been taken in sin, was forced to jump from another of Segovia's
steep promontories. Bethinking herself of the Virgin Mary as a last
resource, she invoked her assistance while in mid-air, and the blessed
saint immediately responded, causing the Jewess to alight gently and
unharmed. It was naturally a great pious satisfaction to the Segovians
to carry to the new edifice such cherished bones.

With services in the church, the building was well under way. Juan Gil's
son, Rodrigo Gil, had worked on Salamanca as well as very ably assisted
Cubillas. Upon the latter's death, in 1560, Rodrigo became maestro
mayor. Three years later, when the corner stone of the apse was laid,
the Chapter seems to have seriously discussed the advisability of
finally deviating from the original Gothic plans and building a
Renaissance head. It was, however, left to Rodrigo, who loyally adhered
to his father's original designs, and when he died in 1577, there was
fortunately but little left to do. Indeed, most of what followed in
construction, repair or decoration was rather to the detriment than
embellishment of the church. It was consecrated in 1580. Chapels were
added to the trasaltar by Rodrigo's successor, Martin Ruiz de Chartudi;
the lantern above the crossing was raised by Juan de Mogaguren in 1615;
five years later, the northern porch was erected and Renaissance
features invaded the edifice. Like most Spanish churches, it has been
constantly worked upon and never completed.

The plan is admirable,--at once dignified and harmonious, and the
semicircular Romanesque termination is striking. The total length is
some 340 feet, its entire width, some 156; the nave is 43 and the side
aisles are 32 feet wide. It is thus logical, symmetrical, and fully
developed in all its members. Beyond the side aisles stretches a row of
chapels separated from each other by transverse walls. As the transepts,
which are of the same width as the nave, do not project beyond the
chapels of its outer aisles, the Latin cross disappears in plan. The
nave, aisles and chapels consist of five bays up to the crossing crowned
by the great dome. Beyond this comes the vault of the Capilla Mayor and
the semicircular apse surrounded by a seven-bayed ambulatory, or
"girola," and an equal number of radiating pentagonal chapels. The
chevet is clear in arrangement and noble in expression. Entrances lead
logically into the nave and side aisles of the western front and into
the centres