It will be as well, perhaps, to leave the description in detail of the early features of the exterior for the present, and to complete the notice of the interior first of all. And here it is necessary to say a few words as to the cathedral arrangements commonly seen in Spain, which exist in full force at Burgos, and must be constantly referred to in all my notices of Spanish churches. I have already said that the choir proper (_Coro_) is transferred to the nave, of which it occupies commonly the eastern half; the portion of the nave outside, or to the west of the Coro, being called the “_Trascoro_,” and that to the east of it the “_Entre los dos Coros_;” and in most great churches the “_Crucero_,” or crossing, and the transept really do the work of the nave, in the way of accommodating the people. The floor of the nave proper is, indeed, too often a useless appendage to the building, desolate, dreary, unused, and cold; whereas in the transepts, the services at the altar and in the choir are both seen and heard, and this accordingly is the people’s place. A passage is sometimes, or perhaps I ought to say is usually, made with low iron or brass screens or rails leading from the eastern gate of the Coro to the screen in front of the altar. This is especially necessary here, as the choir proper is deep, and the people are thus kept from pressing on the clergy as they pass to and fro in the long passage from the altar to the Coro. Gates in these screens admit of the passage of the people from one transept to the other whenever the services in the Coro are not going on. The Coro is usually fitted with two rows of stalls on its north, south, and west sides, the front row having no desks before them. The only entrance is usually through the screen on the eastern side, and there are generally two organs placed on either side of the western bay of the Coro, above the stalls. In the centre of the Coro there is always one, and sometimes two or three lecterns, for the great illuminated office-books, which most of the Spanish churches seem still to preserve and use. High metal screens are placed across the nave to the east of the Coro, and across the entrance to the choir, or “_capilla mayor_,” as its eastern part is called. These screens are called _rejas_. Above the crossing of the choir and transepts there is usually an open raised lantern, called by the Spaniards the _cimborio_; and behind the altar, at the end of the Capilla mayor, is usually a great sculptured and painted _retablo_ or reredos. All these arrangements are generally described as if they were invariably found in all Spanish churches, as they certainly are at Burgos and many others now; and an acute and well-informed writer in the ‘Ecclesiologist’ suggests that their origin may perhaps be looked for in the early churches of the Asturias and Galicia, since he had looked in vain, in both Spanish and Mozarabic liturgies, for any peculiar dogma or ritual practice which would have