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 Sta. 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 Sta. 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:—