The Puerta del Lagarto is the favourite entrance, but when the day comes for a painstaking examination, you would do well to begin at one of the entrances in the west front. Of these there are three: the Puerta Mayor, the Puerta del Bautismo, and the Puerta San Miguel. All are enriched with good statuary, the graceful and vigorous statues of the side doors being the work of Pedro Millán, a fifteenth-century sculptor of renown. Entering, we set foot on the fine marble floor and make out the stupendous church to be composed of a nave and of two aisles on either side. The nave, you are told, is one hundred feet high and fifty feet wide. The noble columns, almost free of adornment, which uphold the spacious vaults recede in the far distance like trees in an overarching avenue. The effect, fine as it is, might have been much finer if the centre of the nave had not been blocked up by the choir. The "Trascoro," or screen, facing the west entrance, is richly adorned with red columns. Over the altar is a fourteenth-century picture of the Madonna, and a painting by Pacheco, the Inquisitor, representing St. Ferdinand receiving the keys of Seville. Over one of the beautiful little side altars of the choir is one of the rare examples of good Spanish sculpture--a Virgin, by Juan Martinez Montañez. On the altar side the choir is shut off by a sixteenth-century railing, attributed to Sancho Muñoz. This protects from intrusion their reverences the canons, who sit in stalls, exquisitely carved between the years 1475 and 1538. The patterns and coloured inlaid work of the backs reveal Moorish influence. The lectern was the work of Bartolomé Morel. When the lantern collapsed in 1888, the choir was severely damaged. The architect who restored the fabric proposed to move it considerably nearer the high altar, but the proposal was stupidly rejected. A good opportunity for improving the appearance of the Cathedral was thus lost. The retablo of the high altar is the quintessence of late Gothic sculpture. It is a marvellous work of extraordinary delicacy and elaboration. Each of the forty-five compartments into which it is divided contains a subject from the Bible or from the lives of the saints, carved, painted, or gilded with the rarest skill. Begun by the Fleming Dancart, in 1479, this wonderful triumph of the carver's art was completed by Spanish artists in 1526. The earlier work is in the middle. Crowning it is a gilt crucifix and the statues of Our Lady and St. John.