The Cathedral of Seville is undoubtedly one of the largest, handsomest and richest Gothic churches in Christendom, and was once a veritable museum of works of art. An old saying groups the chief churches of Spain together as "_Toledo la rica, Salamanca la fuerte, Leon la bella, Oviedo la sacra, e Sevilla la grande_." It originally contained some very beautiful _rejas_, including two famous ones by Sancho Muñoz; but these with many other art treasures, were destroyed by the twice falling of the dome, first in 1511 and again in 1888, due to earthquake shocks. The three chapel screens shown in our illustrations (Plates XX., XXI., and page 41) remain, however, to show how rich in iron work this Cathedral originally must have been. The names of the artists of these screens are not certainly known. The "Altar de la Gamba," shown in Plate XX., derives its curious name, "The Altar of the Leg," from the finely painted leg of Adam in the picture which adorns the shrine, representing our first parents adoring the Virgin. The Cathedral of Barcelona, one of the noblest creations of Spanish Gothic, stands upon the highest point of the ancient city, on a site originally occupied by a Roman temple and later by a Moorish mosque. On the southwest the cathedral is adjoined by magnificent Gothic cloisters, finished in 1448. Along the northwest side of these cloisters is a row of chapels, placed back to back with the chapels of the southwest aisle of the church. The entrances to these chapels are closed by iron grilles of simple but dignified design. One of them is shown in our illustration (Plate XXII.). Although the cathedral of Avila was commenced in 1091 its general character is that of the end of the twelfth or early part of the thirteenth century, though the solemn and dignified interior is designed in a style of a later date. Besides the beautiful _reja_ here shown (Plate XXIII.), which divides the high altar from the church proper, it contains a fine iron pulpit (page 47.) [Illustration: PLATE XXII CLOISTER SCREEN, BARCELONA CATHEDRAL] Iron pulpits, so rare elsewhere, have been made in Spain with great success. The one here illustrated shows a mixture of Gothic and Renaissance detail, but the whole is of contemporary workmanship, and presents an interesting example of the transitional style. The primitive method of working through thin plates superimposed to form tracery is here adhered to, and the whole is applied to a wooden framework. The pulpit was originally gilt. It dates from the end of the fifteenth century, and shows the influence of the Flemish masters who at about that period set so many fashions in Burgos and its vicinity. The wrought-iron screen (shown on page 47), now preserved in the collection of the Louvre, belongs to the same time, and is of the same style of workmanship. [Illustration: SCREEN, ZAPORTA CHAPEL CHURCH OF LA SEO, SARAGOSSA]