Passing down a corridor between this chapel and that of Santa Leocadia we reach the Capilla de los Reyes Nuevos, lying quite outside the original plan of the Cathedral. It was founded by Enrique II. of Trastamara, and contains his tomb, his wife’s, and the sepulchres of Enrique III., his Queen, Katharine of Lancaster, Juan I. and Queen Leonor, and the effigy of Juan II., who is buried near Burgos. The chapel is a fine specimen of the Renaissance style, reconstructed by Alfonso de Covarrubias in 1534. The portal is fine, and is guarded by two kings armed and bearing escutcheons. During Mass, a gorgeously apparelled functionary holds upright a mace, crowned and jewelled, and with the arms of Spain. The side-chapels of the Cathedral are not, on the whole, as interesting as one would expect in a building of such antiquity and associations. To the south of the Capilla de San Ildefonso is the Capilla de la Trinidad; next comes the entrance to the Chapter House or Sala Capitular, an early sixteenth-century work with an artesonado ceiling in red, blue, and gold, excelling anything of the kind in Andalusia. The thirteen frescoes adorning the walls of the Chapter House are by Juan de Borgoña, who was also responsible for the earlier series of portraits of the archbishops. Copin’s work is to be recognised in the archiepiscopal throne, the other stalls being by Francisco de Lara. Returning to the church through a portal in the Moorish style, we find on the left the chapel of San Nicolas, followed by the chapels of San Gil, San Juan Bautista, Santa Ana, and the Reyes Viejos, founded in 1290 as the Capilla del Espritu Santo, with a fine reja by Céspedes. The chapel of Santa Lucia, founded by Archbishop de Rada, is, of course, in the best Gothic style, and has “an extremely rich recessed arch in stucco, of late Moorish work--a curious contrast to the fine pointed work of the chapel.” The Capilla de San Eugenio contains the alabaster effigy of Bishop del Castillo (1521), and the tomb in the Mudejar style of the Alguacil Fernan Gudiel (1278). The statue of the saint is by Copin, the paintings on the retablo by Juan de Borgoña. Adjacent to the chapel is the colossal figure of Saint Christopher, usually seen in Spanish churches. This figure is probably coeval with the fabric, but was restored in 1638. A primitive style of art is also to be seen in the altar-piece of the Capilla de San Martin. The next two chapels--de la Epifania and de la Concepcion--do not present any features of special interest.