This grand church consists, then, of a single nave 73 feet wide, four bays in length, and terminating in the usual semicircular east end. The west front, in the poor style of the seventeenth century, calls for no remark, and gives no promise of the grandeur of the interior. Street thinks the exterior could never have looked very well. Even the south door, executed in 1458, does not merit praise, though its terra-cotta statues are curious and well preserved. The vast nave is blocked and greatly marred by the central choir, moved into this ill-chosen position long after the completion of Boffy’s work. Three arches separate the east end from the nave. Above them are three large round windows. Street praises this arrangement and says that it enhances this effect of vastness. “In short, had this nave been longer by one bay, I believe that scarcely any interior in Europe could have surpassed it in effect.” The high altar is of alabaster with a silver frontal, and belonged to the old cathedral. It was the gift of Ermesindes, the wife of Count Ramon Borel (1038). The reredos is a very rich and interesting work plated with silver. It was completed in 1348. The subjects in the three tiers of niches relate respectively to the lives of the saints, the life of the Blessed Virgin, and the life of Our Lord. The work is crowned by the figures of Christ and His Mother, and the saints Narcissus and Feliu. Of the same period is the baldachin, the vault of which is covered with sacred subjects, while the shafts are adorned with heraldic achievements. Behind the reredos is the bishop’s throne, formed of a single piece of marble. “Here, when the bishop celebrated pontifically, he sat till the oblation and returned to it again to give the benediction to the people.” In addition to the objects of interest to which the architect of our Law Courts calls attention--the wooden wheel of bells, &c.--the cathedral contains several tombs worthy of examination. In the choir is buried Count Ramon Berenguer, surnamed Cap d’Estopa; in the presbytery, on the gospel side, is the tomb of Bishop Berenguer de Anglesola; Doña Ermesindes lies between the chapels of Corpus and San Juan; Bishop Bernardo de Pau in the chapel of San Pablo. Adjoining the church is the dark gloomy cloister, which existed in the early twelfth century, and in which Street recognised “one of the main branches of the stream by which Romanesque art was introduced into Spain” from south-eastern France. The galleries, with marble columns and stone roofs, enclose a court with tall trees and a cistern in the centre. Numerous black memorial tablets let into the walls have failed to keep alive the memory of the dead.