In the contemporary cathedral of Burgos the exterior is at least as interesting as the interior. The west front, of German design, suggests Cologne by its twin openwork spires (Fig. 145); while the crossing is embellished with a sumptuous dome and lantern or _cimborio_, added as late as 1567. The chapels at the east end, especially that of the Condestabile (1487), are ornate to the point of overloading, a fault to which late Spanish Gothic work is peculiarly prone. Other thirteenth-century cathedrals are those of +Leon+ (1260), +Valencia+ (1262), and +Barcelona+ (1298), all exhibiting strongly the French influence in the plan, vaulting, and vertical proportions. The models of Bourges and Paris with their wide naves, lateral chapels and semicircular chevets were followed in the cathedral of Barcelona, in a number of fourteenth-century churches both there and elsewhere, and in the sixteenth-century cathedral of Segovia. In Sta. Maria del Pi at Barcelona, in the collegiate church at Manresa, and in the imposing nave of the +Cathedral+ of +Gerona+ (1416, added to choir of 1312, the latter by a Southern French architect, Henri de Narbonne), the influence of Alby in southern France (see p. 206) is discernible. These are one-aisled churches with internal buttresses separating the lateral chapels. The nave of Gerona is 73 feet wide, or double the average clear width of French or English cathedral naves. The resulting effect is not commensurate with the actual dimensions, and shows the inappropriateness of Gothic details for compositions so Roman in breadth and simplicity. +SEVILLE.+ The largest single edifice in Spain, and the largest church built during the Middle Ages in Europe, is the +Cathedral of Seville+, begun in 1401 on the site of a Moorish mosque. It covers 124,000 square feet, measuring 415 × 298 feet, and is a simple rectangle comprising five aisles with lateral chapels. The central aisle is 56 ft. wide and 145 high; the side aisles and chapels diminish gradually in height, and with the uniform piers in six rows produce an imposing effect, in spite of the lack of transepts or chevet. The somewhat similar +New Cathedral+ of Salamanca (1510-1560) shows the last struggles of the Gothic style against the incoming tide of the Renaissance.