The Cathedral Church of Saint Mary in Murcia (Spanish: Iglesia Catedral de Santa María en Murcia), commonly called the Cathedral of Murcia, is a Catholic church in the city of Murcia, Spain. It is the cathedral of the Roman Catholic Diocese of Cartagena. History The Christian king Jaime I the Conqueror conquered the city during the Mudéjar revolt of 1264–66. Jaime I took the Great Mosque or Aljamía to consecrate it to the Virgin Mary; a custom he put in place when he conquered any settlement. However, it was not until the 14th century that construction of the cathedral would begin. In 1385 work on the foundations started and in 1388 the first stone was laid. Another six years passed until constructions upwards continued; the cathedral would be finished in October 1467. Nevertheless, the cathedral continued to evolve until the 18th century, demonstrating a variety of artistic styles. The interior is largely Gothic in style; the facade is Baroque and it was designed by the Valencian architect and sculptor Jaume Bort i Meliá. The heart and the entrails of King Alfonso X the Wise are buried under the main altar of the cathedral, as he indicated in his testament, as a gift and proof of his love to Murcia and in thanks to the fidelity that the city showed to him. In 1854 the cathedral suffered a terrible fire that destroyed the high altar and the choir stalls. The repair works consisted in the creation of a new neo-Gothic altarpiece (work of the sculptors Pescador and Palao), and the commission of a majestic organ, undertaken by the Belgian firm Merklin-Schütze. Under the organ 16th-century plateresque chairs from the Monastery of Santa Maria de Valdeiglesias were installed, a donation made by Queen Isabel II to the cathedral. Bell tower The bell tower, built between 1521 and 1791, stands tall— with the weathervane. It is the tallest campanile in Spain. It ascends in five levels of different widths. The tower also combines a variety of styles. The first level, made by Francisco and Jacobo Florentino, has a square plant with Renaissance style and ornamentation influenced by the Hispanic Plateresque. The second body, made by Jerónimo Quijano, has the same style but it is more purist. The third floor, with Baroque style, has the body with Rococó style and the cupola, drawn up by Ventura Rodríguez, with Neoclassic style. In the fourth floor,