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 Dna. 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 Sr. 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. Sr. 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."