The principal façade on the west side is composed of three doors, diversely named _del Infierno_ or _de la Torre_; _del Perdon_, and _de Escribanos_ or _del Juicio_. The middle door is the Pardon, the largest and richest of the three. It forms a magnificent arch, covered with Gothic ornaments and figures, and is divided in two smaller arches by a column on which rests the figure of Christ, while above are twelve statues of the apostles. In the centre of the arch a fine bas-relief represents the Virgin in the act of bestowing the chasuble on St Ildefonso, who is kneeling at her feet. It is an imposing specimen of Renaissance work. Amador de los Rios complains that there is too much of the stiffness of Dürer in the studied attitudes, while Antonio Ponz remarks that the statues and the folds have that excellence and largeness of treatment so often lacking even in the best Renaissance work. The two other doors on either side are smaller and of equal size. They are formed of a single, undivided arch, delicately sculptured, rich in figures of angels and patriarchs in mediæval costume, which belong to a later date than the principal work. Seven steps lead down to the church, and above the arch of the _Torre_ is a painting of the Resurrection of some merit, and above the _Escribanos_ is a long inscription commemorating the taking of Granada by the Catholic sovereigns, Cardinal Mendoza being then archbishop of the Cathedral, and the expulsion of the Jews from the kingdoms of Castille, Aragon, and Sicily. Over the _Pardon_ is a splendid rose window, with glazed arcade beneath. The façade was restored, and not too well, by Durango, a Toledan artist, during the last century. The little square towers that separate the doors are chiselled like jewels, but the effect of the whole is perhaps effaced by the more insistent beauty of the great tower.