The date when the erection of the cathedral church of Avila was begun is utterly unknown. According to a pious legend, it was founded by the third bishop, Don Pedro, who, being anxious to erect a temple worthy of his dignity, undertook a long pilgrimage to foreign countries in search of arms, and returned to his see in 1091. Sixteen years later, according to the same tradition, the present cathedral was essentially completed, a bold statement that cannot be accepted because in manifest contradiction with the build of the church. According to Señor Quadrado, the oldest part of the building, the apse, was probably erected toward the end of the twelfth century. It is a massive, almost windowless, semicircular body, its bare walls unsupported by buttresses, and every inch of it like the corner-tower of a castle wall, crenelated and flat-topped. The same author opines that the transept, a handsome, broad, and airy ogival nave, dates from the fourteenth century, whereas the western front of the church is of a much more recent date. Be that as it may, the fact is that the cathedral of Avila, seen from the east, west, or north, is a fortress building, a huge, unwieldy and anti-artistic composition of Romanesque, Gothic, and other elements. The western front, with its heavy tower to the north, and the lack of such to the south, appears more gloomy than ever on account of the obscure colour of the stone; the façade above the portal is of one of the most peculiar of artistic conceptions ever imagined; above the first body or the pointed arch which crowns the portal comes the second body, divided from the former by a straight line, which supports eight columns flanking seven niches; on the top of this unlucky part comes an ogival window. The whole façade is narrow--one door--and high. The effect is disastrous: an unnecessary contortion or misplacement of vertical, horizontal, slanting, and circular lines. The tower is flanked at the angles by two rims of stone, the edges of which are cut into _bolas_ (balls). If this shows certain _Mudejar_ taste, so, also, do the geometrical designs carved in relief against a background, as seen in the arabesques above the upper windows. The northern portal, excepting the upper arch, which is but slightly curved and almost horizontal, and weighs down the ogival arches, is far better as regards the artist's conception of beauty; the stone carving is also of a better class. Returning to the interior of the building, preferably by the transept, the handsomest part of the church, the spectator perceives a double ambulatory behind the high altar; the latter, as well as the choir, is low, and a fine view is obtained of the ensemble. The central nave, almost twice as high and little broader than the aisles, is crowned by a double triforium of Gothic elegance.