In this connection, and as an exemplification of the peasant's trustworthiness, once a month, on a Thursday, the Tribunal de Aguas sits in the Plaza de la Seo outside the Puerto de los Apóstoles or north door of the Cathedral. Its presiding members are chosen by their fellow peasants for their integrity and general standing in the community. They exercise absolute control over the seven different irrigation districts. The Government has once or twice interfered with this, but unsuccessfully. Plaintiffs and defendants appear before this primitive tribunal seated in a public square. The case is stated, _pros_ and _cons_ weighed, and judgment given fairly on its merits. Any one passing can stop and hear the arguments of both sides. As a proof of the shrewdness the peasants possess and the confidence they have in their dealings with one another, no appeal is ever made from the judgment of their elders. This north door has good sculptured figures in the jambs and archivolt. Above is a fine rose window. These are among the remains of the first building. Another relic of the early structure is the octagonal _cimborio_ erected about the same time as the doorway, _i.e._, 1350. The lancet windows over the Puerta del Paláu, which is surmounted by a round arch with carvings in the jambs, are all of the same period. The third doorway, the Puerta del Miguelete, is florid and overdone, and dates from the eighteenth century. Its bronze doors however are extremely fine. The best features of the much-spoilt interior are the octagon and the very beautiful Corinthian _silleria del coro_. The original _retablo_ over the High Altar was set on fire by the lighted cotton attached to a pigeon let loose at a religious ceremony in 1469. The side panels alone were saved from the results of the terrified bird's erratic flight. Close by on a pillar is hung the armour of James I. of Aragon. Over the sacristy door is a good painting by Ribalta of _Christ Bearing the Cross_, and in the ante-room an _Adoration_ by Ribera, besides five good examples of Juanes' brush. Among the treasures of the Cathedral is an extraordinary piece of goldsmith's work, a Calix, showing four different periods of this art, _i.e._, Roman, IXth, XVth and XVIth centuries. It figures in the picture of the _Last Supper_ by Juanes, which is now in the Prado at Madrid. An interesting trophy also belongs to the Cathedral in the shape of the chain which at one time closed the old Port of Marseilles. The many different varieties of marble used in the decoration of the building form a very pleasing series, and go some way towards compensating the disappointment one experiences with the much-altered style of what ought to be a grand interior.