"After the King came the Queen, mounted on a fine mule, and all the harness of the said mule was adorned with pearls and other precious stones. She was dressed in a robe of a rich woven cloth of gold made in the fashion of the kingdom, and over that a mantilla all spangled with lozenges of crimson and black velvet, and on each lozenge was a large pearl. And with each of these pearls was a rich balass ruby the size of a beech nut, the richest thing that could be seen, no man ever saw anything equal to it. She had on her neck a large necklace, adorned with large diamonds, balass rubies, carbuncles, large pearls, and a great number of other rich precious stones. She had upon her head-dress two balass rubies as pendants, the size of a pigeon's egg, and at the end of the said rubies a large pearl, which jewel was supposed to be worth 12,000 crowns" (p. 348.) In the specimens described belonging to the Visigothic period, and many others to which we might refer, we find constant similarity in form with silversmith's work of other European countries. It is true that we occasionally meet with Moorish _orfèvrerie_, and some details, such as filigree work, due to oriental influence; but in general Byzantine, Roman, and Gothic styles were adopted and copied in Spain; and the technical details were the same with those followed in other countries, with the exception of _champlevé_ enamel, which appears to have been almost exclusively used at Limoges in the middle ages. It is interesting, however, and worthy of remark, that important objects are also found in Spain decorated with _champlevé_ enamel, such as the splendid altars of San Miguel in Excelsis (Navarre), and Santo Domingo de Silos (Rioja), and the image of the Virgin de la Vega at San Esteban (Salamanca), three specimens of the greatest importance. In the Renaissance period, Spanish _orfèvrerie_ enters into its most brilliant epoch, not only on account of the beauty of the form of the objects produced, but also owing to its great richness. Among objects of this period the most important are the _Custodias_ or monstrances of the cathedrals; these are exclusively peculiar to Spanish art. The almost incalculable quantity of silver-work produced at this period is accounted for by the reconquest of the Peninsula from the Moors, the discovery and possession of America, and other circumstances which increased the power and wealth of Spain, and elevated the country to great importance.