The style of the lower stalls of Toledo cathedral is good Plateresque. They were begun in 1494 by Maese Rodrigo, one of the very best of Spain's _entalladores_, and portray, in each successive stall, the phases of the last campaign against Granada (Plate xxv.); the sieges or battles of Altora, Melis, Xornas, Erefran, Alminia, Baza, Málaga (two stalls), Salobreña, Almuñecar, Comares, Beles, Montefrío, Moclín, Illora, Loja, Cazarabonela, Coyn, Cartama, Marbella, Ronda, Setenil, Alora, Alhama, Nixar, Padux, Vera, Huéscar, Guadix, Purchena, Almería, Rión, Castil de Ferro, Cambril, Zagani, Castul, Gor, Canzoria, Moxacar, Vélez el Blanco, Gurarca, Vélez el Rubio, Soreo, and Cabrera. The upper tier of the same stalls belongs to a later period, and will, in consequence, be noticed subsequently. The _sillería_ of Barcelona cathedral was begun in the middle of the fifteenth century by Matias Bonafé, at the same time that the German Michael Locher and his pupil John Frederic worked at the canopies. It was finished thirty years later. Upon the back (which otherwise is plain) of every stall is a coat of arms distinct from all its neighbours, marking the seat of one of the princes or nobles summoned by Charles the Fifth to the Chapter of the Order of the Golden Fleece, March 5th, 1519.[52] [Illustration: XXXIII _RETABLO_ (_Seville Cathedral_)] The splendid _sillería_ of Seville cathedral is a mingling of the Gothic with the Mudejar and Plateresque. The material is oak and fir, and the number of the seats one hundred and seventeen. The _sellia_ are surmounted by a graceful running _guardapolvo_. Each seat is carved distinctly from the rest, and further decorated in the Mudejar style with inlaid woods of various kinds and colours, imitating stone mosaic. Among this labyrinth of design are groups of people, angels, animals, and scenes from Scripture, as well as, on the lower stalls, the Giralda tower, which forms the arms of the cathedral. The _sillería_ is further embellished with two hundred and sixteen statuettes, seventy-two of which are ranged along the canopy or _dosel_, the remainder being distributed between the seats. [52] "The stalls of the choir are neatly carved, and hung with escutcheons of princes and noblemen, among which I remarked the arms of our Henry the Eighth."--Swinburne. The authors of this splendid work of art (judiciously restored some years ago by Boutelou, Fernandez, and Mattoni) were Nufio Sanchez, Dancart, and several other craftsmen, concerning whom we know but very little. Sánchez' name is carved upon the second stall of the upper row, and on the side of the Evangelist, as follows:-- [Illustration] The above inscription states that "this choir was made by Nufio Sanchez, _entallador_ (God guard him[53]), and finished in the year one thousand four hundred and seventy-eight."