in height. Its
style florid Gothic of the fourteenth century. The effect of its first
view is enhanced by its being filled, unlike the rest of the church,
with a blaze of light introduced through two rows of windows in the
upper part.

Two of the sides are furnished with recesses, which form lesser chapels,
and in one of which there is a fine organ. Between the centre of the
pavement and the principal altar, a large square block of mixed marble
covers the remains of the founders of the chapel, and bears on its
surface their recumbent figures executed in great perfection.[2] This
is the finest tomb in the cathedral. The embroidery of the cushions, the
ornaments on the count's armour, the gloves of the countess, are among
the details which merit particular notice amidst the beautiful execution
of the whole. The high altar of this chapel does not accord with the
general effect, being designed in the style of the _renascimiento_. In
the centre of it is nevertheless fixed a treasure that would compensate
for worse defects. A small circular medallion represents the Virgin and
Child, in an attitude very similar to that of the Madonna della
Seggiola, executed on porphyry. This delicious little work, of about
nine inches in diameter, forms the centre of attraction, and is the most
precious ornament of the chapel. On the right hand, near the altar, a
small doorway admits to the sacristy.

This contains several relics of the founders. A small portable altar of
ivory, forming the base of a crucifix of about eighteen inches in
height, is an exquisite model of delicate workmanship. Here also has
been treasured up a picture, behind a glass, and in a sort of wooden
case; a bequest likewise of the founders. Unfortunately they neglected
to impart the name of its author. The nebulous sort of uncertainty thus
made to surround this relic has magnified its merits, which might
otherwise perhaps not have claimed particular notice, to the most
colossal dimensions. They scarcely at last know what to say of it. At
the period of my first visit to Burgos, it was a Leonardo da Vinci; but,
after a lapse of two years, the same sacristan informed me that it was
uncertain whether the painting was executed by Raffaelle or Leonardo,
although it was generally supposed to be by Raffaelle; and a notice,
published since, gives the authority of an anonymous connaisseur, who
asserts it to be far superior to Raffaelle's "Perle." It is now
consequently decided