I have already described the external screens of the Coro. Its internal fittings must not be forgotten, being very full of interest, and of much magnificence. The lower range of stalls all round (fifty in number) are the work of Maestro Rodrigo, circa A.D. 1495; and the upper range were executed, half by Berruguete, and half by Felipe de Borgoña, in A.D. 1543.[245] The old stall ends are picturesque in outline, very large, and covered with tracery, panels, and carvings, with monkeys and other animals sitting on them. The upper range of stalls is raised by four steps, so that between the elbows of the lower stalls and the desk above them are spaces which are filled in with a magnificent series of bas-reliefs illustrating the various incidents of the conquest of Granada. They were executed whilst all the subjects depicted in them must have been fresh in the minds of the people; and they are full of picturesque vigour and character. The names of the fortresses are often inscribed upon the walls: in some we have the siege, in others the surrender of the keys, and in others the Catholic monarchs, accompanied by Cardinal Ximenes, riding in, in triumph, through the gates. It may be a fair complaint that the subjects are rather too much alike; but in subjects all of which were so similar in their story, it was, of course, difficult to avoid this. Their effect is in marked contrast to the heavy dull Paganism of the sculptures by Berruguete, whose work took the place, no doubt, of some more ancient stalls. The canopies in his work rest on columns of jasper, a material which seems to be very abundant here. In the centre of the Coro stands the great Eagle, a magnificent work in brass. The enormous bird, with outstretched wings, is fighting a dragon which struggles between its feet: its eyes are large red stones, and it stands upon a canopied, buttressed, and pinnacled pedestal, crowded with statues, among which are those of the twelve apostles. Six lions couchant carry the whole on their backs, and serve to complete the family likeness to other brass eagles, of which, however, this is, I think, by far the most grandiose I have ever seen. Here as elsewhere throughout Spain the iron and brass screens are very numerous. The two Rejas, east of the Coro and west of the Capilla mayor, were finished in A.D. 1548. There is little to admire in their detail; but they are massive and bold pieces of metal-work, for the dignified simplicity of which there is much, no doubt, to be said, when we think of the terribly over-ornamented work--semi-renaissance in its feeling--which is so unfortunately fashionable among some of our own church restorers now-a-days.[246] The great iron screen outside the north transept door is an earlier work, and fine in its way. The detail of this is very much like the screens already described at Palencia.