Summary: The books are divided in chapters that start in the center, with the Cathedral as the starting point of a spiral. This permits us to travel through the city and see its patrimony in panoramic form, maintaining a unified aesthetic, and at the same time discover its common elements. For the first time we have in these two volumes charged with art, a global vision which we may call "The Toledo Style". Many books about monumental cities exist, but here we are offered a unique opportunity to apreciate the interiors and art of Toledo. A city with imposing but unpretentious architecture hiding behind its thick, sober and severe walls, astonishing artistic treasures in its temples, monasteries, convents, palaces, and houses. We have to draw attention to the great effort on behalf of the brotherhoods and sisterhoods in the monasteries and convents, who with the small means within their reach, do marvels to preserve our common human heritage. Their offer to open their houses to us has allowed us to deepen our knowledge of the history of art. As it is impossible to include all the wonders that exist in Toledo, with its 21 convents and 20 churches, apart from other important buildings, we have selected in the category painting for example, the most relevant painters, without excluding those artists less known, who contribute to a better understanding of what makes this city such a unique place, and permits us to get an idea as to the size of the heritage still to discover, preserve and apreciate. In 681 Toledo became the seat of the catholic church of Spain. It acquired a dynamic that ruled artistic expression at a religious level which is so clearly reflected in these books. The three monotheistic religions, Judaism, Islam and Christianity, find their pinnacle here, and even if history shows permanent conflict, it is through art that their spiritual essence takes us to the conclusion that art chooses no sides in expressing beauty. The artistic fusion of Hispanic, Roman, Visigothic, Islamic, fFemish and Italian architecture and construction techniques, reveal complex stylistic and timeline layers so characteristic of the city. A spectacular example in the Cathedral is the "Transparente" (f.1729 -1732) by Narciso, Andrés & Diego Tomé. The exhuberant masterpiece of the spanish baroque period swirls like metaphysical magma over the gothic apse of the choir. This shocking lyricism allows us to forgive the artists for having destroyed the magnificent gothic works in their wake.

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