ve is seen the interior of the tower, covered with a
profusion of ornament, but discordant with every other object within
view.

[Illustration: _W.F. Starling, sc._

TRANSEPT OF THE CATHEDRAL, BURGOS.]

The high altar at the back of the great chapel is also the work of
Herrera. It is composed of a series of rows of saints and apostles,
superposed one over the other, until they reach the roof. All are placed
in niches adorned with gilding, of which only partial traces remain. The
material of the whole is wood. Returning to either side-nave, a few
smaller chapels on the outside, and opposite them the railings of the
sanctuary, conduct us to the back of the high altar, opposite which is
the eastern chapel, called "of the Duke de Frias," or "Capilla del
Condestable."

[Illustration: SCULPTURE IN THE APSE.]

All this part of the edifice--I mean, from the transept eastward--is
admirable, both with regard to detail and to general effect. The pillars
are carved all round into niches, containing statues or groups; and the
intervals between the six last, turning round the apse, are occupied by
excellent designs, sculptured in a hard white stone. The subjects are,
the Agony in the Garden, Jesus bearing the Cross, the Crucifixion, the
Resurrection, and the Ascension. The centre piece, representing the
Crucifixion, is the most striking. The upper part contains the three
sufferers in front; and in the background a variety of buildings, trees,
and other smaller objects, supposed to be at a great distance. In the
foreground of the lower part are seen the officers and soldiers employed
in the execution; a group of females, with St. John supporting the
Virgin, and a few spectators. The costumes, the expression, the symmetry
of the figures, all contribute to the excellence of this piece of
sculpture. It would be difficult to surpass the exquisite grace
displayed in the attitudes, and flow of the drapery, of the female
group; and the Herculean limbs of the right-hand robber, as he writhes
in his torments, and seems ready to snap the cords which retain his feet
and arms,--the figure projecting in its entire contour from the surface
of the background,--present an admirable model of corporeal expression
and anatomical detail.

In clearing the space to make room for these sculptures, the artist had
to remove the tomb of a bishop, whose career, if the ancient _chronique_
is to be depended on, must have been rather singular. The informati