The oldest specimen of furniture which exists in Spain, belonging to Christian art, is the shrine of San Millan de la Cogulla, in the province of La Rioja, described in Ivories, p. 134. This casket or shrine was made by the orders of King Sancho el Mayor, in 1033, in order to preserve the relics of San Millan. It is of wood, covered with 22 compartments of highly interesting ivory plaques, representing episodes from the life of the Saint. The names of the artists, Apparitio and Rodolpho, appear on it. In 1808 the French stripped the shrine of its gold and silver ornaments, but, most fortunately, left the casket and its ivory carvings behind.
Another interesting object, which is useful for illustrating furniture in Spain in the 12th century, is the Bishop's throne in the cathedral of Gerona. It is of white marble of one piece, covered with a simple ornamentation in excellent taste, in a similar style, and for the same purpose, as the throne of San Clemente in Rome. It is raised at the back of the altar, and is ascended by thirteen steps. The Bishop sits on this throne after the first purification, and continues there until the Offertory, when he descends and finishes the mass at the altar; owing to the existence of this chair, one of the most ancient rites of Catholicism has been preserved at Gerona.
Mention must also be made of the shrine in which the remains of Queen Urraca are kept in the cathedral of Palencia, and the Cofre del Cid in the cathedral of Burgos, although they are more interesting for their antiquity than their artistic merit.
During the 13th century furniture in Spain must have been similar to that used in other countries, it was influenced by French and Italian forms; from which, as was the case in architecture, these models were constantly copied. Some idea of this is given in the triptych known by the name of the Tablas Alfonsinas, which is fully described in Gold and Silver Work. ([See woodcut on p. 17.])
The principal novelty which we find in Spain in this industry consists in the combination of the Christian and Moorish styles applied to furniture. A very remarkable specimen exists at the Academia de la Historia, consisting of a reliquary, triptych or armoire of very large dimensions, formerly in the church of the Monasterio of Piedra in Aragon. It is 13 feet wide and 8 feet high. When the two doors are closed six compartments appear on each, surrounded by a border headed by a wide cornice. This cornice is divided in sixteen spaces formed by arches adorned with stalactite ornamentation in the Moorish style; inside each span is painted the figure of a saint. In the twelve compartments which form the doors there are subjects from the life of Our Lord, beginning with the Annunciation, and ending with the Descent from the Cross painted in excellent taste. The border which surrounds these doors is formed of a beautiful geometrical ornamentation, in the purest Oriental style; in the upper and lower part appears the following inscription in Gothic characters, which gives us the date in which this object was made.
Tabernaculum hoc vocabitur aula Dei quia vere Dominis est in loco isto. Fuit autem constructum ad honorem et reverentiam sacratissimi corporis Domini nostri Ihu Xpi et pasionis ejusdem nec non ad honorem == et reverentiam sanctissime genitricis ejusdem et totius celestis curie et sanctorum ... at fuit ... depictum anno MCCCXC. anima ordinatoris requiescat ... sinu salvatoris. Amen.
When this triptych is opened several compartments appear, formed by cusped Gothic arches, placed within others, in the form of a mitre divided by pinnacles. The ornamentation which fills the vacant space between the arches, and the seven banderoles in the lower part are in pure Gothic style, without a reminiscence of Moorish art. In the central banderole appears the name of Dopnus Martinus Poncii Abbas, the abbot of the monastery where this reliquary was made, and the person by whom the expense was probably borne. The inside of the doors is divided into two horizontal zones, which include half the total size. The upper zone is covered with geometrical tracery, similar to the outer borders. The lower one is divided into four compartments for each leaf of the door, eight within two, which are formed by cusped Gothic arches; within these spaces are painted standing figures of angels holding musical instruments in their hands and nimbi round their heads. The details and forms of the instruments and delicate ornamentation of the costumes and carpets, constitute one of the most beautiful details of this triptych. These details and several of the architectural lines of the Gothic part of this ornamentation denote an Italian influence, probably Sicilian, for this province belonged then to the crown of Aragon. This triptych is richly gilt, and painted inside and out, and is one of the finest and most remarkable specimens of the kind which exist in any country. A plate may be seen in "Mus. Esp. de Antiguedades," vol. vi., p. 307.
A very interesting specimen of this combination of styles is a recess or cupboard of the 14th century, which is at the Kensington Museum, No. 1764, 71, [see woodcut]. It is 5 feet 4 inches high, by 8 feet wide; and is composed of an outer arch, with the tympani ornamented with fine arabesques in relief, made of stucco,—representing vine tendrils, leaves, and flowers, similar to those which appear in the Cosa de Mesa and other Moorish houses at Toledo. The arch is surrounded by two Latin inscriptions in Gothic characters, of which only the following words are legible + Autem transies per medium ilorum.... mente +. The first of these is from St. Luke, iv., v. 30, a passage often quoted by alchemists.
This arch serves as a portal to the cupboard, which is about a foot deep, and is divided into two compartments with two rows of shelves. Each of these is supported by a series of Moorish arches, the tympani of which are ornamented with tracery, or an ornamentation of leaves in a geometrical and Oriental manner. On the rim of the upper part is repeated the following inscription in African characters:
