lumns, and breathes celestial life into the army of saints and
martyrs. It gives a soul to it all. The effect produced by the early
morning and late afternoon light is very different. Santa Maria de la
Sede, like all her earthly sisters, has a variety of expressions. At
times she burns with animation, even a remnant of earthly passion may
glow in her holy countenance, and again she is cold, impassive and
nunlike in her gray garb of renunciation.

According to an Andalusian proverb, the rays of the sun have no evil
power where the voice of prayer is heard. For this reason, only a few of
the highest windows are screened by semi-transparent curtains, and the
light pours in unbroken through most of their brilliant tints--down the
nave in deep blood reds and indigo blues. The greater portion of the
glass is unusually rich in coloring,--perhaps too florid, but typical of
the Flemish School of glass-painting. Ninety-three windows were stained
during the first half of the sixteenth century, for which the church
paid the painters the large sum of 90,000 ducats. The earliest ones are
by Micer and Cristobal Aleman, who in 1538 introduced in Seville real
stained glass. Aleman's, representing the Ascension of Christ, Mary
Magdalen, and the Awakening of Lazarus, the Entry into Jerusalem, the
Descent of the Holy Ghost and the Apostles, all in the transept,
together with those by his brother Arnao de Flanders, are the
best,--better than most Flemish windows of the time in any European
cathedral. True, they are somewhat heavy in outline and the coloring
lacks softness and restraint in tone, but they have great depth,
excellency of drawing and power of expression in faces and figures.

[Illustration: Photo by J. Lacoste, Madrid

CATHEDRAL OF SEVILLE

Illustration: AND THE GIRALDA]

The little chapel, the Capilla de los Doncelles, contains a magnificent
sheet of glass representing the Resurrection of Christ, painted by
Carlos de Bruges, one of the great Flemish artists. A whole school of
foreign painters seem to have gathered round these famous "vidrieros,"
many of them working in their shops. Among the best known are Arnao de
Vergara, Micer Enrique Bernardino de Celandra and Vicente Menardo.

* * * * *

The Giralda is incomparable, a unique expression of feminine strength.
She is as oriental and mysterious as the Sphinx, or might be likened to
a great sultana in enchanted sleep. Though her majestic h