forward in the earnest effort toward
higher development, such as we find here, deserves admiration. The
profiles of the ribs are simple, undecorated and vigorous, as were all
the earliest ones; in the chapels, or rather the exedras in the outer
walls, the ribs do not meet in a common boss or keystone, its advantages
not as yet being known to the builders. A good portion of the old
roof-covering of the Cathedral, not only over the eastern end, but
pretty generally throughout, has either been altered, or else the
present covering conceals the original.

Thus it is easy to detect from the outside, if one stands at the
northwestern angle of the church and looks down the northern face, that
the upper masonry has been carried up by some three feet of brickwork,
evidently of later addition, on top of which comes the present covering
of terra-cotta tiles. The old roof-covering here of stone tiles, as also
above the apse, rested directly on the inside vaults, naturally
damaging them by its weight, and not giving full protection against the
weather. The French slopes had in some instances been slavishly copied,
but the steep roofs requisite in northern cathedrals were soon after
abandoned, being unnecessary in the Spanish climate. Over the apse of
Avila, there may still be found early thirteenth-century roofing,
consisting of large stone flags laid in rows with intermediary grooves
and channels, very much according to ancient established Roman and
Byzantine traditions. Independent superstructure above the vault proper,
to carry the outside covering, had not been introduced when this roofing
was laid.

In its early days many a noted prelate and honored churchman was laid to
rest within the holy precinct of the choir in front of the high altar or
in the rough old sepulchres of the surrounding chapels. With the moving
of the choir, and probably also a change in the church ceremonies, came
a rearrangement of the apse and the Capilla Mayor's relation to the new
rites.

The retablo back of the high altar, consisting of Plateresque ornament,
belongs for the most part to the Renaissance. The Evangelists and church
fathers are by Pedro Berruguete (not as great as his son, the sculptor
Alfonso), Juan de Borgona and Santos Cruz. In the centre, facing the
ambulatory behind, is a fine Renaissance tomb of the renowned Bishop
Alfonso Tostada de Madrigal. He is kneeling in full episcopal robes,
deeply absorbed either in writing or possibly re