In the original plan no side-chapels appear to have been contemplated. But the chapel of Santa Lucia was added by Archbishop de Rada in memory of Alfonso VI. And, in addition to chapels built since the rest of the church, the spaces between the buttresses in the outer aisles have been railed off so as to form twenty-three chapels of various styles and periods. The interior is lit by 750 stained-glass windows of rich hues that delight the spectator. They depict episodes from the Scriptures, and are said to have been as carefully designed as if intended for close inspection. Among the artists were Dolfin (1418), De Vergara, Albert of Holland, Maese Cristobal, Juan de Campos, Vasco Troya, and Pedro Francés. The effect of the light falling in rays of richest colour on the pavement and columns is magical. The walls are denuded of colour and rudely whitewashed. The centre of the Cathedral is occupied by the choir (_Coro_), to the east of which, separated by the transept, is the Capilla Mayor. The choir is enclosed by walls and cloisters, except on the side facing the Capilla Mayor, where it is railed in by the magnificent reja, designed by Domingo de Cespedes and Hernando Bravo (1548). Like the corresponding railing of the High Chapel opposite, this work was formerly heavily silver-plated and gilded, but at the time of the French invasion it was recoated with iron to secure it from spoliation. Unfortunately, no means have yet been discovered of restoring the reja to its original state. Among the elaborate ornamentation may be noticed the arms of Cardinal Siliceo and of the Ayala family, with the interwoven inscriptions _Procul esto prophani_ and _Psale et psile_. The Choir is paved with white marble inlaid with dark. The vaulting above the Choir itself rises to the height of a hundred feet, the aisle round it to ninety feet, and the outer aisle to thirty-five feet. In the outer aisle are small chapels placed between the buttresses. Mr. Street describes this part of the building in great detail and considers that the original scheme of the Cathedral is only to be seen here. The triforium, formed of an arcade of cusped arches, in the outer wall of the inner aisle exhibits Moorish influence. “It would be impossible,” writes the authority just mentioned, “to imagine any circumstance which could afford better evidence of the foreign origin of the first design than this slight concession to the customs of the place in a slightly later portion of the works. An architect who came from France, bent on designing nothing but a French church, would be very likely, after a few years’ residence in Toledo, somewhat to change in his views, and to attempt something in which the Moorish work, which he was in the habit of seeing, would have its influence. The detail of this triforium is, notwithstanding, all pure and good....”