The _retablo_--a fine Gothic specimen--stands boldly forth against the light coming from the apse in the rear, while on the opposite side of the transept handsome, deep brown choir stalls peep out from behind a magnificent iron _reja_. So beautiful is the view of the choir's ensemble that the spectator almost forgives it for breaking in upon the grandeur of the nave. The chapels buried in the walls of the north aisle have most of them been built in too extravagant a manner; the south aisle, on the other hand, is devoid of such characteristic rooms, but contains some highly interesting tomb slabs. The cloister to the south of the church is a rich and florid example of late ogival; it is, above all, conspicuous for the marvellous variety of its decorative motives, both as regards the sculptural scenes of the capitals (which portray scenes in the lives of saints and Asturian kings, and are almost grotesque, though by no means carved without fire and spirit) and the fretwork of the arches which look out upon the garth. The Camara Santa, or treasure-room, is an annex to the north of the cathedral, and dates from the ninth or tenth century; it is small, and was formerly used as a chapel in the old Romanesque building torn down in 1380. Beside it, in the eleventh century, was constructed another and larger room in the same style, with the characteristic Romanesque vaulting, the rounded windows, and the decorative motives of the massive pillars and capitals. [Illustration: CLOISTER OF OVIEDO CATHEDRAL] II COVADONGA To the battle of Covadonga modern Spain owes her existence, that is, if we are to believe the legends which have been handed down to us, and which rightfully or wrongfully belong to history. Under the circumstances, it is not surprising that the gratitude of later monarchs should have erected a church on the site of the famous battle, and should have raised it to a collegiate church. Covadonga lies in the vicinity of Oviedo, in a ravine lost in the heart of the Picos de Europa; it is at once the Morgarten and Sempach of Spanish history, and though no art monuments, excepting the above named monastic church and two Byzantine-Romanesque tombs, are to be seen, there is hardly a visitor who, having come as far north as Oviedo, does not pay a visit to the cradle of Spanish history. Nor is the time lost. For the tourist who leaves the capital of Asturias with the intention of going, as would a pilgrim, to Covadonga (by stage and not by rail!) will be delightfully surprised by the weird and savage wildness of the country through which he is driven.