History of mediæval art . considered eligible to the imperial power of the WesternEmpire. At the close of the twelfth century transitional forms had occa-sionally been employed side by side with the Romanic. The cathe-drals of Salamanca, Zamora, and Siguenza, the Church of S. Vicente SPAIN. 583 and others of Avila {Fig. 372), and even the Cathedral of Lerida,built between 1203 and 1278, belong to this class. It seems to havebeen due to the personal influence of Ferdinand III. that throughthe construction of the cathedrals of Burgos and Toledo the Gothicstyle became universally predominant in S
History of mediæval art . considered eligible to the imperial power of the WesternEmpire. At the close of the twelfth century transitional forms had occa-sionally been employed side by side with the Romanic. The cathe-drals of Salamanca, Zamora, and Siguenza, the Church of S. Vicente SPAIN. 583 and others of Avila {Fig. 372), and even the Cathedral of Lerida,built between 1203 and 1278, belong to this class. It seems to havebeen due to the personal influence of Ferdinand III. that throughthe construction of the cathedrals of Burgos and Toledo the Gothicstyle became universally predominant in Spain, being, even in its firstappearance, as perfect as in the contemporary edifices of design of the two structures is referable to about the same pe*riod, the Cathedral of Burgos having been founded in 1221, that ofToledo in 1227; but the latter was completed in a shorter time, andhence has a unity of composition not possessed by that of Burgos,even before the construction of its cupola in 1539. The imposing. Fip\ 372.—Plan oj. S. Vicente at Avila. five-aisled Cathedral of Toledo, in plan an imitation of Notre-Damtof Paris, is 113 m. in length and 57 m. in breadth, while the heightof the nave is 45 m., the building thus covering an area far greaterthan that of the largest French churches. The greater elevation ofthe inner side aisles rendered the introduction of galleries in thenave impossible, but, on the other hand, admitted of triforiums andwindows in these aisles as well as in the nave. This arrangement pro-vided an exceptional number of apertures for lighting the grand in-terior,—the vaults of which are supported upon eighty-eight piers,—and, though somewhat at the expense of the nave, produced a har-mony of the whole not attained by the Cathedral of Paris with itsgloomy side aisles. The unity of style is slightly disturbed by the 584 THE EXTENSION OF GOTHIC ARCHITECTURE. Moorish cusped arches of the triforiums, which the architect mayhave introduced fr
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