Similar accounts to the above exist in quantities, relating to every part of Spain and every period of her history.

Reverting to the earlier Middle Ages, a few conspicuous objects thus presented to the Spanish Church require to be briefly noted here. Famous chalices are those of Santo Domingo de Silos (eleventh century), made to the order of Abbot Domingo in honour of San Sebastian, and showing the characteristic Asturian filigree-work; and of San Isidoro of León, made in 1101 by order of Urraca Fernandez, sister of the fourth Alfonso. The latter vessel, inscribed with the dedication of Urraca Fredinandi, has an agate cup and foot. A remarkably handsome silver-gilt chalice and patine (thirteenth century) belong to Toledo cathedral. The height of this chalice is thirteen inches, and the diameter of its bowl, which has a conical shape, eight and a half inches. Inside and out the bowl is smooth, but midway between the bowl and the foot is a massive knot or swelling in the stem, and on the knot the emblematic lion, eagle, bull, and angel are chiselled in high relief. Below the knot is a ring of graceful rosettes. The patine which accompanies this chalice measures twelve inches in diameter. It has upon it, thinly engraved within a slightly sunk centre with a scalloped edge, the figure of Christ upon the cross, between the Virgin and St John. This central group of figures and the border of the plate are each surrounded with a narrow strip of decoration.

The cathedral of Valencia has a beautiful and early cup asserted to be the veritable Holy Grail (greal, garal, or gradal, in the old Castilian), “of which,” wrote Ford with his accustomed irony, “so many are shown in different orthodox relicarios.” However this may be, the chalice of Valencia is particularly handsome. According to Riaño it consists of “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.”

A series of Spanish chalices, beginning chronologically with specimens which date from the early Middle Ages, and terminating with the chalice, made in 1712, of Santa María la Blanca of Seville, was shown in 1892 at the Exposición Histórico-Europea of Madrid. Among the finer or most curious were chalices proceeding from the parish church of Játiva, Las Huelgas, and Seville cathedral, and the Plateresque chalices of Calatayud, Granada, and Alcalá de Henares. Another chalice which is greatly interesting because of the date inscribed on it, is one which was presented to Lugo cathedral by a bishop of that diocese, Don Garcia Martinez de Bahamonde (1441–1470). The workmanship, though prior to the sixteenth century, is partly Gothic. An article by José Villa-amil y Castro, dealing with all these chalices, will be found in the Boletín de la Sociedad Española de Excursiones for April, 1893.

A small exhibition was held at Lugo in August 1896. Here were shown sixteen chalices, nearly all of them of merit from the point of view of history or art. Such are the chalice of San Rosendo, proceeding from the old monastery of Celanova; the Gothic chalices of Tuy cathedral, Lugo cathedral, Santa María del Lucio, Santa Eulalia de Guilfrei, San Pedro de Puertomarín, and the Franciscan friars of Santiago; and the chalice and patine of Cebrero (twelfth century), in which it is said that on a certain occasion in the fifteenth century the wine miraculously turned to actual blood, and the Host to actual flesh, in order to convince a doubting priest who celebrated service.

The Cross of Angels and the Cross of Victory—presents, respectively, from Alfonso the Chaste and Alfonso the Great—are now preserved at Oviedo, in the Camara Santa of that stately temple. The former of these crosses, fancied by credulous people to be the handiwork of angels—whence its title[18]—was made in A.D. 808. It consists of four arms of equal length, radiating from a central rosette (Pl. [ii].). The core or alma is of wood covered with a double plate of richly decorated gold, chased in the finest filigree (indicative already of the influence of Cordova) and thickly strewn with sapphires, amethysts, topazes, and cornelians. Other stones hung formerly from six small rings upon the lower border of the arms. The cross is thus inscribed:—

“Susceptum placide maneat hoc in honore Dei
Offeret Adefonsus humilis servus Xti
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 DCCXLVI.”