After the Alcazar, the most noteworthy monument in Seville, dating from the reign of Don Pedro, is the church of Omnium Sanctorum. This edifice occupies the site of a Roman temple, and was built by the Cruel King in 1356. It exhibits a very happy combination of the Moorish and Gothic styles. It is entered by three ogival doors, and is divided into three naves. To the left of the façade is a graceful tower, the first storey of which is Moorish, ornamented somewhat after the style of the Giralda. On one of the doors is a shield bearing the arms of Portugal, which, tradition says, commemorates the pious generosity of Diniz, king of that country, when he visited Alfonso the Wise. If the Sevillians have writ their annals true, this goes to prove that an earlier structure than the present must have existed here. This, by the way, was the parish church of Rioja the poet. San Lorenzo exhibits the fusion of the contending styles in an interesting fashion. It has five naves; and the horseshoe windows in its tower were converted into ogives at the time of its adaptation to the Christian cult. The arcades of the naves are ogival in the middle, and become by degrees semi-circular towards the extremities as the roof becomes lower. This church contains the miraculous picture of Nuestra Señora de Rocamadour. Rocamadour, in southern France, was a celebrated shrine of pilgrims in the thirteenth and fourteenth centuries. Several other churches in Seville date from this epoch, and present, to a greater or less extent, evidences of the conflict between the Moorish and Gothic styles. In addition to those mentioned, Madrazo names the following: Santa Marina, San Ildefonso, San Vicente, San Julián, San Esteban, Santa Catalina, San Andrés, San Miguel, San Nicolas, San Martin, San Gil, Santa Lucia, San Pedro, and San Isidoro. When a mosque was converted into a Christian church, the same authority remarks, the horseshoe arch was pointed, bells were placed in the minaret, and the orientation was altered from north to south, to east to west. The five last-named churches were erected in the thirteenth century. Santa Maria de las Nieves was, until the year 1391, a synagogue. The decoration is in the plateresco style, and the doors are Gothic. The church contains a painting by Luis de Vargas, and a picture attributed to Murillo.