The typical _sillería_ consists of two tiers; the _sellia_ or upper seats, with high backs and a canopy, intended for the canons, and the lower seats or _subsellia_, of simpler pattern and with lower backs, intended for the _beneficiados_. At the head of all is placed the presidential throne, larger than the other stalls, and covered, in many cases, by a canopy surmounted by a tall spire. When the _sillería_ belongs to a monastery, the higher stalls are for the _profesos_, and the lower for the novices and _legos_. Commonly the part that forms the actual seat is hinged and rises to a vertical position, being so contrived that when the occupant rises to his feet, there remains a narrow ledge projecting from the under surface. This ledge is called the "seat of pity" or "of patience," because the worshipper is able to incline himself on it and give his limbs some measure of repose without appearing to be seated. There also is commonly another piece, intended for him to rest his hands upon in rising, which projects from the sides of the stall and forms a part of the decorative carving, as well as, somewhat higher still, the carved support to rest his arms while he is on his feet. [Illustration: XXXI "SAMSON" (_Carved Choir-stall of León Cathedral_)] The earliest Spanish _sillerías_ date from the fourteenth century; but it is not until the century succeeding that we find them at their very best. Gothic or Plateresco _sillerías_ of marvellous design and workmanship are those of the Seo of Zaragoza (begun in 1412), the Cartuja de Miraflores of Burgos (1489), the monastery of Oña, Santa María de Nájera (1495), the church of Santa María del Campo, in the province of Burgos, Santo Tomás of Avila (finished in 1493), and the cathedrals of Oviedo, Segovia (1461-1497), Ciudad Rodrigo, Tarragona (1478), Tarazona, Toledo (begun in 1494), Zamora, Astorga, Barcelona (1453-1483), and Seville (finished in 1478). The Gothic choir-stalls of the Seo of Zaragoza have lofty backs with arabesque Mudejar ornamentation, small Gothic columns, and medallions containing figures upon the arms of every stall. The material is Flemish oak. The carving was begun in 1412 by the Moors Alí Arrondi, Muza, and Chamar, who earned a daily wage of four _sueldos_. In 1446 Juan Navarro and the brothers Antonio and Francisco Gomar were working at the same stalls, and also, in 1449, Francoy. The stalls of the Cartuja de Miraflores at Burgos were carved by Martin Sánchez, who received in 1486, and for the _mano de obra_ alone, the sum of 125,000 _maravedis_. The material, which was presented by Luis de Velasco, Señor of Belorado, is dark walnut.