The two late Gothic Cathedrals are so similar in many points that they are immediately recognizable as the conception of the same brain. Segovia is, however, infinitely superior, not only in the magnificent development of the eastern end with its semicircular apse, ambulatory, and radiating apsidal chapels, as compared with the square termination of Salamanca, but, throughout, in the restrained quality of its detail and the refinement of its ornamentation. How far the abrupt and uninteresting apsidal termination of Salamanca was Juan Gil's fault, it is difficult to say, for we find records of its having been imposed upon him by the Chapter as well as of his having drawn a circular apse. Fortunately, the Segovian churchmen had the common sense to leave their architect alone in most artistic matters and allow him to make the head of the church either "octagonal, hexagonal, or of square form." Where Salamanca has been coarsened by the new style, Segovia seems inspired by its fidelity to the old. The similarity of the two churches is visible throughout. The general interior arrangements are much alike. The stone of the two interiors is of nearly the same color, and the formation and details of the great piers are strikingly similar. There is the same thin, reed-like descent of shafts from upper ribs, the same, almost inconspicuous, small leaves for caps, and, in both, the bases terminate at different heights above the huge common drum, which is some three feet high. Externally, there are analogous buttresses, crestings, pinnacles and parapets, and a concealment of roof structure, but there is none of the vanity of Salamanca in the sister church of Segovia. The last great Gothic church of Spain, though deficient in many ways, was not lacking in unity nor sincerity. The flame went out in a magnificent blaze.