On the south side are the Puertas Llana and de los Leones. The former in the classic style, was made by Ignacio Haám in 1800. The Puerta de los Leones gives access to the transept, and is a magnificent Gothic work, erected in 1460 by the Fleming, de Egas, and ornamented by Juan Alemán. The sculpture of the portal is perfect. The six columns of the atrium are surmounted by six lions holding shields. Here are the famous bronze doors, wrought by Villalpando and Ruy Diaz del Corral in 1545. The wood-carving and decoration employed a great many masters, among whom may be mentioned Velasco, Troyas, and the two Copins. Between them was divided the sum of 68,672 maravedis. At the opposite or northern end of the transept is the Puerta del Reloj, dating from the beginning of the fifteenth century, and so named from the clock above it. The door is of bronze and above it is a fine rose-window of about the same period. It is considered by Street the best example of stained glass now remaining in the Cathedral. West of this, the Puerta de Santa Catalina leads into the eastern cloister. The decoration is profuse. St. Catharine, and the instruments of her martyrdom, are shown, with the arms of Spain and the Tenorio family. The Puerta de la Presentacion, also leading into the cloister, is in the Renaissance style, and dates from 1565. Pedro Castañeda, Juan Vasquez, Torribio Rodriguez, Juan Manzano, and Andrés Hernandez are named as the designers of this very fine portal. The cloisters are entered from the west side next to the tower, by the Puerta del Mollete, so called because _molletes_ or rolls were or are distributed to the poor here. The chapel and cloister of San Bias on the north side of the cloisters are the most important additions made to the structure in the fifteenth century. The chapel contains the monument of the founder, Cardinal Tenorio, and “in the cloister walls,” says Street, “a door which, in the capricious cusping and crocketing of its traceried work, illustrates the extremes into which Spanish architects of this age ran in their elaboration of detail and affectation of novelty.” THE DECLINE OF THE CITY