The interior has an aisle and chapels around the apse, following the French rather than the Spanish school. The details, however, are entirely Catalonian. The arches are narrow, but extremely beautiful. The capitals of the fluted pillars are small, delicate, and refined, and the groining of the roof is carried up in exquisite lines. Beyond the main arches is a small arcaded triforium, and above this a circular window to each bay.
The dark stone is rich, solemn and magnificent in effect. Owing to the clever placing of the windows and the prevalence of stained glass, a semi-obscurity for ever reigns: not so great as that of Gerona, but so far dim and religious that only when the sun is full on the south windows can many of the details be seen.
The Coro, forming part of the plan of the building, is less aggressive than in many of the Spanish cathedrals. The stalls are of great delicacy and refinement; the Bishop's throne, which has been compared to that of Winchester, is large and magnificent, taking its proper position at the east end of the choir. The pulpit at the north corner, and the staircase leading to it, are marvels of exquisite wood-carving and rare old ironwork. The canopies are delicately wrought, and the _misereres_ ornamented with fine foliage. Upwards, the eye is arrested by the beauty of the surrounding fluted pillars, on which rest the main arches of the nave. These cut and intersect the pointed arches of the deep galleries beyond, placed above the side chapels, of which there are an immense number. Turn which way you will, it is nothing but a long view of receding aisles, arches, and columns free or partly hidden by some lovely pillar; windows of the deepest, richest colours ever seen; mysterious recesses where daylight never penetrates; a subdued tone of infinite refinement; a solemn repose and sense of unbroken harmony.
[Illustration: TWILIGHT IN BARCELONA CATHEDRAL]
A little to the right the eye rests on the great organ, filling up one of the deep dark galleries. Its immense swinging shutters are open, exposing silvery pipes. The organist is at his post, but only for recreation, for it is not the hour of service. Soft, sweet music breathes and vibrates through the aisles, dies away in dim recesses, floats out of existence in the high vaulting of the roof; but the sense of repose is never disturbed. Sitting in a quiet corner of the stalls, amidst all this beauty of tone and outline, one feels in Paradise.