[79] "To Master Bartholomew, _rexero_, twenty gold ducats for the days he took in travelling from Jaen, and for those on which he was at work upon the _reja_ of the high altar here in Seville." On March 18th, 1524, the same craftsman was paid 13,125 _maravedis_ for making the "samples and other things belonging to the _reja_ of the high altar."--_Libro de Fábrica_ of Seville Cathedral. Gestoso, _Sevilla Monumental y Artística_, and _Diccionario de Artífices Sevillanos_, vol. xi. p. 362. The _reja_ of the Chapel Royal of Granada, "of two faces, the finest that was ever made of this material," [80] has three tiers. "The first tier contains six Corinthian pilasters and a broad frieze covered with Plateresque ornamentation, as are the pedestals on which the pilasters rest. In the second tier are the arms of Ferdinand and Isabella within a garland supported by two lions, and other crowns together with the yoke and arrows;[81] all intertwined with stems, leaves, and little angels of an exquisite effect. Before the pilasters of this tier and of the one immediately above it are figures of the apostles on Gothic brackets--a style we also notice on the fastening of the gate and on the twisted railing; but every other detail of the grille is Plateresque. Upon the top are scenes of martyrdoms and of the life of Christ, the whole surmounted by a decorative scheme of leaves and candelabra, and, over this, a crucifix together with the figures of the Virgin and Saint John. The designing of the figures is only moderately good, but all remaining detail and the craftsmanship are admirable" [82] (Plates xxiii. and xxiv.). [80] Pedraza, _Historia de Granada_ (1636), p. 40. [81] The yoke and sheaf of arrows were the emblems of these princes--the yoke, of Ferdinand; the arrows, of his queen. Shields of their reign, whether employed in architecture or on title-pages, almost invariably include these emblems and the well-known motto, _Tanto Monta_. [82] Gómez Moreno, _Guía de Granada_, p. 291. Last on my list of Spanish _reja_-makers I place the greatest and most honoured of them all--Cristóbal de Andino, who, as a modern writer has expressed it, "uttered the last word in the matter of giving shape to iron." Cristóbal, son of Pedro de Andino--himself an artist of no mean capacity--excelled in architecture, sculpture, _rejería_, and probably in silver-work as well. "Good craftsmen," wrote his contemporary, Diego de Sagredo, "and those who wish their work to breathe the spirit of authority and pass without rebuke, should follow--like your fellow-townsman, Cristóbal de Andino--ancient precepts, in that his works have greater elegance and beauty than any others that I witnessed heretofore. If this (you think) be not the case, look at that _reja_ he is making for my lord the Constable, which _reja_ is well known to be superior to all others of this kingdom."