[73] Consult his valuable studies, Artistas exhumados, published in various numbers of the Boletín de la Sociedad Española de Excursionistas.
[74] Rosell y Torres; La Reja de la Capilla del Condestable en la Catedral de Burgos, published in the Museo Español de Antigüedades.
[75] He is called Domingo de Céspedes by Cean Bermudez, although, as Zarco del Valle remarks, the surname does not appear in any of the documents relating to this craftsman which are yet preserved in the archives of Toledo cathedral. These documents merely tell us that Domingo was his Christian name, that his own signature was Maestre Domingo, and that he and Fernando Bravo were required to find surety to the value of 375,000 maravedis for the faithful and expert performance of their work, which they were to complete within two years, receiving for it the sum of six thousand ducats.
[76] Conde de Cedillo, Toledo en el Siglo XVI. Reply to the Count's address, by J. de Dios de la Rada y Delgado.
[77] The painting of a reja was commonly executed by the “image-painter” (pintor de imaginería). As the term implies, it was this artist's business to gild or colour sacred furniture, such as altars, panels, images, and decorative doors and ceilings.
[78] Archives of Simancas. Descargos de las R.C.; Legajo 23 prov. Valladar, Guía de Granada (1st ed.), p. 302, note.
[79] “To Master Bartholomew, rexero, twenty gold ducats for the days he took in travelling from Jaen, and for those on which he was at work upon the reja of the high altar here in Seville.” On March 18th, 1524, the same craftsman was paid 13,125 maravedis for making the “samples and other things belonging to the reja of the high altar.”—Libro de Fábrica of Seville Cathedral. Gestoso, Sevilla Monumental y Artística, and Diccionario de Artífices Sevillanos, vol. xi. p. 362.
[80] Pedraza, Historia de Granada (1636), p. 40.
[81] The yoke and sheaf of arrows were the emblems of these princes—the yoke, of Ferdinand; the arrows, of his queen. Shields of their reign, whether employed in architecture or on title-pages, almost invariably include these emblems and the well-known motto, Tanto Monta.
[82] Gómez Moreno, Guía de Granada, p. 291.