The baldachin is, like the Retablo, of wood covered with thin plates of metal. It stands upon four shafts, the lower portions of which are of dark marble resting on the moulded footpace round the altar. These four shafts have capitals and bands, the latter being set round with enamelled coats-of-arms. The canopy is a sort of very flat quadripartite vault covered with small figures; but on both my visits to Gerona it has been so dark in the choir as to render it impossible to make out the subjects. The central subject seems to be the Coronation of the Blessed Virgin, and in the eastern division is a sitting figure of our Lord with saints on either side. In order to show the figures on the roof of the baldachin as much as possible, the two eastern columns are much lower than the western, the whole roof having thus a slope up towards the west. A singular arrangement was contrived behind the altar--a white marble seat for the bishop raised by several steps on either side to the level of the altar, and placed under the central arch of the apse. Here, when the bishop celebrated pontifically, he sat till the oblation, and returned to it again to give the benediction to the people.[335] [Illustration: Wheel of Bells, Gerona.] The church is full of other objects of interest. Against the north wall is a very pretty example of a wheel of bells: this is all of wood, corbelled out from the wall, and is rung with a noisy jingle of silver bells at the elevation of the Host. Near it is a doorway leading into the sacristy, I think, which is very ingeniously converted into a monument. It has a square lintel and a pointed arch above: bold corbels on either side carry a high tomb, the base of which is just over the lintel; this is arcaded at the side and ends, and on its sloping top is a figure of a knight. The favourite type of monument in this part of Spain is generally a coped tomb carried on corbels, which are usually lions or other beasts: there are good examples of this kind both in the church and cloister; and in the latter there is also preserved a great wooden cross, which looks as though it had originally decorated a rood-loft. The windows have a good deal of very late stained-glass, which consists generally of single figures under canopies. I have already mentioned the fine early wood-work in the Coro. In the fifteenth century this was altered and added to: and a seat was then made for the bishop in the centre of the western side of the Coro, which has enormous pieces of carved open-work on either side executed with uncommon vigour and skill. These, again, were added to afterwards by a Renaissance artist, so that it is now necessary to discriminate carefully between the work of various ages.