Much has been written on these Visigothic jewels by French and Spanish authors, the most interesting and valuable studies are:--"Descrip. du Trésor de Guarrazar, par M. Lasteyrie. Paris. 1860." "El arte Latino Bizantino en España y las Coronas de Guarrazar," by Señor Rios, Madrid, 1861. Consult also his article in "Monumentos Arq. de España." "Coronas de Guarrazar que se conservan en la Armeria Real de Madrid," by Señor Rada. Museo Español, vol. iii. Madrid, 1874. The importance of this goldsmith's work has led these authors to discuss several archaeological and artistic points which deserve attention. I will also give my opinions on this subject, which in some respects differ from those hitherto advanced. In the Middle Ages the name of crown was equally applied to those worn on the head, to the votive crowns hung before altars, and to the pendent lamps which were also of this circular form. The "Etimologies" of San Isidoro help us, unfortunately, but little on this subject; but Du Cange, in his "Glossarium Mediæ et infimæ Latinitatis" gives us sufficient details to understand the differences between them. I refer the student to two works on this subject, which treat especially of crowns of light, which none of the authors who have written on Guarrazar have consulted: "Tratado de la Sagrada Luminaria," by Gonzalez Villar, Madrid, 1798. "De Lucernis Pensilibus," by Fanceulli, Maceratae, 1802. The crowns found at Guarrazar were undoubtedly votive offerings, for they all have chains by which they were suspended in the sanctuary in which they were found. Their size and the structure of their rims lead us to suppose that they may have been worn on the head. The same observation applies to a similar crown at the Cluny Museum; if so, the chains, cross, and pendent letters were added when the crown was offered to the sanctuary. Although details which appear in the handwork of these jewels betray a certain rudeness, not uncommon in the time they were made, their beauty and richness are truly surprising. These crowns are decorated round their rims with rosettes of pearls and sapphires, and a delicate ornamentation of _cloisonné_ work, which encloses a substance resembling red glass. From the upper part are attached four chains formed of leaves _percées à jour_, these are united to a double gold rosette with pendent sapphires, in the centre of which is set a piece of rock crystal. In the cross of Recesvinthus the pendant is in the form of a capital, and from it hangs a small cross of the same style of work: from the lower rim of the crown are suspended the letters, which are ornamented with the same vitreous paste, _cloisonné_, and from each hang large single pearls and sapphires.