The cathedral suffered the devastating effects of the Lisbon earthquake, which occurred on November 1, 1755, leaving visible signs in the cracks and broken stained glass windows.

After the earthquake, the dome had to be rebuilt (by Juan de Sagarvinaga) and the bell tower had to be reinforced, which was more slender, very similar to that of the Cathedral of Segovia.

After consulting several architects who recommended its demolition, it was finally Baltasar Dreveton who proposed to strap it with 8 taut chains and line it with stone in the form of a slope reaching up to the body of bells (about 40 meters from the ground).

This fact has caused that the best known photos of the cathedral are taken from this side, making us forget the main facade, much more interesting but located in a narrow street and without enough width to get good pictures.

The triforium, typical of buildings from the late Romanesque period, is replaced by two tribunes running around the perimeter of the cathedral and at two heights, allowing the aisles to be raised even higher.

The original dome was erected by Joaquín de Churriguera when the works were resumed, after being stopped for almost the entire 17th century, due to lack of budget.

The earthquake of Lisbon in 1755 cracked the central dome and replaced it with another Neoclassical one made by the architect Juan de Sagarvinaga, which is the one that can be seen today.

The Main Chapel has a rectangular plan, covered by starred vault with the same design as the rest of those of the central nave, but with the peculiarity that it is angled and polychrome.

On the ashlar wall there is a crimson velvet canopy and drop on which appears an image of the Virgin of the Assumption by Esteban de Rueda from 1624, polychromed by Antonio González.

On the entablature that crowns the walls of the presbytery appear the image of Religion, angels and Church Fathers from the disappeared altarpiece.

The New Cathedral of Salamanca has two organs: They were designed with a single model, with the front corresponding to the part reserved for the altar or altarpiece, opening in the other walls arcosolios originally intended for burials.

It highlights the tomb of Canon Diego de Neyla, who died in 1577, a Renaissance work that incorporates a panel with the Virgin, the Child and San Juanito, surrounded by angels and God the Father.

It takes its name from a dispute between a Christian and a Jew in which he witnessed the image of the Virgin, from the 12th century re-carved and polychrome in the Baroque, with a slight head movement.

It presents altarpiece and titular image work of local artists in the 18th century, with a canvas of the Magdalena copy of the original of Alessandro Allori, located in the attic.

This chapel houses the Romanesque image of the Christ of the Battles, of flesh color and with four nails, which must be dated in the first half of the 12th century.

The altarpiece that houses the Christ is a work of the first half of the 18th century made by Alberto de Churriguera and donated by the bishop José Sancho Granado in 1734.

Also found in the chapel are an urn with the remains of Bishop Jerome and an image of the Virgin of Carmel by Antonio de Paz.

It presents a Baroque altarpiece of rocaille reminiscent of the Portuguese style, with a fine image of St. Joseph with Child and paintings of St. John, the Magdalene and Santiago Matamoros.

The altarpiece, of Neoclassical style and designed by Juan de Sagarvinaga, is crowned by an image of God the Father and angels that could be from Carmona.

Its polychrome and the serenity of the Virgin's face announce the arrival of Neoclassicism, while the anatomy of the naked Christ is heir to the Baroque.

It parades in Holy Week in Salamanca with the Hermandad Dominicana del Santísimo Cristo de la Buena Muerte.

It presents two altarpieces: a Baroque one dedicated to St. Nicholas of Bari, crowned by a painting of the Virgin with the sleeping Child, and another neoclassical one with a carving of the Immaculate Conception, attributed to Alejandro Carnicero.

In the altarpiece stands out the canvas of Christ and the Veronica, work of Carlo Maratta, and the oval painting of the penitent Magdalene, by Romanelli.

In the arcosolios of the back there are two Neapolitan paintings with the Slaughter of the Innocents and the Expulsion of the merchants from the Temple attributed to Micco Spadaro.

Also found in the chapel are the Virgin of Bethlehem, attributed to "La Roldana", and a bust of Ecce Homo by Pedro Hernández of the 17th century, from the disappeared Church of San Adrián of Salamanca.

However, during the 18th century, two elements were added that broke with the showy form with the predominant style of the building: a Baroque cupola on the crossing and the final stages of the bell tower (92 m).