ransept, and, as
mentioned already, by the ambulatory walk characteristic of Spanish
cathedrals; the workmanship of the latter, though lamentably out of tune
in this old cathedral, is, taken by itself, better than many similar
additions in other churches.

The western facade, which is the only one worthy of contemplation, is as
good an example of Romanesque, spoilt by the addition at a recent date
of grotesque and bizarre figures and monsters, as can be seen anywhere.

The buttresses are more developed than in either Lugo or Santiago, and
though these bodies, from a decorative point of view, were evidently
intended to give a certain seal of elegance to the ensemble, the
stunted towers and the few windows in the body of the church only help
to heighten its fortress-like aspect.

In a previous paragraph it has been stated that this cathedral is
perhaps a unique example of the period of Transition (Romanesque and
early Gothic). It is an opinion shared by many art critics, but
personally the author of these lines is inclined to consider it as an
example of the Galician conservative spirit, and of the fight that was
made in cathedral chapters _against_ the introduction of early Gothic.
For the temple at Santiago was Romanesque; therefore, according to the
narrow reasoning peculiar to Galicia, that style was the _best_ and
consequently _good enough_ for any other church. As a result, we have in
this region of Spain a series of cathedrals which are practically
Romanesque, but into the structure of which ogival elements have
filtered. Further, as there is no existing example of a finished Gothic
church in Galicia, it is rather difficult to speak of a period of
Transition, by which is meant the period of passing from one style to
another. In Galicia, there was no passing: the conservative spirit of
the country, the poetry of the Celtic inhabitants, and above all of
their artists, found greater pleasure in Romanesque than in Gothic, and
consequently the cathedrals are Romanesque, with slight Gothic
additions, when these could combine or submit in arrangement to the
heavier Romanesque principles of architecture.

Later, in other centuries, the spirit of architecture had completely
died out in Spain, and the additions made in these days are so many
lamentable signs of decadence. Not so the ogival introduction in
Romanesque churches, which in many cases improved the Romanesque
appearance.

IV

LUGO

What Santiago w