The interior has also suffered by restoration. The pointed arches have been rounded, the Gothic columns almost concealed by Corinthian pilasters, the walls covered with marbles. The effect is rich ("La Rica" is the surname which particularly distinguishes this Cathedral), but much of the religious antique air of the place has gone for ever. The plan is, as usual with Spanish churches, cruciform. The chancel was reconstructed in 1682, but the altar was melted down by the French in 1809. Fortunately the fine panel-shutters made for its protection in the sixteenth century have been preserved. They were carved by a carpenter named Carles, and are painted with scenes from the lives of Christ and the Virgin. These works are ascribed by some to Francisco Pagano and Pablo de San Leocadio, by others to Leonardo da Vinci himself. Hanging to one of the pillars on the Gospel side may be seen the spurs and bridle of Jaime lo Conqueridor, presented by him, on the day he took the city, to his master of the horse, Juan de Perthusa. Over the crossing rises the fine octagonal lantern, built in 1404 and restored in 1731. The trophies which once adorned it have long since been carried off, among them the flags taken from the Genoese by Ramon Corveran, a famous sea-dog of Valencia. The pulpit, over which is displayed a picture of St. Vicente Ferrer, was the one from which that zealous missionary actually preached. It can, however, hardly be regarded as a curiosity, as the saint must have preached in nearly every church in the Peninsula, France, and Flanders. [Illustration: VALENCIA--SANTA CATALINA] The choir is modern, except the rear portion or "trascoro," which dates from the end of the fifteenth century; and the chapels contain little that is of interest. Tomás de Villanueva, the holy Archbishop of Valencia, is entombed in the chapel dedicated to him. The chapel of another Valencian saint, St. Francis Borgia, is remarkable for a curious picture representing his conversion of a dying man. The penitent is depicted almost nude, and attended by comically fantastic monsters. Another painting shows the saint, as Duke of Gandía, taking leave of his relatives when about to embrace the religious state.