intelligent and those who understand this noble art, as much for the quantities of figures and adornments, which seem innumerable, as for the elegance, taste, and greatness of the style with which Alonzo Berruguete and Philip of Burgundy have executed them." In his _Toledo Pintoresca_, Amador de los Rios thus begins his description of the stalls: "Portent of Spanish art, in which two great geniuses of our golden century competed, the victory to our own times, remaining undecided; and astounded the judges who have endeavoured to give their opinion on this matter." The stalls are of two ranks, upper and lower, both of different periods, fifty years lying between the work of each rank. The upper stalls are unquestionably more beautiful and of a purer style. The rich and splendid influence of Italian art is visible in all Berruguete's work, who himself was a disciple of Michael Angelo. He has something of the large and virile touch of his master, something of his nervous strength, of his intensity. But he lacks the exquisite grace and soft, subtle finish of Philip Vigarny. So that in the eternal rivalry of these great artists, hand-in-hand, as it were before posterity, with the unsolved question [Illustration: INTERIOR OF CATHEDRAL CORO FROM S. AISLE] of superiority upon their combined production of the best wood sculpture of Spain, it will always be in the spectators' choice a matter of temperament and tendency. The more delicate art of Vigarny will appeal to one, while another will unhesitatingly pronounce for the sweep and force of Berruguete's touch. The reliefs represent scenes from the Old and New Testament, and the single statues are prophets and saints. The stalls are of walnut, separated by jasper and alabaster pillars. In the middle is the arch-episcopal throne. The lower portion is formed of seventy-one arches, supported by seventy-two columns of red jasper, with white marble capitals; within each arch is a vault of red jasper with gilt decorations. In the panels above are sixty-eight superbly sculptured figures. The lower stalls are fifty years earlier and less beautiful work. They were wrought under the direction of Maese Rodrígo in the time of Cardinal Mendoza. They are composed of fifty stalls, with three stairs, two of which are used by the canons and the third only by the archbishop, the dean of the chapter, and the high priest. The reliefs are none the less remarkable and interesting because of their inferiority to those of the upper stalls. They tell with delightful and seizing brevity the romantic, if deplorable, tale of the Conquest of Granada, from the taking of Alhama by Rodrigo Ponce de Leon to the surrender of the Moorish citadel. They belong to a less finished school; reveal an imagination more simple and limited, with a certain naïve stiffness and monotony of line that provoke contrast with the finer work above. Battles, assaults, armed knights, Moors, horses, fortresses and