On the west side of the Cathedral are five small chapels. The Nacimiento chapel contains an admirable “Nativity with the Four Evangelists” by Luis de Vargas, and a “Virgin and St Anne” by Morales. To the right of the Puerta Mayor is the altar of Nuestra Señora del Consuelo, with a “Holy Family,” the masterpiece of Alonso Miguel de Tobar (1678-1738), esteemed the ablest of Murillo’s pupils. Facing this is the little altar of Santo Angel, with a “Guardian Angel” by Murillo. The altar of the Visitation has a good retablo by Pedro Villegas de Marmolejo (1502-1569), and a statue of St Jerome by his namesake, Geronimo Hernandez.
Near the north-western corner of the church the Puerta del Sagrario leads into the Sagrario or Parish Church. This was built between 1618 and 1662 in the Baroque style by Miguel Zumarraga and Fernandez de Iglesias. The width of the single arch of which the roof consists is believed to endanger the safety of the edifice. The rich statues that adorn the interior are by Dayne and Jose de Arce. There is a notable retablo by Pedro Roldan which came from a Franciscan convent now suppressed. The wall of the sacristy is faced with beautiful _azulejos_ of the Arabian period, and in one of the side-chapels is a noteworthy statue of the Virgin by Montañez. In the vault beneath this impressive church the Archbishops of Seville are buried.
Returning to the Cathedral, we find on the left the Capilla del Bautisterio or of San Antonio. It is famous for one of Murillo’s finest works, “St Anthony of Padua’s Vision of the Child Jesus.” This is the picture which was stolen in 1874, conveyed to New York, sold to a Mr Schaus for £50, and by him returned to the ecclesiastical authorities. This chapel is also remarkable for its _pila_ or font, the work of Antonio Florentin, and Giralda windows. Next to it is the Capilla de las Escalas, with two pictures by Luca Giordano, “strong in character, drawing, and colour,” and the sepulchre of Bishop Baltasar del Rio (about 1500); then comes the Capilla de Santiago, with paintings by Valdés Leal and Juan de las Roelas, a stained-glass window with the richest tones, and the tomb of Archbishop Gonzalo de Mena (1401); and the Capilla de San Francisco, with another fine window, and an ambitious “Apotheosis of St Francis” by Herrera el Mozo.