The Moorish women of this country, and in particular the Granadinas,[41] were passionately fond of jewellery. Ornaments which once belonged to them are sometimes brought to light in Andalusia, Murcia, or Valencia, including pendants, rings, necklaces, and _axorcas_ or bangles for the ankle or the wrist, and bracelets for the upper portion of the arm. The National Museum contains a small collection of these objects, dating from the time of the Moriscos, and including a handsome necklace terminating in a double chain, with ball and pyramid shaped ornaments about the centre, a square-headed finger-ring with four green stones and a garnet, and a hollow bracelet filled with a substance that appears to be mastic, similar to those which are reproduced in Plate xiii. [41] "As to the ornaments and jewels of the ladies of Granada, these wear at present necklaces of rich design, bracelets, rings (upon their ankles), and earrings of pure gold; together with quantities of silver and of precious stones upon their shoes. I say this of the middle class; for ladies of the aristocracy and of the older noble families display a vast variety of gems, such as rubies, chrysolites, emeralds, and pearls of great value. The ladies of Granada are commonly fair to look upon, shapely, of good stature, with long hair, teeth of a shining white, and perfumed breath, gracefully alert in their movements, and witty and agreeable in conversation. But unfortunately at this time their passion for painting themselves and for arraying themselves in every kind of jewellery and costly stuffs has reached a pitch that is no longer tolerable."--Al-Jattib, in _The Splendour of the New Moon concerning the Nasrite Sultans of Granada_. These jewels, I repeat, are of Morisco workmanship, and therefore date from later than the independent empire of the Spanish Moors. Nevertheless, the geometrical or filigree design was common both to Moorish and Morisco art. As I observed in my description of the casket-reliquaries, we note continually the influence of these motives on the arts of Christian Spain. The Ordinances relative to the goldsmiths and the silversmiths of Granada, cried at various times between 1529 and 1538, whether "in the silversmiths' street of the Alcaycería, that has its opening over against the scriveners'"; or in "the street of the Puente del Carbon, before the goldsmiths' shops"; or "in the street of the Zacatin, where dwell the silversmiths," prove also that for many years after the Reconquest the character and nomenclature of this kind of work continued to be principally and traditionally Moorish.