The statues, once funeral monuments, but now set into the wall of the old Cathedral of Salamanca, are important as being among the most complete examples of the twelfth-century polychrome (Plate 35). The sarcophagus, the reclining figures, and the niches containing them are all painted--red, blue-black, and white being the predominating tints. There are some traces of yellow, probably due, as M. Marcel Dieulafoy suggests, to the sizing used in fixing the gilding; there are also some green tints in the foliage which decorates the arch in one of the tombs. Fortunately these statues have suffered very little from the hand of the restorer. The statue of Diego de Anaya on the tomb in the Capilla de San Bartolomé, to the south of the cloisters, is another work of importance in the same cathedral. It is quite ideal in its treatment. The Cathedral of Tarragona represents the same diversity in its statuary as we have noted in its architectural styles. Thus the statuary of the west façade may be divided into three distinct groups. The first, date about 1278, consists of the beautiful sculptured figures of nine Apostles, placed on the main portal, which were carved by the Catalan artist Maestro Bartolomé (Plate 36). The Apostles and Prophets on the buttresses were executed a century later by Jaime Castayls, another native Catalan carver. They are clumsy and of ordinary character compared with the delicate work of Maestro Bartolomé. The group of the Virgin and Child which is placed above the pillars of the great door is not native work, but comes certainly from France. The author is unknown. The cloisters and portals of the Cathedral of Burgos offer another example of an admirable museum of sculpture. The earlier carvings--such, for instance, as the figures on the Apostles’ door (Plate 37), belonging to the opening years of the thirteenth century--are somewhat stiff and constrained in style and contrast with the graceful ease of the later works of the fourteenth and fifteenth centuries (Plate 38). The special interest of the cloisters is that its carvings are coloured, and fortunately up to the present they have not suffered from restoration (Plates 39-41). The colours are faded, but we can see that the vivid reds and blues, so much loved by the Moorish artists employed by the Christians of this period, were used, as well as a preponderance of gilding. Here, as at Salamanca, the general tone of the colourisation is in the _mudèjar_ style. The cloisters of Pampeluna are in the same style and little inferior to those of Burgos. The statues and bas-reliefs are in stone; the most beautiful, and one of the finest examples left to us from the fourteenth century, is that which represents the Death of the Virgin. Unfortunately the colouring of this piece and of all the statues at Pampeluna has been ruined by restoration.