he hoarse croak of Gorda's voice remind the tardy
worshiper of the approaching hour of prayer, but it tells each and all
of the "barrio" where the fire is raging. Though the prudent Toledan may
not know the art of signing his name or reading his Pater Noster, full
well he knows, whenever Gorda speaks, whether the danger is at his own
door or at his neighbor's.

The lower portion of the facade between the towers is composed of a fine
triple portal dating from 1418 to 1450, which, despite later changes, is
still an excellent piece of Gothic work. It contains over seventy
statues. Above, the facade is composed of an ornamental screen
inexpressive of the structure and the internal arrangement of the
edifice. A railing separated the "lonja," or enclosure immediately in
front of the entrances, from the street outside. The central entrance
is the Gate of Pardon; to the north is the Gate of the Tower, also
called the Gate of Hell; to the south is the Gate of the Scriveners or
of Judgment. The middle door is the largest and most important. For
centuries the steps leading to it have been climbed and descended by the
pregnant women of Toledo, to insure an easy parturition.

The doors themselves are covered with most interesting bronze work,
showing how far the Spaniards had in later centuries developed the art
of their skillful Saracenic predecessors. The arch of the Gate of Pardon
is exquisitely formed and its moldings and recesses are profusely
decorated with finely chiseled figures and ornaments. Each of the three
doors is surmounted by a relief, that over the Pardon representing the
Virgin presenting the chasuble to Saint Ildefonso, who is kneeling at
her feet.

The Scriveners' Gate derives its name from having been the door of entry
for the scriveners when they came to the Cathedral to take their oath,
but, though they had a gate for their own particular use, they did not
seem to enjoy an especially good reputation. According to an old verse,
their pen and paper would drop from their hands to dance an independent
fandango long before their souls ever entered the Kingdom of Heaven.

Above the door is an inscription commemorative of the great exploits of
the Catholic Sovereigns and Cardinal Mendoza and of the expulsion of the
Jews from the Kingdoms of Castile, Aragon and Sicily.

The principal feature above the doors is a classical gable which extends
the whole width of the facade, its field filled with colossal pieces of