SOUTH KENSINGTON MUSEUM ART HANDBOOKS.
SPANISH INDUSTRIAL ARTS.

This Volume, forming one of the Series of Art Handbooks issued under the authority of the Lords of the Committee of Council on Education, has been prepared by Señor Juan F. Riaño, of Madrid, whose Catalogue of Art Objects of Spanish production in the South Kensington Museum, issued in 1872, has proved of great value and interest.

April, 1879.

THE INDUSTRIAL ARTS
IN SPAIN.

BY
JUAN F. RIAÑO.
WITH NUMEROUS WOODCUTS

Published for the Committee of Council on Education,
BY
CHAPMAN AND HALL, LIMITED,
LONDON.
1890.

Richard Clay and Sons, Limited,
LONDON AND BUNGAY.

CONTENTS.

ILLUSTRATIONS.

The Department of Science and Art is indebted to Mr. John Murray for the use of the Woodcuts Nos. 19, 20, 30, and 31. No. 50 is from a Spanish Woodcut.

SPANISH INDUSTRIAL ART.

GOLD AND SILVER WORK.

THE Greek and Latin authors who have described the Spanish Peninsula, state that the quantity of gold and silver ore found there was very great, and that hence the district became an important centre of commercial activity of Phœnicians, Carthaginians, Greeks, and Romans. Some authors have gone so far as to assert that the Phœnicians made the anchors of their ships of gold and silver, and that the Carthaginians were astonished to find in Andalusia, that the mangers and vases for holding wine and oil were made of the same materials. These references have been constantly mentioned in ancient Spanish authors. Ambrosio de Morales, in his "Antiguedades de España," Alcala 1577, enters into every detail on this subject.

I have seen a specimen of this period, a bowl of an earlier and different style to Roman silversmiths' work, which belongs to a collector in the province of Cordova. This bowl is of a conical shape: it is perfectly plain, and has an inscription in Iberian characters engraved on one of its sides: there are signs outside and at the bottom which indicate that this bowl was made on the wheel. Velazquez in his "Ensayo sobre las letras desconocidas," Madrid, 1752, describes a silver bowl of a similar kind, which was found in Andalusia in 1618 full of Iberian coins: this bowl weighed ten ounces. Several ornaments, chiefly consisting of necklaces and earrings, may be studied at the Academy of History, and private collections, in Madrid; they have been classified by antiquarians as belonging to this uncertain period, and are similar in style to others which have been frequently found in England and the north of Europe. The most interesting objects of this kind which I have seen in Spain, are gold ornaments proceeding from Galicia; they were found there by Sr. Villaamil, who gave a description of them in the "Museo Español de Antiguedades," vol. iii. p. 545.

The information and remains which have reached us illustrating silver and gold work of the Roman domination are more important; we find, however, in this and similar artistic industries that, as a general rule, the Romans imposed their style and system on the inhabitants of the countries which they conquered, and it is not easy to point out any one example which can be given as an exception to this general rule. It is, undoubtedly, a fact that objects of all kinds in gold and silver were used in Spain to a very great extent—for, notwithstanding the destruction of ages, we still possess inscriptions which allude to silver statues, and a large number of objects in the precious metals exist in museums and private collections. See "Inscrip. Hisp. lat.," by Dr. Emile Hübner, Berlin, 1869. Of these it will be sufficient to mention one of the most important. It is known in the province of Santander by the name of the dish of Otañez; and belongs to a gentleman who lives in that locality. It was found at Otañez at the end of the last century, buried in a stone quarry. This dish is made of silver, it weighs thirty-three ounces, and is covered with an ornamentation of figures in relief, some of which are gilt, representing an allegorical subject of the source of medicinal waters. In the upper part is a nymph who pours water from an urn over rocks; a youth collects it in a vessel; another gives a cup of it to a sick man; another fills with it a barrel which is placed in a four-wheeled car to which are yoked two mules. On each side of the fountain are altars on which sacrifices and libations are offered. Round it is the inscription: SALVS. VMERITANA, and at the back is engraved, in confused characters, the words: L. P. CORNELIANI. PIII....

Another very interesting silver dish may be seen at the Academia de la Historia, Madrid. Although not of Spanish manufacture, it deserves special notice in a description of works of this style. This dish was found in 1847, buried in a field at Almendralejo, province of Estremadura: it is 28-6/8 English inches in diameter, and weighs 533 ounces. It is ornamented with fine figures in relief, representing the Emperor Theodosius appointing a magistrate. The emperor is seated on his throne in the centre, at the sides are his sons Arcadius and Honorius, with four soldiers of the guard, and the magistrate, who receives the volume. In the lower part there is an allegorical representation of a nymph holding the horn of abundance, winged angels, and ears of wheat, probably alluding to the abundance and plenty of the empire. Round the rim is the following inscription:—

D. N. THEODOSIVS PERPET.
AVG OB DIEM FELI CISSIMVM.

At the back, in points, are the following Greek words.

ποc ↑Ν ΜεΤ

We can form a very good idea of the jewel work of the Visigothic period from the discovery of the treasure of Guarrazar. These jewels were found in 1858 at the village of this name, six miles from Toledo, on the spot where, in the Visigothic period, a Christian sanctuary had existed. The objects found, which may be seen at the Museum of Cluny, Paris, and Armeria Real, Madrid, constitute the most important collection in Europe of the jewel work of that period. No less than eleven votive crowns, some of extraordinary magnificence; two crosses with inscriptions, and a large number of fragments of all kinds, of gold and precious stones, were found at Guarrazar. Unfortunately a great part of the treasure has been lost, for the labourers, who were the first to find it, sold several objects to the silversmiths at Toledo, who melted and destroyed specimens of the highest artistic interest. Those that remain in Spain are—

At the Royal Armoury of Madrid: A gold crown of Swinthila inlaid with precious stones, with pendent cross, and inscriptions of letters hanging from it: SVINTHILANVS REX. OFFERET. See woodcut on [p. 7]. A similar crown of Theodosius, with the inscription: OFFERET MVNVSCVLVM. SCO STEFANO ETHODOSIVS. ABBA. The cross of Lucetius with the following inscription: + IN NOMINE DNI. IN NOMINE SCI OFFERET LVCETIVS: E. Fragments of another crown and of large crosses: several stones and fragments, and an emerald, on which is engraved en creux the Annunciation of the Virgin.

At the Archæological Museum, and in several private collections in Spain, may be seen a large number of stones and pearls which were found at Guarrazar.

Among the objects at the Archæological Museum at Madrid, a small section, which proceed from a different locality, have also been classified as Visigothic. They consist of necklaces, earrings, and rings, and are less important in workmanship than those found at Guarrazar. The student will find further details in "Museo Español de Antiguedades," vol. vi., p. 137.

The objects forming part of the treasure of Guarrazar now in the Museum of Cluny, Paris are: Crown of Recesvinthus, with pendent cross and inscription: + RECESVINTHVS REX OFFERET. A similar crown, without inscription. Four crowns formed to imitate basket work, with crosses hanging from the centres. Three crowns, the rims of which are formed of repoussé work, only one of which is ornamented with precious stones, and without pendent crosses. The cross of Sonnicus with the follow ing inscription: ✠ IN D̄I NOMINE OFFERET SONNICA S̄C̄Ē MARIE IN SORBACES.

Swinthila reigned from 624 to 631, A.D.; Recesvinthus from 650 to 672 A.D.; hence these crowns belong to the 7th century, and the remaining objects are certainly of the same period.

Much has been written on these Visigothic jewels by French and Spanish authors, the most interesting and valuable studies are:—"Descrip. du Trésor de Guarrazar, par M. Lasteyrie. Paris. 1860." "El arte Latino Bizantino en España y las Coronas de Guarrazar," by Señor Rios, Madrid, 1861. Consult also his article in "Monumentos Arq. de España." "Coronas de Guarrazar que se conservan en la Armeria Real de Madrid," by Señor Rada. Museo Español, vol. iii. Madrid, 1874.

The importance of this goldsmith's work has led these authors to discuss several archaeological and artistic points which deserve attention. I will also give my opinions on this subject, which in some respects differ from those hitherto advanced. In the Middle Ages the name of crown was equally applied to those worn on the head, to the votive crowns hung before altars, and to the pendent lamps which were also of this circular form. The "Etimologies" of San Isidoro help us, unfortunately, but little on this subject; but Du Cange, in his "Glossarium Mediæ et infimæ Latinitatis" gives us sufficient details to understand the differences between them. I refer the student to two works on this subject, which treat especially of crowns of light, which none of the authors who have written on Guarrazar have consulted: "Tratado de la Sagrada Luminaria," by Gonzalez Villar, Madrid, 1798. "De Lucernis Pensilibus," by Fanceulli, Maceratae, 1802.

The crowns found at Guarrazar were undoubtedly votive offerings, for they all have chains by which they were suspended in the sanctuary in which they were found. Their size and the structure of their rims lead us to suppose that they may have been worn on the head. The same observation applies to a similar crown at the Cluny Museum; if so, the chains, cross, and pendent letters were added when the crown was offered to the sanctuary.

Although details which appear in the handwork of these jewels betray a certain rudeness, not uncommon in the time they were made, their beauty and richness are truly surprising. These crowns are decorated round their rims with rosettes of pearls and sapphires, and a delicate ornamentation of cloisonné work, which encloses a substance resembling red glass. From the upper part are attached four chains formed of leaves percées à jour, these are united to a double gold rosette with pendent sapphires, in the centre of which is set a piece of rock crystal. In the cross of Recesvinthus the pendant is in the form of a capital, and from it hangs a small cross of the same style of work: from the lower rim of the crown are suspended the letters, which are ornamented with the same vitreous paste, cloisonné, and from each hang large single pearls and sapphires.

The border of some of these crowns is formed of a net-work of small gold massive balustrades; having between them square spaces in which pearls and sapphires are set. Others are made simply of repoussé gold, their chief interest consisting in the ornamentation which has been so artistically carried out. Some of them have inscriptions and a few stones set at intervals. The pendants from these crowns are inferior in richness to the others already described. The pendent crosses are ornamented in the same style, either with cloisonné work or repoussé inscriptions.

One of the most interesting results produced by the study of the treasure of Guarrazar has been to show us the immense luxury which it represents, if we remember the period of decay and poverty of the Visigothic monarchy. We find this magnificence frequently alluded to by ancient writers. The Arabs when they took possession of Toledo in the 8th century, mention in different works the immense quantity of jewels of all kinds which they found and carried away. The gold and silversmith's work of this period was everywhere in a very high state of development. We find it constantly alluded to in the works of Paul Silentiarium and other writers of the time of Justinian, and in the inventories and references given by Du Sommerard of the jewel work anterior to the Carlovingian period in Italy and France. The Visigothic kings, who copied from the Eastern emperors even their legal forms, followed this rule to a great extent in everything which bore relation to their daily life.

The most important question is to determine the origin and locality where these jewels were made. M. de Lasteyrie considers that jewellery ornamented with red glass cloisonné work was only made by nations of the Germanic race. To prove this he presents, among other arguments, the comparison of a fragment of the ornamentation which appears on the crown of Recesvinthus, with a similar one on the Evangelistiarium of Theodolinda in the treasure of Monza, which he considers to be of German workmanship. These theories are untenable. Sr. Rios is of a different opinion, and considers these jewels to have been made in Spain, owing to the similarity of ornamentation with different specimens which occur in Spain in architectural remains of the Roman and Visigothic periods.

Both these writers give in my opinion the decorative elements of the crowns of Guarrazar an importance which they do not possess. The ornamentation which most frequently occurs consists of a combination of circles, imbrication, and palms of such an elementary kind that it would be difficult to ascertain its origin; it appears equally in mosaic work of the later Roman period, in vases and other objects of the best times of Greek art, and in Asiatic and archaic works. It may be affirmed that the ornamentation of the goldsmith's work of the north and south of Europe are derived from a common origin; from the oriental civilization which in the first centuries of the Middle Ages penetrated into Europe; it may also be affirmed that its manufacture and technical proceedings are precisely similar. Later on, the ornamentation and manufacture of these jewels received from the western nations some slight modifications; but this artistic industry by no means proceeded from them.

One example will be enough to prove this. Setting apart the famous cloisonné pectorale at the Boulac Museum, Cairo, and other jewels of the queen, Aah-Hotep, 17th century B.C.; the hawk of a similar period, Louvre Museum (Paris), and a number of analogous objects in the British Museum, we have enough specimens of this kind to show that cloisonné work was known in the east from the very earliest period. I will draw especial attention to the plaque in the Museum of Wiesbaden, found at Wolfsheim in 1870. It is formed of gold, with a circular and triangular ornamentation and squares, découpés à jour, set with jacinths, or red glass paste. At the back may be read an inscription in Persian characters, which gives the name of a Sassanide king, Artachshaber, of the 3rd century of our era. (See A. von Cohausen, "Roemischer Schmelzenschmuck," Wiesbaden, 1873). I know no more ancient specimen in the north of Europe of these jewels with coloured stones, nor can I give a better example of their oriental origin. Those who may wish to make a more profound study on this subject, can also examine the interesting jewels with stones found at Petrossa, Wallachia, in 1835, now in the Museum of Bucharest. They are attributed to the Visigothic King Athanaric, who lived towards the middle of the 4th century of our era, and are considered in the present day of undoubted Sassanide origin.

The artistic and technical origin of the jewels of Guarrazar must be looked for in the East; their manufacture was most probably Spanish. On part of these jewels, inscriptions of the names of the donatarios appear, and it is highly improbable that they were made in another country. We cannot imagine the extraordinary magnificence of the Visigothic court, so similar to that of Constantinople and other contemporary ones, without the presence at each of a group of artists whose task was to satisfy these demands.

The Visigothic style continued to be followed in Spain at the court of the Christian kings, until the 11th century, notwithstanding the Moorish invasion, and the poverty of the kingdom. The specimens at the treasury of the cathedral of Oviedo, and others which will be described farther on, will give a good idea of the manufacture of jewels of this period. Among the relics which are kept in the shrine called the Camara Santa, at Oviedo, are two most interesting gold processional crosses studded with stones, which are known by the names of Cruz de los Angeles, and Cruz de la Victoria or de Pelayo. The Cruz de los Angeles is 16½ inches high, by 16 inches wide, it is covered at the back with an ornamentation in fine filigree work, set with different stones. In the front are five medallions, and an inscription in the vacant spaces. Among the gems there is a good cameo, and seven engraved stones in the Gnostic style. (Consult "Monumentos Arquitectonicos de España, Camara Santa"). The inscription on this cross shows us that it was made, A.D. 808.

"Susceptum placide maneat hoc in honore Dei
Offeret Adefonsus humilis servus Xpi
Hoc signo tuetur pius
Hoc signo vincitur inimicus
Quisquis auferre presumpserit mihi
Fulmine divino intereat ipse
Nisi libens ubi voluntas dederit mea
Hoc opus perfectum est in Era DCCCXLVI."

The cross of Victory is supposed to have been the same wooden one borne by Don Pelayo when he began, early in the 8th century, his struggles against the Mahomedan invasion, it was decorated in the next century with gold platings and precious stones. It is 36 inches high by 28½ inches wide; the ornamentation is similar to the former one, and in the vacant spaces at the back appears the following inscription, by which we learn it was made at the Castle of Gauzon, Asturias, A.D. 828.

"Susceptum placide maneat hoc in honore Dei, quod offerent
Famuli Christi Adefonsus princeps et Scemæna Regina
Quisquis auferre hoc donoria nostra presumpserit
Fulmine divino intereat ipse
Hoc opus perfectum et concessum est
Santo Salvatori Oventense sedis
Hoc signo tuetur pius, hoc vincitur inimicus
Et opera us est in castello Gauzon anno regni nostri.
XLII. discurrente Era DCCCLXVI."

Another most interesting object at this shrine is Don Fruela's casket, which is ornamented with agates set in gold, and is similar in style. The inscription, which appears outside, gives the date A.D. 910.

"Operatum est Era DCCCCXLVIII."

A diptych which belongs to the same shrine may also be mentioned. It was given by Bishop Don Gonzalo, who was bishop of Oviedo from A.D. 1162 to 1175. Round it are the words—Gundisalvus Episcopus me jussit fieri. This diptych is 5 inches long by 7 wide: it is ornamented with ivory figures, stones, crystals and engraved gems. Although I do not consider it to be of Spanish workmanship, it is necessary to mention the splendid Arca Santa, in which it is believed many of the relics were taken to Oviedo. It is covered with silver plates, with repoussé and chiselled work representing different religious subjects: the Crucifixion, Our Lord surrounded by the attributes of the Evangelists, saints, apostles, angels, and a fine ornamental border with letters, imitating Cufic inscriptions. This splendid casket is 3 feet 9½ inches long, by 3 and 3½ wide, and 28½ inches high, and appears to have been made between the 10th and 12th centuries. The figures are similar in style to the paintings and sculpture of this period, and it is highly probable that it may have been the work of Italian artists. The Cufic inscription is illegible, and is interrupted in the angles by the symbols of the Evangelists. This style of simulated inscriptions was frequently used by Italian artists.

A cross of the same style as those already described exists at the cathedral of Santiago. It is made of wood covered with gold platings and precious stones; some of these are old intagli, which are set in delicate filigree work. Round it runs a long inscription, from which it appears that it was a present from Adefonsus Princeps cum conjuge Scemena Regina, and that it was made in Era DCCCCA. Duodecima; A.D. 874. The number of gems which have reached us, after so many centuries of ruin, the similarity of the different specimens, and the statement which appears on the cross of King Pelayo, that it was made at the castle of Gauzon, prove that the goldsmith's industry had attained great importance in Spain during this period.

By studying the different objects of silver and gold work which still exist in Spanish churches, we can form a good idea of the historical progress of this industry in the following centuries of the Middle Ages; but before we do so, it is well to make some observations upon objects of orfèvrerie, the work of the Moors. There is a constant connection between these objects and those made of ivory: the same characteristics exist which I shall hereafter point out as appearing in Moorish ivory carvings. The art of ivory carving was imported from the East, the subjects are much alike in ivory and metal when men and animals are represented, and the inscriptions and bands of ornamentation are similar in style. The main variations consist in the different systems employed in metal work, by which the work differs according to the proceedings adopted, of repoussé or chiselling, filigree, niellos or enamels.

A fine Casket belongs to this kind of oriental work which still may be seen on the high altar of the cathedral of Gerona, Spain. This casket is 15 inches long by 9 wide and 10½ high. It is made in the usual manner of wood covered with silver gilt platings with a heavy repoussé ornamentation of leaves enclosed within circles of pearls. Round the rim of the cover runs the following Cufic inscription:

"In the name of God. The blessing of God and happiness and prosperity and permanent joy for the servant of God, Alhakem Emir Amumenin Almostanser Billah, because he ordered this casket to be made for Abdul walid Hischem, heir to the throne of the Muslims. It was finished by the hands of Hudzen Ibn Bothla."

Alhakem reigned in Spain from A.D. 961 to 976, in which year he was succeeded by his son Hischem II. This casket belongs, therefore, to this period, and is especially interesting as giving the artist's name. Two other silver Arabian caskets may be seen at the Archæological Museum, Madrid, which were formerly at the shrine of San Isidoro of Leon, but they possess less artistic interest than the casket at Gerona. One of these is elliptical in form; it is ornamented with a good design of leaves and tendrils, and Cufic inscription; the whole of the casket is enamelled in black. The ornamentation belongs to the 12th century. The inscription only mentions the owner's name, Abdo Shakir. The other casket is silver-gilt, square in form, and rather poorly ornamented. The two Cufic inscriptions which surround it are laudatory. At the cathedral of Oviedo there is another silver casket with a laudatory inscription and medallions with figures, in which from very early times, the remains of S^ta. Eulalia have been kept. I suspect that this casket and the former one are not of Spanish Arab workmanship, for besides the circumstance that their inscriptions can be applied to any owner, their ornamentation is unlike others of the same kind. In the first casket it is insignificant, but on the shrine of S^ta. Eulalia the background of the medallions is covered with an imbricated pattern which I have never seen repeated on any Arab or Moorish example in Spain. It is highly probable that they were productions of Oriental industry and were imported commercially.

Several specimens of the 14th and 15th centuries, the last period of the Moorish domination, exist in Spain. They consist of jewels and sword handles. The most interesting trinkets are a bracelet and fragments of a necklace and earrings which are at the Archæological Museum, Madrid. They are made of gold, covered with a geometrical repoussé ornamentation, and a delicate filigree pattern. There are specimens also at the Kensington Museum, Nos. 1455 to 1447, 70, consisting of a bracelet, silver-gilt, formed of seven alternate oval and rectangular plaques, with impressed pattern and applied filigree and bossed ornament, and earrings made of gold, formed of clusters of united circles and lozenges with filigree bosses. Other jewels of less importance are known to exist, consisting of bracelets, amulets, earrings, and rings, mostly made of silver niello-work, these are ornamented with geometrical patterns and inscriptions of little importance.

Moorish arms are most artistic; they are fully described in the article Arms. The most important specimens are in the Royal Armoury, and noble house of Villaseca, Madrid; another fine example of a similar style is at the Generalife of Granada. The hilt and settings of the sheath are of solid silver, gilt, and covered with geometrical patterns ornamented in high relief, parts of which are filled with translucid cloisonné enamel. In some instances the hilt is made of ivory. It is impossible (see plate on p. 85) to find anything more beautiful than the ornamentation of these swords, or greater perfection in every detail. It is evident, therefore, that this industry had reached a very high grade of perfection at Granada in the second part of the 15th century. The sword now in the possession of the Villaseca family belonged to Boabdil, the last Moorish king; the one at Granada to one of Boabdil's nearest relations.

In continuing our description of Christian silver-work in the 11th and 12th centuries, we meet with two historical chalices of the highest interest. One was made by the order of Saint Domingo de Silos [A.D. 1045-1074] when abbot of this church. This chalice still exists there, with the following inscription:—

In nomine Domini ob honorem Sci Sebastiani Dominico abbas fecit.

It is ornamented with fine filigree work, forming zones and horse-shoe arches, in a similar style to that of the silversmiths' work of Asturias, which has never been completely abandoned in Spain. The author of the life of this saint, Fr. Juan de Castro, Madrid 1688, says, p. 297, that he does not consider it was ever used for the sacrifice of the mass, owing to its great height [13 inches]. The other chalice might have been seen until very lately at San Isidoro, Leon; it has been temporarily concealed owing to political disturbances. The cup and foot are of agate, probably specimens of the classic period; the mounting, which dates from the time of D^na. Urraca, is studded with a profusion of precious stones and pastes. Some of the gems of the chalice and paten are antiques.[A] In the centre of the paten is set a splendid flat onyx. Round the lower part runs the following inscription:—

+ In nomine Dn̄i Urraca Fredin̄ādi.

[A] For further details of this interesting work of art, see "Monumentos Arquitectonicos de España," in which a good reproduction is given.

Dona Urraca, who was a sister of Alfonso VI., and was generally called Urraca Fernandez, bestowed many important gifts on the church of San Isidoro. She died A.D. 1101. Another interesting chalice of the same period, although not of the same importance as those just named, belongs to Cardinal Moreno, archbishop of Toledo. Round the stem are represented the emblems of the Evangelists, and the inscription: Pelagius abbas me fecit; this formula appears so frequently that it must be understood in the sense of fecit fieri, ordered to be made.

The Santo Caliz at Valencia has been traditionally held as the cup used by Our Saviour at the Last Supper. This chalice consists of a circular cup hollowed out from a fine brown sardonyx which is tastefully moulded round the lip. The base is formed of another inverted sardonyx. These are united by straps of pure gold. The stem is flanked by handles, which are inlaid with delicate arabesque in black enamel. Oriental pearls are set round the base and stem, which alternate with rubies, sapphires and emeralds. This chalice is a work of the Roman imperial epoch, and the mounts are of a later date. Other specimens of jewellers' work of the Roman period might be mentioned which exist in Spain, but I do not find sufficient evidence to justify the opinion that they were made in that country. I consider those that I have described to be of Spanish origin, for they keep to the same technical modes of workmanship as the jewel work of Asturias, and the inscriptions which appear on them refer to historical personages. It would be difficult, considering all things, to suppose they were imported.

We can mention in the thirteenth century a specimen of Spanish silversmiths' work which illustrates the transition to the new style, and the progress in the design of the figures owing to the Italian Renaissance—I refer to the interesting triptych at the Cathedral of Seville, known as the "Tablas Alfonsinas," made by the order of Don Alfonso el Sabio for holding relics. It is of wood, covered inside and out with silver-gilt plates; it is 22 inches high by 39 wide when its three leaves are open (the woodcut opposite represents the outside of left leaf), and is divided inside into fifteen compartments full of minute ornamentation, among which are set a large number of capsules covered with rock crystal containing relics, each one with an inscription of enamelled gold, cloisonné. Several good cameos with sacred subjects appear near the edge of the side leaves. The outside of this triptych is decorated with twelve medallions containing the arms of Castile and Aragon, and forty-eight others in which are repeated alternately the subjects of the Adoration of the Magi and Annunciation of the Virgin, which are also repoussé. In the centres are eagles, which S^r. Rios supposes to allude to Don Alonso's claim to be crowned Emperor, in which case it was made in the year 1274. (See Mus. esp. de Antig., vol. ii. p. 83.) The ornamentation which surrounds the panels belongs to the 16th century. S^r. Rios suggests that the possible or probable author of this interesting object of silversmith work was Maestro Jorge, a silversmith of Toledo, who is praised by Don Alonso in his Cantigas—he also mentions the names of Don Lorenzo and Don Niculas as silversmiths of Seville who worked in this period.

The most important example of Spanish silversmith's work of the 14th century is the Retablo and Baldaquino of the cathedral of Gerona. Mr. Street, in his Gothic Arch. in Spain, p. 326, describes this work of art in the following manner: "The Retablo is of wood entirely covered with silver plates, and divided vertically into three series of niches and canopies: each division has a subject, and a good deal of enamelling is introduced in various parts of the canopies and grounds of the panels. Each panel has a cinque-foiled arch with a crocketed gablet and pinnacles on either side. The straight line of the top is broken by three niches, which rise in the centre and at either end. In the centre is the Blessed Virgin with our Lord; on the right San Narcisso; and on the left St. Filia. The three tiers of subjects contain figures of saints, subjects from the life of the Blessed Virgin, and subjects from the life of our Lord."

At the base of this Retablo may be read the words—Pere Bernec me feu—Peter Bernec made me. Bernec was a silversmith of Valencia, and in another document he was called Barners. It has been supposed that two other contemporary silversmiths, whose names appear in papers of the cathedral, worked also at the Retablo. Their names were Raimundo Andreu, and Master Bartolomé. Formerly in front of this altar there was a magnificent silver and gold frontal studded with stones, a fine work of the 11th century—which was unfortunately carried off by the French in their invasion of the Peninsula early in the present century, and was probably with other innumerable priceless treasures melted by them. See further details in "Viage Literario de Villanueva," vol. xii. p. 180.

In the Sala Capitular of the Cathedral of Gerona there are three splendid processional crosses belonging to the 15th and 16th centuries; one of them is of enamelled gold, and is undoubtedly one of the most artistic works of the kind in Spain.

Among Spanish art treasures of the 15th century of a historical style must be mentioned the splendid silver throne of king Don Martin de Aragon, d. 1410, still existing in the cathedral of Barcelona; it is covered with chiselled ornamentation, and a band of velvet embroidered with gold and completely studded with precious stones. This throne is carried in the procession of Corpus Christi. The monstrance, a splendid work of art in the Gothic style, ornamented with delicate pinnacles and jewel work, is placed on a fine silver foot and carried on this day in front of this throne. This monstrance is covered also with jewels of great value which almost conceal it, the gifts of royal personages. The fine Gothic silver-gilt cross must also be mentioned, known at Toledo by the name of Guion de Mendoza; it was borne before the great Cardinal Mendoza, and was the first cross placed on the highest point of the Alhambra Torre de la Vela on the day of the conquest, 2nd January, 1492.

The following woodcut represents a processional cross of Spanish work of the beginning of the 15th century, in the South Kensington Museum, No. 514-'73. It is of wood covered with plates of silver-gilt repoussé work. On one side is a rood with the Virgin and St. John. Over the figure of Christ is the word Inri. At the extremities angels in high relief bear the emblems of the Passion. On each side of the figure of Christ are plaques of translucent enamel representing the penitent and impenitent thief, at the foot of the cross the Resurrection and Adoration of the Magi, and above the figure of Christ the Nativity.

At the back there is a figure in high relief of the Almighty; in the four extremities the emblems of the Evangelists in high relief and enamelled plaques representing the Annunciation, Flight into Egypt, Christ's descent into Hades.

This cross, which is three feet in height, is marked in several places with the name of

A large number of images exist in Spain belonging to this period, and even to an earlier date, chiefly consisting of images of the Blessed Virgin; their garments are formed of silver platings, chiselled and repoussé in the traditional Byzantine style. Among the most remarkable may be mentioned those preserved in the cathedrals of Seville, Pamplona and Astorga. The following document undoubtedly alludes to one of these figures. It is dated 12th May, 1367:—

"I Sancho Martinez Orebse, silversmith, native of Seville, inform you, the dean and chapter of the church of Seville, that it was agreed I should make an image of Saint Mary with its tabernacle, that it should be finished at a given time, and that you were to give me the silver and stones required to make it."

Notwithstanding the poverty of the Spanish monarchs, their personal ornaments were rich and splendid. We find in "Memorials of Henry the VIIth," edited by Gairdner, an interesting description by Machado, the herald or king-of-arms of Henry VII., of the embassy sent to Spain in 1489, to ask for the hand of the Princess Catharine for the Prince of Wales. The account he gives us of the jewels worn by Queen Isabel la Catolica is most interesting. They varied at every interview. In one of these she wore "a line of trimming composed of oblong bosses, of gold, each decorated with fine and valuable jewels, so rich that no one has ever seen the like. She wore round her waist a girdle of leather made in a man's style; the pouch was decorated with a large balass ruby, the size of a tennis ball, between five rich diamonds and other stones, the size of a bean. The rest of the girdle was decorated with other precious stones. Round her neck she wore a rich gold necklace composed of white and red roses, adorned with jewels. Two ribbons were suspended from her breast adorned with diamonds, balass and other rubies, pearls, and other jewels of great value to the number of a hundred or more" (p. 341.)

"After the King came the Queen, mounted on a fine mule, and all the harness of the said mule was adorned with pearls and other precious stones. She was dressed in a robe of a rich woven cloth of gold made in the fashion of the kingdom, and over that a mantilla all spangled with lozenges of crimson and black velvet, and on each lozenge was a large pearl. And with each of these pearls was a rich balass ruby the size of a beech nut, the richest thing that could be seen, no man ever saw anything equal to it. She had on her neck a large necklace, adorned with large diamonds, balass rubies, carbuncles, large pearls, and a great number of other rich precious stones. She had upon her head-dress two balass rubies as pendants, the size of a pigeon's egg, and at the end of the said rubies a large pearl, which jewel was supposed to be worth 12,000 crowns" (p. 348.)

In the specimens described belonging to the Visigothic period, and many others to which we might refer, we find constant similarity in form with silversmith's work of other European countries. It is true that we occasionally meet with Moorish orfèvrerie, and some details, such as filigree work, due to oriental influence; but in general Byzantine, Roman, and Gothic styles were adopted and copied in Spain; and the technical details were the same with those followed in other countries, with the exception of champlevé enamel, which appears to have been almost exclusively used at Limoges in the middle ages. It is interesting, however, and worthy of remark, that important objects are also found in Spain decorated with champlevé enamel, such as the splendid altars of San Miguel in Excelsis (Navarre), and Santo Domingo de Silos (Rioja), and the image of the Virgin de la Vega at San Esteban (Salamanca), three specimens of the greatest importance.

In the Renaissance period, Spanish orfèvrerie enters into its most brilliant epoch, not only on account of the beauty of the form of the objects produced, but also owing to its great richness. Among objects of this period the most important are the Custodias or monstrances of the cathedrals; these are exclusively peculiar to Spanish art. The almost incalculable quantity of silver-work produced at this period is accounted for by the reconquest of the Peninsula from the Moors, the discovery and possession of America, and other circumstances which increased the power and wealth of Spain, and elevated the country to great importance.

We find frequent mention at this time of silversmiths, many of whom came from Germany, France, or Italy, attracted by the large number of works ordered. Many settled in Spain, such as Enrique de Arphe, Jacome Trezzo, Mateo Aleman, Hans Belta, and others. The Spaniards who joined them were greater in number, and not inferior in merit. Silversmiths were already at that time divided into different groups, according to the technical proceedings which each one adopted: plateros de la plata, workers in silver, was the name given to those who worked exclusively in repoussé and chiselled work, and imitated sculpture and architectural models; goldsmiths, those who worked jewels with stones, enamels, and niello-work. Even within these groups were workers in filigree, and those who decorated different objects with painted or mosaic work, atauxia, in the Moorish style. Almost all the most important Spanish towns were large centres of these industries. Leon, Burgos, Valladolid, Cuenca, Toledo, Cordova, and Seville rivalled each other in the number and quality of their productions. The Venetian ambassador, Navagiero, who visited Valladolid in 1527, says, "Sono in Valladolid assai artefici di ogni sorte, e se vi lavora benissimo di tutti le arti, e sopra tutto d' argenti, e vi son tanti argenten quanti non sono in due altri terre, le prime di Spagna" ("Il Viaggio di Spagna," Vinegia, 1563, p. 35.)

In order to complete the study of this subject, it is necessary, besides, to give some notice of the legal dispositions contained in the Municipal Ordinances and in other laws of a more general character.

In Capmany's "Memorias," vol. i., part 3, p. 88, are to be found several statutes concerning the silversmiths of Barcelona from the 14th century, proving the importance of this guild in 1301. At this period three of its members formed part of the town Council. The introduction of a statute of 1489 proves the excellence of the works which they made. "Experience having shown us in past times, and proof existing at the present time, that such clever silversmiths have existed and exist at Barcelona that their works are highly reputed by kings and great people, and held in great honour and estimation in the town itself." The Silversmiths' guild still preserve the folio volumes full of drawings, and the description of the different objects which they presented for the approbation of the jury, during the 16th and 17th centuries. The designs contained in these volumes constitute a most interesting collection of jewels, giving a good idea of the great height of this industry in Barcelona.

Baron C. H. Davillier is about to publish a volume on Spanish silversmiths, in which etchings of several of these designs will be reproduced. In the list of artists which follows I give the names of the most remarkable of those who worked at Barcelona.

In the Municipal Ordinances of Toledo of the year 1494, some laws relating to silversmiths appeared; they are, however, uninteresting. The same thing occurs with the Ordinances of Seville, which were re-compiled in 1526. The guild of silversmiths of Toledo must have been most important, for in 1423 they already formed a brotherhood or guild under the protection of St. Eloy, in which they agreed to help the members of the guild in every way. See "Documentos Ineditos," published by Zarco del Valle, p. 166. The Ordinances of Granada enter more into details concerning the technical proceedings of silversmith's work. These Ordinances appeared in 1538; the work in the Moorish style is described in full detail; it appears to have been preserved in this locality more than elsewhere.

We can judge of the enormous quantities of objects which were made by those still to be seen in Spanish cathedrals and churches, having survived the French invasion of the present century. For full details of the barbarous treatment of these works of art during the French invasion, see Ford's "Handbook of Spain." The expropriations of the Spanish government during the civil wars of 1833 to 1840, and the injudicious law of expropriations of 1869 for the purpose of collecting artistic objects, have brought about the destruction and disappearance of numberless works of art in order not to give them up to the government.

The same splendour and abundance of silver objects of every kind existed in the royal palaces and houses of the grandees. Madame d'Aunoy in her "Voyage en Espagne, Lyon, 1643," p. 109, says: "L'on ne se sert point de vaisselle d'étain, celle d'argent ou de terre sont les seules qui soient en usage. Le duc d'Alburquerque est mort, il y a déjà quelque tems; l'on m'a dit que l'on avoit employé six semaines à écrire sa vaisselle d'or et d'argent. Il y avoit 1400 douzaines d'assiettes, 500 grands plats, et 700 petits, tout le reste à proportion, et 40 échelles d'argent pour monter au haut de son buffet, qui étoit par gradins comme un autel placé dans une grande salle." The splendid silver table belonging to the Marquis of Villaseca at Madrid gives a good idea of the furniture of this time. In the Inventories, a great number of which exist, we find numerous details of silver objects of every kind. In one which was drawn up in 1574, of the effects of Princess Da Juana (MS. folio, Acad. de la Historia), the sister of Philip II., we find mention, without counting the jewels, of a silver balustrade, weighing 121 pounds, to be placed round the bed. The greater part of the kitchen utensils were also made of silver.

Among the most important objects of Spanish silversmith work are undoubtedly, as I have said before, the custodias.

The name of custodia is given in Spain, not only to the monstrance or ostensoir where the Blessed Sacrament is exposed, but also to a sort of temple or tabernacle, of large size, made also of silver, inside which is placed the monstrance, which is carried in procession on Corpus Christi day. In order to distinguish these objects one from another, the name of viril is given to the object which holds the consecrated host; it is generally made of rock crystal, with a gold stem and mount ornamented with precious stones. The small tabernacles are generally objects of the greatest importance both from their artistic and intrinsic value. The description of one of them will be sufficient to give an idea of their construction.

Although a fine custodia existed formerly at Toledo, which we know weighed 164 pounds, Cardinal Ximenez de Cisneros wished a finer one to be made, and caused the plan to be furnished by competition. Diego Copin, Juan de Borgoña, and Enrique de Arphe presented designs; the one by Enrique de Arphe was selected. Arphe began his work in 1517, and continued exclusively employed in this, and without the help of other master silversmiths, until April, 1524, when he gave up the monstrance to the authorities of the cathedral. The silversmith, Lainez, finished in 1523 the gold and jewelled cross which is on the top. It represents a Gothic hexagonal temple, 8 feet high, of three orders, with all the variety and number of necessary architectural details such as pilasters, arches, columns, pyramids, canopies, crest-work, &c., to the closing of the vaulted roof; the whole is percé à jour, and so delicate that it looks like lace. From the roof hang bells and incense-holders of filigree work; in the key-stone are studded precious gems. Carvings in relief, representing passages of the life of Our Saviour, appear on the base of the six pedestals; they are admirably carved. In the centre of the second order is a figure representing the Resurrection of Our Lord. On the pilasters and brackets which appear in the temple there are more than 260 statues of different sizes, all of which are executed with the same skill. This monstrance was mounted on iron wires; and Archbishop Fonseca, wishing that the whole of it should be made of silver, gave orders that Arphe himself should alter it, which he did in 1525, when the total weight was found to be 388 pounds. The viril was then placed inside it, this was made of the first gold brought from America. It is completely covered with precious stones, and was bought by Cisneros from Queen Isabel (the Catholic); it weighs 29 pounds of gold. The tabernacle was ordered to be gilt in 1595 by Archbishop Quiroga; this was done by the Masters Diego de Valdivieso and Francisco Merino. This splendid work of art remains in this state, and may be seen at the cathedral of Toledo; it was most fortunately saved from the rapacity of the French, by being sent to Cadiz during the war. In 1513 the monstrance at the cathedral of Cordova was also made by Arphe, it is similar in style and importance to that of Toledo. Before this, he had also finished the splendid one formerly at Leon, which was destroyed by the French, as was likewise a similar smaller one, also by Arphe, formerly at the Monastery of St. Benito, at Sahagun.

The custodia made by Juan de Arphe in 1587, a Leonese artist, and grandson of Enrique, for the cathedral of Seville, competes with that of Toledo. It is formed in the same manner as a temple, but in the Græco-Roman style, covered with an immense number of statuettes, some of which are upwards of a foot high, and reliefs of all kinds, and delicate ornamentation, worked with the utmost skill. The chapter of the cathedral commissioned the theologian, Francisco Pacheco, to direct the subjects which were to be represented, and when it was finished Arphe published a full description of the monstrance, which he does not hesitate to call "the largest and finest work in silver known of its kind." This opinion is hardly an exaggerated one if we look at this splendid work of art. Its plan is circular, and measures 3½ yards high, and weighs 1082 pounds of silver. For details consult Cean Bermudez' "Diccionario," Descripcion de la Catedral de Sevilla, Museo Español de Antiguedades, vol. viii., p. I.

Besides these two celebrated silversmiths there was another of the same family, the son of Enrique, and father of Juan, Antonio Arphe, an artist also of great merit, who made in 1554 the custodia which still exists at the cathedral of Santiago.

Cean Bermudez says in his "Diccionario," "that in the same manner as the city of Leon gave Spain three illustrious silversmiths, Cuenca gave them other three in the Becerrils," these were Alonso and Francisco Becerril brothers, and Christoval, the son of Francisco. They all worked at the famous and splendid custodia of Cuenca, and between them they produced a most important series of works from 1528 to 1584.

It is extremely difficult to give in so small a space the description of the works and names of the numerous artists on silver and gold work, who worked in Spain during the 16th century. At the present time, notwithstanding the innumerable objects lost, a long list would remain of the specimens which have reached us, and their different forms and applications, still visible in the churches of Toledo, Seville, Zaragoza, Palencia, Santiago, and others of the Spanish peninsula. Some idea may be gathered of the importance this art attained in Spain by looking through the following list of artists who worked in silver and gold, upwards of 450 of whom I have added to the 95 given by Cean in his dictionary. It must be borne in mind that the objects on a large scale which reproduce an architectural model, adopt three styles during the century, all three of them admirable as regards beauty of form. The first is Gothic, a reminiscence of the former time, improved by the change which had already taken place, in drawing and modelling. The second style is known by the name of plateresque, when applied to architecture, and consists in copying the general structure of buildings in the classical style, and applying the orders and pointed arch, while keeping to the profusion of decoration of the earlier period, and modifying the general plan with the object of introducing the greatest quantity of ornamentation. The third style is the Greco-Roman; it is more sober in decoration, and has a greater tendency to keep to the imitation of the classical school.

Besides the objects described, which may be considered as original works and the most important examples of Spanish silversmiths' work, I must mention those which came from South America, chiefly from Mexico, which possess a certain aspect; they consist of carved and repoussé work ornamented with flora of the country adapted in an oriental style; others consist of filigree work, double-headed crowned eagles are frequently met with in the same style as those made at Cordova and Salamanca.

There are interesting specimens at the Kensington Museum which give an excellent idea of Spanish silversmiths' work. Besides those already described attention must be drawn to

No. 305-66. A silver-gilt cross ornamented with foliage, statuettes of saints and the Evangelists with their emblems, Marked ^NOE/_M. About 1560. Height 3 feet 2 inches.

No. 302-66. Silver-gilt chalice, ornamented with foliated scroll work and half figures beaten and chiselled. Marked Estorga. About 1540.

No. 132-73. A silver-gilt chalice, the bowl inscribed outside "+ Sangvis mevs vere est potvs;" the stem is of baluster form, in several tiers, ornamented with brackets and large chatons set with crystal, and a band of cherubim. The foot is chased with masques, festoons, harpies, and birds, and surrounded by eight semicircular projections, on which are an armorial shield and a cross set with emeralds and lapis lazuli. Engraved at bottom "S. I. de Salinas." [See woodcut] With it is a paten dated 1549.

No. 481-75. Chalice, silver-gilt; the bowl chased in relief with the instruments of the Passion; on the knop are ten applied figures of Apostles on ground of translucent blue enamel; the foot, which has eight semicircular projections, is repoussé with representations of the Evangelists, cherub and other heads, the Crucifixion, and a shield with the initials L. B. P. around a crown of thorns enclosing a heart. 17th century. [[See woodcut, p. 31.]]

No. 314-64. Silver-gilt pax of architectural design; in the centre is a group in full relief of the Virgin giving the chasuble to St. Ildefonso. About 1540-50. [[See woodcut, p. 33.]]

No. 1129-64. Incense holder, boat-shaped, of rock crystal mounted in silver-gilt. Around the rim is a band of guilloche pattern, set with amethysts and garnets; on the lids a band inscribed "Oratio mea dirigatur sicut incensum." About 1540-50.

No. 93-65. Silver triptych with suspending chain, the interior painted in oils, the exterior engraved in arabesque. About 1550.

We find that Spanish jewels were as magnificent in the 16th century as were the large architectural objects for ecclesiastical use. One of the most important in richness and artistic merit was the splendid crown belonging to the Virgen del Sagrario at Toledo, which it is deeply to be regretted disappeared in 1868. This crown was made in 1556 by the silversmith Hernando de Carrion; it then consisted of a gold circle with chiselled and enamelled ornamentation, set with pearls, emeralds and rubies. In 1574 Cardinal Loaisa wished to enrich it, and ordered a silver worker called Alejo de Montoya to add to it an upper part, formed as an imperial crown, which Montoya agreed to do by a special agreement. This addition was formed of small figures of angels of enamelled gold, in pairs supporting the side bands, which met in the upper part forming a group of allegorical figures, upon which was placed a spherical emerald, without a flaw, 1½ inches in diameter, which served as a base to the cross. The bands were studded with precious stones and ornamented inside with subjects of the life of the Blessed Virgin in enamel. The height of this crown was 10½ inches by 8½ wide. Montoya took 12 years to do this work—he finished it in 1586. The fine bracelets belonging to this crown, which have also disappeared, were made at the same time by Julian Hernando.

The jewels worn by the Spanish kings and grandees were equally magnificent. In the description of the gems which Prince Don Carlos, the son of Philip II, left to be distributed at his death, are included a sword the hilt of which was of solid gold enamelled in different colours: this Don Carlos bequeathed to the Grand Master of the Order of St. John:—a halberd composed of 27 pieces of enamelled gold in high relief; and a sword with gold mount enamelled in colours with masks, medals and festoons in the Roman style, made by Rodrigo Reynalti. Consult "Coleccion de Documentos Ineditos para la Historia de España," vol. 27, Madrid, 1855. I owe to the courtesy of Count Valencia de Don Juan, the following description of arms made by Toto platero de su Alteza in 1554. [Archives of Simancas legajo, No. 37.] These arms belonged to Prince Don Carlos.

A gold sword, the cross of which is ornamented with masks of white, grey, and black enamel.

A gold dagger, and sword-belt belonging to the same sword, ornamented in a similar manner.

Also a gold sword, belt and dagger ornamented with figures of children in solid gold and enamel.

Although the greater part of these silversmiths were Spaniards, the Milanese artist, Jacome de Trezzo was very celebrated during the reign of Philip II. He made several jewels of great importance for the king and royal family. The splendid tabernacle which was taken by the French in 1810 from the Escorial was one of his finest works; they carried off at the same time the superb shrines, the gifts of kings and princes, and everything they could lay their hands on of gold and silver, loading ten campaign carts. Consult, "Historia del Escorial," by Quevedo. Madrid, 1849, p. 220.

At the South Kensington Museum are several objects of this kind, which will give an excellent idea of Spanish jewel work.

No. 334-70. A gold enamelled pendant, in form of a chained dog, supported on a scroll from which small pearls depend, and suspended by two chains of alternate enamelled and plain links, united to a fastening crowned by a bird.

No. 335-70. Enamelled gold pendant in form of a pelican and her young, enriched with a carbuncle and pearls, and suspended by pearl links.

No. 336-70. Enamelled gold pendant in form of a dog enriched with jewels.

No. 337-70. Enamelled gold pendant, in form of a parrot, set with hyacinth, suspended by chains.

No.340-70. Enamelled gold pendant representing the Virgin of the Immaculate Conception.

Nos. 341 and 342-70. Pendants representing the Virgen del Pilar Saragossa, attended by saints. [See woodcut opposite.]

Spanish jewel work does not decrease during the 17th century, the number of artists who worked was very great, and the quantity of objects of all kinds which were made by them to enrich the shrines of churches, and the houses of grandees, was remarkable, although their artistic merit was far inferior to the work of the 16th century. The general decay of art, which produces in Europe the barroco style, appears in Spain more exaggerated and to a greater extent than elsewhere. The objects made during this period reproduce until the beginning of the 18th century the lines and extravagant ornamentation which we meet with in architecture, the handiwork however continued to be excellent, and no expense was spared to give an aspect of richness to the objects made.

The large quantity of objects of all kinds made of silver, and the quantity also used in wearing apparel, gave rise to constant prohibitions restricting its use from the reign of Ferdinand and Isabel, and even to a far greater extent at the beginning of the 16th century. In a Decree, issued at Madrid in 1594, "it is forbidden to make or sell cabinets, escritoires, caskets, brasiers, chapines (clogs), tables, commodes decorated with silver, either beat in repoussé, stamped, carved or plain, and whoever makes, sells, or buys them, is to lose them." Notwithstanding this and other restrictions which appeared in the 17th century, this abuse can hardly have been checked, judging by the number of these objects which have reached us, not counting those preserved in the shrines of Spanish churches and cathedrals.

The luxury which was apparent in this century of great decay for Spain will be found in the numerous descriptions which exist of different feasts and ceremonies.

A good idea may be had of this style of silversmiths' work from the silver dishes in the South Kensington Museum. An engraving of one of these appears on the preceding page.

During the 17th century, jewellery underwent a complete transformation—the proceedings and renaissance forms of the Italian school were abandoned, with all their richness of sculptures, enamels, and variety of stones. Instead of this, jewels were formed of emeralds, diamonds or rubies in gold setting, percés à jour, producing an excellent effect. The exceptions to this rule are the objects in which enamelled work still predominates, a reminiscence of the former century. Among the finest and best examples may be mentioned the gold crown of the Virgen de los Desamparados of Toledo, made in Mexico in the 17th century. It is formed like a basket of flowers, of delicate tracery, and richly studded with fine emeralds. Several most interesting specimens exist at Kensington of Spanish jewellery of this kind, bought at the sale which took place in 1870 of the jewels belonging to the Virgen del Pilar at Zaragoza.

No. 325-70 is a breast ornament of gold scroll open work, with enamelled flowers, set with emeralds. [[See woodcut on p. 37.]]

No. 320-70, a gold breast ornament with five bosses and seven pendants, set with rose diamonds.

No. 406-73. Breast ornament, gold open strap work and floral filigree, the lower part an oval pendant, set with table diamonds. [[See woodcut on p. 39.]]

The following fine Spanish jewels of the 17th century in the Kensington Museum are also worthy of attention:

No. 330-64. A pectoral cross, with medallions containing relics.

No. 298-66. Gold filigree cross, within which is an ivory crucifix.

No. 344-70. Enamelled gold pectoral cross set with amethysts.

No. 417, 417A.-69. A pair of earrings of gold open work, branches set with white crystals.

No. 323, 323A.-70. Silver open work earrings set with rose diamonds.

No. 330 to 330C.-70. Four miniature ewers of silver filigree open work, the bodies of Chinese enamelled copper.

No. 1224-71. Silver frame repoussé, with the Holy Dove, and a bleeding heart encircled with thorns.

Models of the baroque or, as it is called in Spain, Churrigueresque styles continued to be copied during the beginning of the 18th century, in the same manner as in the 17th century. At this time, as in the rest of Europe, a reaction begins in every branch of art, due in Spain to the influence of French and Italian artists who accompanied the family of Bourbon. The Academy of Fine Arts of St. Fernando was founded by a king of that House towards the middle of the century, the teaching was reduced to copying Greco-Roman models, such as they were understood at that time.

The great centres which in the 16th century had produced such splendid works of art had almost completely ceased. No great silversmiths remained at Valladolid, Leon, Toledo, or Seville. The only localities which have preserved even to the present day the traditional forms of these ornaments are Salamanca, Cordova, Astorga, and Santiago. Madrid absorbed from the middle of the 17th century the whole of this industry. In Larruga's "Memorias," Vol. IV., will be found every detail given on this subject. Several important establishments for the object of making silver work on a large scale were founded at Madrid, the most important being that of Tomas de Buenafuente, which passed after to Francisco Novi. Two Frenchmen called Isaac and Miguel Naudin established a manufactory in 1772. In each the greater part of the work was machine made. Others were founded to cut and polish precious stones, and mount paste stones. This was done with great skill by Antonio Martinez in 1778, in a building fitted up for the purpose, which still exists opposite the Botanical Garden of Madrid. Martinez was pensioned by Charles III. in Paris and London to study the improvements in this industry. The principal object of the manufactory was to teach the technical proceedings required in order to extend this industry in the country, and supply a school in which machinery, models, drawings, &c., were to be met with. Pupils of both sexes were admitted; machinery was made in the workshops, and Martinez undertook to teach the manufacture of gold, doublé, or steel trinkets, with or without enamel or stones. Sword-hilts, buckles, snuff-boxes, needle-cases, handles for sticks, brooches, necklaces, orders, and other different objects, were made either of open work or enamelled gold.

Inkstands, dishes, dinner services, chocolate stands, cruets, knives and forks, were made of silver in different styles, generally imitating the English manner. [Consult Larruga, "Memorias Politicas y Economicas." Madrid, 1789. Vol. IV., p. 116.]

The results obtained by the manufactory of Martinez were most satisfactory; a large number of apprentices were taught there; but their work was completely French in character; the manner and style of the Spanish school of silversmiths was completely forgotten.

As I have already mentioned, the traditional forms were preserved in some localities which require to be mentioned here in order to finish this account of this industry in Spain. An interesting and varied collection of modern Spanish peasant jewellery exists at the South Kensington Museum. Strange to say, although this collection was formed a very few years ago, in 1870, it would be very difficult now to make another; for owing to the means of communication having been of late years so much improved in Spain, the peasantry are leaving off their national costumes, and substituting in every detail modern fashions. Among this peasant jewellery the silver gilt necklace and reliquaries of Astorga, No. 1114-73, deserve special attention. These necklaces were worn round the neck and part of the body. The neck ornaments of gold and seed pearls made at Salamanca, those of silver gilt of Santiago; the filigree work of Cordova in the Moorish style, and the long earrings of Cataluña wnces of older times.

I owe to the courtesy of Baron Ch. Davillier the names of the following artists, which appear in his "Histoire des Principaux Orfèvres Espagnols," Paris, 1879.

IRON WORK.

NUMEROUS iron mines have existed in Spain, especially in the Cantabrian provinces, and have been worked from very early times. They are mentioned by Pliny, lib. 34, cap. xii., and have given rise to the development of excellent metal works in the Spanish Peninsula: although in many localities this tradition has been continued until our days, the Basque Provinces have in all times excelled in this artistic industry.

The want of durability and the little care taken of objects of iron-work, owing to the insignificant value of the material employed, prevent us from being able to mention any important examples of a very early date. After drawing attention to some interesting specimens which have reached us from the Spanish-Arabs, we must begin the history of iron-work in Spain in the second half of the 15th century; it continues to progress in the 16th, and produced undoubtedly at that period works which were unrivalled in Europe. The rejas or chancel screens enclosing chapels in the cathedrals of Toledo, Seville, Granada, Salamanca, and other churches in Spain, of which it is much to be deplored no drawings or photographs exist, deserve the especial attention of those who follow this industry in the present day, owing to the beauty of their forms, and the inexhaustible variety of models which they present to the manufacturer.

Besides specimens of Iron-work connected with arms which will be described in a separate article, the most interesting examples of Moorish manufacture which have reached us are keys of most delicate tracery; their perfect state of preservation shows that they have only been used as symbols of cities or fortresses, which on given occasions were offered to kings or great people. Even in the present day the ceremony is still kept up of offering a key to the foreign princes who stay at the royal palace of Madrid, and in a similar manner as far back as the Middle Ages, keys have been presented to Spanish sovereigns on their visiting such towns as Toledo or Seville, and a ceremonial is gone through of swearing to uphold their privileges, a reminiscence probably of what occurred when these towns were conquered from the Moors.

One of these keys at Valencia, belonging to Count de Trigona, measures 9½ inches long, and was originally gilt; its handle or bow is closed, and covered with delicate work in relief. The wards are ornamented in the same manner with a combination of several words written in Cufic letters of difficult interpretation. Round the handle we can read most distinctly in Arabic the name of the artist: "It was made by Ahmed Ahsan."

This key appears to be of the 13th to 14th century. Two similar ones existed in the town hall of Valencia of a most monumental character; they were considered of great antiquity, but it has been ascertained that they were made in 1632, by the locksmith Juan Marti.

In the shrine of the Cathedral of Seville there are two interesting keys (see woodcut); one of them is of iron, the other of silver, of a similar style. For further details see "Museo Español de Antiguedades," vol. ii., p. I. The first, which is represented to the right, is of genuine Moorish workmanship; the wards are covered with letters in Cufic characters, which several oriental scholars have tried to interpret, without coming to a satisfactory conclusion, probably owing to the confused, or double meaning of the letters. It is supposed with good foundation that this was the identical key which was given to King St. Ferdinand, the conqueror of Seville, in 1248, the day he took possession of the city. The silver key, to the left of the plate, has traces of gold and niello work, representing in the upper part, ships, castles and lions. Round the handle runs an inscription in Hebrew—"The King of Kings will open; the King of the whole Earth will enter." In the wards appear in delicate open work carving the following words in Spanish, "God will open; the king will enter. Dios abrirá; rey entrará." It may be affirmed to have been made in the 14th century, and in that case, symbolizes some event of the life of King Pedro the Cruel, a great protector of the Jewish race. Five Moorish keys of a similar kind, but inferior merit, may be seen in the local Museum of Segovia, and the Archæological Museum of Madrid.

The objects of iron-work made by the Christian artists of this period in Spain must have been good, for although no specimens exist, we have at any rate historical information which confirms this. In the Consistorial Ordinances of Barcelona, Capmany, "Memoirs," vol. i., we find that ironsmiths formed an extensive guild in the 13th century; in 1257 four of its members formed part of the chief municipal council; this guild increased in importance in the following centuries. The Ordinances of Seville of the 15th century, which were reformed in 1502, and those of Toledo, also re-enforced in 1582, give an idea of what was done by workers in bronze, the methods of workmanship and other details of interest. The Ordinances of Seville mention rejas made in Biscay, and give a good idea of the styles adopted by the iron-masters there. The Ordinances of Granada repeat almost exactly the former prescriptions.

The Cathedrals and large churches in Spain lent themselves in an admirable manner to the construction of objects of all kinds in iron work, especially the railings enclosing the side chapels, or sepulchres, and the double screens required for the Capilla Mayor and Coro, owing to the ancient Spanish custom of constructing the choir in the centre of the principal nave of the cathedral. Hence we meet with names of the iron-masters, rejeros, mentioned in early documents as attached to the different cathedrals in the same manner as painters and architects. We find Bartolomé Morey working at Palma de Mallorca in 1389 to 1397. He was succeeded by his son Juan, from 1401 to 1407. See Piferrer, "Recuerdos y Bellezas de España." Maestro Basil worked at Burgos, and Maestro Pablo at Toledo and its dioceses towards the end of the same century. Maestro Juan Francés worked at Toledo in 1482. By this same artist is the beautiful reja of the Capilla Mayor of the Colegiata of Alcala de Henares; it is signed, "Maestre Juan Francés, maestro mayor de las obras de fierro en España." From this time the names of iron-masters are well known and numerous; we may safely affirm that those who lived in the 16th century have left us the most important works.

One of the finest specimens of this artistic industry is the splendid reja which divides the nave at the royal chapel of Granada. Its immense size has enabled the artist to carry out a splendid ornamentation in the "plateresque style," combined with reliefs on a large scale of figures of apostles and saints, terminated at the upper part with a wide band of ornamentation of leaves and flowers, crowned with a Rood, with the Virgin and St. John on either side. The splendid balustrades and supports are forged with the hammer; the figures and circular piers are formed of large plates, repoussé and carved in the most admirable manner, and give a good idea of the difficulties of this work, which the artists of this time had overcome, long before the various technical facilities of the present day existed. The ornamentation of this reja was originally gilt, and the figures are painted in oils. It was made about the year 1520 to 1530; in the lock, formed as a Gothic pinnacle, is a small inscription, "Maestro Bartolome me fec." This same artist worked at Jaen and Seville. Cean Bermudez calls him "sculptor and iron-master."

Two most important specimens of iron-work exist also at the cathedral of Toledo, enclosing the Capilla Mayor and Coro. The reja of the Capilla Mayor is 42 feet wide by 19 inches high; it rests on a pediment of marble ornamented with masks and bronze work, upon which rises the reja, which is divided horizontally by means of a frieze of ornamentation, and this again vertically in five compartments. In each vertical division there is a pilaster of four sides formed of repoussé plates, carved with a fine ornamentation in the renaissance style, this is again terminated with life-size figures in high relief of bronze. The second compartment rises upon the band which divides it in an horizontal sense; it follows the same decoration in its pilasters, and is terminated by a series of coats of arms, torches, angels, and a variety of foliage which finishes the upper part. Upon the centre, hanging from a thick chain supported from the roof, is suspended a life-size Rood, of admirable effect, which completes the decoration. In several spots there are labels with mottos in Latin; in one of them appears the following inscription, and the date of 1548 when this splendid work was finished: "Anno MDXLVIII. Paul III. P. M. Carol. V. Imper. Rege. Joannes Martinez Siliccus. Archipiscopus. Tolet. Hispaniae. Primat." The railings of this reja are silvered, and the reliefs and salient points gilt. The artist who made it was Francisco Villalpando, a native of Valladolid; this model was chosen among those of several artists, who presented their plans in competition before the ecclesiastical authorities; it is calculated that ten years elapsed before it was finally finished in 1548. Villalpando was greatly distinguished likewise as a sculptor and architect. In 1563 a book was printed after his death of a translation he made of the work on architecture by Sebastian Serlio. Other remarkable bronze works of art, which will be described further on, were also by him.

The reja of the coro, which is placed opposite that of the Capilla Mayor, is almost exactly similar in size. It is less rich in ornamentation, but so pure and sober in its general lines, and its ornamentation is so perfect, that it is perhaps superior to the other. This reja consists of a single architectonical body, divided in six vertical compartments, covered with bas reliefs of such delicate work that they appear rather to be by the hand of a silversmith than by an iron-master. An innumerable number of figures are combined with the ornamentation in the base, terminations of the columns and coronation; in the same manner it is full of banderoles with Latin mottos, and gilt and silvered; it was finished in 1548, as we see by the inscription. This reja was made by Domingo de Cespedes, a native of Toledo, with the help of his son-in-law, Fernando Bravo; the design was also chosen by competition, and it was finished in seven years. Both these admirable models of iron-work belong to the best productions of the renaissance school, and contain models which might be adapted with great advantage to ironwork of every description in the present day.

It would be an interminable task to describe the multitude of railings similar in richness and good taste to these which happily survive in Spanish cathedrals and churches. It is sufficient to call attention to the following. The reja of the Capilla del Condestable in the cathedral of Burgos, by Christoval de Andino in 1523, has been considered one of the finest specimens of its kind, owing to the perfection with which every detail is carried out. A contemporary writer in describing it says: "Good workmen, and those who wish that their work may have authority and be blameless, must endeavour to be guided by ancient models, as your fellow-citizen, Cristoval de Andino; his works are thereby more elegant and excellent than any others which I have seen up to the present time; if not, judge of his work by looking at the reja which he is making for your lord the Condestable, which is undoubtedly superior to all those which have hitherto been made in Spain." Sagredo—"Medidas del Romano," quoted by Cean Bermudez. In the centre of the upper part, towards the middle, appears the inscription: "Ab. Andino, A.D. MDXXIII." The reja of the coro of the cathedral of Seville, made by the iron-master, Sancho Muñoz in 1519, a native of Cuenca, is also very remarkable; besides the finer ornamentation which covers it, it has figures of kings and prophets representing the genealogy of Our Lord. The reja belonging to the capilla mayor of the same cathedral was the work of Friar Francisco de Salamanca, 1518-1533; it is covered with an open-work ornamentation, figures of angels and bas-reliefs, and is terminated in the upper part with a representation of the Entombment of Our Lord. The large reja of the cathedral of Cuenca, made by Arenas in 1517, those at Palencia, by Andino, 1520, and Rodriguez, 1555; the one at the church of Sn. Juan de la Penitencia, Toledo; the beautiful railing at the chapel of Palenzuela, in the cathedral of Salamanca, 1524, and a number of objects of smaller size, such as iron pulpits in the cathedrals of Barcelona, and in some chapels at Burgos, Avila, Palencia, and Toledo, several of which are anterior to the 16th century, are all worthy of the student's especial notice. Among these objects of smaller dimensions special reference must be made to the fine and picturesque reja surrounding the sepulchre of Archbishop Diego de Anaya, in the chapel of Sn. Bartolomé, in the cloister of the cathedral of Salamanca. The beauty of its details and the open-worked inscription which surrounds it, place it at once among the finest specimens of ironwork of the 15th century. The two window rejas at the house called "de las Conchas" in the same town—an admirable specimen of Burgundian architecture, although restored—may be quoted as excellent models of ironwork applied to civil buildings.

Iron pulpits have been made in Spain with great success. Two interesting examples of the end of the 15th century still exist at the cathedral of Avila. They are hexagonal in shape, and supported by lions' claws; they were originally gilt. One of these pulpits is ornamented in the Flamboyant style, the other in good Renaissance; consult Sir Digby Wyatt's "Architect's Note Book in Spain." Friar Francisco de Salamanca made two interesting iron pulpits for the cathedral of Seville; they are covered with bas-reliefs representing the Evangelists and subjects taken from the Acts of the Apostles and the Apocalypse. The pulpit at the parish church of Sⁿ. Gil de Burgos must also be mentioned. Mr. Street, notwithstanding his want of sympathy with every object not strictly of the Middle Ages, says: "It is of very late date, end of the 15th century, but I think it quite worthy of illustration. The support is of iron, resting on stone, and the staircase modern. The framework at the angles, top and bottom, is of wood, upon which the ironwork is laid. The traceries are cut out of two plates of iron, laid one over the other, and the ironwork is in part gilded, but I do not think that this is original. The canopy is of the same age and character, and the whole effect is very rich at the same time that it is very novel. I saw other pulpits, but none so old as this."

Among the applications of iron to decorations of civil architecture must be specially mentioned the nails and knockers on the doors of houses, which are so characteristic of Toledo and other old Spanish towns. This style was imitated from the Moors. Some doors still exist at the Alhambra, Granada, covered with enormous heads of nails of a half-spherical form with embossed pattern. These same nails are constantly to be found on old Spanish houses, to which are added in the angles pieces of iron of a most artistic order. A large number of these nails from Toledo, are in the Kensington Museum. Examples of two are given.

After the 16th century this industry loses its artistic interest and importance. Ironwork becomes simply practical and useful, and ceases to reproduce the grand carved and chiselled works of former times. The artistic objects are reduced to specimens on a small scale: door-locks, of which an excellent example exists at the church of Calatravas, Madrid; a weighing machine, made by the locksmith Salinas for the Mint in the 17th century, which was exhibited at the Special Loan Collection of Scientific Apparatus at Kensington in 1876, the fine ornamentation of the clock of the cathedral of Seville, made in the last century by Friar Josef Cordero, and the very remarkable iron locks made by Millan at the beginning of the present century, for the rooms at the palace of the Escurial, called "Piezas de Maderas finas." The art of inlaying iron with gold and silver, constitutes in Spain a special industry; the principal artists who carry it out at the present time with great skill are Messrs. Zuluaga at Madrid, and Alvarez at Toledo. The splendid sepulchre of General Prim at the church of Atocha, Madrid, made entirely of damasquiné ironwork, is worthy of the greatest commendation; the fine vases and shields of repoussé ironwork inlaid with gold, made by Alvarez of Toledo, are artistic and excellent revivals of the Milanese work of the 16th century.

BRONZES.

OBJECTS of bronze of native origin are less frequently met with in Spain than those of silver and iron. Many foreign artists worked at this industry, the history of which only begins in the 16th century. The specimens of bronze work made by the Moors will be described in their proper place. It is true that examples of bronze made by the Iberians and Romans are frequently met with in excavations; they consist chiefly of hatchets and other arms, bracelets, fibulas, etc., but they are similar in every respect to objects of the same kind found in other European countries. During the Middle Ages, objects of enamelled gilt bronze were used on a very large scale in churches; specimens of a very high order may be seen in Spain, such as the splendid altar at San Miguel de Excelsis in Navarre; that at Santo Domingo de Silos, and the statuette of the Virgin de la Vega at San Esteban, Salamanca. These objects were, however, probably made at Limoges, or in some other locality out of Spain. We hardly can trace any bronze of this period but cathedral bells. One was made at Puig-Valencia as early as A.D. 622, melted in 1550, the only trace of the early work being the inscription and date, which are given by contemporary authors.

Another bell, about half a foot high, of A.D. 875, exists at the Local Museum of Cordova, with the inscription: "Offert hoc munus Samson abbatis in domum Sancti Sebastiani martyris Christi, Era DCCCCXIII." We find the name of "Joannes Calcena me fecit Anno Domini 1306," on a bell at the cathedral of Valencia, and on one of Lerida was to be read: "Fecit factum per magistrum Joannem Adam Anno Dei 1418 in mense Aprili;" the author appears to have been, by reference to the documents of the church, "de burgo Sanctæ Mariæ Turlensis diocesis regni Franciæ," for details see Villanueva, vol. ii., p. 147-152, xvi. 88.

Before entering into the renaissance period, I must mention some remarkable specimens which have reached us, the work of the Spanish Arabs. Probably the most ancient and interesting is a sculpture representing a stag, now at the Provincial Museum of Cordova, which evidently belonged to a fountain. It was found in the ruins of the palace of Medina Az Zahra, the construction of which corresponds to the time of Abd er Rahman III., (961); it is undoubtedly work of this period, and probably belonged to this palace, so celebrated by Oriental writers. The fragments of a bronze fountain and several lamps, at the Museum of Granada, are of a later date; they were found in the excavations of the early city of Illiberis, which was abandoned in the 11th century, when its inhabitants chose the present site of Granada. The fragments, which are supposed to have belonged originally to a fountain, consist of a small temple 22 inches high, of an hexagonal base, with twelve small columns supporting bands of open work, frescoes, cupola, and turrets: in the angles are birds. There are six lamps, all of which are mutilated and incomplete; their form and object is indicated by the remains of chains which suspended them. Some of them are half melted, giving testimony to the conflagration which the mosque suffered in the time of the Arabs. Other bronze fragments have been found in the same locality. All these objects are artistic in their general lines, but the workmanship is indifferent, and the ornamentation heavy and coarse.

A bronze lion and a mortar, found some years since in the province of Palencia, are more artistic in form and general details. The mortar was found near Monzon, and the lion not far from it. Remains still exist of a castle, which was founded by the Arabs, in the locality, and which at the beginning of the 11th century was in the hands of the Christians; it is highly probable that these objects belonged to its Moorish inhabitants. If we take into account how frequently we find Oriental remains in this locality, both these objects may be safely classified as belonging to the 10th century, although there are details in their ornamentation which appear rather to be of a later period. The lion is 12½ inches high by 14½ inches long; an aperture in the lower part which communicates with the mouth of the animal, appears to suggest that it belonged to a fountain, the water of which issued, or not, owing to the movement of the tail, which rotates and acts as a key. The shape of this lion recalls those at the Alhambra; its forms are stiff and angular, in the conventional Oriental manner of reproducing animated beings. The surface is covered with ornamentation, the mane is arranged in mannered and symmetrical curls, like those so common in Assyrian sculptures. On the back and two sides is the following inscription in Cufic characters:

This object is similar in detail and the inscription to a bronze griffin at the cemetery of Pisa; it belonged to the collection of the painter Fortuny, and at the sale in 1875 it was bought by Mr. E. Piot.

The mortar is circular in form, and is surrounded by twelve prismatic sections. Two lions' heads serve to support the hanging rings or handles. The whole of the outside is most delicately carved with arabesques, among which are to be met frequently figures of birds and quadrupeds. See "El arte en Esp.," vol. iii., Madrid, 1864. The following inscription in elegant Cufic characters runs round the upper part: it is repeated twice. "Complete blessing, and ever-increasing happiness and prosperity of every kind, and an elevated and happy social position for its owner." From the richness of the ornamentation of this object, it is probable that it was used to pound aromatic drugs.

A bronze lamp of a similar ornamentation was found some years ago at Cordova—it is not unlike in form and shape Roman lamps of the same kind made of earthenware. It is engraved all over, and the subject of a dog pursuing a hare appears often repeated. None of these objects of bronze work are however equal in importance to a lamp made during the reign of Mohammed III. of Granada, now at the Archæological Museum, Madrid [See Plate.] It is composed in its base of a body destined to hold the light, upon which is supported a large four-sided piece in the form of a pyramid, which is completed with an octagonal body which surmounts it. Four graduated balls suspend it. The height of this lamp is 2½ yards, and taking into account its general structure, it appears as if the chains or intermediate pieces are wanting, which probably existed on the inverted bell of the base. The manufacture and elegance of decoration of this object is of a very high order, and may be compared with bronze work of Damascus. The greater part of the pieces are covered with pierced open work, and the motto of the Kings of Granada, "There is no conqueror but God." In the lower part of the large pyramid, truncated in four sides, is a long inscription in Arabian characters, stating the lamp to have been made by order of Mohammed III. year of the Hegira, 705 (A.D. 1305).

The remaining objects of bronze work of Spanish-Moorish production are less important. They are interesting notwithstanding. The spherical perfume-burners which were used to roll on the pavement are highly artistic and might be adopted in the present day. One or two bronze buckets of a well exist at the Madrid Archæological Museum, with some small objects of little importance found at Cordova. This artistic industry has continued until the present day in Spain in the form of objects of domestic use, such as brasiers, mortars and lamps, several of which preserve their ancient traditional form.

In metal work as in architecture, a large number of instances exist in Spain in which the Christian and Moorish styles are blended—as an example of this style may be mentioned the fine bronze gates of the cathedral of Toledo. These doors, which are 18 ft. high by 12 ft. wide, are covered on both sides with bronze plates; the outer side is decorated with a geometrical Moorish design and small Arabic inscriptions, alternating with castles and a number of Arabic mottoes. In one of the side bands and in the lower part may be read in Spanish the following inscription:

"Estas puertas fueron acabadas en el mes de Marzo era de mil c ccc. setanta e cinco años."

"These doors were finished in the month of March, in the era of 1375 years" (A.D. 1337).

The fine doors of the cathedral of Cordova, del Perdon, are similar in style. They are made of wood and covered with bronze plating, and Gothic and Arabic inscriptions,—the word "Deus," and

"The empire belongs to God, all is His." Round these doors, alternating with the arms of Castille and Leon, is the following inscription. "Dia dos del mes de Marzo de la era del Cesar de 1415 años, (A.D. 1377.) Reinante el muy alto et poderoso D. Enrique, rey de Castilla." These doors were restored in 1539.

The Puerta del Perdon of the cathedral of Seville is similar in style, and a good example of moresque bronze work.

Returning to the bronze work of the Christian artists of the renaissance period, the general rule which may be established with reference to statues is that they have been made by foreign artists. This is the case with the splendid groups of figures at the high altar and presbytery of the Escorial by Pompeyo Leoni, the equestrian statue of Philip IV. by Pedro Tacca, and others of a similar kind. One of the very few exceptions to this rule occurs in Bartolomé Morel, a Spaniard, the author of the statue called the "Giralda" on the tower of the cathedral of Seville, the desk of the choir, and Tenebrarium at the same church. These objects were all by him, and are among the finest specimens of bronze work in Spain. The Tenebrarium is described by Cean Bermudez in his "Descripcion artistica de la catedral de Sevilla," p. 129, in the following manner: "This object is better executed and more graceful in design than any of its kind in Spain. It consists of a triangular candelabrum, which is used during matins in the three last days of Holy Week with fifteen tapers, which are extinguished on reading each psalm.

"It was designed and executed by Bartolomé Morel in 1562. Juan Giralte, a native of the Low Countries, and Juan Bita Vazquez helped him to make the statues which are at the head of this candelabrum, and Pedro Delgado, a sculptor of great renown, worked at the foot.

"It is 8 yards and a half high, and the triangular upper part is 3 yards wide: it is surmounted by fifteen statues which represent Our Saviour, the Apostles and two other disciples or evangelists. In the vacant space of the triangle there is a circle ornamented with foliage, in the centre of which is a figure in high relief of the Blessed Virgin, underneath is a medallion bust of a king. This centre is of bronzed wood, and is supported by four small bronze columns, below which are four caryatides, resting on a nobly designed border ornamented with lions and other animals in the renaissance style." See woodcut on next page.

Villalpando distinguished himself at the cathedral of Toledo in the same way as Morel at Seville. The splendid reja at the Capilla Mayor with the fine gilt bronze pulpits, the bas-reliefs of the doors of Lions, 1564, the font, and railing surrounding the altar of the Virgin in the coro were all made by him. The pulpits, made as it is asserted out of the bronze sepulchre of Dn. Alvaro de Luna are octagonal, six of their sides are admirably decorated with bas-reliefs of exquisite work divided by pilasters and terminated by a finely designed frieze. The door of Lions is covered in a similar manner with bronze plates ornamented in the finest renaissance style; the knockers are models in their way. In the opposite door del Reloj, these reliefs have been copied in 1713 by the silversmiths Zurreño y Dominguez.

Notwithstanding the great merit of these works, the stands for the choir books are even finer and more exquisite in detail. They are made of gilt bronze and represent subjects from the life of St. Ildefonso, the Prophet David and the Apocalypse. They were modelled and designed by Juan Navarro in 1562, and carved by Nicolas de Vergara and his son some years afterwards.

Two artists, natives of Aragon, were very famous during the same century for their bronze work. One of these, Celma, made the pulpits of the cathedral of Santiago, which are finely ornamented with busts between the columns, and bas-reliefs representing subjects of the lives of the saints, and a fine design of leaves and flowers. In one of the inscriptions may be read: "Joannes Baptista Celma, Aragonentis patria pingendi artifex salutis anno 1563. Compostellæ faciebat." The other artist was Cela, the author of the fine reja del coro of the church of the Pilar at Saragossa, dated 1574-79.

Two gilt metal Monstrances of Spanish work of the 16th century are in the South Kensington Museum. No. 4310, 57, represents an architectural shrine, decorated with strap and cartouche-work, columns, and arcades in the renaissance style; it is dated 1537. See woodcut on next page. The other, No. 190, 66, has an ornamented stem, with knob, on which stands a triangular shrine with kneeling angels; above is a smaller shrine surmounted by a crucifix.

Objects of bronze work of the 17th century which are not by Fanelli, Tacca, or other foreigners, are less numerous; most of them show signs of the decline of art at this period. The chiselled and openworked altar frontal, at the burial-place of the kings of Spain at the Escorial, is a very fine work of its kind. The shrine of the Sagrario de la Santa Forma, also at the Escorial, is an excellent piece of workmanship—both these objects were made by lay brothers of the convent. Friar Eugenio de la Cruz and Friar Juan de la Concepcion, silversmiths, worked during the reign of Philip IV. at chiselling these and other objects of bronze.

The exaggerations and bad taste, which were so common in every branch of artistic industry, were as prominent in bronzes—the bas-reliefs of this metal which ornament the back of the high altar of the cathedral of Toledo, at the "Transparente," are generally mentioned as models of bad taste. They are by Narciso Thomé; the architecture, painting, statues and carvings in marble, jasper and bronze are by the same person, as appears in the inscription which he placed there at its termination in 1734.

On the accession of King Charles III. from Naples in 1759, these defects were corrected, in part owing to the classical influence which became so general in Europe, and continued to the early part of the present century. The silver manufactory of Martinez founded in Madrid under his auspices, has already been mentioned in treating of silver work. Objects of bronze of all kinds were made there in this classic style, and at the porcelain manufactory of Buen Retiro, where splendid tables were made of pietre dure, mounted in bronze. The most important objects there produced may be seen at the chapel of the royal palace of Madrid, and the palaces of Aranjuez and the Escurial.

ARMS.

THOSE who have a taste for the study of prehistorical monuments in Spain, will find a very extensive collection of arms and other utensils of this period at the Muséo Arqueologico, Madrid, which have been found in different localities of the country. They chiefly consist of hatchets, knives, and lance and arrow points made of flint, and are similar in form to those which have been discovered in the north and centre of Europe. There are therefore, constant analogies between the implements used by the primitive Iberians, and those of other European races of the prehistoric period.

The arms and weapons of the following age, known as the age of bronze, are less common in Spain, although a few specimens exist in the Muséo of Madrid, and the "Academia de la Historia." They chiefly consist of swords, daggers, and lance and arrow points. The hilts are formed of the same material as the blade in some instances, in others they consist of a blade fitting into a wooden or ivory handle. The blades are cut on both sides; they are straight, and finished off in a point; in the centre runs a thick rim made for the purpose of strengthening the blade, and that it should not bend. One of these specimens measures 30 inches long. The daggers are about one-third smaller, with the same rim in the centre; the bronze hilt is nailed to the blade, and the lance and arrow points are of the same kind. These weapons are similar in style to the numerous examples found in other countries, especially England. The hatchets are also the same, their manner of being fixed on to their handles and their size and weight being identical with the English ones. One of the few specimens which varies from this general rule, is a dagger, with a cylindrical horn-like hilt, belonging to S^r. Villaamil: it was found at Galicia with other interesting arms. (Consult Muséo Español de Antiguedades, iv. 63.)

The probable antiquity of these weapons always remains a matter of doubt; this is especially the case with stone implements. When on their discovery the geological structure of the soil has been studied, some evidence exists on which to ground an opinion; but this is very seldom the case in Spain, and Messrs. Prado, Villanova, Botella, and MacPherson, are among the few and most trustworthy geologists who have investigated this subject. With reference to bronze implements, Spanish authors have a tendency to attribute them to prehistoric times. I see no reason to justify this opinion, and it appears to me that when this subject has been studied in a more satisfactory manner, it will appear that these arms were used during the Roman domination at the same time as the iron ones.

In reaching the Iron period, already within historical times, we find that the Spanish people, when once under the Roman rule, used the well known arms and utensils which will be found reproduced in all elementary books on archæology. In this, as in every other sphere, the Romans imposed their civilization on the races they conquered. Some important exceptions, however, exist to this general rule. The Spanish swords must have been excellent in quality, since the Romans adopted them after the Carthaginian war: they were however, never able to imitate the manner in which they were tempered. Suidas says: Romani patriis gladiis depositis Hannibalico bello Hispaniensium assumpserunt ... sed ferri boni atem et fabrica solertiam imitari non potuerunt. The locality where the best swords were made in Spain was Bilbilis (Calatayud, province of Aragon), the birthplace of the poet Martial, who, when praising the waters of the river Jalon and the excellence of its quality for tempering metals, says, Salone qui ferrum gelat. These swords were wide, and cut on both edges; their points were sharp, and all of them had in the centre signs of a central groove running down its length. Several specimens may be seen at the Museo Arqueologico, Madrid, which are 15 or 19 inches long. The Spaniards used also swords of another form, which were known by the name of falcata, from falx, sickle; the blade was curved, and it has been supposed to be the genuine Spanish model. The blade was widened in proportion from the hilt to the point, which was very sharp: it cut like a sickle in the interior curve, and only a small part was sharpened in the opposite side. The best specimen, which exists in the Madrid Museum, is 22½ inches long. The weapons made at Toledo must have been very famous during the Roman period: Gracio Falisco, a poet of the time of Julius Cæsar, says, in mentioning them: Ima toletano præcingant ilia cultro; the sword manufactory there attained afterwards great importance.

I must end by mentioning the funda, or slings, and leaden plummets (glandes), which were thrown so dexterously by the slingers of the Balearic Islands. The slingers of this province are mentioned with great praise by ancient authors. (V. Smith, Dictionary of Greek and Roman Antiquities. Funda.)

During the Visigothic domination, some modifications must have been introduced in the form and number of the arms used, probably owing to the tradition of the Gothic race, and the Byzantine or Oriental influences, which they accept in every sphere; but the names and explanation of these weapons, given by San Isidoro in his "Etimologies," lib. xviii., indicate that the Roman system was adopted as a general rule. The chief modification which may be established for the Visigoths, and the greater part of the European races, is that from their time the breast-plates and metallic pieces, which served as a protection for the legs and arms, fell into disuse, and were substituted by coats of mail or chain armour. This is deduced from San Isidoro's not describing these metallic plates; although he gives numerous details on different sorts of coats of mail, including those made of coarse stuffs woven in Silisia. At this time, the use of planks or boards to protect the body was abandoned, and did not prove acceptable until the end of the 13th century, when they again became very generally adopted in Spain.

During the 13th and 14th centuries, the Spanish Christians continued to use the same weapons as in other European states. The history of Spanish arms, in like manner with its artistic history and civilization, is similar to that of other nations; it frequently occurs that objects of this kind are classified with those of other countries, the only exceptions to this general rule being those which result from the Moorish conquest and influence.

The Arabs, after they took possession of Spain at the beginning of the 8th century, imported, with their arts and industries, special arms and weapons, the greater part of which were copied from Persian models; their swords, helmets, and shields deserve special attention; in other weapons the difference is not so great; and, indeed, in the two first it is chiefly confined to their decoration.

None of the arms made by the Moors have been so justly celebrated, or so delicately worked as their swords. An Arabic author, El Camus, says the Arabs had as many as 1000 names to designate swords. In the first years of the Hegira, their historians praise the swords made at Yemen, and in India; later on, those of Syria; Damascus was, however, the great centre where arms of all kinds were made. Several interesting Arabic manuscripts are known on this subject, such as the Treatise on steel blades in the library of Gotha, that on Different kinds of arms, with the properties of lances, swords, and horses, in the Library of Leyden, and numerous articles by Oriental scholars, which have appeared in the "Journal Asiatique," and other reviews. The manufacture in Syria decayed in the 15th century; other centres gained in importance, specially those in Egypt, Morocco, and Spain, which had rivalled the East in this industry during the Middle Ages.

The Arabs introduced their forms and manner of decorating arms when they invaded the Peninsula; it is, however, highly probable that the traditions still existed at Bilbilis and Toledo of the manner of tempering steel. It is known that Abd-er Rahman II. (A.D. 822-852) reformed the manufacture of arms at Toledo, and that in A.D. 965, Al Hakem II. sent a rich present of specimens made in the locality to Don Sancho, King of Leon. Notwithstanding the high reputation of the industries of Cordova, the great centre and court of the Spanish Arabs during the earlier period of their domination, "it never became famous for its working steel," as Fernandez Gonzalez tells us in his study on Spanish moresque swords, from which much of this information has been derived. (V. Mus. Esp. de Antiguedades, V. I. and V.). Almeria, Murcia, Seville, and Granada were greatly distinguished in this manufacture during the domination of the Arabs in Spain.

We know that Almeria, during the 12th and 13th centuries, "was also famous for the fabrication of all sorts of vases and utensils of iron, copper, or glass." (Mohamadan Dynasties in Spain, by Al-Makkari, vol. i. p. 51.) Abou Said, in writing in the 13th century of Murcia, says, "Objects are made there of latteen and ron, consisting of knives and scissors, with an ornamentation in gold. Other similar utensils, proper for the outfit of a bride, or a soldier, in such large quantities, that the mere thought of it confuses the imagination."

The same author, when speaking of the swords of Seville, says, "The steel which is made at Seville is most excellent; it would take too much time to enumerate the delicate objects of every kind which are made in this town." These industries must have continued in the hands of the Moors after the town was conquered by Spaniards in the 13th century. In the following century we find in the will of King Dⁿ. Pedro, "I also endow my son with my Castilian sword, which I had made here in Seville, ornamented with stones and gold."

No specimens of Hispaño moresque swords exist previous to the 15th century. We possess some highly interesting examples of this period, all, or the most part, of which were made at Granada, the last centre of civilization of the Spanish Arabs. The most important are the sword, dagger, and double-handed sword and knife, which, with the authentic costume, belonging to Boabdil, the last king of Granada, are now in the possession of the Marquis of Villaseca, at Madrid. These objects were gained by an ancestor of the marquis, who took Boabdil prisoner in 1482 at the battle of Lucena. In compliance with the chivalrous practice of the time, the arms of the conquered king went to the conqueror, and have been kept as heirlooms since that time.

The sword of Villaseca is 39 inches long, this includes 12 inches of the hilt. (See woodcut.) "The steel blade," says S^r. Fernandez, in his article, vol. v. p. 395, "is of a later date, and appears to have been added to the sword after the older one had disappeared. It is a Toledo blade, marked with the letter S, similar to the one used by Alonso Sahagun the elder, and with a hollow line in the centre."

I am of opinion, however, that it may be the original blade, for the other sword, which still exists at Granada, of the same kind, has likewise a blade marked T, Toledo. This coincidence appears to suggest that those made there were preferred, and in both instances they exactly fit the sheath, which is the original one.

The hilt of this fine sword is formed of solid gold, enamelled in blue, white, and red. This decoration runs along the pommel and cross bars. The axle is made of ivory carved with the utmost skill. Two octagons are on each side, with the following inscription in semi-Cufic letters:

(may you) "obtain your object." On the other side:

"in saving his life."

Four shields surround in the upper part this axle, which contains the following inscription in rather illegible characters:

"In the name of God, power belongs to him, there is no other divinity but he, happiness proceeds from God alone."

In the lower part in similar shields we read:

"Miracles belong to God, for certainly the ignorant do not know God at first, for it is their habit to err."

On the pommel is the following inscription:

Say, "He alone is God, Eternal God, who neither created, nor was engendered."

Under the pommel, on green enamel, appear the following letters:

Say, "The only God, Eternal, not ..."

On the other side:

"was neither created, nor engendered, and has no equal."

On a band which appears under the axle, on enamel, are the following letters:

"God is clement and merciful," and on the other side:

"God is gifted with the best memory."

The learned archaeologist and orientalist, Dⁿ Pascual de Gayangos, is of opinion that this sword was worn hanging round the neck, between the shoulder blades. A small bag, tahali, probably hung also from the leather girdle, which still exists in the collection of Villaseca.

The montante, or double-handed sword, has an iron cylindrical hilt inlaid with ivory. On it appears the motto of the kings of Granada:

"God alone is the conqueror."

The blade, part of which is wanting, is marked with the crescent.

The dagger is superior in artistic merit. The hilt is made of iron, ornamented with ivory delicately engraved in arabesques. The blade is damascened in gold, with inscriptions on one side, repeating:

"Health, permanent glory, and lasting happiness [belong to God">[.

On the opposite side:

"It was made by Reduan."

The scabbard of this dagger is most beautiful, its chapes are made of silver enamelled in green, and the remainder is of crimson velvet embroidered in gold, from which hangs a fine tassel of silk and gold thread. A small eating knife is fitted into this same scabbard, which possesses no artistic interest.

The woodcut on the next page will give a good idea of the blade of a Moorish dagger of the 15th century.

A sword of a similar kind to the one already described may be seen at Granada at the Administrador's of the Generalife. It belongs to the marquis of Campotejar, a descendant of Sidi Jahia, a Moorish prince who was converted to Christianity. The marquis of Vega de Armijo has an interesting sword of the same kind, and two others exist at the Museo de Artilleria, Madrid, which belonged to Aliatar; Boabdil's sword is at the Royal Armoury. The Hispano Arab sword, which for centuries had been in a saint's hand at the church of San Marcelo, Leon, is now at the Museo Arqueologico, Madrid.

The Spanish Moors used helmets similar in form to those of the Christians, though their manner of decoration was different; after the importations made by the Crusaders, the similarity must every day have been greater. The almofar, which appears by its name to have been originally oriental, and which is constantly named in Spanish documents from the poem of the Cid, was a protection for the head, of a similar form to those used in France and other countries, consisting of a hood made of chain armour, covering the head and leaving the face free; upon it was placed the hood or helmet. Some helmets exist at the Royal Armoury of Madrid of Spanish Moorish origin; among them are two very remarkable ones, which have been attributed to Boabdil, the last king of Granada. (Nos. 2345, 2356, of the Catalogue.) They are decorated with gold filigree, niellos, and geometrical ornamentation in the best oriental style, most admirably worked, and different in this respect to the helmets used in this time. Another interesting helmet, which belonged to this ill-fated monarch, exists in the province of Almeria.

The adargas, or shields, are more varied: they were frequently adopted by the Christians. They were generally round, with a salient point in the centre, ombilicus, or a sort of iron grating made for the purpose of entangling the adversary's sword. These shields were of wood or thick cowhide, vacaries, and were decorated outside in a variety of ways, sometimes with pierced iron plates or bands of leather, forming arabesques; and at other times with an ornamentation of iron, and leather embroidered with gold and silver, with rich hanging tassels and pendants. Shields of a prolonged form were also very constantly used, terminating in a semicircle in the upper part, and in the lower by a sharp point or a semicircle at the top and bottom, as may be seen in the paintings of the Sala de la Justicia at the Alhambra. A good collection of round shields may be seen at the Armoury at Madrid: they are not earlier in date than the 15th century, the most interesting among them are Nos. 233, 253, 389, 595, and 607 of the Catalogue. Some of them are exquisite in work and detail. These shields, although belonging to the latest period of the middle ages, were used before this time, for they appear on the ivory casket existing at the cathedral of Pamplona, [V. Ivories, p. 130], dated A.D. 1005, and in miniatures of Spanish MSS. of that date. One of the best examples, which may be mentioned to confirm these indications, will be found in a MS. at the British Museum (Add. ii., 695), which was painted during a period of twenty years in the monastery of Silos, near Burgos, and finished and completed A.D. 1109. Mr. Shaw, in his "Dresses and Decorations," vol. v., reproduces some of these figures, and says: "The figures which form our plate represent Spanish warriors of the later part of the 11th century, and are interesting on account of their remarkable resemblance to the Anglo-Norman soldiers on the celebrated Bayeux tapestry. This resemblance is observable in the style of the drawing, as well as in the costumes. It is highly probable that the military habits of this period were borrowed from the Saracens. This supposition is strengthened by the fact that Arabic inscriptions in Cufic letters are found among the ornaments of the several robes still preserved which belonged to German and Frankish barons of the 10th and 11th centuries. One peculiarity of our Spanish warriors is the round shield with the elegant ornaments on the disc."

These may be considered the chief varieties of Spanish arms in the Middle Ages. In other instances the French and Italian forms are adopted. The manufacture of arms was not reduced then as at a later date to the monopoly of the Government or to determined localities. Besides the arms made at Toledo, those of Seville, Granada, Valencia, Zaragoza, Barcelona, the Basque provinces, and Cuellar, were very famous. Readers of Shakespeare will remember Falstaff's bilbo, a rapier made at Bilbao in the Basque provinces. The principal merit of these arms consisted in the manner in which the artist tempered his metal. It was generally done at night in order to distinguish in the darkness the exact colour of the heated steel in dipping it into the water. The swords known by the name of perrillo were highly esteemed in Spain during the 15th and 16th centuries; they were marked with a figure resembling a dog. Cervantes mentions and praises these blades in his "Rinconete y Cortadillo" and "Don Quixote." They were made by a Moor of Granada, who it is stated had been swordsman of King Boabdil, and became a Christian under the name of Julian del Rey. His godfather was King Ferdinand, and besides working at Granada he did so at Zaragoza and Toledo. When an artist of merit excelled in a given locality, it absorbed all the fame of this industry. During the Renaissance larger centres of this industry were established in large towns, and the fame of the objects they produced was concentrated there. Toledo absorbed the importance in the industry of sword making.

We find that the Municipal Ordinances of the Middle Ages give very little information by which we can judge of the merits of the objects produced. A Guild of Armourers existed at Barcelona as early as 1257, and of Sword makers from the 14th century; but the information given concerning this subject is very slight. We find more details in the Ordinances of Toledo, Seville, and Granada, whence we learn that manufactories of arms existed in these towns.

The sword manufactory of Toledo acquires its greatest importance during the Renaissance period until the end of the 17th century, when it terminated. It was re-established again in 1760 under the patronage of the Government, and continues to work in the present day. Don Francisco de Santiago Palomares wrote, in 1772, an "Account of the Sword Manufactory of Toledo," the manuscript of which exists at the Academia de la Historia (E. 41). The most interesting part of this study consists in the details given upon the manner of tempering the blades. The names he has collected of the most remarkable artists, are taken from the original dies of their marks which existed at the Archives of the Ayuntamiento at Toledo. These marks have been published in the "Catalogo de la Armeria," Madrid, 1849, from which I copy them. It must be borne in mind that Palomares, after quoting the text by the Poet Gracio Falisco, which I have given at the beginning, does not establish any definite fact which enables us to study the historical progress of this manufactory during the Middle Ages. The author says, p. 111: "At the beginning of this industry there was no centralization or monopoly in this manufactory, some armourers formed a guild, placing each artist in his proper place. The kings of Castille granted them privileges of different kinds."

Bowles says, in his "Introduction to the Natural and Geographical History of Spain," that the steel used at the manufactory of Toledo was taken from an iron mine existing at a league from Mondragon, the only one then known in Spain.

The celebrity of Toledo blades has excited the curiosity of many who wished to ascertain the cause of their great excellence and renown. Some supposed the sword manufacturers of Toledo possessed a secret for tempering their arms: it was not so, however; their only secret being the waters of the Tagus and the fine white sand on its banks. This sand was used for cooling the steel: when the steel was red-hot, and began to give forth sparks, it was uncovered a little and sprinkled with sand, and sent on to the forgers. As soon as the blade was ready it was tempered in the following manner: a line of fire was made and the blade placed in it in such a manner that only four-fifths of its length should touch the fire. As soon as the blade was red-hot it was dropped perpendicularly into a bucket of Tagus water; when cold, if it was found to be bent, a small portion of sand was poured on the yoke, the blade was placed upon it, and beaten until properly straightened. After this the fifth part of the blade was fired, and when red-hot was seized with tongs and rubbed with suet, which soon began to melt; after this the blade was sent to the grinding-stones, and finished by being polished by wooden wheels with emery powder.

Charles the Third, a year after he became King of Spain, re-established officially the manufactory of arms of Toledo. He placed it in a building near the Miradero Alto, and the works began in 1761. The king soon found the building too small for the purpose, and ordered his architect, Sabatini to build the present one, outside the town near the river Tagus, which was finished in 1783, and from this time has been under the superintendence of the Royal Artillery. Not a single sword maker existed in 1760 of any note who was competent to be placed at the head of the works, and it was found necessary to bring a proper person from Valencia.

Palomares, who was present, says: "As soon as the building was ready and disposed for working, Luis Calisto, a famous sword maker, began to work. Calisto was a native of Valencia, and more than 70 years of age when he was appointed. Other artists were chosen at the same time by the Director. In the short space of time in which that chief master armourer lived, he made most excellent weapons; he was most skilful, and was probably imitated by his successor."

Names of the Sword Makers of Toledo.

The numbers given correspond to the plates of their marks, given in "Catalogo de la Real Armeria."

Nos. 95, 96, 97, 98, and 99, are the marks of sword makers whose names are unknown.

Miguel y Manuel Fernandez; worked at Toledo in 1786.

Pedro de Barreta; at Bilbao at the end of the 16th century.

The following names may be added to this list—

Luis Calisto, 1760; and the four following artists are mentioned by Palomares as working at Toledo.

Juan de Valladolid.

Sebastian Herbás, 1617.

Manuel Ruiz, 1700.

Ignacio Fernandez, 1708.

Juan Orenga, 15th century; worked at Tortosa, and mentioned in the "Corvacho" of the Arcipreste de Talavera, fol. xi.

Martin Garro, v. p. 120, "Almanaque de la Industria."

Alonso Gutierrez, master of sword making at Madrid in 1625.

This artist, and the eleven following, are mentioned in original documents at the Academia de San Fernando.