The monument, which stands in the centre of the church, is of a curious shape, being octagonal, or rather sixteen-sided, a form very uncommon, and Oriental in its origin. The recumbent figures of the King and Queen lie side by side on a sumptuous bed, and between them is a low marble railing. The King has a ring on the right hand and holds a sceptre, in the Queen’s hand is a prayer-book and rosary. The sides are ornamented with statues, placed under delicate canopies, of which some represent the Cardinal Virtues, and each is a masterpiece of carving. There are besides sixteen lions bearing escutcheons, and bas-reliefs of scenes from the New Testament. Then around the top is a double cornice of foliage--branches of vines and laurels--with birds and animals splendidly carved (Plates 65 and 66). Above the tomb, inlaid upon the wall, is the monument of their son, Alfonso (Plate 67), whose death in 1470, at the age of sixteen, brought Isabella the Catholic to the throne. This work is elaborately adorned with carvings. Placed in a small elliptic arch, the Prince kneels before a _prie-dieu_. He wears a mantle similar to the King. Above him are the Virgin and the Angel Gabriel, bearing a vase in which blooms a lily as the emblem of Purity, while St. Michael with the Dragon, the emblem of Victory, is placed on the spandril between the flying-arch and the accolade. Below on the sub-basement a charming group of angels hold the battle-shield of the young Prince. The tomb, now in the Museum of Burgos, of Juan de Padella (Plate 68) is so similar to the monument of Prince Alfonso, not only in the general design and style, but in the actual carrying out of the details, that it seems right to attribute it to Gil de Siloe. Juan de Padella was a royal page, killed in the siege of Granada; he is known to have been a great favourite of Queen Isabella, who called him _mi loco_ (my fool), and it is therefore quite probable that de Siloe, the royal artist, would be employed to design and execute his tomb.