a mile these spires appear as transparent
as nets.

On entering the church by the western doors, the view is interrupted, as
is usual in Spain, by a screen, which, crossing the principal nave at
the third or fourth pillar, forms the western limit of the choir; the
eastern boundary being the west side of the transept, where there is an
iron railing. The space between the opposite side of the transept and
the apse is the _capilla mayor_ (chief chapel), in which is placed the
high altar. There are two lower lateral naves, from east to west, and
beyond them a series of chapels. The transept has no lateral naves. Some
of the chapels are richly ornamented. The first or westernmost, on the
north side, in particular, would be in itself a magnificent church. It
is called the "Chapel of Santa Tecla." Its dimensions are ninety-six
feet in length, by sixty-three in width, and sixty high. The ceiling,
and different altars, are covered with a dazzling profusion of gilded
sculpture. The ceiling, in particular, is entirely hidden beneath the
innumerable figures and ornaments of every sort of form, although of
questionable taste, which the ravings of the extravagant style, called
in Spain "Churriguesco" (after the architect who brought it into
fashion), could invent.

The next chapel--that of Santa Ana--is not so large, but designed in far
better taste. It is Gothic, and dates from the fifteenth century. Here
are some beautiful tombs, particularly that of the founder of the
chapel. But the most attractive object is a picture, placed at an
elevation which renders difficult the appreciation of its merits without
the aid of a glass,--a Holy Family, by Andrea del Sarto. It is an
admirable picture; possessing all the grace and simplicity, combined
with the fineness of execution, of that artist. The chapel immediately
opposite (on the south side) contains some handsome tombs, and another
picture, representing the Virgin, attributed by the cicerone of the
place to Michael Angelo. We next arrive at the newer part, or centre of
the building, where four cylindrical piers of about twelve feet
diameter, with octagonal bases, form a quadrangle, and support the
centre tower, designed by Felipe de Borgona. These pillars are
connected with each other by magnificent wrought brass railings, which
give entrance respectively, westward to the choir,--on the east to the
sanctuary, or capilla mayor,--and north and south to the two ends of the
transept. Abo