On April 13, 1902, the Giraldo tower (seen to the left of the facade in early photographs) collapsed after a direct lightning strike which also destroyed much of the facade. Several children were killed. Initial restoration of the facade was done in the neo-Gothic style. There are plans to restore the destroyed sections. Romanesque features of the cathedral date from its origins in the late Romanesque period. Characteristic of the Romanesque style, there were initially five staggered apses, a single transept and three naves in the main body of the building. 13th century developments include the clerestory, with moulded windows, statues of angels and an oculus. The Anglo-Norman architectural influence can be seen, among other places, in the cathedral's sexpartite rib vaulting. The temple is of great dimensions, has a length of 120 meters and 36 meters of height, in its internal central area, occupying an area of 10,000 square meters. In the 15th century, the eastern end was rebuilt to create a double ambulatory. In the 17th century, the cathedral chapter retained architect Ventura Rodríguez to build the altar of Saint Julian, also known as "el Transparente" for the stained glass illuminating and decorating the background of the altarpiece. It rivalled altarpieces with similar features by Narciso Tomé in Toledo Cathedral. A new altar was built in the eighteenth century, with altarpiece statues by Italian sculptor Pasquale Bocciardo. The collapse of Giraldo tower in 1902 caused widespread damage to the cathedral. The reconstruction of the facade by architect Vicente Lampérez, completed in 1910, partially repaired the damage. Most recently, the 16th century cloister has been fully restored. The iconography of Cuenca Cathedral is largely fantastical, with mythological and human figures interspersed amongst plant leaves, stems, fruits and meandering streams. Cuenca Cathedral is distinguished from many other cathedrals by sculptures representing animals unknown to the West, such as the armadillo, puffer fish or turtle, in its Gothic arches dating from the late 15th century, a period in the history of its construction that coincided with the European colonization of the Americas after 1492. From readings of the Book of Revelation and the "Centuries" in "Les Propheties" by Nostradamus, the scholar and architect Rodrigo de Luz concluded that the Holy Grail was saved and preserved in this cathedral.