_The Capilla de San José_ contains a notable work by Juan Valdés Leal, the Marriage of the Virgin, and a poor picture by Antolinez. _The Capilla de San Hermenegildo_ is noteworthy for the image of the saint by Montañez, and the tomb of Archbishop Juan de Cervantes by Lorenzo de Bretaña. The marble of the tomb is much worn. _The Capilla de la Antigua_ is a larger chapel, with fourteenth-century decorations of the altar. There is also a fine monument to Cardinal Mendoza, executed in 1509 by the Italian Miguel. The figures are very quaint. Adjoining this chapel is the Altar de la Gamba, with the Generacion by Luis de Vargas, a famous picture described in the art chapters of this book. The immense painting opposite is St. Christopher, by Mateo Perez de Alesio, painted in 1584. For painting the San Cristobal Alesio received four thousand ducats. The saint is quaintly clad in hose, and the figure is gigantic. Sir Stirling Maxwell draws attention to the fine colouring of the parrot seen in the distance. Mateo de Alesio, who was an Italian by birth, died in the year 1600. Passing through the _Capilla de los Dolores_, which is unimportant, we come to the splendid _Sacristía de los Cálices_, built by Riaño and Gainza in the years from 1530 to 1537. Diego de Riaño, sculptor and designer, was often employed by the Cathedral authorities. He delighted in lavish and fantastic embellishment, and introduced the Italian methods of ornamentation. Martin Gainza was of the same school. He was an architect and sculptor of great repute, and he assisted Riaño in much of his work. The Crucifix is the work of Montañez. It was removed from the Cartuja Convent. Murillo's _Angel de la Guarda_, or Guardian Angel, is in this sacristy. This picture was presented to the Cathedral by the Capuchins in 1814. It is one of the best of Murillo's works. Borrow much admired the _Guarda_, and Sir Stirling Maxwell describes the diaphanous drapery of the child's dress in terms of praise. The angel holds a child by the hand, and points to heaven. Notice the rich colouring of purple and yellow in the vesture of the angel. On the same wall are the _Ecce Homo_, the Virgin, and St. John, the work of Morales; St. Dorothy by Murillo; a painting of Fernando de Contreras by Luis de Vargas; Pietà and Death of the Virgin by a German artist, and a picture by Juan Nuñez of the fifteenth century. Goya's fine painting of St. Justa and St. Rufina is here. Elsewhere in this book I have told the legend of these guardian saints of the Giralda. Goya's conception of them is unconventional, and unlike that of Murillo, who represents the two maidens with halos around their heads. We have the figures of two charming potter-girls in Goya's picture, two creatures of earth, lovely, but not ethereal. The Holy Trinity of 'El Greco' (the Greek) is one of the interesting examples of this great Toledan artist's work. Zurbaran is represented in the Sacristía by his painting of St. John.