The fourth chapel in the S. aisle, the Capilla de Hermenegildo, contains the fine Gothic monument of Archbp. Juan de Cervantes (d. 1453), by Lorenzo Mercadante de Bretaña.—In the S. transept rises the very curious sarcophagus of Columbus, placed in the cathedral of Havana in 1892 and brought to Spain in 1899. To the right stands the Altar de la Gamba, with the famous painting by Luis de Vargas, the so-called Generación, or Adoration of the Immaculate Conception by Adam and Eve, generally known as ‘La Gamba’, from the finely drawn and painted leg of Adam.
Through the Capilla de los Dolores we pass into the Sacristía de los Cálices, built in the late-Gothic style by Diego de Riaño (d. 1533) and Martin Gainza (d. 1566), where we obtain tickets of admission to the closed chapels, etc. (see p. [60]). In front of us is a famous *Crucifix, by Martínez Montañés (d. 1649), the most typical of Andalusian sculptors; on the left are a SS. Justa and Rufina, by Goya (1817), and St. Dorothea by Murillo. On the window-wall is St. John the Evangelist, by Zurbarán.
Adjacent to the Antesala is the *Sacristía Mayor, a magnificent room in the plateresque style, also built, after 1532, by Riaño and Gainza, containing the rich treasury of the cathedral and three valuable pictures, a Descent from the Cross, by Pedro Campaña (1548), and SS. Leander and Isidore by Murillo.
The Capilla del Mariscal possesses an altar-piece in ten sections, the Presentation in the Temple, by Pedro Campaña.
The elliptical *Sala Capitular, begun by Riaño and Gainza in 1530 but not finished till after 1582, has a Doric entablature resting on Ionic mural columns, while the decoration is plateresque (Span. Renaissance). The eight ovals between the windows and the fine picture of the Immaculate Conception are by Murillo.
On the E. side of the church we pass through a high railing (1773) into the Capilla Real (adm., see p. [60]), a Renaissance edifice by Gainza and others (1551–75), on the site of the old royal vaults. By the entrance, right and left, are the tombs of Alfonso the Wise (d. 1284) and his mother Queen Beatrice of Swabia. In the apse is preserved the reliquary of St. Ferdinand (Ferdinand III. of Castile; p. [69]), who, as well as Pedro I., is interred in the ‘Panteón’ under the chapel.
In the N. aisle, beyond the Puerta del Lagarto (p. [63]) is the Capilla de los Evangelistas, whose altar-piece is by Ferd. Sturm (1559); on the predella, to the left, below, are SS. Justa and Rufina with the Giralda in its original form (p. [62]). In the Capilla de Santiago (St. James) is a *Picture of that saint, by Juan de las Roelas (1609). Most famous of all is a **Murillo in the Capilla del Bautisterio (forenoon light best), the Infant Christ appearing to St. Antony of Padua (1656).
The Puerta del Sagrario, the last door on the N. side of the cathedral, leads into the Sagrario, built as a parish-church in the baroque style in 1618–62, with a single vault 75 ft. high. The altar-piece on the left is a fine half-figure of the Mater Dolorosa by Montañés.
b. The Central and Eastern Quarters.
The lively Calle Génova or Cánovas del Castillo leads from the Cathedral to the Plaza de la Constitución (Pl. E, 3), the focus of the city traffic. On the right is the Audiencia, containing the law-courts; on the left, between this plaza and the large Plaza Nueva or de San Fernando (Pl. E, 4), rises the—