72 GRANADA 



and vastness, and may be described as dignified 

 rather than beautiful. 



The facade, said to have been designed by 

 Alonso Cano, is flanked by towers (one unfinished) 

 and divided by four huge stone columns which 

 support a cornice. On this rest four pillars, 

 sustaining three deep, gloomy vaultings. At 

 the foot of these pillars, on the cornice, are 

 statues of the Apostles. The principal door is 

 adorned with a high relief of the Incarnation by 

 Risueno, the side-doors with reliefs of the Annun- 

 ciation and Assumption. The tower on the left 

 rises seventy-five metres above the level of the 

 present floor ; its three stages are in the three 

 styles of Grecian architecture respectively. 



The walls of the Cathedral are, to a great extent, 

 hidden, as is so often the case on the Continent, 

 by adjoining buildings. The Puerta del Perdon, 

 which, as we have said, officially belongs to the 

 Chapel Royal, is Diego de Siloe's masterpiece, 

 and is elaborately sculptured. Over the arch 

 two allegorical figures uphold a tablet on which 

 is inscribed a dedication to the Catholic monarchs. 

 The great flanking columns of the portal are 

 decorated with huge escutcheons. The introduc- 

 tion of heraldic symbols into religious archi- 

 tecture is nowhere more conspicuous than at 

 Granada. 



The interior of the church, which is paved with 



