Why could not men like this arise now, in these impious times, to give fresh strength to Catholicism?
In his strolls through the Cathedral Gabriel greatly admired the screen before the high altar, a wonderful work of Villalpando, with its foliage of old gold, and its black bars with silvery spots like tin.

These spots made the beggars and guides in the church declare that all the screen was made of silver, but that the canons had had it painted black so that it might not be plundered by Napoleon's soldiers.
Behind it shone the majestic decorations of the high altar, splendid with soft old gilding, and a whole host of figures under carved canopies representing various scenes from the Passion.

Behind the altar and the screen the gilding seemed to spring spontaneously from the white walls, marking with brilliant lights the divisions between the stalls.

Beneath highly-decorated pointed arches were the tombs of the most ancient kings of Castille, and that of the Cardinal Mendoza.
Under the arches of the triforium an orchestra of Gothic angels with stiff dalmatics and folded wings sang lauds, playing lutes and flutes, and in the central parts of the pillars the statues of holy bishops were interspersed with those of historical and legendary personages.
On one side the good Alfaqui Abu-Walid, immortalised in a Christian church for his tolerant spirit, on the opposite side the mysterious leader of Las Navas who, after showing the Christians the way to victory, suddenly disappeared like a divine envoy--a statue of exceeding ugliness with a haggard face covered by a rough hood.

At either end of the screen stood as evidences of the past opulence of the church two beautiful pulpits of rich marbles and chiselled bronze.
Gabriel cast a glance at the choir, admiring the beautiful stalls belonging to the canons, and he thought enthusiastically that perhaps some day he might succeed in gaining one to the great pride of his family.