San Vicente of Avila (Plate 13) is another admirable example of the Romanesque churches. The nave, with its triforium and clerestory, is in a pure Romanesque style; while the transept, choir, and three semicircular apses are in the Transition style. Though the building was begun in the twelfth century it was not finished until three hundred years later, and for this reason it shows a more advanced art. M. Marcel Dieulafoy holds it to be “the most beautiful specimen and the purest example of Burgundian architecture in Spain.” The west portal (Plate 14) is decorated with admirable statuettes in terra-cotta, unfortunately much mutilated, whose style recalls that of St. Landre of Avallon. Very curious are the heads of bulls, decorating the base of the pilaster by which the tympanum is sustained. Here the analogy with the bicephalous capitals of the Achemenide is very marked. Romanesque churches are found in other provinces of Spain. One of the most ancient is San Pedro of Huesca, which was begun in the eleventh century and consecrated in 1241. The church is roofed with barrel vaulting, and terminates in three semicircular apses. It contains many sculptures characteristic of this period. The cloisters of the Cathedral of Gerona, and those of the Monastery of Santo Domingo at Silos, and of San Pedro, and the churches of Santa Maria and Santiago at Corunna, are additional examples of the same style. The Cathedral of Zamora (Plate 15) is a more important edifice. This ancient city had in succession two French archbishops--Bernard and Jerome de Perigneaux. It is probable that the church was erected during the episcopate of Jerome, who died in 1126. It was consecrated in 1174, as is now known from that date discovered in an old epitaph during the restoration in the eighteenth century. This makes impossible the old belief that the church was built by Bernard de Perigneaux. M. Marcel Dieulafoy believes that it is the work of an Aquitaine architect. Both the exterior of the building, with its square tower, graceful cupolas, richly decorated, and the interior are interesting, with a character very rare in Spain. Of the carvings of this church M. Marcel Dieulafoy writes: “From the sculptural point of view I would signalise in the portal, the corinthian columns and niches, which both seem to come down from a monument of the decadence of the Roman age. One will notably remark the busts, bezel set in a sort of window, which has been seen in the monuments of Roman Gaul, on the northern slope of the Pyrenees, and which became a most common feature in the architecture of the Spanish renaissance; also the laurelled flying-arch, and the bas-relief of the spandril which crowns the busts.”