The most important of the early Romanesque churches is Santiago de Compostella (Plate 7), which was commenced and finished building during the twelfth century. It is a somewhat simplified copy of St. Sernin at Toulouse, and shows in its structure, as well as in its ornaments and sculptures, very clearly marked, the influences of Cluny. This explains the great excellence of the carvings (Plates 8 and 9); works that are surprising at this period when so many figures are still barbaric. The admirable Puerta de las Gloria, which was completed by the carver Maestre Mateo in 1188, after twenty years’ work, is held by Mr. Street to be “one of the greatest glories of Christian art.” It is a vestibule or porch, divided into three sections, which extend across the entire width of the nave. The quadri-partite vaulting of the roof is adorned with elaborate carvings. Still more sumptuous are the carvings of the doorways; one, the double doorway which opens on the nave, has exquisitely delicate carvings. On the shaft dividing the doorway into two is a seated figure of St. James, holding the _burdon_ or pilgrim’s staff; while the shaft itself has carvings of the Tree of Jesse. The shafts in the jambs have figures of the Apostles and Major-Prophets. The main capital above represents the Temptation in the Garden and Angels ministering to Christ. At the back of the middle pillar is a kneeling figure, supposed to be the portrait of Maestre Mateo. Then in the tympanum is a seated figure of Our Lord, with upraised hands; and round Him are the Evangelists and eight angels with the symbols of the Passion, while above are a company of the worshipping elect. The archivolt shows figures of the twenty-four elders of the Apocalypse. The general idea of the subject of the whole doorway is the Appearance of Christ at the Last Judgment, but each of the series of small pictures is in itself an independent work of art. The side doorways which lead into the aisles are equally ornate. The shafts are adorned with figures of the Apostles; above are representations of Purgatory and Hell. All the figures are clearly painted. M. Marcel Dieulafoy does not think, however, that the tones which now show are the original colours, but that during the restoration in the seventeenth century some innovations occurred.