We call the architecture of Spain before 1066 the "Early Spanish," and from that time the Gothic order prevailed during nearly three centuries. [Illustration: FIG. 86.--ST. PAUL. _Saragossa._] Meantime in the south of Spain the Moresco or Moorish order had sprung up, of which Fig. 86 gives an example. It was gradually adopted to a limited extent, until finally some specimens of it existed in almost every province of the country. The Gothic order was affected by it, inasmuch as the richness of ornament of the Moorish order so pleased the taste of the Spaniards that their architects allowed themselves to indulge in a certain Moorish manner of treating the Gothic style. We cannot describe these differences in words, but Figs. 86 and 87 will make it plain. [Illustration: FIG. 87.--CLOISTER. _Tarazona._] As has been said, the interior decoration of all Gothic churches was very rich and abundant. It is also true that all church furniture was made with great care; the matter of symbolism was carefully considered, and each design made to indicate the use of the article for which it was intended. No altar, preaching-desk, stall, chair, or screen was made without due attention to every detail, and the endeavor to have it in harmony with its use and its position in the church. The following cut shows a rood-screen, which was the kind of screen that was placed before the crucifixion over the high altar (Fig. 88). [Illustration: FIG. 88.--ROOD-SCREEN, FROM THE MADELEINE. _Troyes._] The fantastic sculptures and wealth of ornament in Gothic decorations produce a confusing effect on the brain and the eye if we look at the whole carelessly; but when we remember that each separate design has its especial meaning we are interested to examine them, and we find that the variety of forms is almost innumerable. Where there are trailing vines and lions, faith is indicated; roses and pelicans are the symbols of mercy and divine love; dogs and ivy, of truth; lambs, of gentleness, innocence, and submission; fishes are an emblem of water and the rite of baptism; the dragon, of sin and paganism; a serpent, too, typifies sin, and when wound around a globe it indicates the power of evil over the whole world; a hind or hart signifies solitude; the dove, purity; the olive, peace; the palm, martyrdom; the lily, purity and chastity; the lamp, lantern, or taper, piety; fire and flames, zeal and the sufferings of martyrdom; a flaming heart, fervent piety and spiritual love; a shell, pilgrimage; a standard or banner, victory; and so on, and on, we find that meaning and thought were worked out in every bit of Gothic ornament, and that what at first appears so wild and hap-hazard is full of a method which well repays one for the study of it.