The Chapel of the Constable (_Capilla del Condestable_) forms of itself a complete church. The tomb of Don Pedro Fernandez Velasco, Constable of Castile, and that of his wife, occupy the middle of the building, and are far from being its least attractive feature: they are of white marble, magnificently sculptured. The constable is lying in his war armour, enriched with the chastest arabesques, from which the sacristans take _papier-maché_ casts, to sell to visitors. The constable's wife has her little dog by her side, while her gloves, and the brocaded flowers on her gown, are rendered with the utmost delicacy. Both their heads repose upon marble cushions, ornamented with their coronets and armorial bearings. The walls of the chapel are covered with gigantic coats of arms, while figures placed upon the entablature hold stone staves for supporting banners and standards. The _retablo_ (which is the name given to the architectural _façade_ before the altar) is sculptured, painted, gilt, and covered with a profusion of arabesques, varied by columns; it represents the Circumcision of our Saviour, with figures the size of life. To the right, on the same side as the portrait of Doña Mencia de Mendoza, Countess of Haro, is a small Gothic altar, coloured, gilt, carved, and embellished with an infinity of little figures, so light in appearance, and so graceful in form, that any one might mistake them for the work of Antonin Moine. On this altar there is a Christ, carved in jet. The high altar is ornamented with silver rays and crystal suns, which produce a singularly brilliant flickering effect. Carved on the roof is a rose of incredible delicacy. Enclosed in the wainscoting of the sacristy, near the chapel, is a Magdalen, said to be by Leonardo da Vinci. The mildness of the brown half-tints, merging into the light by imperceptible gradations, the lightness of touch remarkable in the hair, and the perfect rounding of the arms, render this supposition extremely probable. In this chapel, also, is preserved the ivory diptych that the constable used to take with him to the army, and before which he was accustomed to recite his prayers. The _Capilla del Condestable_ belongs to the Duke de Frias. Cast a glance, as you pass, on that statue of Saint Bruno, in coloured wood,--it is by Pereida, a Portuguese sculptor,--and on that epitaph, which is that of Villegas, the translator of Dante.