The structure was finished, and the first offices celebrated, on the eve of Corpus Christi, 1570, in the time of the fourteenth Bishop, Fr.

The eighteenth century saw the reconstruction and refurbishment of the cathedral after the Bishop, controlling a large tithe surplus, decided to commence work, overseen by Dean D. Geronimo Roos.

Eduardo's plans were submitted to the St Ferdinand Academy of Madrid, who retained the original drawings, and returned copies for the commencement of the work itself.

On the octagon, there is a circle of deeply cut classicizing mouldings from which rise columns circular in plan.

These columns are finely moulded; four bold circular rolls at the cardinal sides; between each are three fluted members.

These columns are banded twice with a very rich and effective moulding, combining a cable, with a row of ball-flowers above it; below, a deeply cut chevron, pointing downwards.

As is frequently the case in Spain, a mass of sacristy and the "panteon" are attached to the east end, which has therefore no constructive architectural feature.

Only the eastern part is finished, in which the sacristy has a somewhat grand, though false, apsidal look, with very lofty columns and recesses; the northern and southern fronts of the transepts were to have been masked by huge, soaring, and deep portals, and the western facade was to have been resolved into a Corinthian arcade, with flanking campaniles.

It consisted of a centre gable for the nave, flanked by two octagonal Italian Romanesque campaniles.

Externally, the window-arches—there is one, of course, in each bay of the aisles—are moulded with a single bold roll imposed upon a shaft, with a good base and capital.

The rest of the exterior is classicized;; the cimborium, or dome over the cross, is very mean; its curtailment was another of the poor architect's death-blows; and the rest consists of the usual vases, flower-wreaths, knobs, pots and pans, and spikes, and scent bottles of so-called Italian art.

Eduardo's elevation is still preserved; but inquiries were made in vain for any memorial drawing of the church before the eighteenth century.

In the westernmost chapel of the south aisle is the gigantic St.Christopher, the unfailing accompaniment of so many Spanish churches; here is also a door leading to a pretty semi-Moorish wooden cloister, somewhat too domestic and patio-like in effect; above this are the library and chapter-house, common-place Italian rooms.

The sacristy has a very remarkable stone floor, 40 square feet (3.7 m2), which is cunningly jointed and dovetailed; how it is supported without piers, or girders, for vaulting, the under surface being entirely horizontal, is a crux to the Canarians and others.

A pax of Italian enamel is worth attention; and in the sacrarium, capilla mayor, is suspended a lamp of Genoese work—the offering of Bishop Ximenes, (1005–1690).

The clerestory windows, and those of the cimborium, are basely filled with circular patches of plain coloured glass.