The church--dedicated to the three martyrs, Vicente, Sabina, and Cristeta, who are said to have suffered on the rock still visible in the crypt below the eastern apse--is cruciform in plan,[176] with three eastern apses, a central lantern, a nave and aisles of six bays in length, two western steeples with a lofty porch between them, and a great open cloister along the whole south side of the nave. The south door is in the bay next but one to the transept, and there are staircase turrets in the angles between the aisles and the transepts. The design and detail of the eastern apses recall to mind the Segovian type of apse. Their detail as well as their general design are, in fact, as nearly as possible identical, and no doubt they are the work of the same school of late Romanesque architects. They are very lofty, the ground being so much below the floor of the church that the windows of a crypt under the choir are pierced in the wall above the plinth. They have, too, the usual engaged shafts between the windows, dividing each apse into three vertical compartments, each pierced with a round-headed window. These shafts are finished with finely carved capitals under the eaves’ corbel-tables; and the stringcourses which occur below the windows, on a level with their capitals, and again just over their arches, are generally delicately carved, but sometimes moulded. The central apse is higher than those on either side, and consequently none of the horizontal lines are continuous round the three apses; and as the eastern walls of the transepts have no openings, and no stringcourses or enrichments of any kind between the ground and the eaves, there is a certain air of disjointedness in the whole design which is not pleasing. The transept façades are very simple: both are pierced with windows of one light high up in the wall, and the northern transept is vigorously treated with a grand system of buttressing, used as mediæval artists alone apparently knew how! The buttresses are mere pilasters at the top, and the eaves-cornices are carried round them and up the flat-pitched gable-line in the way so commonly seen in Italian Gothic. But at mid-height these pilasters are weathered out boldly, and run down to the natural rock on which the church is built, and which here crops up above the surface of the ground: a central buttress is added between the others, and between the buttresses the whole wall is battered out with a long succession of weatherings to the same thickness at the base as the greatest projection of the buttresses. Probably the lower part of this front has been added long after its first erection for the sake of strength; and undoubtedly the somewhat similar system of buttressing which is carried along the north wall of the nave is long subsequent in date to the early church, to which it has been applied. The south transept, owing to the rapid rise of the ground to the south, is much