In metal work as in architecture, a large number of instances exist in Spain in which the Christian and Moorish styles are blended--as an example of this style may be mentioned the fine bronze gates of the cathedral of Toledo. These doors, which are 18 ft. high by 12 ft. wide, are covered on both sides with bronze plates; the outer side is decorated with a geometrical Moorish design and small Arabic inscriptions, alternating with castles and a number of Arabic mottoes. In one of the side bands and in the lower part may be read in Spanish the following inscription: "Estas puertas fueron acabadas en el mes de Marzo era de mil c ccc. setanta e cinco años." "These doors were finished in the month of March, in the era of 1375 years" (A.D. 1337). The fine doors of the cathedral of Cordova, del Perdon, are similar in style. They are made of wood and covered with bronze plating, and Gothic and Arabic inscriptions,--the word "Deus," and [Illustration: Arabic] "The empire belongs to God, all is His." Round these doors, alternating with the arms of Castille and Leon, is the following inscription. "Dia dos del mes de Marzo de la era del Cesar de 1415 años, (A.D. 1377.) Reinante el muy alto et poderoso D. Enrique, rey de Castilla." These doors were restored in 1539. The Puerta del Perdon of the cathedral of Seville is similar in style, and a good example of moresque bronze work. Returning to the bronze work of the Christian artists of the renaissance period, the general rule which may be established with reference to statues is that they have been made by foreign artists. This is the case with the splendid groups of figures at the high altar and presbytery of the Escorial by Pompeyo Leoni, the equestrian statue of Philip IV. by Pedro Tacca, and others of a similar kind. One of the very few exceptions to this rule occurs in Bartolomé Morel, a Spaniard, the author of the statue called the "Giralda" on the tower of the cathedral of Seville, the desk of the choir, and _Tenebrarium_ at the same church. These objects were all by him, and are among the finest specimens of bronze work in Spain. The _Tenebrarium_ is described by Cean Bermudez in his "Descripcion artistica de la catedral de Sevilla," p. 129, in the following manner: "This object is better executed and more graceful in design than any of its kind in Spain. It consists of a triangular candelabrum, which is used during matins in the three last days of Holy Week with fifteen tapers, which are extinguished on reading each psalm. "It was designed and executed by Bartolomé Morel in 1562. Juan Giralte, a native of the Low Countries, and Juan Bita Vazquez helped him to make the statues which are at the head of this candelabrum, and Pedro Delgado, a sculptor of great renown, worked at the foot.