of poor crazy Jane, and the unworthy, handsome husband
whom she doted on to the extent of carrying his body with her throughout
the doleful wronged insanity of her later years, is somewhat more
elevated than that of the Catholic Kings, though its general design is
very similar. Philip of Austria sleeps vested with the Order of the
Golden Fleece.

Isabella's celebrated will begins with her desire that her body may be
taken to Granada and there laid to rest in the Franciscan monastery of
Santa Isabella in the Alhambra, with a simple tomb and inscription: "but
should the King, my lord, prefer a sepulchre in some other place, then
my will is that my body be there transported, and laid where he can be
placed by my side, that the union we have enjoyed in this world, and
which through the mercy of God may be hoped for again when our souls are
in heaven, may be symbolized by our bodies being side by side on earth."
The humble burying-ground designated by Isabella, and where she was
first laid to rest with the simple rites she desired, was, however, no
fitting place for the grandparents of Imperial Charles. Here, in the
Cathedral's principal chapel, he had them laid in the year 1525.

The sarcophagus consists of three stages, containing the ornamental
motives so characteristic of the best sculpture of the Italian
Renaissance. No other form of statuary brought out their skill and
genius so fully as a sepulchral monument. Medallions, statues, niches,
saints, angels, griffins and garlands are all woven into a magnificent
base to receive the recumbent effigies. Apostles and bas-reliefs of
scenes from the life of Christ surround the base, while winged griffins
break the angles. Above are the four Doctors of the Church, the arms of
the Catholic Kings and the proud and simple epitaph, "Mahometic[=e]
sect[=e] prostratores et heretic[=e] pervicaci[=e] extinctores:
Fernandus Aragonium et Helisabetha Castell[=e], vir et uxor unanimes,
catholici appelati, marmoreo clauduntur tumulo."[22] In tranquil crowned
dignity above lie Ferdinand in his mantle of knighthood, his sword
clasped over his armored breast, and Isabella with the cross of her
country's patron saint. The recumbent figures are extremely fine; the
faces, which are portraits, convey all we know of their prototypes'
characteristics. Ferdinand's proud, pursed lips whisper his selfish
arrogance, his iron will, and the greatness and fulfillment of his
dreams. The hard, masterful jaw