ting what gay doings they have over their heads.
And the stained glass, uncle, look at it well. At first so many
colours blind one and the forms are indistinct; besides, the lead cuts
the figures and it is difficult to make out anything, but I know them
to my fingers' ends. They are stories, things of their own times, that
these glass-workers painted; the intrigues have been forgotten, and no
one has disentangled them."

He pointed to the windows of the second nave, through which the
evening light was shining with a ruddy glow.

"Look up there," went on the Perrero. "A gallant in a red cape and
sword mounts by a rope ladder; at the window a nun is waiting for him.
It seems something like the Don Juan Tenorio that they represent at
All Saints'. Further on, you see those two in bed, and people knocking
at the door. They must be the same pair of birds with the family
surprising them. Then in the next window--look well at it--lovers,
with scarcely any clothes beyond bare skin. These things belong to the
days when people had no shame, when they went with their heads covered
and the rest of their flesh bare."

Gabriel smiled at the whimsical ideas with which ancient art inspired
the Perrero.

"But in the choir, uncle, there is also something to see. Let us go
there; the service is over and the canons are coming out."

Luna felt overpowered by admiration as he always did on entering the
choir. Those magnificent stalls, the work on one side of Philip of
Burgundy, and on the other side of Berruguete, bewildered him with
their profusion of marbles, jaspers, gildings, statues and medallions.
It was the genius of Michael Angelo reviving in the Toledan Cathedral.

The Perrero examined the lower stalls, ferreting out among the Gothic
relievos the discoveries enjoyed by his unwholesome curiosity. This
first row of stalls, almost on a level with the ground, were occupied
by the inferior clergy, and were anterior by half a century to the
upper stalls; but in those fifty years art had made a great stride,
from the hard and rigid Gothic to the flowing lines and good taste of
the Renaissance. They had been carved by Maestre Rodrigo at the time
when Christian Spain, roused to enthusiasm, was helping the Catholic
kings with all its strength to complete the reconquest. On the backs
of the stalls, and on the entablature of the frieze fifty-four carved
pictures represented the principal incidents of the conquest of
Granada.

The Tato d