The old cathedral was torn down in November, 1520, and it was not until June, 1525, that the bishop, who had made a patriotic appeal to all Spaniards in behalf of the church funds, laid the first stone of the new edifice. Thirty years later the building was consecrated. Nowhere else can a church be found which is a more thorough expression of a city's fervour and enthusiasm. It was as though the sacrilegious act of the enraged mob reacted on the penitent minds of the calmed citizens, for rich and poor alike gave their alms to the cathedral chapter. Jewels were sold, donations came from abroad, feudal lords gave whole villages to the church, and the poor men, the workmen, and the peasants gave their pennies. Daily processions arrived at Santa Clara, then used as cathedral church, from all parts of the diocese. To-day they were composed of tradesmen, of _Zünfte_, who gave their offerings of a few pounds; to-morrow a village would bring in a cartload of stone, of mortar, of wood, etc. On holidays and Sundays the repentant citizens, instead of amusing themselves at the dance or bull-fight, carted materials for their new cathedral's erection, and all this they did of their own free will. [Illustration: SEGOVIA CATHEDRAL] The act of consecrating the finished building constituted a grand holiday. The long aqueduct was illuminated from top to bottom, as was also the cathedral tower, and every house in the city. During a week the holiday-making lasted with open-air amusements for the poor and banquets for the rich. The date of the construction of the new building was contemporaneous with that of Salamanca, and the architect was, to a certain extent, the same. It is not strange, therefore, that both should resemble each other in their general disposition. What is more, the construction in both churches was begun at the foot (west), and not in the east, as is generally the case. The oldest part of the building is consequently the western front, classic in its outline, but showing among its ogival details both the symmetry and triangular pediment of Renaissance art. The tower, higher than that of Sevilla, and broader than that of Toledo, is simple in its structure; it is Byzantine, and does not lack a certain _cachet_ of elegance; the first body is surmounted by a dome, upon which rises the second,--smaller, and also crowned by a cupola. The tower was twice struck by lightning and partly ruined in 1620; it was rebuilt in 1825, and a lightning conductor replaced the cross of the spire. Though consecrated, as has been said, in 1558, the new temple was by no means finished: the transept and the eastern end were still to be built. The latter was finished prior to 1580, and in 1615 the Renaissance dome which surmounts the _croisée_ was erected by an artist-architect, who evidently was incapable of giving it a true Gothic appearance.