78 COLUMBIAN HISTORICAL EXPOSITION AT MADRID. 



at the back than in front and is entirely covered with quarterfoils inclosing castles 

 and eagles, displayed alternately red on gold, and gold on red. The colors are of 

 course scarcely discernible, but both the cap and mantle are in singularly perfect 

 condition when it is considered that they come from a tomb. Both these objects 

 were exhibited in the Spanish Exhibition at South Kensington in 1881, and they are 

 of considerable interest from their early date. 



The display of church plate is of the greatest interest, and the more so that it is 

 almost entirely of Spanish work. There can be no doubt that so rich a collection 

 of material for the study of Spanish gold and silver smiths work has never been 

 before brought together. A great portion of the objects exhibited is naturally of 

 the late sixteenth and early seventeenth centuries, but many fine pieces of earlier 

 and more interesting periods are to be found. 



The silver chalice and paten of late thirteenth or early fourteenth century from 

 Toledo Cathedral are remarkable among these, both for the beauty of the work and 

 for the unusually large size of both objects. The chalice is more than a foot in 

 diameter at the base, and 17 inches in height, while the paten is 16 inches in 

 diameter. The latter is sunk in the center, the depression having twelve foliations 

 around the edge, and within it is engraved the Crucifixion with the Virgin and St. 

 John, the whole inclosed within a stiff floral border. The chalice has a plain bowl, 

 widening rapidly upward (and in this it differs conspicuously from Spanish chalices 

 of later date), the knob is ornamented with the evangelistic symbols in repousse&quot;, 

 and the stem is quite plain, except for two bands of quarterfoil tracery. The base is 

 in design much like that of the Dolgelly chalice, viz, it has three concentric bands 

 of flat lobes or scollops in slight relief, upon which are engraved figures of angels, 

 and the edge is molded in twelve foliations, supported upon a slight tracery of 

 quarterfoils, and in each foliation is a figure of an apostle. The chalice is as early 

 in date as any in the exhibition, and its large size renders it the most remarkable. 

 It is stated in the catalogue that it was probably used on Holy Thursday, when two 

 hosts are consecrated, one being reserved till Good Friday, when it is consumed by 

 the priest. This second host is usually kept in a chalice-of large size and ancient 

 work. 



Another chalice and paten of much the same date is sent from the Cathedral of 

 Santiago, and possesses additional interest from the decoration of the knop being in 

 niello. The paten is of similar design to that from Toledo, but the central subject 

 represents Our Lord seated within an engraved quaerfoil, the engraved design being 

 all within a depression of eight foliations. The bowl of the chalice is again of the 

 shallow form, and the stem is slender and somewhat longer than is found in English 

 and other northern chalices. The knop has circular medallions with nielloid scrolls, 

 but without any sacred emblems. The base is plain, with the exception of a narrow 

 engraved borderof stiff scroll work, and on one side is engraved a group of the Virgin 

 and Child seated, with a female figure kneeling in adoration at the side. The pres 

 ence of this group is the only instance in the exhibition of the practice so common 

 in English chalices, of placing a cross or other sacred symbol upon the side of the 

 chalice to be held next the priest during the celebration of mass. The catalogue 

 attributes this chalice and paten to the twelfth century. 



Of later chalices there are a great number dating from the early sixteenth century 

 to the middle of the seventeenth, a period which would include by fur the greatest 

 proportion of all the church plate exhibited. It will be sufficient to notice three of 

 the sixteenth century as being fine examples of their kind, and at the same time 

 characteristic of the style peculiar to the period. 



The first, from the Cathedral of Seville (No. 49), is remarkable in having a cover, 

 which fits closely into the bowl, and has a central socket into which the foot of some 

 object has been placed, perhaps a short cross. The bowl is deep, and has round the 

 base, outside, a row of pear-shaped settings containing knot- work medallions of 

 cloisonn^ enamel, the patterns being an inheritance from the Moorish artists, and their 



