It was during the long and exhausting endeavours of the Castilian Kings to expel the Moors from Spain, that gold and treasure was paid into the coffers of the Chapter for the cost of erecting the marvellous Cathedral of Seville. Bishops, deans and clergy forfeited one half of their stipends to meet the heavy charges of architects, artists, stained glass designers, masons, carvers, and innumerable craftsmen and labourers. An army of artists and mechanics was employed upon the vast work. During the century of construction, the Catholic kings who resided in the Alcázar, showed great interest in the undertaking, while the noble families subscribed liberally towards the cost, and the poor gave of their slender store of pesetas. The exterior of the Cathedral is a type of the finest Spanish Gothic architecture, though the incorporated Giralda Tower is distinctly Morisco, and much older in style. Within the consecrated precincts, we may see traces of the _Mudéjar_ handicraftsmen amid early Gothic and Renaissance architectural details. The Cathedral consecrated ground contains within its confines the Moorish Patio de los Naranjas, the high minaret, the Columbus Library, offices of the Chapter, and the Church of the Sagrario. There are nine doors to the Cathedral proper, and a gateway with doors, leading to the Patio de los Naranjas, or Court of the Oranges. THE EXTERIOR OF THE CATHEDRAL. From the Calle del Gran Capitan, on the west side of the Cathedral, one may gain a conception of the extent and the magnificence of the building. It is best to begin our inspection of the doors from this side. Here we shall find three entrances, or _puertas_. The chief door is in the centre. It is elaborately decorated, and is in fine preservation. Thirty-two figures stand in niches. Over the door is a beautiful relief of the Assumption by Ricardo Bellver. [Illustration: Puerta Mayor. THE CENTRAL DOOR OF THE CATHEDRAL] Puerta del Bautismo, or San Juan, is embellished with sculptures by Pedro Millan, which deserve careful inspection. The third doorway is the Puerta del Nacimiento, or San Miguel. This is also adorned by the sculpture of Pedro Millan. The upper part of the Cathedral viewed from this side is not of much beauty. It is modern, dating from 1827. [Illustration: Pinnacle of the Cathedral] At the south side of the Cathedral is the Puerta de San Cristóbal, or de la Lonja, added by Casanova in 1887. As we make the circuit of the edifice, we shall see the turrets and numerous pinnacles of the roof. The effect is impressive and bewildering. Centuries of labour are here represented in noble form and beauty of outline. The flying buttresses are especially graceful and the great dome is majestic in its proportions. Cean Bermudez compares the Cathedral with 'a high-pooped and beflagged ship, rising over the sea with harmonious grouping of sails, pennons and banners.'