Interior

Altar Mayor
Established in the year 1337 by Bishop Abella Ferrer (1335-1344), the altar is three meters in length and is made of white marble and is supported by the two capitals of the early sixth century Visigothic temple. At the bottom and halfway up the central columns there can be seen the image of the Exaltation of the Cross surrounded by six angels completed by the sculptor Frederick Mares in 1976 and at its bottom is located the chair that was carved in the mid XIV in alabaster wood in 1967 and is on the crest of Archbishop Cardinal Ricard Maria Carles Gordo i (1990-2004).

Until 1976 this place was a Gothic altarpiece of the fourteenth century, the architectural – ornamentanda crest of a structure without paintings or sculptures – of gilded wood. To adapt the presbytery to the guidelines of Vatican II it was removed and now can be seen in the nearby parish of St. James on Calle Ferran.

Windows

The stained glass windows, are regarded as a characteristic of the Gothic style, with large windows opening to step outside in light.  The buildings had thick walls and openings, with exceptions such as the Cathedral of Augsburg in the year 1100 with pictures of the gothic precursors.
Vaults of the cathedral.

The windows in the Gothic cathedral are all designed with the same pattern of three streets.  The central image is of the holder and the sides have geometric motifs that frame shields, cities, angels, etc.  The stained glass can be divided into three parts:

The first, dating from the years 1317 – 1334 was designed by the bishop’s coat of Ponc Gualb, which emerges from the window of the Santa Cruz and Santa Eulalia and picks up all the windows of the head on the radial chapels.

The second stage designed around the year 1400 are the ends of the apse: San Andreas with the coats of Bishop Armengol year 1398/1408, and the San Antonio Abad, by Nicolau de Maraya in the years 1405/1407.

The third group or stage was designed in the fifteenth century (1495), and is the glass window of St. Michael the archangel and the principal.  This is in the chapel of the Baptistery, and included Gil de Fontanet cartoons drawn by Bartolome Bermejo.  You can read from the bottom of the window that it is the Noli me tangere.

Made in the twentieth century, are those in the triforium at the foot of the temple. These are represented by St. James, San Antonio Abad, San Alejandro and Santa Joaquina Vedruna, paid for by the City Council Barcelona to San Severo, San Jose Oriol, San Measure and San Vicente Ferrer, Our Lady of the Angels and San Bartolome, funded by Bartomeu Barba, governor of Barcelona, Nuestra Senora del Busto and San Gregorio, with the shield of Bishop Gregorio Modrego, etc.

Vault keys

The restoration was carried out in 1970 and discovered the great vault had passages that  had gone dark.

The cathedral has a total of 215 keys, with the main hall being two meters in diameter and weighing 5 tons.
Eternal Father Pere Johan.

The keys to the vault starting with the central prebisterio are:

Christ Crucified between the Virgin and Saint John with the symbols of the sun and the moon.
Santa Eulalia and the white coat of Anjou, wife of James II from 1320.
Our Lady of Mercy, welcoming in his cloak, to one side, a pope, a king, a cardinal, a bishop and a canon.  On the other side the queen, a religious figure, and a female, 1379.
The Annunciation. The Virgin with the Archangel St. Gabriel, 1379.
A bishop with deacons is believed to be the bishop Planella Pere (1371-1385) and its believed to be his shield on the side of the key.
Eternal Father surrounded by angels by the sculptor Pere Johan in 1418.

Another big key lies in the crypt of Santa Eulalia, representing the Holy Virgin Mary and Child. Near St. Ivo, your key to San Pedro is surrounded by four smaller trilobuladas in the exit door to the cloister on the opposite side and represents San Juan Bautista with an eagle, also surrounded four other smaller ones.