History of mediæval art . emain arches that it is plain they were originally intended as theapertures of a triforium. While the cross-vaults above the side aisles of the last-mentionedchurch display the influences of Auvergne and Toulouse, the mostprominent monument of the Romanic style in Spain is an absolutecopy of a French edifice. This is the celebrated resort of pilgrims,the Church of Santiago of Compostella in Galicia {Fig. 232), erected 37& ARCHITECTURE OF THE ROMANIC EPOCH. during the century preceding 1188, which is so like the Church ofSt. Sernin in Toulouse, built between 1060 and 1

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History of mediæval art . emain arches that it is plain they were originally intended as theapertures of a triforium. While the cross-vaults above the side aisles of the last-mentionedchurch display the influences of Auvergne and Toulouse, the mostprominent monument of the Romanic style in Spain is an absolutecopy of a French edifice. This is the celebrated resort of pilgrims,the Church of Santiago of Compostella in Galicia {Fig. 232), erected 37& ARCHITECTURE OF THE ROMANIC EPOCH. during the century preceding 1188, which is so like the Church ofSt. Sernin in Toulouse, built between 1060 and 1096, that the directtransference of the French design is evident beyond a doubt. Thisis not contradicted by the fact that the body of the church in San-tiago is one compartment shorter than in St. Sernin, and the transeptas much longer, or that the five aisles of the French building havehere been reduced to three. Without this influence the dimensionsof the transept, which had no parallel in Spain, would be inexplica-.

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