Magnificent Spanish-Moorish, Spanish, and Mudejar ceilings still exist in Spain. Such are the marvellous domed ceiling in the Hall of Comares (or of Ambassadors) in the Alhambra, those of the Castle of the Aljafería at Zaragoza and of the archbishop's palace at Alcalá de Henares, the Arab _alfarge_ ceilings in the churches of San Francisco and Santiago of Guadix, that of the Hall of Cortes in the Audiencia of Valencia, that of the Sala Capitular of Toledo Cathedral, that of the Chapel of the Holy Spirit of the Cathedral of Cuenca (considered by many to be the finest _artesonado_ ceiling in all Spain), or those of the churches of Jesus Crucificado, El Carmen, and San Pablo at Cordova. The ceiling of the Sala de la Barca, in the Moorish palace of the Alhambra, was almost totally destroyed by fire in 1890, but a good photograph had previously been taken, and I reproduce it here (Plate viii.). One of the later _artesonado_ ceilings is at Cordova, in the parish church of Santiago. Covered with a _bóveda_ or vault of cane, it is in excellent preservation, and was made in 1635 by the master-carpenter Alonso Muñoz de los Ríos, who received for his labour fourteen thousand _reales_.[38] The _artesonado_ ceilings which Diego Lopez de Arenas tells us in his treatise that he made for the church, the choir, and the _sobreescalera_ of the monastery of Santa Paula at Seville, as well as a ceiling which he made for the church of Mairena, are all extant to-day. Other remarkable examples of this craft are the ceilings of the rooms constructed to the order of, and which were actually occupied by, Charles the Fifth, within the precincts of the old Alhambra. Upon these half-Italian, half-Morisco ceilings and their frieze we read the words, "_Plus Oultre_"; and the inscription, "_Imperator Cæsar Karolus V. Hispaniarum rex semper augustus pius f[oe]lix invictissimus_." In one of the same apartments, known as the "chamber of the fruits," the ceiling has octagonal _artesones_ of superb effect, though even richer is that of what is called the Second Sala de las Frutas, conspicuously influenced by Italian art, and believed by Gómez Moreno to have been designed by Pedro Machuca and executed by Juan de Plasencia. [38] Cordova was a famous centre of this craft for many centuries. Ramírez de Arellano has found and published a notice relative to Lope de Liaño and García Alonso, two artificers of this city who signed, on January 7th, 1572, a contract with the prior of the monastery of the Holy Martyrs to build a ceiling for one of the chapels of the same. The document, which is quoted _in extenso_ in the _Boletín de la Sociedad Española de Excursiones_ for November, 1900, abounds in technical expressions, many of them partly or entirely Moorish.