Chapter II: Part 2

It is extremely difficult to give in so small a space the description of the works and names of the numerous artists on silver and gold work, who worked in Spain during the 16th century. At the present time, notwithstanding the innumerable objects lost, a long list would remain of the specimens which have reached us, and their different forms and applications, still visible in the churches of Toledo, Seville, Zaragoza, Palencia, Santiago, and others of the Spanish peninsula. Some idea may be gathered of the importance this art attained in Spain by looking through the following list of artists who worked in silver and gold, upwards of 450 of whom I have added to the 95 given by Cean in his dictionary. It must be borne in mind that the objects on a large scale which reproduce an architectural model, adopt three styles during the century, all three of them admirable as regards beauty of form. The first is Gothic, a reminiscence of the former time, improved by the change which had already taken place, in drawing and modelling. The second style is known by the name of _plateresque_, when applied to architecture, and consists in copying the general structure of buildings in the classical style, and applying the orders and pointed arch, while keeping to the profusion of decoration of the earlier period, and modifying the general plan with the object of introducing the greatest quantity of ornamentation. The third style is the Greco-Roman; it is more sober in decoration, and has a greater tendency to keep to the imitation of the classical school.

Besides the objects described, which may be considered as original works and the most important examples of Spanish silversmiths' work, I must mention those which came from South America, chiefly from Mexico, which possess a certain aspect; they consist of carved and _repoussé_ work ornamented with flora of the country adapted in an oriental style; others consist of filigree work, double-headed crowned eagles are frequently met with in the same style as those made at Cordova and Salamanca.

There are interesting specimens at the Kensington Museum which give an excellent idea of Spanish silversmiths' work. Besides those already described attention must be drawn to

No. 305-66. A silver-gilt cross ornamented with foliage, statuettes of saints and the Evangelists with their emblems, Marked NOE/M. About 1560. Height 3 feet 2 inches.

No. 302-66. Silver-gilt chalice, ornamented with foliated scroll work and half figures beaten and chiselled. Marked Estorga. About 1540.

No. 132-73. A silver-gilt chalice, the bowl inscribed outside "+ Sangvis mevs vere est potvs;" the stem is of baluster form, in several tiers, ornamented with brackets and large chatons set with crystal, and a band of cherubim. The foot is chased with masques, festoons, harpies, and birds, and surrounded by eight semicircular projections, on which are an armorial shield and a cross set with emeralds and lapis lazuli. Engraved at bottom "S. I. de Salinas." [See woodcut] With it is a paten dated 1549.

No. 481-75. Chalice, silver-gilt; the bowl chased in relief with the instruments of the Passion; on the knop are ten applied figures of Apostles on ground of translucent blue enamel; the foot, which has eight semicircular projections, is _repoussé_ with representations of the Evangelists, cherub and other heads, the Crucifixion, and a shield with the initials L. B. P. around a crown of thorns enclosing a heart. 17th century. [See woodcut, p. 31.]

No. 314-64. Silver-gilt pax of architectural design; in the centre is a group in full relief of the Virgin giving the chasuble to St. Ildefonso. About 1540-50. [See woodcut, p. 33.]

No. 1129-64. Incense holder, boat-shaped, of rock crystal mounted in silver-gilt. Around the rim is a band of guilloche pattern, set with amethysts and garnets; on the lids a band inscribed "Oratio mea dirigatur sicut incensum." About 1540-50.

No. 93-65. Silver triptych with suspending chain, the interior painted in oils, the exterior engraved in arabesque. About 1550.

We find that Spanish jewels were as magnificent in the 16th century as were the large architectural objects for ecclesiastical use. One of the most important in richness and artistic merit was the splendid crown belonging to the Virgen del Sagrario at Toledo, which it is deeply to be regretted disappeared in 1868. This crown was made in 1556 by the silversmith Hernando de Carrion; it then consisted of a gold circle with chiselled and enamelled ornamentation, set with pearls, emeralds and rubies. In 1574 Cardinal Loaisa wished to enrich it, and ordered a silver worker called Alejo de Montoya to add to it an upper part, formed as an imperial crown, which Montoya agreed to do by a special agreement. This addition was formed of small figures of angels of enamelled gold, in pairs supporting the side bands, which met in the upper part forming a group of allegorical figures, upon which was placed a spherical emerald, without a flaw, 1-1/2 inches in diameter, which served as a base to the cross. The bands were studded with precious stones and ornamented inside with subjects of the life of the Blessed Virgin in enamel. The height of this crown was 10-1/2 inches by 8-1/2 wide. Montoya took 12 years to do this work--he finished it in 1586. The fine bracelets belonging to this crown, which have also disappeared, were made at the same time by Julian Hernando.

The jewels worn by the Spanish kings and grandees were equally magnificent. In the description of the gems which Prince Don Carlos, the son of Philip II, left to be distributed at his death, are included a sword the hilt of which was of solid gold enamelled in different colours: this Don Carlos bequeathed to the Grand Master of the Order of St. John:--a halberd composed of 27 pieces of enamelled gold in high relief; and a sword with gold mount enamelled in colours with masks, medals and festoons in the Roman style, made by Rodrigo Reynalti. Consult "Coleccion de Documentos Ineditos para la Historia de España," vol. 27, Madrid, 1855. I owe to the courtesy of Count Valencia de Don Juan, the following description of arms made by _Toto platero de su Alteza_ in 1554. [Archives of Simancas legajo, No. 37.] These arms belonged to Prince Don Carlos.

A gold sword, the cross of which is ornamented with masks of white, grey, and black enamel.

A gold dagger, and sword-belt belonging to the same sword, ornamented in a similar manner.

Also a gold sword, belt and dagger ornamented with figures of children in solid gold and enamel.

Although the greater part of these silversmiths were Spaniards, the Milanese artist, Jacome de Trezzo was very celebrated during the reign of Philip II. He made several jewels of great importance for the king and royal family. The splendid tabernacle which was taken by the French in 1810 from the Escorial was one of his finest works; they carried off at the same time the superb shrines, the gifts of kings and princes, and everything they could lay their hands on of gold and silver, loading ten campaign carts. Consult, "Historia del Escorial," by Quevedo. Madrid, 1849, p. 220.

At the South Kensington Museum are several objects of this kind, which will give an excellent idea of Spanish jewel work.

No. 334-70. A gold enamelled pendant, in form of a chained dog, supported on a scroll from which small pearls depend, and suspended by two chains of alternate enamelled and plain links, united to a fastening crowned by a bird.

No. 335-70. Enamelled gold pendant in form of a pelican and her young, enriched with a carbuncle and pearls, and suspended by pearl links.

No. 336-70. Enamelled gold pendant in form of a dog enriched with jewels.

No. 337-70. Enamelled gold pendant, in form of a parrot, set with hyacinth, suspended by chains.

No.340-70. Enamelled gold pendant representing the Virgin of the Immaculate Conception.

Nos. 341 and 342-70. Pendants representing the Virgen del Pilar Saragossa, attended by saints. [See woodcut opposite.]

Spanish jewel work does not decrease during the 17th century, the number of artists who worked was very great, and the quantity of objects of all kinds which were made by them to enrich the shrines of churches, and the houses of grandees, was remarkable, although their artistic merit was far inferior to the work of the 16th century. The general decay of art, which produces in Europe the _barroco_ style, appears in Spain more exaggerated and to a greater extent than elsewhere. The objects made during this period reproduce until the beginning of the 18th century the lines and extravagant ornamentation which we meet with in architecture, the handiwork however continued to be excellent, and no expense was spared to give an aspect of richness to the objects made.

The large quantity of objects of all kinds made of silver, and the quantity also used in wearing apparel, gave rise to constant prohibitions restricting its use from the reign of Ferdinand and Isabel, and even to a far greater extent at the beginning of the 16th century. In a Decree, issued at Madrid in 1594, "it is forbidden to make or sell cabinets, escritoires, caskets, brasiers, _chapines_ (clogs), tables, commodes decorated with silver, either beat in _repoussé_, stamped, carved or plain, and whoever makes, sells, or buys them, is to lose them." Notwithstanding this and other restrictions which appeared in the 17th century, this abuse can hardly have been checked, judging by the number of these objects which have reached us, not counting those preserved in the shrines of Spanish churches and cathedrals.

The luxury which was apparent in this century of great decay for Spain will be found in the numerous descriptions which exist of different feasts and ceremonies.

A good idea may be had of this style of silversmiths' work from the silver dishes in the South Kensington Museum. An engraving of one of these appears on the preceding page.

During the 17th century, jewellery underwent a complete transformation--the proceedings and _renaissance_ forms of the Italian school were abandoned, with all their richness of sculptures, enamels, and variety of stones. Instead of this, jewels were formed of emeralds, diamonds or rubies in gold setting, _percés à jour_, producing an excellent effect. The exceptions to this rule are the objects in which enamelled work still predominates, a reminiscence of the former century. Among the finest and best examples may be mentioned the gold crown of the Virgen de los Desamparados of Toledo, made in Mexico in the 17th century. It is formed like a basket of flowers, of delicate tracery, and richly studded with fine emeralds. Several most interesting specimens exist at Kensington of Spanish jewellery of this kind, bought at the sale which took place in 1870 of the jewels belonging to the Virgen del Pilar at Zaragoza.

No. 325-70 is a breast ornament of gold scroll open work, with enamelled flowers, set with emeralds. [See woodcut on p. 37.]

No. 320-70, a gold breast ornament with five bosses and seven pendants, set with rose diamonds.

No. 406-73. Breast ornament, gold open strap work and floral filigree, the lower part an oval pendant, set with table diamonds. [See woodcut on p. 39.]

The following fine Spanish jewels of the 17th century in the Kensington Museum are also worthy of attention:

No. 330-64. A pectoral cross, with medallions containing relics.

No. 298-66. Gold filigree cross, within which is an ivory crucifix.

No. 344-70. Enamelled gold pectoral cross set with amethysts.

No. 417, 417A.-69. A pair of earrings of gold open work, branches set with white crystals.

No. 323, 323A.-70. Silver open work earrings set with rose diamonds.

No. 330 to 330C.-70. Four miniature ewers of silver filigree open work, the bodies of Chinese enamelled copper.

No. 1224-71. Silver frame _repoussé_, with the Holy Dove, and a bleeding heart encircled with thorns.

Models of the baroque or, as it is called in Spain, _Churrigueresque_ styles continued to be copied during the beginning of the 18th century, in the same manner as in the 17th century. At this time, as in the rest of Europe, a reaction begins in every branch of art, due in Spain to the influence of French and Italian artists who accompanied the family of Bourbon. The Academy of Fine Arts of St. Fernando was founded by a king of that House towards the middle of the century, the teaching was reduced to copying Greco-Roman models, such as they were understood at that time.

The great centres which in the 16th century had produced such splendid works of art had almost completely ceased. No great silversmiths remained at Valladolid, Leon, Toledo, or Seville. The only localities which have preserved even to the present day the traditional forms of these ornaments are Salamanca, Cordova, Astorga, and Santiago. Madrid absorbed from the middle of the 17th century the whole of this industry. In Larruga's "Memorias," Vol. IV., will be found every detail given on this subject. Several important establishments for the object of making silver work on a large scale were founded at Madrid, the most important being that of Tomas de Buenafuente, which passed after to Francisco Novi. Two Frenchmen called Isaac and Miguel Naudin established a manufactory in 1772. In each the greater part of the work was machine made. Others were founded to cut and polish precious stones, and mount paste stones. This was done with great skill by Antonio Martinez in 1778, in a building fitted up for the purpose, which still exists opposite the Botanical Garden of Madrid. Martinez was pensioned by Charles III. in Paris and London to study the improvements in this industry. The principal object of the manufactory was to teach the technical proceedings required in order to extend this industry in the country, and supply a school in which machinery, models, drawings, &c., were to be met with. Pupils of both sexes were admitted; machinery was made in the workshops, and Martinez undertook to teach the manufacture of gold, doublé, or steel trinkets, with or without enamel or stones. Sword-hilts, buckles, snuff-boxes, needle-cases, handles for sticks, brooches, necklaces, orders, and other different objects, were made either of open work or enamelled gold.

Inkstands, dishes, dinner services, chocolate stands, cruets, knives and forks, were made of silver in different styles, generally imitating the English manner. [Consult Larruga, "Memorias Politicas y Economicas." Madrid, 1789. Vol. IV., p. 116.]

The results obtained by the manufactory of Martinez were most satisfactory; a large number of apprentices were taught there; but their work was completely French in character; the manner and style of the Spanish school of silversmiths was completely forgotten.

As I have already mentioned, the traditional forms were preserved in some localities which require to be mentioned here in order to finish this account of this industry in Spain. An interesting and varied collection of modern Spanish peasant jewellery exists at the South Kensington Museum. Strange to say, although this collection was formed a very few years ago, in 1870, it would be very difficult now to make another; for owing to the means of communication having been of late years so much improved in Spain, the peasantry are leaving off their national costumes, and substituting in every detail modern fashions. Among this peasant jewellery the silver gilt necklace and reliquaries of Astorga, No. 1114-73, deserve special attention. These necklaces were worn round the neck and part of the body. The neck ornaments of gold and seed pearls made at Salamanca, those of silver gilt of Santiago; the filigree work of Cordova in the Moorish style, and the long earrings of Cataluña with precious stones, are interesting reminiscences of older times.

LIST OF SPANISH GOLDSMITHS AND SILVERSMITHS.

10TH CENTURY
Years in which
they worked. Residence.
961. Hudzen ben Bozla, a Moor. He made a silver
casket which exists still at Gerona Cathedral Gerona.

13TH CENTURY

1279. Maestre Jorge Toledo.
1283. Modova, Pablo de Burgos.
Niculas (Don)
1262. Perez, Juan Burgos.

14TH CENTURY

1357. Andreu, Raimundo de Gerona.
1358. Barners, Pedro Gerona.
1325. Bartolomé, Maestro Gerona.
Bernec, Pere, V. Barners
1382 to } Capellades, Pedro Tortosa.
1393. }
1378. Fernai, Rodrigo Oviedo.
1334. Frau, Ramon Palma de Mallorca.
1367. Martinez, Sancho Sevilla.
1382 to } Paris, Pedro de Tortosa.
1393. }
1373. Perpiña, Juan Valencia.
1370. Ponce, Bartolomé Palma de Mallorca.

15TH CENTURY

1417. Abello, Joan Daroca.
1495. Alcaçar, Juan de Toledo.
1477. Almerique Barcelona.
1494. Berenguer, Juan Valencia.
1499. Castellano Toledo.
1454. Castelnou, Juan de Valencia.
1460. Castelnou, Jayme de, son of Juan Valencia.
1470. Cetina, Mestre Valencia.
1458 to } Diez, Pedro el Cabalan Toledo.
1463 }
1494. Diaz, Thomas Toledo.
1417. Diaz, or Diez Caro, Ferrando Daroca.
1418 to } Garcia de Valladolid, Alfonso Toledo.
1426. }
1438. Garcia, Alonso Burgos.
1442. Garcia de Pielagos, Juan Burgos.
1477. Gomez, Garcia Valencia.
1424 to } Gonzalez de Madrid, Juan Toledo.
1459. }
1477. Hance
Lorenzo, Don
1425. Medina, Juan de Toledo.
1499. Medina, Pedro de Toledo.
1470. Nadal Yvo, Maestre Valencia.
1493. Narbona, Diego Toledo.
1495. Nuñez, Alonso Toledo.
1485. Oviedo, Fernando de Burgos.
1487. Pizarro Guadalupe.
1457. Rodriguez de Villareal, Alonso Toledo.
1459. Rodriguez de Villareal, Anton Toledo.
1483. Rodriguez, Gonzalo Toledo.
1496. Rodriguez, Geronimo Sevilla.
1459. Rodriguez de Villareal, Lope Toledo.
1417 to } Roiz, Pero Darroca.
1423. }
1489 to } Ruby, Maestre Toledo.
1491. }
1416. Ruiz de Astudillo, Alfonso Burgos.
1431. Ruiz de Medina Toledo.
1426. Ruiz, Juan Toledo.
1498. Ruiz, Juan Toledo.
1404. Sanchez, Martinez Sevilla.
1424. Sanchez, Anton Toledo.
1417. Sancho, Manuel Hernando Burgos.
1487. Segovia, Fr. Juan de Guadalupe.
1418. Valles, Juan Toledo.
1484 to } Vigil, Pedro de Valladolid.
1488. }
Yvo V. Nadal Yvo ----

16TH CENTURY

1586. Abedo de Villandrando, Diego Madrid.
1531. Aguirre, Pedro de Toledo.
1515. Aleman, Mateo Sevilla.
---- Aleman, Nicolas Sevilla.
1596. Alfaro, Francisco Sevilla.
1539. Alonso, Juan Toledo.
1552. Alvarez, Baltasar Palencia.
1568. Alvarez, Francisco Madrid.
1531. Alvarez, Juan Granada.
1560. Alvarez, Juan Madrid.
1538. Alvear, Juan de Burgos.
---- Alvear, Nicolas de Burgos.
1520 to } Andino, Cristoval de Burgos.
1521. }
---- Angel, Pedro Toledo.
1565. Anrique, Joan Toledo.
1570. Avila, Alonso de Toledo.
1567. Avila Cimbron, Diego de Toledo.
1544. Arfe, Antonio de Leon.
1595. Arfe y Villafañe, Juan de Sevilla.
1506 to } Arphe, Enrique de Leon.
1525. }
1531. Baeza, Francisco de Granada.
---- Baeza, Juan Granada.
1580. Ballesteros, Fernando de Sevilla.
1560. Baptista, Juan Toledo.
1584 to } Baroxa, Gregorio de Toledo.
1601. }
1534. Becerril, Alonso Cuenca.
1575. Becerril, Cristoval Cuenca.
1552. Becerril, Francisco Cuenca.
1590. Belta, Hanz Madrid.
Belthae, V.--see Hanz Belthae
1582. Benavente, Juan de Palencia.
1546. Benavente, Pedro de Toledo.
1556. Borgoñes, Juan Toledo.
1538. Buentalante, Alonso de Granada.
1586. Camps, Bernat Barcelona.
1547 to } Carrion, Hernando Toledo.
1561. }
1556. Carrion, Fernando Toledo.
1586. Castro, Juan de Madrid.
1531. Castro, Luis de Granada.
1505. Cetina, Bernardo Juan Valencia.
1546. Comes, Gabriel Barcelona.
1553. Conill, Antonio Barcelona.
1531. Cordova, Anton de Granada.
Cordova, Juan de Granada.
1514. Cota, Martin Toledo.
1567. Davila Cimbron, Diego Toledo.
1558. Davila, Diego Toledo.
1593. Diaz, Francisco Toledo.
1526. Diaz, Hernando Toledo.
1586. Dominguez, Juan Madrid.
1513. Donanti, Juan Sevilla.
1564 to } Dueñas, Alonso de Salamanca.
1598. }
1531. Dueñas, Juan de Granada.
1537. Escripian, Luis Toledo.
1531. Fernandez, Diego Granada.
1554. Fernandez, Manuel Sevilla.
1567 to } Fernandez, Marcos Toledo.
1593. }
---- Fernandez del Moral Madrid.
1531. Flores, Diego Granada.
1572. Font, Joan Barcelona.
1555. Francés, Juan Toledo.
1561 to } Gallego, Miguel Toledo.
1590. }
1531. Garcia, Thome Granada.
1561. Gallo, Gaspar Toledo.
1555. Goden, Juan Toledo.
1509. Gomez, Heros de Valencia.
1573. Gomez, Baltasar
1574. Gonzalez, Pedro Uveda.
1513. Gueran, Ferrer Barcelona.
1531. Hermosilla, Bartolomé de Granada.
1567. Hernandez, Gonzalo Toledo.
1531. Hernandez, Luis Granada.
1567. Hernandez, Marcos Toledo.
1524 to } Hernandez, Pedro Toledo.
1544. }
1531. Herrera, Gonzalo de Granada.
1524. Herreros y Manzanas Toledo.
1585 to } Hanz, Belthae Madrid.
1587. }
1582 to } Honrado, Julian Toledo.
1599. }
1531. Jaen, Fernando de Granada.
1562 to } Lainez, Juan Bautista Madrid.
1573. }
1524. Laynez, Rodrigo Toledo.
1559. Leon, Leoni Madrid.
1597. Leoni, Miguel Madrid.
1531. Lopez, Francisco Granada.
1548 to } Lopez, Juan Toledo.
1570. }
1530. Lopez de Leon, Juan Toledo.
1508. Madrid, Pedro de Toledo.
1531. Mar, Alonso de la Granada.
1588 to } Marques, Lorenzo Toledo.
1614. }
1522. Marquez, Cristoval Toledo.
1531. Martinez, Pero Granada.
1544 to } Martinez, Francisco Toledo.
1547. }
1553. Mas, Miguel Barcelona.
1534. Masanell, Joan Barcelona.
1517. Mayquez, Diego Toledo.
1500 to } Medina, Pedro de Toledo.
1515. }
1538. Mendoza, Alonso de Granada.
---- Mendoza, Blas de Granada.
---- Mendoza, Diego de Burgos.
1564 to } Merino, Francisco Toledo.
1601. }
1579 to } Montoya, Alejo de Toledo.
1586. }
1598. Morales, Luis Madrid.
1592. Morales, Tomas Toledo.
1515 to } Moran Toledo.
1517. }
1556. Moran, Pedro Fernandez de Burgos.
1561. Morel, Thomas du (an Englishman) Toledo.
1574 to } Montoya, Alexo Toledo.
1590. }
1573. Muñoz, Alonso Toledo.
1598. Muñoz, Antonio Madrid.
1573. Niebre, Matias de, a native of Burgundy,
living at Toledo.
1512. Nuñez, Alonso Toledo.
1531. Nuñez, Francisco Granada.
1532 to } Oña, Antonio de Burgos.
1560. }
1531. Oñate, Juan de Granada.
1537 to } Ordoñez, Andres Toledo.
1546 }
1507 to } Ordoñez, Pedro Toledo.
1510 }
1537 to} Orna, Juan de Burgos.
1528.
1581. Ortiz, Pedro Madrid.
1529 to } Oviedo, Diego de Toledo.
1546. }
1586. Pan, Juan Barcelona.
1594. Pardo, Martin Escorial.
1534. Parra, Juan de la Toledo.
1577. Pastrana, Luis de Madrid.
1595. Pedraza, Diego de Estremadura.
1593. Pedraza, Esteban
1559. Perez, Francisco Barcelona.
1598. Perez, Pedro Madrid.
1535. Pierres, a Frenchman, residing at Toledo.
1587. Poch, Pero Juan Barcelona.
1568. Poggini, Juan Pablo Madrid.
1532. Pons, Pere Barcelona.
1574. Portigniani, Juan Bautista Toledo.
1541 to } Ramirez, Pedro Toledo.
1554. }
1590. Reynalte, Francisco de Madrid.
---- Reynalte, Juan de Madrid.
---- Reynalte, Pedro de Madrid.
1590. Reynalte, Rodrigo de Madrid.
1531. Rivera, Diego Lopez de Granada.
1590. Rodriguez Bermudez, Gonzalo {Madrid and
{ Toledo.
1557 to } Rodriguez de Babia, Juan Toledo.
1586. }
1596. Rodriguez del Castillo, Melchor Segovia.
1551. Rodriguez, Duarte Toledo.
1568. Rodriguez Machado, Juan Toledo.
1567. Ros, Felipe Barcelona.
1537. Rozas, Gregorio de Burgos.
1538. Rozas, Jeronimo de Burgos.
1584 to } Ruiz, Diego Toledo.
1590. }
1531. Ruiz, Jeronimo Granada.
1524. Ruiz, Julian, lapidary Toledo.
1590. Ruiz, Juan Toledo.
---- Ruiz, Juan, el Vandolino {Sevilla, Jaen
{and Cordova.
1545. Sabat, Benedicti Barcelona.
1566. Salamanca, Antonio de Madrid.
1590. Sanchez, Andres Toledo.
1522. San Roman, Pedro de Toledo.
1531. Sevilla, Hernando de Granada.
1524. Sigüenza, Pedro de Sevilla.
1595. Tamarit, Andreu Barcelona.
1590. Tello de Moreta Toledo.
1554. Toto Madrid.
---- Trezzo, Jacome de, an Italian, who worked at Madrid.
1589. Trezzo, a nephew of Jacome Madrid.
1590. Urbano, Juan Cordova.
1580. Usatigni, Juan Alonso Madrid.
1537. Valdes, Antonio de Barcelona.
1589. Valdes, Lucas Cordova.
1564 to } Valdivieso, Diego de Toledo.
1598. }
1593. Valdivieso, Lucas de Burgos.
1575. Valla, Narcisco Barcelona.
1548. Valladolid, Juan de Toledo.
1566. Valle, Antonio del Madrid.
1524. Valles, Hernando de Toledo.
1512. Vargas, Gutierre de Toledo.
1563. Vazquez, Baptista Toledo.
1512 to } Vazquez, Diego Toledo.
1543. }
1558. Velasco Toledo.
1580. Velez Toledo.
1569. Vergara, Nicolas de Toledo.
1546. Vicente, Mateo, lapidary Toledo.
1561. Vida, Francisco Barcelona.
1534. Villagran, Juan de Toledo.
1590. Villanueva, Juan Domingo de Toledo.
1552. Villaseca, Alexo Toledo.
1538. Vitoria, Francisco de Granada.
1538. Vitoria, Juan de Granada.
1528. Vozmediano, Diego de Sevilla.
1536. Vozmediano, Juan de Sevilla.
1561. Ximenez, Juan Barcelona.
1537. Ximenis, Rafael Barcelona.
1599. Zepes, Bartolomé de Toledo.

17TH CENTURY

1618 to } Adeba, Jusepe Madrid.
1627. }
1677. Alcario, Francisco de Sevilla.
1664. Aleman, Juan Toledo.
1623. Alonso, Jeronimo Madrid.
1676 to } Alonso de Prado, Pedro Burgos.
1714. }
1622. Alvarado, Ambrosio de Madrid.
1635. Alvarez Brizuela, Blas Madrid.
---- Alvarez, Blas Madrid.
1636. Alvarez de Peralta, Pedro Madrid.
Alvear, Andres Burgos.
1640. Alvear, Juan de Burgos.
1617. Alvear, Juan de Madrid.
1691. Arandas, Gaspar Tarragona.
---- Arfe, Joseph, a grandson of Juan de Arfe Sevilla.
1613. Avalos, Diego de Madrid.
1604. Avendaño de Tudela, Luis Madrid.
1677. Avila, Agustin de Sevilla.
1620. Barinci, Juan Bautista Escorial.
1624. Baraona, Antonio Madrid.
1638. Barona, Pedro Barcelona.
---- Bellicis, V. Bardi
1650. Bardi, Bellicis Barcelona.
1604. Belta, Pedro Madrid.
1602. Benavente, Pedro Toledo.
1645. Belorado, Antonio de Burgos.
1630. Bonino, Pedro Madrid.
1616. Bracho, Alexandro Toledo.
1628. Brizuela, Gaspar Miguel de Madrid.
1622. Calvo, Juan Madrid.
1626. Camanyes or Comanes, Aloy Tortosa.
1650. Campo, Juan del Burgos.
1646. Campo, Juan de Madrid.
1643 to } Carcaba, Felipa, the wife of
1664. } Andres Salinas, worked at Toledo.
1621. Carranza Alvear, Juan de Madrid.
1622. Carranza, Martin de Madrid.
1615. Castro, Juan Madrid.
1651 to } Ciga, Miguel de Burgos.
1670. }
1646. Comañes, Aloy Tortosa.
1668. Concepcion, Friar Juan de la Escorial.
---- Cruz, Friar Eugenio de la Escorial.
1620. Cuello, Amaro Madrid.
1661. Dandez, Agustin Barcelona.
1623. Delgado Maldonado, Miguel Madrid.
1660. Diaz, Juan Segovia.
1619. Dominguez, Luis Madrid.
1613. Duarte, Cristoval de Madrid.
1671. Duran, Juan Toledo.
1613 to } Duran, Jusepe Madrid.
1624. }
1664. Ebrart, Pedro Toledo.
1660. Elizes, Alonso de Toledo.
1642. Espinosa, Juan de Madrid.
1640. Espluga, Tomas Barcelona.
---- Estrada, Manuel de Sevilla.
1624. Estrada, Sebastian Madrid.
1655 to } Faneli, Virgilio Toledo.
1678. }
1630. Franconio, Juan Bautista Sevilla.
1657. Fernandez, Andres Burgos.
1679 to } Fernandez, Gamonal Joseph Toledo.
1694. }
1631. Fernandez de Angulo, Miguel Madrid.
1612. Fernandez de Castro, Juan Madrid.
1618. Fernandez, Martin Madrid.
1627. Fernandez de Tapia, Andres Madrid.
---- Fernandez de Tapia, Juan Madrid.
1667 to } Fortuna, Juan de Toledo.
1670. }
1629. Gallo, Alonso Madrid.
1615. Gamonar, Mathieu de Madrid.
1600 to } Garcia, Alonso Toledo.
1635. }
1622. Garcia, Diego Madrid.
1618. Garcia, Francisco Madrid.
1613. Garcia, Martin Madrid.
1600. Garrido, Gaspar Madrid.
1620. Generino, Francisco Escorial.
1610. Gomez, Antonio Madrid.
---- Gomez, Diego Madrid.
1626. Gomez, Juan Madrid.
1610. Gomez, Marcelo Madrid.
1615. Gonzales, Gonzalo Madrid.
1613. Gonzales, Enrique Madrid.
1634. Gonzales, Francisco Madrid.
1630 to } Gonzales, Pascual Madrid.
1640. }
1654. Gonzales, Rafael Segovia.
1607. Guardia, Melchor, a native of Milan Barcelona.
1679. Güergo, Domingo de Burgos.
1639. Guigelmo, Eugenio Madrid.
1627 to } Guigelmo, Juan Madrid.
1634. }
1618. Heredia, Juan de Madrid.
---- Heredia, Sebastian Madrid.
1631. Hurtado, Luis Madrid.
1694 to } Jaranta, Juan de Toledo.
1698. }
1650. Landeras, Jeronimo de Burgos.
1611. Leal, Sebastian Madrid.
1606. Leoni, Pompeyo Madrid.
1620. Lopez, Domingo Madrid.
1639. Lopez, Francisco Madrid.
1611. Lopez de Alvarado, Antonio Madrid.
1676. Lopez Barona, Andres Burgos.
1617. Lorenzo, Juan Valladolid.
1638 to } Maestre, Luis Toledo.
1646. }
1611. Marisanz, Pedro Madrid.
1653. Martinez, Juan Burgos.
1673. Mata, Francisco de Burgos.
1677. Mata, Pedro de Burgos.
1686. Mayares, Miguel Madrid.
1614 to } Maymó, Bernardo Tarragona.
1625. }
1639. Medina, Juan Bautista de Madrid.
1628. Medina Requexo, Bautista de Madrid.
1641. Mendez, Duarte Madrid.
1614. Mexia, Juan Madrid.
1604. Mimbreño, Alonso Roman Madrid.
1641. Miñano, Juan de Madrid.
1626. Miranda, Alonso de Madrid.
1611. Moles, Juan Madrid.
1639. Montero, Francisco Madrid.
1630. Morales, Francisco Madrid.
---- Morales, Manuel de Madrid.
1695. Muñoz, Juan Madrid.
1661. Nadal, Andres Barcelona.
1620. Nadal, Martin Madrid.
1621 to } Navarrete Escarraman, Bartolomé de Madrid.
1629. }
1613 to } Navarro, Cristoval Toledo.
1623. }
1624 to } Navarro, Manuel Madrid.
1628. }
1626. Nuñez, Antonio Madrid.
1630. Oliva, Gregorio de Madrid.
1650 to } Ortiz de la Revilla, Juan Madrid.
1675. }
1615. Oviedo, Martin de Madrid.
1619. Oviedo, Pedro de Madrid.
1611. Paiba, Vicente de Madrid.
1665. Palomo, Diego Toledo.
1640. Pallares, Juan de Madrid.
1628. Pancorvo, Cristoval de Madrid.
1624. Paradiñas, Andres de Madrid.
1659. Pedraza, Bernardo de Toledo.
1632. Perez, Alonso Madrid.
1652 to } Perez, Antonio Toledo.
1658. }
1680. Perez de Montalto, Antonio Toledo.
1685 to } Perez de Montalto, Miguel Toledo.
1688. }
1630. Puig, Luis alencia.
1627. Quero, Juan de Madrid.
1632. Quixano, Marcos Madrid.
1617. Ramirez, Agustin Madrid.
1627. Ramos, Juan Madrid.
1628. Reynalte, Juan Madrid.
1660. Riba, Manuel de Toledo.
1624. Ribera, Martin de Madrid.
1617. Rios, Esteban de Madrid.
1626 to } Roda, Agustin ortosa.
1646. }
1626. Rodriguez, Bartolomé Madrid.
1631. Rodriguez, Eugenio Toledo.
1645. Rodriguez, Gabriel Madrid.
1618. Rodriguez, Diego Madrid.
1613. Rodriguez, Jeronimo Madrid.
1617. Rodriguez, Juan Madrid.
---- Rodriguez Bermudez, Gonzalo Madrid.
1623. Romano Valmaseda, Juan Madrid.
1607 to } Ros, Pedro Barcelona.
1625. }
1617. Rosales, Francisco de Madrid.
1611. Ruiz, Eugenio Madrid.
---- Ruiz, Juan Bautista Madrid.
---- Ruiz de Valdevieso Burgos.
1675. Ruiz de Velasco, Juan Burgos.
1684. Salazar, Francisco Burgos.
1604 to } Salinas, Andres de {Toledo and
1635. } {Madrid.
1639 to} Salinas, Francisco de Toledo.
1670. }
1639 to } Salinas, Vicente de Toledo.
1680. }
1616. Sanchez, Francisco Toledo.
1659 to } Sanchez Ormachea, Pedro Toledo.
1661. }
1614. San Martin, Juan de Toledo.
1610 to } Santillana, Antonio de Madrid.
1617. }
1642. Santo Domingo, Hipolito Madrid.
1653. San Vicente, Jacinto de Burgos.
1640. Sarabia, Cristoval de Sevilla.
1668. Segura, Juan de Sevilla.
1632. Serrano, Francisco Madrid.
1640. Soler, Baltasar Madrid.
1629. Soria, Francisco Madrid.
1608. Soria, Jeronimo de Madrid.
1617. Soria, Lucas de Madrid.
1620. Spagna, Juliano Madrid.
1694. Scase, Gaspar Sevilla.
1662. Suer, or Sueur, Esteban, a Frenchman who
worked at Toledo.
1671. Tellez, Juan Toledo.
---- Tebres, Antonio Toledo.
1677. Tello, Mateo, a German, worked at Sevilla.
1617. Tofino, Alonso Madrid.
1618 to } Valera, Domingo de Madrid.
1623. }
1619. Valedomar, Angel de Madrid.
1626. Valle, Juan del Madrid.
---- Valmaseda, V. Juan Romano ----
1624. Vega, Juan de Madrid.
1672. Velasco Ganado, Pedro Toledo.
1625. Velasquez, Juan Madrid.
1627. Villalta, Antonio Madrid.
1600 to } Villamayor, Baltasar Toledo.
1626. }
1638. Villarago, J. Barcelona.
1622. Villarroel, Andres de Madrid.
1614. Villegas, Martin de Toledo.
1645. Vivanco, Simon Madrid.
1615. Xabier, Antonio Madrid.
1610. Zabalza, Diego de Madrid.
1615 to } Zaldivia, Lucas de Burgos.
1633. }
---- Zoga, Miguel de ----

18TH CENTURY

1746. Aguilar, Geronimo Cordova.
1794. Alamo, Bernardo de Toledo.
1703. Aragon, Diego de Segovia.
1716. Aranda, Alberto Madrid.
1746. Aviles, Manuel de Cordova.
End of } Balmet, Bartolomé Madrid.
18th cent. }
1740. Ballestero, Manuel Cordova.
1730 to } Bargas, Manuel de Toledo.
1752. }
1702. Bargas, Mateo de Toledo.
1739. Bargas y Machuca, Manuel de Toledo.
1789 to } Bargas Machuca, Manuel Timoteo Madrid.
1797. }
1753. Bautista, Vicente Toledo.
18th cent. Benitez, Pedro Salamanca.
End of } Buenafuente, Tomas Madrid.
18th cent. }
1746. Bustamante, Franco Cordova.
1734. Bustos, Floro de Sevilla.
1784. Calzado, José, enameller Malaga.
1746. Camacho, Lorenzo Cordova.
1746. Camacho, Rafael Cordova.
1713. Campo, Matias del Soria.
1734. Castillo, Matias del Aranda del Duero.
1746. Castro, Damian de Cordova.
1748. Castro, Diego Toledo.
18th cent. Chevalier, Luis Claudio, a Frenchman, residing at Madrid.
1728. Colomes, Pedro, worked at the mounts of silver
knives made at Alcora.
End of } Conde, Domingo Madrid.
18th cent. }
1754. Cros, Josef Valencia.
---- Cuerda, Feliz de la Toledo.
1738 to } Cuerda, Jose de la Toledo.
1745. }
1722 to } Dominguez, Juan Antonio Toledo.
1748. }
1776. Elosua, Antonio Burgos.
1776. Elosua, Manuel de Burgos.
1790. Fernandez, Pablo Burgos.
18th cent. Fernandez Clemente, Melchor Salamanca.
1741. Fernandez de la Fuente, Antonio Toledo.
1778. Ferroni, Juan Madrid.
1701. Figueroa, Juan Salamanca.
1688. Fornaguera, Buenaventura Barcelona.
1790. Gallardo, Vicente Sevilla.
1710. Gamonal y Guzman, Juan Toledo.
1746. Garcia, Jose Cordova.
1760 to } Garcia Reyna, Manuel Toledo.
1766. }
1753. Garcia Crespo, Manuel Salamanca.
1772. Gaudin, Isaac, a Frenchman, residing at Madrid.
---- Gaudin, Miguel, a Frenchman, residing at Madrid.
1714. Gomez, Pedro Alcala de Henares.
1746. Hidalgo, Gabriel Cordova.
1700 to } Jaranta, Juan de Toledo.
1717. }
1743. Jaranta y Zapata, Juan de Toledo.
1717 to } Jaranta, Lorenzo Toledo.
1732. }
1746. Jurado, Jose Cordova.
1746. Lara, Diego de Cordova.
1790. Lecaroz, Antonio Sevilla.
1745. Lopez, Bernardino Toledo.
1784. Lopez, Manuel Burgos.
1746. Luna, Andres de Cordova.
---- Luque, Juan de Cordova.
1700. Llanos, Manuel de Burgos.
1746. Madueño, Francisco Cordova.
1790. Mairod y Vassner, José Sevilla.
1734. Manrique, Franco Esteban Aranda de Duero.
1784. Marti, Jose Barcelona.
1778. Martinez, Antonio Martinez.
1754. Martinez, Estanislao Valencia.
End of } Martinez, Gregorio Madrid.
18th cent. }
1703. Martinez del Valle, Jose Segovia.
1693. Matons, Juan Tarragona.
End of } Mendeluce, Fermin Navarra.
18th cent. }
End of } Molinez, Francisco Zaragoza.
18th cent. }
1722. Monteman y Cusens, Lorenzo Salamanca.
1746. Moreno, Manuel Cordova.
1725. Muñoz de Amador, Bernardo Madrid.
1746. Muñoz, Francisco Cordova.
---- Navas, Fernando de Cordova.
1784. Nieva, Antonio de Malaga.
1770 to } Niño, Jose Toledo.
1776. }
1767 to } Niño, Jose Bernardo Toledo.
1777. }
End of } Nivel, Juan Madrid.
18th cent. }
End of } Novi, Francisco Madrid.
18th cent. }
1786. Olivares, Fermin Madrid.
1746. Palomino, Jose Sevilla.
1784. Pechenet, Juan Madrid.
1734. Perez de Oviedo, Francisco Granada.
1746. Pineda, Manuel Cordova.
---- Quintero, José
1760 to } Reyna, Manuel Toledo.
1777. }
1743. Reyno, Tomas Toledo.
End of } Roche, Nicholas Madrid.
18th cent. }
1715 to } Rodriguez de Castro, Juan Burgos.
1757. }
1784. Rovira, José Barcelona.
1746. Roxelio, Francisco Cordova.
1791. Ruiz, Donata Burgos.
1746. Ruiz, Juan Cordova.
---- Ruiz, Miguel Cordova.
1777. Ruiz, Pedro Burgos.
1746. Sanchez, Francisco Cordova.
1731. Sanchez Renentes, Tomas Sevilla.
1767 to } Sanchez Niño, Jose Toledo.
1777. }
1731. Sanz, Pedro Sevilla.
18th cent. Sanz de Velasco, Toribio Salamanca.
1700. Simancas, Francisco de Burgos.
1716. Supuesta, Juan Madrid.
1731. Tamaral, Ignacio Sevilla.
1746. Torralvo, Sebastian Cordova.
1755. Torrijos, Lucas de Burgos.
1771. Urqueza, Domingo Madrid.
---- Valadrez Romero, Luis Sevilla.
1746. Vargas, Jose de Cordova.
---- Vega, Pedro de la Cordova.
1754. Vicente, Bautista Valencia.
1728. Vicente, Luis Valencia.
1734. Villa, Andres de Sevilla.
1713 to } Zurreño, Antonio Madrid.
1715. }
1799 to } Ximenez, Manuel Toledo.
1800. }
I owe to the courtesy of Baron Ch. Davillier the names of the following
artists, which appear in his "Histoire des Principaux Orfèvres
Espagnols," Paris, 1879.

Perez de las Cellas, Antonio, a native of Saragossa;
he worked at Rome in 1456

Ruiz, Alonso; he worked at Toledo in 1431

Ferrandez, Garci; he worked at Toledo in 1431

Pielagos, Juan Garcia, Burgos 1442

Fernai, Rodrigo, a Frenchman, who worked at Oviedo in 1368

Bells, Antonio, Barcelona 1458

Closes, Francisco, Barcelona 1464

Rodriguez de Villareal, Lope, Toledo 1466

Sano, Salvador, Barcelona 1475

Zobarola, Francisco, Banet 1480

Jujuce, a Valencian jew, Pamplona 1356

Freset, Perrin, } Frenchmen working at Olite, Navarre, in 1444
Rodez, Conrat de, }
Bonte, Daniel de, a German, working at Olite, in Navarre about 1400

Valdubia, Maestro Ferrando, Rome 1525

Fuente, Gonsalvo de, Rome 1539

Alfonso, Rome 1546

IRON WORK.

Numerous iron mines have existed in Spain, especially in the Cantabrian provinces, and have been worked from very early times. They are mentioned by Pliny, lib. 34, cap. xii., and have given rise to the development of excellent metal works in the Spanish Peninsula: although in many localities this tradition has been continued until our days, the Basque Provinces have in all times excelled in this artistic industry.

The want of durability and the little care taken of objects of iron-work, owing to the insignificant value of the material employed, prevent us from being able to mention any important examples of a very early date. After drawing attention to some interesting specimens which have reached us from the Spanish-Arabs, we must begin the history of iron-work in Spain in the second half of the 15th century; it continues to progress in the 16th, and produced undoubtedly at that period works which were unrivalled in Europe. The _rejas_ or chancel screens enclosing chapels in the cathedrals of Toledo, Seville, Granada, Salamanca, and other churches in Spain, of which it is much to be deplored no drawings or photographs exist, deserve the especial attention of those who follow this industry in the present day, owing to the beauty of their forms, and the inexhaustible variety of models which they present to the manufacturer.

Besides specimens of Iron-work connected with arms which will be described in a separate article, the most interesting examples of Moorish manufacture which have reached us are keys of most delicate tracery; their perfect state of preservation shows that they have only been used as symbols of cities or fortresses, which on given occasions were offered to kings or great people. Even in the present day the ceremony is still kept up of offering a key to the foreign princes who stay at the royal palace of Madrid, and in a similar manner as far back as the Middle Ages, keys have been presented to Spanish sovereigns on their visiting such towns as Toledo or Seville, and a ceremonial is gone through of swearing to uphold their privileges, a reminiscence probably of what occurred when these towns were conquered from the Moors.

One of these keys at Valencia, belonging to Count de Trigona, measures 9-1/2 inches long, and was originally gilt; its handle or bow is closed, and covered with delicate work in relief. The wards are ornamented in the same manner with a combination of several words written in Cufic letters of difficult interpretation. Round the handle we can read most distinctly in Arabic the name of the artist: "It was made by Ahmed Ahsan."

This key appears to be of the 13th to 14th century. Two similar ones existed in the town hall of Valencia of a most monumental character; they were considered of great antiquity, but it has been ascertained that they were made in 1632, by the locksmith Juan Marti.

In the shrine of the Cathedral of Seville there are two interesting keys (_see_ woodcut); one of them is of iron, the other of silver, of a similar style. For further details see "Museo Español de Antiguedades," vol. ii., p. I. The first, which is represented to the right, is of genuine Moorish workmanship; the wards are covered with letters in Cufic characters, which several oriental scholars have tried to interpret, without coming to a satisfactory conclusion, probably owing to the confused, or double meaning of the letters. It is supposed with good foundation that this was the identical key which was given to King St. Ferdinand, the conqueror of Seville, in 1248, the day he took possession of the city. The silver key, to the left of the plate, has traces of gold and niello work, representing in the upper part, ships, castles and lions. Round the handle runs an inscription in Hebrew--"The King of Kings will open; the King of the whole Earth will enter." In the wards appear in delicate open work carving the following words in Spanish, "God will open; the king will enter. Dios abrirá; rey entrará." It may be affirmed to have been made in the 14th century, and in that case, symbolizes some event of the life of King Pedro the Cruel, a great protector of the Jewish race. Five Moorish keys of a similar kind, but inferior merit, may be seen in the local Museum of Segovia, and the Archæological Museum of Madrid.

The objects of iron-work made by the Christian artists of this period in Spain must have been good, for although no specimens exist, we have at any rate historical information which confirms this. In the Consistorial Ordinances of Barcelona, Capmany, "Memoirs," vol. i., we find that ironsmiths formed an extensive guild in the 13th century; in 1257 four of its members formed part of the chief municipal council; this guild increased in importance in the following centuries. The Ordinances of Seville of the 15th century, which were reformed in 1502, and those of Toledo, also re-enforced in 1582, give an idea of what was done by workers in bronze, the methods of workmanship and other details of interest. The Ordinances of Seville mention _rejas_ made in Biscay, and give a good idea of the styles adopted by the iron-masters there. The Ordinances of Granada repeat almost exactly the former prescriptions.

The Cathedrals and large churches in Spain lent themselves in an admirable manner to the construction of objects of all kinds in iron work, especially the railings enclosing the side chapels, or sepulchres, and the double screens required for the _Capilla Mayor_ and _Coro_, owing to the ancient Spanish custom of constructing the choir in the centre of the principal nave of the cathedral. Hence we meet with names of the iron-masters, _rejeros_, mentioned in early documents as attached to the different cathedrals in the same manner as painters and architects. We find Bartolomé Morey working at Palma de Mallorca in 1389 to 1397. He was succeeded by his son Juan, from 1401 to 1407. See Piferrer, "Recuerdos y Bellezas de España." Maestro Basil worked at Burgos, and Maestro Pablo at Toledo and its dioceses towards the end of the same century. Maestro Juan Francés worked at Toledo in 1482. By this same artist is the beautiful _reja_ of the Capilla Mayor of the _Colegiata_ of Alcala de Henares; it is signed, "Maestre Juan Francés, maestro mayor de las obras de fierro en España." From this time the names of iron-masters are well known and numerous; we may safely affirm that those who lived in the 16th century have left us the most important works.

One of the finest specimens of this artistic industry is the splendid _reja_ which divides the nave at the royal chapel of Granada. Its immense size has enabled the artist to carry out a splendid ornamentation in the "plateresque style," combined with reliefs on a large scale of figures of apostles and saints, terminated at the upper part with a wide band of ornamentation of leaves and flowers, crowned with a Rood, with the Virgin and St. John on either side. The splendid balustrades and supports are forged with the hammer; the figures and circular piers are formed of large plates, _repoussé_ and carved in the most admirable manner, and give a good idea of the difficulties of this work, which the artists of this time had overcome, long before the various technical facilities of the present day existed. The ornamentation of this _reja_ was originally gilt, and the figures are painted in oils. It was made about the year 1520 to 1530; in the lock, formed as a Gothic pinnacle, is a small inscription, "Maestro Bartolome me fec." This same artist worked at Jaen and Seville. Cean Bermudez calls him "sculptor and iron-master."

Two most important specimens of iron-work exist also at the cathedral of Toledo, enclosing the _Capilla Mayor_ and _Coro_. The _reja_ of the Capilla Mayor is 42 feet wide by 19 inches high; it rests on a pediment of marble ornamented with masks and bronze work, upon which rises the _reja_, which is divided horizontally by means of a frieze of ornamentation, and this again vertically in five compartments. In each vertical division there is a pilaster of four sides formed of _repoussé_ plates, carved with a fine ornamentation in the renaissance style, this is again terminated with life-size figures in high relief of bronze. The second compartment rises upon the band which divides it in an horizontal sense; it follows the same decoration in its pilasters, and is terminated by a series of coats of arms, torches, angels, and a variety of foliage which finishes the upper part. Upon the centre, hanging from a thick chain supported from the roof, is suspended a life-size Rood, of admirable effect, which completes the decoration. In several spots there are labels with mottos in Latin; in one of them appears the following inscription, and the date of 1548 when this splendid work was finished: "Anno MDXLVIII. Paul III. P. M. Carol. V. Imper. Rege. Joannes Martinez Siliccus. Archipiscopus. Tolet. Hispaniae. Primat." The railings of this _reja_ are silvered, and the reliefs and salient points gilt. The artist who made it was Francisco Villalpando, a native of Valladolid; this model was chosen among those of several artists, who presented their plans in competition before the ecclesiastical authorities; it is calculated that ten years elapsed before it was finally finished in 1548. Villalpando was greatly distinguished likewise as a sculptor and architect. In 1563 a book was printed after his death of a translation he made of the work on architecture by Sebastian Serlio. Other remarkable bronze works of art, which will be described further on, were also by him.

The _reja_ of the coro, which is placed opposite that of the Capilla Mayor, is almost exactly similar in size. It is less rich in ornamentation, but so pure and sober in its general lines, and its ornamentation is so perfect, that it is perhaps superior to the other. This _reja_ consists of a single architectonical body, divided in six vertical compartments, covered with bas reliefs of such delicate work that they appear rather to be by the hand of a silversmith than by an iron-master. An innumerable number of figures are combined with the ornamentation in the base, terminations of the columns and coronation; in the same manner it is full of banderoles with Latin mottos, and gilt and silvered; it was finished in 1548, as we see by the inscription. This _reja_ was made by Domingo de Cespedes, a native of Toledo, with the help of his son-in-law, Fernando Bravo; the design was also chosen by competition, and it was finished in seven years. Both these admirable models of iron-work belong to the best productions of the renaissance school, and contain models which might be adapted with great advantage to ironwork of every description in the present day.

It would be an interminable task to describe the multitude of railings similar in richness and good taste to these which happily survive in Spanish cathedrals and churches. It is sufficient to call attention to the following. The _reja_ of the Capilla del Condestable in the cathedral of Burgos, by Christoval de Andino in 1523, has been considered one of the finest specimens of its kind, owing to the perfection with which every detail is carried out. A contemporary writer in describing it says: "Good workmen, and those who wish that their work may have authority and be blameless, must endeavour to be guided by ancient models, as your fellow-citizen, Cristoval de Andino; his works are thereby more elegant and excellent than any others which I have seen up to the present time; if not, judge of his work by looking at the _reja_ which he is making for your lord the Condestable, which is undoubtedly superior to all those which have hitherto been made in Spain." Sagredo--"Medidas del Romano," quoted by Cean Bermudez. In the centre of the upper part, towards the middle, appears the inscription: "Ab. Andino, A.D. MDXXIII." The _reja_ of the _coro_ of the cathedral of Seville, made by the iron-master, Sancho Muñoz in 1519, a native of Cuenca, is also very remarkable; besides the finer ornamentation which covers it, it has figures of kings and prophets representing the genealogy of Our Lord. The _reja_ belonging to the _capilla mayor_ of the same cathedral was the work of Friar Francisco de Salamanca, 1518-1533; it is covered with an open-work ornamentation, figures of angels and bas-reliefs, and is terminated in the upper part with a representation of the Entombment of Our Lord. The large _reja_ of the cathedral of Cuenca, made by Arenas in 1517, those at Palencia, by Andino, 1520, and Rodriguez, 1555; the one at the church of Sn. Juan de la Penitencia, Toledo; the beautiful railing at the chapel of Palenzuela, in the cathedral of Salamanca, 1524, and a number of objects of smaller size, such as iron pulpits in the cathedrals of Barcelona, and in some chapels at Burgos, Avila, Palencia, and Toledo, several of which are anterior to the 16th century, are all worthy of the student's especial notice. Among these objects of smaller dimensions special reference must be made to the fine and picturesque _reja_ surrounding the sepulchre of Archbishop Diego de Anaya, in the chapel of Sn. Bartolomé, in the cloister of the cathedral of Salamanca. The beauty of its details and the open-worked inscription which surrounds it, place it at once among the finest specimens of ironwork of the 15th century. The two window _rejas_ at the house called "de las Conchas" in the same town--an admirable specimen of Burgundian architecture, although restored--may be quoted as excellent models of ironwork applied to civil buildings.

Iron pulpits have been made in Spain with great success. Two interesting examples of the end of the 15th century still exist at the cathedral of Avila. They are hexagonal in shape, and supported by lions' claws; they were originally gilt. One of these pulpits is ornamented in the Flamboyant style, the other in good Renaissance; consult Sir Digby Wyatt's "Architect's Note Book in Spain." Friar Francisco de Salamanca made two interesting iron pulpits for the cathedral of Seville; they are covered with bas-reliefs representing the Evangelists and subjects taken from the Acts of the Apostles and the Apocalypse. The pulpit at the parish church of S^{n.} Gil de Burgos must also be mentioned. Mr. Street, notwithstanding his want of sympathy with every object not strictly of the Middle Ages, says: "It is of very late date, end of the 15th century, but I think it quite worthy of illustration. The support is of iron, resting on stone, and the staircase modern. The framework at the angles, top and bottom, is of wood, upon which the ironwork is laid. The traceries are cut out of two plates of iron, laid one over the other, and the ironwork is in part gilded, but I do not think that this is original. The canopy is of the same age and character, and the whole effect is very rich at the same time that it is very novel. I saw other pulpits, but none so old as this."

Among the applications of iron to decorations of civil architecture must be specially mentioned the nails and knockers on the doors of houses, which are so characteristic of Toledo and other old Spanish towns. This style was imitated from the Moors. Some doors still exist at the Alhambra, Granada, covered with enormous heads of nails of a half-spherical form with embossed pattern. These same nails are constantly to be found on old Spanish houses, to which are added in the angles pieces of iron of a most artistic order. A large number of these nails from Toledo, are in the Kensington Museum. Examples of two are given.

After the 16th century this industry loses its artistic interest and importance. Ironwork becomes simply practical and useful, and ceases to reproduce the grand carved and chiselled works of former times. The artistic objects are reduced to specimens on a small scale: door-locks, of which an excellent example exists at the church of Calatravas, Madrid; a weighing machine, made by the locksmith Salinas for the Mint in the 17th century, which was exhibited at the Special Loan Collection of Scientific Apparatus at Kensington in 1876, the fine ornamentation of the clock of the cathedral of Seville, made in the last century by Friar Josef Cordero, and the very remarkable iron locks made by Millan at the beginning of the present century, for the rooms at the palace of the Escurial, called "Piezas de Maderas finas." The art of inlaying iron with gold and silver, constitutes in Spain a special industry; the principal artists who carry it out at the present time with great skill are Messrs. Zuluaga at Madrid, and Alvarez at Toledo. The splendid sepulchre of General Prim at the church of Atocha, Madrid, made entirely of damasquiné ironwork, is worthy of the greatest commendation; the fine vases and shields of _repoussé_ ironwork inlaid with gold, made by Alvarez of Toledo, are artistic and excellent revivals of the Milanese work of the 16th century.

IRON MASTERS.

Year in which Locality of
they worked. Name. their Residence.

1520. Avila, Fr. Juan de Guadalupe.

1527. Andino, Pedro Seville.

1540. Andino, Christoval Toledo.

1557. Arenas, Hernando Cuenca.

1523. Bartolmé, El Maestro Jaen and Seville.

1555. Barco, Alonso Palencia.

1559. Brabo, Hernando Toledo.

1579. Cela, Juan Tomas Zaragoza.

1541. Cespédes, Domingo de Burgos.

1561. Corral, Ruy Diaz del Toledo.

1604. Celma, Juan Bautista Aragon y Galicia.

1692. Conde, Sebastian Seville.

1797. Cordero, Fr. Josef Seville.

1537. Delgado, Juan Seville.

1540. Domingo, Maestro Toledo.

1518. Elias, Joan de Palencia.

1519. Esteban, Maestro Seville.

1494. Frances, Juan Toledo.

1555. Herreros, Llorente Palencia.

1522. Idrobo, Diego Seville.

1524. Juan, Fray Seville.

1518. Lopez, Juan do Urisarri Palencia.

1531. Lemosin Cuenca.

1518. Muñoz, Sancho Cuenca.

1389. Morey, Bartolomo Palma de Mallorca.

1555. Moreno, Benegno Palencia.

1565. Pedro, Maestre Palencia.

1533. Palencia, Antonis de Seville.

1607. Peñafiel, Luis de Toledo.

1510. Prieto, Fernando Seville.

1512. Prelojero, Juan Palencia.

1555. Rodriguez, Gaspar Palencia.

1607. Rodriguez, Bartolomé Toledo.

1607. Silva, Francisco de Toledo.

1533. Salamanca, Francisco de Seville.

1518. Urisarri, Lopez Palencia.

1561. Villalpando Toledo.

1518. Yepes, Juan de Seville.

BRONZES.