GOTHIC ARCHITECTURE IN SPAIN Although Gothic seems to have been introduced into Spain from the south of France by Cistercian monks whose work is shown in the monastery of Poblet (early 13th century), national characteristics were swift in their development. These consist of a tendency toward reducing window sizes, increasing the height of the pier arcades and omitting the triforium, and a love of large scale and lavish ornament, in the use of which Moorish ideas are obvious (as in the contrasting of plain wall surface with rich, concentrated decoration and the tendency to elaborate door com positions until they fill large areas). The cathedrals of Burgos (begun 1221), Leon (1204-1303) and Toledo (begun 12 2 7) all adhere faithfully to French detail, yet the effect both inside and out, except in the case of Leon, is non-French. Flat roofs, rugged masonry and large wall surfaces change the exterior effect, and on the interior, the relatively small size of windows, the great widths of bays and the lowness of the nave vault give charac teristically Spanish effects. Even the spires of Burgos though designed by a German architect (Juan de Colonia) in a strictly German style have this Spanish feeling. It was in Cata lonia that this feeling achieved its most congenial expression, as in the cathedral of Barcelona (1298) by Jaime Fabre, an archi tect of great genius from Majorca, Sta. Maria del Mar, Barce lona (1329), and the nave of Gerona cathedral (begun 1417)• All of these are distinguished by tremendous scale and the sub division of one bay of nave and aisles into two or more chapels at the sides. The two first examples are modified hall type churches. The nave of Gerona cathedral spans in one great sweep (73 ft.) the entire width of the earlier nave and aisles of the choir; it is thus the widest Gothic vault in Europe, and its great size and simple wall surfaces give an effect of striking grandeur.
In the flamboyant work further south, the Moorish influence of the many columned mosques is obvious. The effect of such a plan as that of the old cathedral at Saragossa (15th century), or of Seville (begun 1412) is not of the simple cross plan of north Europe, but rather that of a great rectangular hall with a be wildering succession of piers. Again the love of great scale is evident; Seville is the largest Gothic church in the world. It is in exterior detail that the Moorish influence showed most strongly and developed that peculiar blend of Moorish and, Christian forms known as Mudejar, in which Moorish brick panels simulate Gothic forms, as in the tower at Saragossa (1504) . The exuberant character of the flamboyant work in the Iberian peninsula achieved an amazing climax in the two monasteries of Batalha and Belem in Portugal. At Batalha a tomb chapel, never com pleted, was added in 15oo to the early 15th century monastery. In this there occurs a unique lavishness of massy ornament. Some find in it the influence of Indian forms (see INDIAN ARCHITEC