The west front was commenced in A.D. 1418, and the north-west tower in A.D. 1425, one Alvar Gomez being the architect employed upon them; and in A.D. 1479 the upper part of the west front was completed; but the whole of this was again repaired and altered in A.D. 1777, so that now it presents little if anything really worthy of notice. The circular west window seems to be of the earlier half of the fourteenth century, and the later works were carried out in front of it. Between this window and the gable of the great doorway is an enormous sculpture of the Last Supper: the table extends from buttress to buttress; and our Lord and the Apostles sit each in a great niche. The steeple is certainly rather imposing in outline: a simple square tower at the base, and for some 170 feet from the ground, it is then changed to an octagon with bold turrets and pinnacles; and above this is a low spire, chiefly to be noticed for the three rows of metal rays which project from its sides. The upper part of the steeple was built when Alonso Covarrubias was the master of the works, but rebuilt after a fire in A.D. 1660.[243] The chapel of Santiago, to the north-east of the chevet, was another great work of this period. It is similar in plan to that of San Ildefonso, by the side of which it is built, and has in its centre a grand high tomb, carrying recumbent effigies of the Constable D. Alvaro de Luna and his wife Doña Juana.[244] Each of the tombs has life-size kneeling figures, one at each angle, looking towards the tomb, and angels holding coats of arms--that most unangelic of operations, as it always seems to me--in panels on the sides. Here, as in the chapel of San Ildefonso, the sides of the chapel were each provided with a great canopied tomb, whilst on one side a mediæval carved and painted wooden Retablo to an altar conceals the original altar arrangement. The exterior of this chapel is finished with a battlement and circular overhanging turrets at the angles; above which is a tiled roof of flat pitch. Don Alvaro de Luna died in A.D. 1453, and his wife in A.D. 1448; and the chapel bears evidence in the “perpendicular” character of its panelling, arcading, and crocketing, of the poverty of the age in the matter of design. At this period, indeed, the designers were sculptors rather than architects, and thought of little but the display of their own manual dexterity.