e view; to the east, the high screen; and to the south, the chapter
house and the Dependencias de la Hermanidad and the sacristy. The mass
of domes with supporting flying buttresses, ramps and finials above it,
all remind one curiously of a transplanted and ecclesiasticized
Chambord.

[Illustration: Photo by J. Lacoste, Madrid

CATHEDRAL OF SEVILLE

Gateway of Perdon in the Orange Tree Court]

As the plan conforms to the conditions of the old rectangular mosque and
has neither projecting transepts nor semicircular chevet, it can
scarcely be called Gothic. It consists of nave and double side
aisles,--the nave 56 feet wide from centre to centre of the columns and
145 feet high, and the inner side aisles 40 wide and about 100 high.
Outside these is another aisle filled with various chapels.

At the crossing of the nave and transept, we have the typical, small
Spanish octagonal dome,--in this instance covering possibly what was in
the original mosque a central octagonal court. It is a construction
rising some hundred and seventy feet above the level of the eye,
admitting light below its spring into what in the French Gothic edifices
would usually be the gloomiest portions of the building.

The side aisles differ slightly in width, the two lateral ones being
filled with various chapels. There are nine bays, separated by
thirty-six clustered pillars, some of them perfect towers in their huge
and massive strength. Their detail and outline are excellent, all of the
greatest simplicity and restraint. The delicate engaged shafts which
surround the huge supports of fifteen feet diameter terminate below the
vaulting ribs in delicately interlaced palm-leaf caps. Nothing is
confused or intricate. Sixty-eight compartments spring from the various
piers with a loftiness reminding one of Cologne. The groining differs
very much. The greater portion is admirably plain, of simple
quadripartite design; other parts are fanciful and elaborate, recalling
florid German prototypes. The five central vaults forming the cross
under the dome alone have elaborate fan-vaulting; the geometrical design
is as excellent as its detail. The richness given this central and most
correct portion of the great roofing is all the more effective by
contrast with the plain, unelaborated groins of the surrounding vaults.
The petals of the flower, the very holy of holies, between the choir
and the Capilla Mayor, before the high altar, are what is most beautiful