of St Helena holding the cross, before which kneels the great Cardinals. At the foot of the middle nave, below the choir, are a group of wooden statues representing the saints of the preaching orders and a scarce distinguishable fresco of Maino. The choir is large and free, with a fine reading-desk and sculptured seats, an inferior imitation of those of the Cathedral. Off the sacristy, a large but insignificant chamber, with an imposing marble table worthy a nobler setting, there is a little Gothic chapel dedicated to St Agnes, part of the primitive building, and here you may see an ancient retablo of extreme interest. Alonzo Carrillo of Toledo and Don Alvaro de Guzman were buried here as early as 1303, as the half-effaced Gothic characters tell us. Among the great men of Toledo buried in the church are the Counts of Cifuentes, above whose arms Fray Maino painted a fresco. In the chapel of the Virgin of the Rosary is buried the famous poet Garcilaso de la Vega, whose statue, life-size in marble kneeling, is encased in armour, interesting rather as an historic figure than for any intrinsic merit of art. The Fiscal of Holy Office and Prior of Santillana, Pedro Soto Cameno, has also his statue as founder of the chapel; he was buried in 1583. In this same chapel is the impressive Gothic tomb of the _Malograda_, a surpassingly beautiful young woman, magnificently apparelled, lying upon a marble couch above the funeral urn that contains her ashes. Historians disagree as to the identity of this romantic figure. Some say she was Doña Maria, the bride of Don Lorenzo Suarez de Figueroa, Master of Santiago in 1389, whose despair on losing a loved young wife is thus immortalised. Others identify the _Malograda_ with Doña Estefania de Castro, mysteriously done to death in the days of Alonso the Emperor. The tomb rests on superb marble lions, and angels as usual hold the shields, in Gothic fashion. The ample folds of the dead girl's garments are charmingly graceful, and to the beauty of art is added the mystery of romance. Bride or mistress, this fair girl, asleep for six centuries, holds in the stillness of her delicate sculptured visage the enigma of her broken destiny. Sorrow or remorse built her splendid monument. The tombs of the Fuensalidas in the transept are notable works of art. The statues representing the mighty and turbulent Ayalas and their wives are of alabaster, and close by, brought from ruins of the Augustine Convent, is a double tomb of _plateresca_ style, highly sculptured and divided by two arches on delicate pillars, crowned with an intricate frieze in really fine relief, belonging to Diego de Mendoza, a great figure in the sixteenth century, and his wife, Ana de la Cerda. A niece of St Theresa also is buried here, Doña Marina de Rivadeneira y Cepeda.