The remaining history of Zamora is one interminable list of revolts, sieges, massacres, and duels. As frontier fortress against Portugal in the west, its importance as the last garrison town on the Duero was exceptional, and consequently, though it never became important as a metropolis, as a stronghold it was one of Castile's most strategical points.
The best view of the city is obtained from the southern shore of the Duero; on a low hill opposite the spectator, the city walls run east and west; behind them, to the left, the castle towers loom up, square and Byzantine in appearance; immediately to the right the cathedral nave forms a horizontal[{238}] line to where the cimborio practically terminates the church. Thus from afar it seems as though the castle tower were part of the religious edifice, and the general appearance of the whole city surrounded by massive walls cannot be more warlike. The colour also of the ruddy sandstone and brick, brilliant beneath a bright blue sky, is characteristic of this part of Castile, and certainly constitutes one of its charms. What is more, the landscape is rendered more exotic or African by the Oriental appearance of the whole town, its castle, and its cathedral.
The latter was begun and ended in the twelfth century; the first stone was laid in 1151, and the vaults were closed twenty-three years later, in 1174; consequently it is one of the unique twelfth-century churches in Spain completed before the year 1200. It is true that the original edifice has been deformed by posterior additions and changes dating from the fifteenth and sixteenth centuries.
Excepting these abominable additions, the primitive building is Romanesque; not Romanesque as are the cathedrals we have seen in Galicia, but Byzantine, or military[{239}] Romanesque, showing decided Oriental influences. Would to Heaven the cathedral of Zamora were to-day as it stood in the twelfth century!
ZAMORA CATHEDRAL
The form of the church is that of a basilica. Like the cathedral of Palencia, it lacks a western front; the apse is semicircular, strengthened by heavy leaning buttresses; the upper, towerless rim of this same body is decorated with an ogival festoon set off by means of the primitive pinnacles of the top of the buttresses. The northern (Renaissance or plateresque) front is, though beautiful and severe in itself, a calamity when compared with the Romanesque edifice, as is also the new and horrid clock-tower.
The view of the southern end of the transept, as seen from the left, is the most imposing to be obtained of the building. Two flights of steps lead up to the Romanesque portal, flanked by three simple pillars, which support three rounded arches deeply dentated(!). Blind windows, similar in structure to the portal, occupy the second body of the façade, and are surmounted in their turn by a simple row of inverted crenelated teeth, showing in their rounded edges the timid use of the horseshoe arc. The[{240}] superior body is formed by two concentric and slightly ogival arches embedded in the wall.
The greatest attraction, and that which above all gives a warlike aspect to the whole building, is the cimborio, or lantern of the croisée. Flanked by four circular turrets, which are pierced by round-topped windows and surmounted by Oriental domes that add a stunted, solid appearance to the whole, the principal cupola rises to the same height as the previously mentioned turrets. The whole is a marvel of simple architectural resource within the narrow limits of the round-arched style. What is more, though this cupola and that of Santiago belong to the same period, what a world of difference between the two! Seen as indicated above, the factura of the whole is intensely Oriental (excepting the addition of the triangular cornices emerging from beneath the cupola), and, it may be said in parenthesis, exceptionally fine. Besides, the high walls of the aisles, as compared with the stunted growth of the cimborio, and with the compact and slightly angular form of the entire building, lend an unrivalled aspect of solidity, strength, and resistance to the twelfth-century cathedral[{241}] church, so intrinsically different from that of Santiago.
The interior is no less peculiar, and particularly so beneath the lantern of the croisée. The latter is composed of more than a dozen windows, slightly ogival in shape, though from the outside the pillars of the flanking turrets support round-headed arches; these windows are separated from each other by simple columns or shafts. Again, what a difference between this solid and simple cimborio and the marvellous lantern of the cathedral at Burgos! Two ages, two generations, even two ideals, are represented in both; the earlier, the stronger, in Zamora; the later, the more aerial and elaborate, in Burgos.