There are some very interesting objects in the Sacristy, as it is called, between the reredos and the hind wall of the chancel. The sacristan will show you the reliquary, shaped like a triptych, which came from Constantinople and was presented to the old cathedral by Alfonso the Learned. The double folding door is also said to have come from the Moorish temple. With a glance at the fine terra-cotta statues by Miguel Florentin, Juan Marin, and others, we pass behind the chancel wall, and see before us the plateresque Royal Chapel, built by Charles V. over the remains of certain of his ancestors. Beneath the altar lies the body of St. Ferdinand in crown and royal robes. He lies here in the heart of his fairest conquest, even as his descendants, Ferdinand and Isabella, sleep in the heart of Granada. You may see his sword, the handle of which was denuded of gems by Pedro the Cruel, lest they should excite the cupidity of others. That royal humorist also lies here, near his saintly ancestor and the one woman whom he ever loved, the gentle Maria de Padilla. Then there is to be seen the Vírgen de los Reyes, an image presented by St. Louis of France to St. Ferdinand of Castile. (Strange that when saints filled the thrones of Europe, things went on no better than they do now!) Another relic highly prized is the Vírgen de las Batallas, an ivory statuette which St. Ferdinand used to carry at his saddle-bow. These memorials of the heroic past give you little time or inclination for an examination of the chapel itself, which has a lofty dome, and is flanked at the entrance by twelve good statues by Peter Kempener--whom Spaniards call Campaña. At least (so I read) he drew them on the wall with charcoal for a ducat each, and they were executed by Lorenzo del Vao and Campos in 1553. This chapel and the reredos of the chancel must be called, I suppose, the great sights of the Cathedral, though to some its chief treasures will be the numerous works of Murillo enshrined in its chapels and dependencies. For myself, I like the building for its own sake, or, to use a very hard-worked word, for its atmosphere. As you cross the nave, looking upwards, where the light streams through the tall clerestory windows, you will be tempted to neglect the dark chapels in the aisles, and to revel for a while in these exquisite symphonies in coloured glass. Few of them are of Spanish workmanship. Master Christopher the German (Micer Cristobal Aleman) began the first--the first stained-glass window in Seville--in 1504, the work being afterwards carried on by the German Heinrich, the Flemings Beernaert of Zeeland and Jan Beernaert, Carel of Bruges, and Arnulf of Flanders. The best windows are those adorned with the Ascension, St. Mary Magdalen, Lazarus, and the Entry into Jerusalem, by Arnulf and his brother, and the Resurrection, by Carel of Bruges.