So dark is the apse that the Renaissance trassegrario does not obtrude in the early Gothic of its surroundings. The very fine tomb of Bishop Alfonso de Madrigal, the Solomon of his day, is fortunately illumined by a little light, and I could see the effigy of this wise Prelate seated at his desk busily engaged with his pen and scroll, while above him the Magi and Shepherds are adoring in a good relief.
There are some early paintings in most of the chapels, the retablo in that of San Pedro being perhaps the best.
The work of Cornielis, a Flemish sculptor, circa 1537-47, is admirably displayed in the very beautiful carving of the silleria de coro, and there is no better example of Spanish metal work of the fifteenth century to be found than in the two iron-gilt pulpits.
The sacristy contains a splendid silver monstrance by Arfe, and an Italian enamelled chalice of the fourteenth century by Petrucci Orto of Siena. The cloisters are disappointing, having been much mutilated and the fourteenth-century tracery of the arches blocked up.
Avila, like its neighbour Segovia, contains some of the best examples of Romanesque work, and its many churches are archæologically as interesting as the Cathedral.
Sheltering from the keen north wind under the arcade of San Vicente I made a sketch of the gateway of that name. The church was founded in 1307 and dedicated to three martyrs who were put to death on the rock which may still be seen in the crypt below. The west façade has two incomplete towers, between which is a most elaborately carved Romanesque doorway, standing in a deeply recessed arch.
The pure Romanesque nave has both triforium and clerestory and the unusual feature of pointed vaulting. The proportions of this noble church are very fine, but the interest of the non-architectural visitor will be centred in the Tomb of San Vicente and his two sisters SS. Sabina and Cristeta. A metal work canopy resting on twisted columns surmounts the tomb which is a sarcophagus of the thirteenth century. The legend tells how, after the martyrdom of these three, the body of the first-named was cast out to the dogs, and that a serpent came out of the hole in the rock (still visible) and watched over it. A Jew who mocked was smitten unto death by the reptile and lies buried in the south transept.
The transept choir and three semicircular apses are Transitional, and carry a barrel vaulting.