less lofty than the other, and has between its buttresses three high tombs. The whole south side of the nave is screened, so to speak, by a very singular lofty and open cloister, which extends from the west wall of the transept to a point in advance of the west front. It is very wide, and is entirely open to the south, having occasional piers, with two clustered shafts between each. There is something at first sight about the look of these clustered shafts which might lead one to suppose them to be not later than the thirteenth century; and as the lofty arches are semi-circular, this idea would be strengthened were it not that a careful comparison of the detail with other known early detail proves pretty clearly that they cannot be earlier than about the middle of the fourteenth century. The material--granite--favours this view, for here, just as in our own country, the early architects seem to have avoided the use of granite as much as possible, even where, as at Avila, it lies about everywhere ready for use. There is something so novel and singular about this open loggia or cloister, that I could not help liking it much, though it undoubtedly destroys the proportions, and conceals some of the detail, of the old church in front of which it has been added. The bays of the aisle are divided by pilaster-buttresses, and lighted with round-headed windows which have external jamb-shafts. The west end is, perhaps, the noblest portion of this very remarkable church. There are two towers placed at the ends of the aisles. These are buttressed at the angles, and arcaded with sunk panels of very considerable height on the outer sides; they are groined with quadripartite vaults, and do not open into the church, but only into the bay between them, which, though it is a continuation of the full height of the nave, is treated simply as a grand open porch, with a lofty pointed arch in its outer (or western) wall, and a double doorway in its eastern wall opening into the church. This porch is roofed with a vault of eight cells, level with that of the nave, and extremely lofty and impressive, therefore, from the exterior, and over the doorway a window opens into the nave. The western, as well as the side arches, have bold engaged shafts, and the groining is also carried on angle shafts. The whole effect is fine, and the light and shade admirable and well contrasted: but the charm of the whole work seemed to me to lie very much in the contrast between the noble simplicity and solid massiveness of the architecture generally, and the marvellous beauty and delicacy of the enrichments of the western doorway, which is certainly one of the very finest transitional works I have ever seen. It is, as will be seen by the engraving, double, with round arches over each division, and the whole enclosed under a larger round arch. Statues of saints are placed in either jamb, and against the central pier in front of the shafts