e nave is broken by various
structures. On the axis, under the second vault, is the tomb of
Fernando Colon; the fourth and fifth vaults contain the choir; the sixth
comes under the dome; the seventh and eighth take in the Capilla Mayor
and Sacristia Alta; back of the ninth and terminating the eastern end,
rises the great Renaissance royal chapel (Capilla Real). Fernando Colon
deserves to live not only in Seville's history but in the memory of all
Spain, first and foremost for being his father's son (by his mistress
Beatrix Enrigues), and, secondly, for leading a most pious and studious
life and devoting his time and fortune while traversing Europe during
the first half of the sixteenth century, to the purchase of the most
valuable books and manuscripts of the time. These he united into the
famous Columbina Library and presented to the Cathedral Chapter. The
enormous wooden tabernacle erected every Passion Week over the great
Discoverer's son, to reach the very arches of the vaults overhead, is as
hideous as the inscription is touching. Three caravels are inlaid on the
slab, between which runs the legend, "A Castilla y a Leon mundo nuevo
die Colon"[a] (To Castile and Leon Columbus gave a new world), and the
following inscription: "Of what avails it that I have bathed the entire
universe in my sweat, that I have thrice passed through the new world,
discovered by my father, that I have adorned the banks of the gentle
Bati and preferred my simple tastes to riches, in order to gather around
thee the divinities of the Castalian Spring and offer thee the treasures
already gathered by Ptolemy, if thou in passing this stone in Seville,
dost not at least give a greeting to my father and a thought to me."

Directly back of Fernando Columbus' tomb rises the rear surface or
trascoro of the choir. The choir, which occupies the fourth and fifth
bays, is enclosed by the most elaborate walls, except at the entrance to
the east, where it is screened by the remarkable iron reja. This, as
well as the rejas of the choir, is in design and workmanship a marvelous
example of mediaeval craft, quite as fine as the screens of Toledo and
Granada and the best work of the German forgers and guilds. The design,
from 1519, harmonizes splendidly with the ironwork facing it. Its
gilding must have improved as each century has toned it down. Now in the
evening hours when it catches the reflection of some light, the spikes
look like angels' spears rising fl