COLUMBIAN HISTORICAL EXPOSITION AT MADRID. 83 



contain the triangular or pear-shaped slabs of glass and stone, with which origi 

 nally all were embellished. Within the arches are, upon the upper ranges, embossed 

 trees or plants more or less symmetrical, and in the lower, figures of angels facing 

 the middle, thr^e in each direction. The execution is throughout of the rudest 

 character, the figures of the angels being reduced to the most elemental representa 

 tions of the human figure, and their wings more like leaves than any feathered limb. 

 The presence of the cloisonne work, as a survival of Visigothic methods, gives the 

 object a peculiar interest, though it should at the same time be pointed out that it 

 is not cloisonud enamel. There can be no doubt that the stones or glass were cut 

 and placed in position without the application of heat, and do not therefore con 

 stitute enamel 



Some other altar ornaments of different styles and dates are deserving of mention. 

 The Cathedral of Astorga sends a very beautiful globular vessel of rock crystal, 

 engraved in the East with elegant scrolls in relief. This is attributed, and probably 

 with justice, to the eleventh century; its beauty is, however, much lessened by a 

 seventeenth century gilt mount, which has transformed it into a tall two-handled 

 vase. 



An equally beautiful object, but of far different character, is the crystal Navecilla, 

 a crystal ship on wheels, with elaborate Gothic mounts of silver gilt, from the 

 Cathedral of Toledo. It is about 15 inches in length, the body of the vessel made 

 of rock crystal, above which is a considerable superstructure of silver gilt, in 

 which the ribs of the ship are indicated. At the prow and stern the bulwarks are 

 formed of a band of elegant tracery surmounted by a cresting of leaves. The figure 

 head is a wivern in full relief, and the keel is formed of a band of boldly modeled 

 leaf work. All the lines of the construction are very graceful, and the composition 

 is pleasing as well as unusual. It is said to have been the property of Dona Juana 

 la Loca, and probably became the property of the cathedral as a votive offering. 

 Another ship, of which the body is formed of a large turbo shell, is shown from 

 Saragossa, but this, though very quaint, and of perhaps a somewhat earlier date, 

 can not be compared for beauty with the crystal ship of Toledo. 



The Cathedral of Huesca exhibits three very fine chasses of Limoges champleve 

 enamel, one of which is of unusually good quality and early date, though not old 

 enough to have been the property of Don Ramiro II, of Aragon, who reigned from 

 A.D. 930 to 950, and their traditional history will therefore scarcely pass muster. 



Although the cathedrals and other religious establishments of Spain have only 

 sent a small proportion of their marvelous riches to the exhibition, and many 

 interesting and well-known objects are not to be seen there, yet, on the other hand, 

 many things have been sent, which from their size no one would expect to find else 

 where than in their natural resting place. To this latter category belongs the 

 recumbent effigy of Maurice, Bishop of Burgos and founder of the cathedral, from 

 which it is now sent. It is a life-sized figure, now resting upon a wooden base, 

 round which is written &quot; Pius hujus ecclesie Pontifex et Fiindator Mauricius obiit 

 A.D. 1240, 4 Oct.&quot; This may be a copy of an older inscription, but the date of the 

 death is two years later than that given by the modern authorities. The effigy 

 is modeled in wood, covered with thin plates of bronze or copper, cut with some 

 regard to the lines of the design and nailed on round the edges, and the whole 

 appears to have been once gilt. The vestments are covered with a carefully 

 engraved lozenge diaper of fleur-de-lis and castles, and the end of the effigy, at the 

 feet, has an elaborate design consisting of castles of Castile, and possibly some other 

 devices ; but from the position of the figure and the worn state of this part, it was 

 not possible to determine this point. 



The borders of the vestments and the miter are edged with settings now empty, 

 but which once contained stones or glass pastes. The hands are raised, the left one 

 in such a position as it would assume if it held a crozier, and the right in the atti 

 tude of benediction. The hands seem to be solid bronze, and, from the finger nails 



