86 COLUMBIAN HISTORICAL EXPOSITION AT MADRID. 



artist, but this nowhere appears. The pommel is spherical, but at the upper end is 

 prolonged as a straight point, and is entirely covered with the granular work and 

 enameled panels mentioned above. This granular goldsmith s work is of the same 

 style as that of the bands of the Persian casket from the Cathedral of Saragossa, 

 and might, in fact, be the work of the same artist. The ground is rilled with minute 

 pellets of gold, through which run lines of Arabic inscription, outlined in flat gold 

 wire, thus leaving the interior of each letter empty. The enameled crosses upon 

 the pommel are changed into a different form by the exigencies of the shape of the 

 pommel, the artist finding it necessary to reduce the four limbs of the cross to three, 

 and the corresponding outlines of the eight-pointed panels are ingeniously altered 

 and adapted to the same end. The surface of the guard is ornamented with similar 

 work, and it is only necessary to mention that the two ends running parallel with 

 the blade terminate in the heads of monsters, from each of which springs an elegant 

 openwork border of spiral scrolls enameled in white and other colors. The blade 

 is straight and has the stamp of the armorer upon one side. The sheath is of red 

 leather, though very little of this foundation is visible, as one-half of its length is 

 hidden by mounts matching those of the sword itself, and these fit into each other 

 so closely that when the sword is in the scabbard it is impossible to distinguish 

 where the guard ends and the scabbard mounts begin. This sword is described, 

 and the inscriptions are given, by Selior Riano (op. cit., p. 84). 



The enameled details upon this sword are of peculiar interest, not only for their 

 intrinsic merits, which are very great, but also as serving to decide the origin of the 

 beautiful stirrups in the Forman collection. These stirrups were exhibited before 

 the Society of Antiquaries of London, and are described in their Proceedings (Vol. 

 XIV, 179). It is sufficient here to say that they are of Moorish form, of iron, plated 

 with silver, which is engraved with Oriental designs; while upon the sides are semi 

 circular plates of silver with nielloed designs somewhat in the style of the arabesques 

 of Aldegrever. Around these are borders of cloisonne&quot; enamel on gold, in style and 

 execution so like the sword just described that there can be little question as to their 

 common origin, though it is probable that the sword is earlier in date by, perhaps, 

 a quarter of a century. The niello plates of the stirrups also could very well be of 

 a Spanish make, as the use of niello is not uncommon, both in Moorish and Christian 

 work of mediaeval and later times. An example of this is near at hand in the sec 

 ond sword shown by the Marques de Viane. This is more a weapon for use than for 

 parade, and is of simple form, by no means beautiful, though the details are planned 

 and carried out with the greatest skill. Like the other, it has a straight blade, 

 apparently also of Christian make, or, at least, not Moorish. The handle is entirely 

 of ivory, the grip cylindrical, with a thicker cylinder above and below, that forming 

 the pommel being slightly curved inwards at the sides. The whole handle is 

 engraved with beautiful scroll work, brought into relief by an inlay of black sub 

 stance, probably akin to niello, and upon the sides of the pommel is the shield of 

 arms of the kings of Granada, as seen upon the azulejos of the Alhambra. The 

 scabbard is in keeping with the modesty of the sword, being a plain, leather sheath, 

 tooled like a bookbinding with a scale pattern, and having a silver mount and 

 chape, the former engraved and nielloed with Arabic inscriptions and the shield of 

 Granada, and the chape engraved in a similar manner. The contrast between this 

 simple and useful weapon and the gorgeous blade shown beside it is most remark 

 able and instructive, and the fortunate owners of them both may be congratulated 

 on the possession of hereditary treasures of a kind and quality but seldom seen. 



It is somewhat surprising to find among the ecclesiastical objects from the various 

 cathedrals so few painted enamels that are worthy of note. A good triptych belong 

 ing to the Cathedral of Saragossa would seem to be from the hand of Nardon Penicaud 

 orof his school. The central subject is the Adoration of the Magi, painted in the usual 

 manner, the faces somewhat round, and here and there the small raised jewels or 

 rosettes backed with foil. Tue Coude de Valencia has also a triptych by the same 



