Of the square tower and the principal entrance no remarks need be made, for both are insignificant. The _retablo_ of the high altar has been attributed to Foment, who constructed those of Saragosse and Huesca. The attribution is, however, most doubtful, as shown by the completely different styles employed by the artist of each. Not that the _retablo_ in the Church of Santo Domingo is inferior to Foment's masterworks in Aragon, but the decorative motives of the flanking columns and low reliefs would prove--in case they had been executed by the Aragonese Foment--a departure from the latter's classic style. In one of the niches of the cloister, in a simple urn, lies the heart of Don Enrique, second King of Castile of that name, the half-brother (one of the bastards mentioned in a previous chapter and from whom all later Spanish monarchs are descended) of Peter the Cruel. The latter was murdered by his fond relative, who usurped the throne. _Logroño._--In 1435 Santa Maria la Redonda was raised to a suffragan church of Santo Domingo de la Calzada; about this date the old building must have been almost entirely torn down, as the ogival arches of the nave are of the fifteenth century; so also are the lower windows which, on the west, flank the southern door. Excepting these few remains, nothing can bring to the tourist's mind the fifteenth-century edifice, and not a single stone can recall the twelfth-century church. For the remaining parts of the building are of the sixteenth, seventeenth, and successive centuries, and to-day the interior is being enlarged so as to make room for the see which is to be removed here from Santo Domingo and Calahorra. [Illustration: SANTA MARIA LA REDONDA, LOGROÑO] The interior is Roman cruciform with a high and airy central nave, in which stands the choir, and on each hand a rather dark aisle of much smaller dimensions. The _trascoro_ is the only peculiarity possessed by this church. It is large and circular, closed by an immense vaulting which turns it into a chapel separated from the rest of the church (compare with the Church of the Pillar of Saragosse). True to the grotesque style to which it belongs, the whole surface of walls and vault is covered with paintings, the former apparently in oil, the latter frescoes. Vixés painted them in the theatrical style of the eighteenth century. From the outside, the regular features of the church please the eye in spite of the evident signs of artistic decadence. The two towers, high and slender, are among the best produced by the period of decadence in Spain which followed upon Herrero's severe style, if only the uppermost body lacked the circular linterna which makes the spire top-heavy.