In the church itself there are several very fine monuments. The most elaborate is that of Ordoño II., the original founder of the old cathedral, which occupies the eastern bay of the apse, with its back to the high altar. This is sometimes spoken of as if it were a contemporary work. It is, however, obviously a work of the fourteenth century, and recalls to mind some of the finest monuments in our own churches. The effigy of the king, laid on a sloping stone, so that it looks out from the monumental arch, is singularly noble, very simple, of great size and uncommon dignity. The general design of this fine monument will be seen in my view of the aisle round the choir. Another monument in the north transept has a semicircular arch carved alternately with bosses of foliage and censing angels; and within this a succession of cusps, the spandrels of which have also angels. The tympanum has a representation of the Crucifixion;[121] and below this, in an oblong panel just over the recumbent figure, is a representation of the service at a funeral. The side of the high tomb has also an interesting sculpture representing a figure giving a dole of bread to a crowd of poor and maimed people, whilst others bring him large baskets full of bread on their backs. The date in the inscription on this monument is Era 1280, _i.e._ A.D. 1242. In a corresponding position in the west wall of the south transept is another monument of a bishop, recessed behind three divisions of the arcade which surrounds the walls of the church. The effigy is rather colossal, and has a lion at the head, and another under the feet. Over the effigy is a group of figures saying the burial office; and above, in panels within arches, are, (1) St. Martin dividing his Cloak, (2) the Scourging of our Lord, and (3) the Crucifixion. The soffeits of the arcade are diapered, and there were three subjects below the figure of the bishop, but they are now nearly destroyed. The arches round the Capilla mayor were walled up, and those on either side of the monument of Ordoño II., already described, still retain the paintings with which they were all once adorned. They are of the same class as those in the cloister, and one of them, a large Ecce Homo, is certainly a very fine work. Unfortunately the figure of our Lord in the centre has been very badly repainted, but the troop of soldiers and Jews reviling Him on either side is full of life and expression. The choir occupies the two eastern bays of the nave, and its woodwork is fine, though of late fifteenth-century date. There are large figures in bas-relief, carved in the panels behind the stalls. There is a western door from the nave into the Coro; and in part on this account, and in part from its considerable scale, the nave has less than usual of the air of uselessness which the Spanish arrangement of the Coro produces.