures, some of which are not readily shown. The two chapels next to that of the Constable on the north side of the apse are earlier than the others and are of good middle-pointed style. The chapel of San Gregorio seems to be the only one belonging to the thirteenth-century church. It contains the tomb of Bishop Fontecha. The adjoining chapel of San Nicolás was built in 1268 by Bishop Villahoz, whose tomb and effigy are placed upright against the wall. Close by is one of the finest sepulchres in the cathedral--that of the Archdeacon Fernando Villegas, an early translator of Dante. Opposite the door of the Nacimiento chapel is a notable picture of San Juan de Ortega by Cuadra. At the northern end of the transept is the grand staircase of thirty-eight steps, leading to the Puerta Alta. It is one of the finest examples of the art of Diego de Siloe, who was at his best when handling such intricate and profuse decoration as this. The splendid iron balustrade was the work of Cristobal Andino. Opening on to the north aisle are the large chapels of Santa Ana and Santa Tecla. The former was founded in 1474 by Bishop Luis Osorio Acuña, whose tomb is here. A much finer altar and monument in the Gothic style is that of the Archdeacon Fernando Diez de Fuente Pelayo, who died in the memorable year 1492; it is in white marble and adorned with sculpture with New Testament subjects, a good deal damaged. There are a few good pictures in this chapel, one attributed to Andrea del Sarto, and a sculptured genealogy of the Virgin. Of the chapel of Santa Tecla, perhaps not much else need be said than that it is in the Churrigueresque style and was founded in 1734. Its best feature is its ‘half-orange’ dome. O’Shea says that there formerly existed on the side of the baptistry a small chapel dedicated to Santiago, wherein Alfonso XI. instituted the order of knighthood of La Vanda or the Badge, of which the kings of Castile were members.