During the first half of the 17. the northern third of the façade, which still retained the forms of the mosque, underwent a radical transformation in appearance and height, but not in length or alignment, which continued intact;
The process began in 1615 when it was agreed to demolish the Western galleries of the Patio de la Aljama, beginning then one of the most convoluted constructive stories of the cathedral. The choice of the plot, the work of maestro Mayor Miguel de Zumárraga, was on November 4, 1617 and a month later the foundation was open, although the first stone was not put until June 23, 1619. First the “Ground floor” was made in all its extension, ie the interior and the exterior to the first cornices, to then raise the headboard to the second (1618-1630) and continued to rise in this same area until the Dome (1633-1639); In the following decade (1640-1648) they grew in height by the part of the feet until the second cornices and then closed the dome of the transept, they climbed the side walls of the building and the vaults of the nave (1651-1662), but before, in 1650, seats and crevices began to be detected at the north end of the building. In 1656 it began to be made, with the church practically complete and with its finished decoration, a crypt that occupied the whole subsoil, incomplete until in 1709, it was necessary to reinforce its headboard to seat the great altarpiece of Jerome Balbás which presided the interior; In 1662 he painted Valdés leal three paintings (“Flogging”, “the sentence” and “the Crucifixion”) that were placed in the gallery that shows the church on its northern front. In the twentieth century the building was restored by José Menéndez-Askl and Álvarez, who’s the entire exterior profile of the dome, adding the lantern.