s ornamented with precious stones: all these are the ornaments
belonging to altars and pulpits; robes, trains, and vestures of
different sorts, worn on occasions of ceremony by the principal
dignitaries. The cathedral of Seville is said to surpass all others in
these ornaments.

In this sacristy are contained likewise the treasure of gold and silver
vessels, and basins; innumerable crosses, reliquaries, chalices, boxes,
and candlesticks; and, in an upright mahogany case of about twenty feet
elevation, lined with white silk, the front of which opens like a door,
stands the Custodia--a silver ornament about sixteen feet high,
including its base. On the day of the Corpus Christi, the Host is placed
in this Custodia, and carried in procession through Seville. The silver
of which it is composed weighs seven hundred weight. But it must not be
supposed from this circumstance that the ornament has a heavy
appearance. It is a tapering edifice containing four stories, ornamented
by as many orders of architecture. The general form is circular,
diminishing up to the summit, which supports a single statue. Each story
rests on twenty-four columns, most of which are fluted, and all,
together with their capitals, remarkable for their delicacy of finish.
Among these are numerous statues of saints, in whose costumes precious
stones are introduced. In that of the statue of Faith, which stands in
the centre of the lower story, are some of immense value. This ornament
was the work of Juan de Arfe, the Cellini of Spain.

But the pictures are the richest treasure of this apartment. It is an
epitome of the Cathedral, which may be called a gallery--one of the
richest that exists--of the paintings of Spanish schools: consequently,
according to the opinion of many--one of the best of all galleries. The
pictures are not in great numbers, but they are well adapted to their
situation, being the largest in dimension, and among the most prominent
in value and merit, that have been produced by their respective
painters.

By the greater portion of spectators, the Spanish artists, of what may
be called the golden age of painting, will always be preferred to the
Italian; because their manner of treating their subject, appeals rather
to the passions than to the understanding. It is the same quality which
renders the Venetian school more popular than the other schools of
Italy; and the Italian music more attractive than the German--Rossini
than Spohr or