The sepulcher, the shields, the prolific symbolism, ..., highlight the imposing figure of the Constables of Castile: Mencía de Mendoza y Figueroa, and Pedro Fernández de Velasco.

An impressive work by the main artists of the moment, based on the Gothic style and under the premise of light as an artistic concept.

The city, Burgos City Hall; the cathedral, Bishop Juan Álvarez de Toledo; and the crown, Charles I, come together to raise the new and grandiose lantern the day after the previous one collapsed.

The latticed cover draws a detailed eight-pointed star on the octagonal tower with double balcony in the Renaissance style.

After demolishing the old staircase, the people demanded Bishop Rodriguez de Fonseca to have it restored to the same artistic level at which it was being constructed at that time in the rest of the Cathedral.

Diego's revolutionary solution will be this ingenious and imaginative staircase carefully decorated in the style of the Renaissance.

These needles, sponsored by Bishop Alonso de Cartagena, mark the figure of the Cathedral, with the one located on the south tower sponsored by him and the one on the north tower completed by his successor Luis de Acuña.

They have an obvious influence from the German Gothic, which both Bishop Alonso and Juan de Colonia, the master builder brought from Germany, undoubtedly knew.

The Metropolitan Chapter selects the groundbreaking project of the unknown Bigarny to cover the first of the arches behind the altar. Satisfied, they will give him the other two.

With this architectural sculpture of rich group scene, with perspective, contrast, and humanism, the Renaissance enters the Cathedral in grand style.

Bishop Mauricio follows the approaches of pure French Gothic and relies on light and color as fundamental elements to recreate a heavenly world inside the cathedral.

It is the only stained glass window in the cathedral that has survived, mostly from that 13th-century Gothic.

In the stone of the 13th century, the images and decorations are treated as if it were an exterior door, by the hand of the second master of work of Bishop Mauricio. The leaves were made, in the 15th century, by Luis de Acuña.

Two sculptural moments of the Gothic style (13th and 15th centuries), in stone one and in blackened oak the other.

The City Council of Burgos agrees together with the Cathedral of Burgos, taking advantage of its 700th anniversary, to finally deposit the remains of Cid in the center of the temple.

A simple garnet jasper with golden inscriptions in a 20th-century neo-Latin tells us that this is the tomb of "... in whom a good hour was born".

The automaton on the clock reminds the Cathedral's interior of the hours. Its little companion, the Martinillo, takes care of the quarters.

Its grotesque, even unpleasant, image responds to a project for a carillon where a singing master would wake up his drowsy choir boys.

Oriented for the entrance of the clergy, Bishop Mauricio wants to remind them of the root of their mission, to transmit the word given in the book to the faithful.

In a pure French Gothic style, from top to bottom; the book, Christ Master, Evangelist with tetramorphs, Apostles, and Bishop.

Like an enormous message written in a careful and precious language, Bishop Luis de Acuña orders this grand altarpiece for his funerary chapel.

Elaborated in an advanced and quite personalistic Gothic style, it tells the conception of Mary, the lineage of the Church, and the humble virtues of the sponsoring bishop.