division of the apse are chevroned and increased in number, this being the only portion of the early work in which any, beyond transverse and diagonal ribs, are introduced. There is a weakness and want of purpose about the treatment of this highest portion of the wall that seems to make it probable that the work, when it reached this height, had passed out of the hands of the original architect. In the nave the original design (if it was ever completed) has been altered. There is now no trace of the original clerestory and triforium which are still seen in the choir, and in their place the outer aisle has fourteenth century windows of six lights with geometrical tracery, and the clerestory of the nave and transepts great windows, also of six lights, with very elaborate traceries. They have transomes (which in some degree preserve the recollection of the old structural divisions) at the level of the springing of the groining. The groining throughout the greater part of the church seems to be of the original thirteenth century work, with ribs finely moulded, and vaulting cells slightly domical in section. The capitals of the columns are all set in the direction of the arches and ribs they carry, and their abaci and bases are all square in plan." Street is of the opinion, based upon the singular purity of this vigorous specimen of Gothic of the thirteenth century, that the architect must have been French, or at least a Spaniard who had lived for years in France, and studied the best French churches. The architect, we learn, was Pedro Perez, whose name we gather from the Latin epitaph: _Aqui: jacet: Petrus Petri: magister_ _Eclesia: Sete: Marie: Toletani: fama:_ _Per exemplum: pro more_: huic: bona: _Crescit: qui presens: templem: construxit:_ _Et hic quies cit: quod: quia: tan: mire:_ _Fecit_: vili: sentiat: ire: ante: Dei: _Vultum: pro: quo: nil: restat: inultum:_ _Et sibi: sis: merce: qui solus: cuncta:_ _Coherce: obiit: X dias de Novembris:_ _Era: de m: et CCCXXVIII._ (_A.D. 1290_). Street suggests that Petrus Petro may more probably have meant the French Pierre, son of Pierre, than the Spanish translation of Pedro Perez, but putting one uncertainty against another, the Toledans are perfectly right to hold out for their dubious compatriot, Pedro Perez. [Illustration: NORTH TRANSEPT DOOR OF CATHEDRAL]