c of conquest and
navigation, runs along the casing between them.

The door has eight panels besides the semicircular one at the top. In
each panel is a picture in _alto-relievo_.

It was designed by Randolph Rogers, an American, and modeled by him in
Rome, in 1858; and was cast by F. Von Muller, at Munich, 1861.

The story the door tells is the history of Columbus and the discovery of
America.

The panel containing the earliest event in the life of the discoverer is
the lowest one on the south side, and represents "Columbus undergoing an
examination before the Council of Salamanca."

The panel above it contains "Columbus' departure from the Convent of
Santa Maria de la Rabida," near Palos. He is just setting out to visit
the Spanish court.

The one above it is his "audience at the court of Ferdinand and
Isabella."

The next panel is the top one of this half of the door, and represents
the "starting of Columbus from Palos on his first voyage."

The transom panel occupies the semicircular sweep over the whole door.
The extended picture here is the "first landing of the Spaniards at San
Salvador."

The top panel on the other leaf of the door represents the "first
encounter of the discoverers with the natives." In it one of the sailors
is seen bringing an Indian girl on his shoulders a prisoner. The
transaction aroused the stern indignation of Columbus.

The panel next below this one has in it "the triumphal entry of Columbus
into Barcelona."

The panel below this represents a very different scene, and is "Columbus
in chains."

In the next and last panel is the "death scene." Columbus lies in bed;
the last rites of the Catholic church have been administered; friends
and attendants are around him; and a priest holds up a crucifix for him
to kiss, and upon it bids him fix his dying eyes.

On the door, on the sides and between the panels, are sixteen small
statues, set in niches, of eminent contemporaries of Columbus. Their
names are marked on the door, and beginning at the bottom, on the side
from which we started in numbering the panels, we find the figure in the
lowest niche is Juan Perez de la Marchena, prior of La Rabida; then
above him is Hernando Cortez; and again, standing over him, is Alonzo de
Ojeda.

Amerigo Vespucci occupies the next niche on the door.

Then, opposite in line, across the door, standing in two niches, side by
side, are Cardinal Mendoza and Pope Alexander VI.

Then below them s