I have said that the history of Spanish enamel-work is both confused and scanty. The subject in its general aspects has been studied by M. Roulin, whose judgments will be found in the _Revue de l'Art Ancien et Moderne_, and in his article, "Mobilier liturgique d'Espagne," published in the _Revue de l'Art Chrétien_ for 1903. M. Roulin believes the altar-front of San Miguel in Excelsis to be a Limoges product, not earlier than the first half of the thirteenth century. Ramírez de Arellano declares that no enamelling at all was done in Spain before the invasion of the Almohades. López Ferreiro, who as a priest had access to the jealously secreted archives of Santiago cathedral, gives us the names of Arias Perez, Pedro Martinez, Fernan Perez, and Pedro Pelaez, Galician enamellers who worked at Santiago in the twelfth and thirteenth centuries. Martin Minguez says that enamelling was done at Gerona in the fourteenth century, and Moorish enamels were certainly produced at Cordova and Cuenca from comparatively early in the Middle Ages. A few obscure workers in enamel are mentioned by Gestoso, in his _Diccionario de Artistas Sevillanos_, as living at Seville in the fifteenth century, though, in the entries which refer to them, little is told us of their lives and nothing of their labours. In the sixteenth century we obtain a glimpse of two enamellers of Toledo--Lorenzo Marqués and Andrés Ordoñez, and dating from the same period the Chapter of the Military Orders of Ciudad Real possesses a silver-gilt _porta-paz_ with enamelling done at Cuenca. However, our notices of this branch of Spanish art have yet to be completed. [Illustration: VI "THE CRUCIFIX OF THE CID" (_Salamanca Cathedral_)] A long array of royal gifts caused, in the olden time, the treasure of Santiago cathedral to be the richest and most varied in the whole Peninsula, although at first this see was merely suffragan to Merida. But early in the twelfth century a scheming bishop, by name Diego Gelmirez, intrigued at Rome to raise his diocese to the dignity of an archbishopric. The means by which he proved successful in the end were far from irreproachable. "Gelmirez," says Ford (vol. ii. p. 666) "was a cunning prelate, and well knew how to carry his point; he put Santiago's images and plate into the crucible, and sent the ingots to the Pope."