to the south door of the church, has fair pointed windows, with their sills filled with red tiles, and edged with green tiles. Besides these remains, the only old work I saw was a good flat ceiling, panelled between the joists, and richly painted in cinquecento fashion. A good effect was produced here by the prevalence of white and red alternately in the patterns painted on the joists. The chapel is entered from the convent by a door on the south side, in the third bay from the west. It consists of five bays and a polygonal apse, and is about 135 feet long, 32 wide, and 63 feet in height. The western bay is the people’s nave, and is divided from the next by a metal screen. The second bay forms the Coro, and has stalls at the sides, and two altars on the east, one on each side of the doorway in the screen which separates the Coro from the eastern portion of the chapel. This last is fitted with five stalls on each side against the western screen, and with twenty on either side, all of them extremely rich in their detail: there is a continuous canopy over the whole, and very intricate traceries at the back of each stall.[38] A step at the east end of the stalls divides the sacrarium from the western part of the chapel; and nearly the whole of the space here is occupied by the sumptuous monument of the founder and his second wife, Isabel or “Elizabeth,” as she is called in the inscription. In the north wall is the monument of the Infante Alfonso, their son; and against the south wall is a sort of throne with very lofty and elaborate canopy, which is said by the cicerone to be for the use of the priest who says mass. Finally, the east wall is entirely filled with an enormous Retablo. The groining throughout has, as is usually the case in late Spanish work in Burgos, a good many surface ribs, and enormous painted bosses at their intersections. These are so much undercut, so large, and so intricate in their design, that I believe they must be of wood, and not of stone. They are of very common occurrence, and always have an extravagant effect, being far too large and intricate for their position. The apse is groined in thirteen very narrow bays, and its groining ribs are richly foliated on the under side. Pagan cornices of plaster and whitewash have been freely bestowed everywhere, to the great damage of the walls, and to such an extent as to make the interior look cold and gloomy. The windows are filled with what looks like poor Flemish glass, though it may perhaps be native work, as the names of two painters on glass, Juan de Santillana and Juan de Valdivieso, are known as residents in Burgos at the end of the fifteenth century,[39] about the time at which it must have been executed.