In the reign of Alfonso the Chaste were built the churches of San Tirso and San Tulliano or Julian, which, though unfortunately much restored, may still be visited in Oviedo. Belonging to an even earlier date was the Church of Santa Cruz de Canjas, which was built by the royal architect Favila, in Alfonso’s reign, and which was the original church on the Monte Santo, the site where the cathedral of Oviedo now stands. This church was rebuilt by Alfonso II. in 830, and surrounded by protecting walls. The ancient Spanish chroniclers expatiate on the magnificence of these buildings of Alfonso, speaking of their columns of marble, and wealth of decorations of gold and silver. Doubtless they exaggerate; to-day there is very little of interest to be seen remaining in the edifices. Much more important are the buildings erected by Alfonso’s successor, Ramiro I. (843-850), a king of unusual culture, who, in spite of continual wars with the Moors, found time to carry further the improvement of the royal city of Oviedo. During this reign, writes M. Marcel Dieulafoy, “there was a veritable renaissance of the plastic arts.” Two of these buildings that we owe to Ramiro I. are still in existence, and though sadly neglected and disfigured by alterations, they should be visited by all who take an interest in early Spanish work. They stand together on the summit of the low mountain Naranco, which is situated one and a quarter miles from Oviedo. The first, the Church of San Miguel, is a basilica with nave and aisles. We recognise in the heavy pillars with splayed capitals and massive polygonal bases, as also in the frequently used cord and twisted fringe, so characteristic of the period, a marked Byzantine character. Many sculptured subjects occur among the foliage which decorates both the bases and capitals of the columns. These heads must be attributed either to the Roman traditions or, as is more likely, to the early French schools. The other church is even more interesting. Santa Maria de Naranco probably formed part of Ramiro’s palace, but the building was converted into a church about the year 905. It consists of a cellar-like nave, with waggon vaulting, opening by three arches into a choir at one end and a presbytery at the other. Below is a crypt. Here the work shows strong Roman influence, and most precious details of ornament occur. Another church of great interest belonging to this early period is that of San Pedro in the ancient city of Zamora. True bas-reliefs are here introduced among the leafy decorations of the capitals: one, still in excellent preservation, represents the sacrifice of Isaac by Abraham. This is very remarkable--one of those surprises that meet the student so often in Spanish art--for the Byzantine sculptors did not customarily use the human figure in such circumstances.