sculpture representing the Last Supper. Our Lord and the Apostles are
seated, each in his own niche. It recalls the carving over the northeast
entrance of Notre Dame du Puy. Nothing could be more ineffective and out
of place than to crown this portion of the Gothic building with a Greek
gable end. Finally, above the gable, with a curious pair of arches built
out in front of it, comes a circular rose almost thirty feet in
diameter, of early fourteenth-century work, this again being surmounted
by late eighteenth-century Baroque additions.

There are two doorways on the south side. The Gate of the Lions, which
forms the southern termination to the transept, is of course named from
the lions standing over the enclosing rail directly in front of it, each
supporting its shield. Here you have a bit of the finest work of the
exterior, a most exquisite specimen of the Gothic work of the fifteenth
century. Its detail and finish are remarkable, and few pieces of Spanish
sculpture of its time surpass it in elegance and grace. The larger
figures are most interesting, varying greatly in execution and
character. Those of the inner arches are stiff and still struggling for
freedom from tradition, but of admirably carved drapery,--while the
bishops in the niches to the right and left have faces radiating
kindness and patriarchal benignity, faces we meet and bless in our own
walks of life to-day. The bronze Renaissance doors are as fine as their
setting,--splendid examples of the metal stamping of the sixteenth
century, and the wooden carving on their inner surfaces is equally fine.
The bronze knocker might easily have come from the workshop of the great
Florentine goldsmith.

The Gate of La Llana, west of the Gate of the Lions, is as ludicrous in
its eighteenth-century dress as the gable of the west facade.

On the north side of the church we find three gates; in the centre,
forming the northern entrance to the transept, the Puerta del Reloi[c],
and east and west of it, the Puerta de Santa Catalina, and the Puerta de
la Presentacion.

IV

You leave the outside with a feeling of distress at having viewed a
patchwork of architectural composition, feebly decorating and badly
expressing a noble and mighty frame. You enter into a light of celestial
softness and purity. It seems an old and faded light. As soon as you
regain vision in the cool, refreshing twilight, you experience the
long-deferred exultation. You are amid those that pra