The most important period of artistic furniture in Spain must be looked for in the 15th and 16th centuries: we find in this time works decorated with sculptured figures and most delicate and exquisite ornamentation. Nothing gives a better idea of this than the choir seats of Spanish cathedrals. The cathedrals in Spain are different to those of France and the north of Europe owing to the circumstance that the choir, or _coro_, is placed in the middle of the central nave, in the traditional form of the primitive basilicas, such as San Clemente at Rome, with the difference however, that towards the last centuries of the Middle Ages the _pluteus_ or walls that surround it, which are elevated about one yard from the floor, were turned into an enclosure or wall four or five yards in height. A space is therefore set apart in the middle of the church, which, although spoiling the general effect of the nave, becomes, as is the case in most Spanish cathedrals, a museum of artistic objects of all kinds. The side facing the presbytery or high altar is enclosed by a _reja_. [See Iron and Bronze work.] In the three remaining sides stalls are placed against the wall, forming two rows, one near the floor, and the other raised about a yard from the lower ones. The general system adopted is a row of stalls separated from each other by the arms; the backs of the lower ones serving as stands for the books which are used by those who sit in the upper range. The subsellæ are prolonged and form canopies, pinnacles, crest-work, and other varied ornamentation resting on columns. They are usually made of walnut wood, and there is not a single vacant space which is left uncovered with figures or ornamentation in relief: the effect produced by the whole is admirable. The number of seats varies according to the size of the choir, or importance of the church. It is probable that the earliest wood carvers who worked in Spain came from Flanders or Holland, if we judge by the decided Germanic character of the figures and ornamentation, and frequent mention made of foreign masters; but this industry very soon took root in Spain, and Spanish artists soon equalled or excelled their masters. The most important choir stalls carved in the Gothic style in Spain belong only to the last years of the 15th and beginning of the 16th century; those in the Renaissance style come immediately afterwards, and include the whole 16th century.