It would take too much space to enumerate the choir seats in Spain worthy of notice; those at Toledo rank as the most important, as including the last period of the Gothic and best Renaissance styles. This _coro_ contains 45 stalls in the lower, and 71 in the upper part. Mr. Street fully describes the lower part in his "Gothic Architecture in Spain," p. 252, and says: "The lower range of stalls, fifty in number, are the work of Maestro Rodrigo, circa A.D. 1495; and the upper range were executed, half by Berruguete and half by Felipe de Borgoña, A.D. 1543. The old stall ends are picturesque in outline, very large, and covered with tracery, panels and carvings with monkeys and other animals sitting on them. The upper range of stalls is raised by four steps, so that between the elbows of the lower stalls and the desk above them, are spaces filled in with a magnificent series of bas reliefs, illustrating the various incidents of the conquest of Granada. They were executed whilst the subjects depicted were fresh in the minds of the people, and are full of picturesque vigour and character. The names of the fortresses are inscribed on the walls; in some we have the siege, in others the surrender of the keys; in others the Catholic monarchs, accompanied by Cardinal Ximenes riding in triumph through the gates." The upper stalls, although considered by Mr. Street "heavy dull Paganism," are among the most important artistic works existing in Spain. Their sculptures and ornamentation reproduce the Renaissance Italian style in its finest period. Columns of red jasper are combined with the walnut-wood carvings, and the termination of the upper part which rests on the wall is of white marble carved by the same artists. Choir stalls, sharing the fate of other architectural works, followed the general path of decay after the 16th century. Those stalls at the cathedral of Malaga, which were carved in the 17th century by José Michael, Pedro de Mena, and Luis Ortiz, are worthy of mention: the figures in high relief at the back are very fine. This falling off of artistic feeling is particularly observable at the cathedral of Cordova; the stalls there, which were carved by Pedro Duque Cornejo in the 18th century, are admirable in richness of ornamentation, but the whole decoration is in the worst possible taste. The fine lecterns which are placed in the centres of the choirs are often good examples of carving. An admirable model of this style exists at the cathedral of Zamora.