A series of Spanish chalices, beginning chronologically with specimens which date from the early Middle Ages, and terminating with the chalice, made in 1712, of Santa María la Blanca of Seville, was shown in 1892 at the Exposición Histórico-Europea of Madrid. Among the finer or most curious were chalices proceeding from the parish church of Játiva, Las Huelgas, and Seville cathedral, and the Plateresque chalices of Calatayud, Granada, and Alcalá de Henares. Another chalice which is greatly interesting because of the date inscribed on it, is one which was presented to Lugo cathedral by a bishop of that diocese, Don Garcia Martinez de Bahamonde (1441-1470). The workmanship, though prior to the sixteenth century, is partly Gothic. An article by José Villa-amil y Castro, dealing with all these chalices, will be found in the _Boletín de la Sociedad Española de Excursiones_ for April, 1893. A small exhibition was held at Lugo in August 1896. Here were shown sixteen chalices, nearly all of them of merit from the point of view of history or art. Such are the chalice of San Rosendo, proceeding from the old monastery of Celanova; the Gothic chalices of Tuy cathedral, Lugo cathedral, Santa María del Lucio, Santa Eulalia de Guilfrei, San Pedro de Puertomarín, and the Franciscan friars of Santiago; and the chalice and patine of Cebrero (twelfth century), in which it is said that on a certain occasion in the fifteenth century the wine miraculously turned to actual blood, and the Host to actual flesh, in order to convince a doubting priest who celebrated service. The Cross of Angels and the Cross of Victory--presents, respectively, from Alfonso the Chaste and Alfonso the Great--are now preserved at Oviedo, in the Camara Santa of that stately temple. The former of these crosses, fancied by credulous people to be the handiwork of angels--whence its title[18]--was made in A.D. 808. It consists of four arms of equal length, radiating from a central rosette (Pl. ii.). The core or _alma_ is of wood covered with a double plate of richly decorated gold, chased in the finest filigree (indicative already of the influence of Cordova) and thickly strewn with sapphires, amethysts, topazes, and cornelians. Other stones hung formerly from six small rings upon the lower border of the arms. The cross is thus inscribed:-- _"Susceptum placide maneat hoc in honore Dei Offeret Adefonsus humilis servus Xti Hoc signo tuetur pius Hoc signo vincitur inimicus._ _Quisquis auferre presumpserit mihi Fulmine divino intereat ipse Nisi libens ubi voluntas dederit mea Hoc opus perfectum est in Era DCCXLVI."_