"A Castilian jar from which my lord the duke was wont to drink, weighing two marks and five ounces."[58] [58] The mark was a standard of eight ounces, and was divided into fifty _castellanos_. "A cup with a high foot, gilt all over, with the figure of a woman in its midst, and decorated in four places in the Roman manner." "A flagon of white silver, flat beneath the stem, with a screw-top surmounted by a small lion; for cooling water." "A small silver dish, of the kind they call meat-warmers." "A large silver seal for sealing provisions, with the arms of my lord the duke, Don Francisco." "A large silver vessel, embossed, with a savage on top." "A gold horse, enamelled in white upon a gold plate enamelled in green and open at the top; also a wolf, upon another gold plate enamelled in green, with lettering round about it; also a green enamelled lizard upon blue enamel; and a gold toothpick with four pieces enamelled in green, white, and rose; also a small gold column enamelled in black and rose." "A silver lemon-squeezer, gilt and chiselled, with white scroll-work about the mesh thereof, through which the lemon-juice is strained." "A large round silver salt-cellar, in two halves, gilt all over, with scales about the body, and two thick twisted threads about the flat part. One side of it is perforated." Among the property of the duchess, Doña Mencía Enriquez, we find "a small gold padlock, which opens and closes by means of letters"; two gold bangles; a gold necklace consisting of forty-two pieces "enamelled with some B's";[59] a gold signet ring with the duchess's arms; and "a gold and niello box with relics, for wearing round the neck." Also, resting on a table covered with silver plates, "a box of combs; the said box wrought in gold upon blue leather, containing five combs, a looking-glass, a little brush, and other fittings; girt with a cord in gold and blue silk." [59] For Beltran de la Cueva, ancestor of this family. The seventeenth century and a race of native Spanish kings declined and passed away together. A dynasty of France succeeded to the throne of Spain, and with the foreigner came a fresh reactionary movement towards the neo-classic art, coupled with the canons of French taste. Henceforth a century of slow political reform goes hand in hand with slow suppression of the salient parts of Spanish character. Madrid transforms or travesties herself into a miniature Versailles, and national arts and crafts belong henceforward to a Frenchified society which found its painter in Goya, just as the preceding and eminently Spanish society had found its painter in Velazquez.