[Illustration: MOORISH ORNAMENTATION.] The influence and the impress of Arabian art was not confined in Spain to mosques or to buildings consecrated to the use of Mohammedans alone. Some of the most beautiful specimens of this architecture were erected for Christians or for Jews. Arabic inscriptions used as ornaments are still to be seen on the altar of the Cathedral of Gerona, in the Shrine of San Isidore at Leon; Arabic architecture is seen in the palace of the archbishops of Toledo, in a chapel in Alcala de Henares, and in more than one synagogue of the Jews. Christian bishops used as episcopal seals rings on which were engraved the praises of Allah. Long after the conquest of the great cities of the centre and of the south, Moorish and Mudejar architects were retained in the pay of Christian monarchs to keep in repair the cathedrals and palaces, the beauty of whose architecture the Christians could appreciate but could not imitate, much less surpass. It is this fact, and the mingling of style and ideas consequent thereon, which gives its sole peculiar characteristic to Spanish art. Meanwhile, contemporaneously with the flourishing period of Arabian art in the south, a Christian architecture, strikingly in contrast from its poverty of style and of invention, was slowly being reconstructed in the north. Of the eighth century we have the crypt of the Church of Santa Cruz, at Cangas in the Asturias, and some remains in parts of the churches of Oviedo. To the tenth century belong parts of the Church of San Pablo at Barcelona, and other Catalan churches, with here and there a chapel in the Western Pyrenees. During the eleventh and twelfth centuries the more important churches of Northern Spain were almost reproductions of those of Southern France; the Cathedral of Santiago de Compostella is almost a copy of the Church of St. Sernin at Toulouse; but the Romanesque (semi-Byzantine) style lingered somewhat longer in Spain than in the neighbouring country, and especially in North-eastern Spain. In the twelfth century edifices of real beauty are beginning to be built; such are the cloisters of Tarragona and the cathedrals of Lerida and of Tudela. The cathedrals of Avila and Siguenza are of more native Spanish character; while those of Toledo, Burgos, and Leon show the influence of French artists in their general plan, but with an added ornamentation derived from the richer and more florid fancy of the south. Of these perhaps Leon is the noblest and Burgos the richest example in Spain. Segovia, Salamanca, and Seville, of the fifteenth and sixteenth centuries, are the latest of the great Gothic churches of Spain, before the rise of the Renaissance.