Galicia of the twentieth century has inherited from Galicia of the Middle Ages poetry, sculpture, and architecture, each of which, in its own line, is absolutely unrivalled. These offer a wide and fascinating field of research to all those who seek to understand the civilisation of that period in the world’s history. The architecture of Galicia can be said to be exclusively Christian, for Moorish influence, which, penetrating into every other part of Spain, mingled itself with Christian art and produced what Spaniards cell _el estilo mudejar_, never gained any footing in this province. Perhaps it may be well to say a word about this style in passing, in spite of the fact that Galicia is not the province in which to study it. The Moors, it will be remembered, began to invade Spain in the year 712, and they remained in the Peninsula for the space of four hundred years. As Señor Lamperez has remarked in his interesting series of lectures, this branch of the art was the natural outcome of the mingling of two distinct civilisations, the civilisation of Spanish Christendom and that of the Oriental followers of Islam, during the eighth, ninth, tenth, and eleventh centuries of the Christian era. It resulted from a fusion of the art of two distinct races, and the highest point of development was reached during the period which began with the reign of Ferdinand I. and ended with that of Alfonso X. (the eleventh to the thirteenth century), and that which began with Alfonso X., and ended with Ferdinand and Isabella in the fifteenth century; it had its birth and development in the first of these periods, reached its climax, and declined in the second. _Mudejar_ architecture, according to Lamperez, was the work of Moorish architects employed in the service of Christians: it exhibited the elements of both peoples. In some instances, indeed, it has been the work of Christian artisans superintended by Moorish architects. There still exist churches in Spain whose plan is Christian (basilical), whose structure is of the simplest, showing avoidance of all the difficult problems of equilibrium, and whose materials are of the smaller order (tiles, etc.), with much plaster gypsum and excessive subdivision of excessive and artificial ornamentation dominated by geometrical ideas. The Ordinances showing how the corporations of artisans were formed and what specifications were required of the men who took the position of _alarif_ (skilled) and _maestro-al-arif_ (Arabic) are still preserved at Seville.