The French influence of the last century brought the same fashions for furniture into Spain, and we also find there the styles known as Louis XVI. and Empire. Spain follows the general rule; porcelain plaques from the manufactories of Alcora and Retiro were let into furniture, and gilt bronze mountings were very much used. The most important specimens of furniture of the early present century are the splendid rooms inlaid with metal work at the Palace, called Casa del Labrador at Aranjuez, and those known by the name of "Piezas de maderas finas," at the Palace del Escorial. The description given by J. Quevdo, in his "Historia del Real Monasterio de San Lorenzo," Madrid, 1849, gives a good idea of their importance; he says, p. 343, "This series of four small rooms were decorated at a cost of 28,000,000 of reales (£280,000). The pavement, friezes, windows, and doors, are made of the most delicate inlaid work representing landscapes, vases and festoons of flowers, which look as if they were painted with a brush. King Charles IV. helped in this work, and they were finished in 1831 under the direction of Angel Maeso. The splendid iron work was made by Ignacio Millan. It is of polished iron inlaid with gold, and most exquisite in workmanship." IVORIES. No artistic industry in Spain has left behind so little historical information as ivory carving. Only a very small number of examples of this art have reached us which are of undoubted Spanish manufacture, but a group exists among them which has been but little examined or studied; it is worthy of the utmost attention, on account of its artistic character, and the inferences which may be drawn from it. We find no allusion in the works of Pliny or St. Isidoro to the existence of the industry of ivory carving in Spain during the Roman and Visigothic dominations. An interesting example of ivory work of the Roman period, consisting of a consular diptych may be seen at the cathedral of Oviedo, which, although certainly not carved in Spain, must not be overlooked here, in order that it may be included among the number of the carvings which have reached us of this period. The two leaves of this diptych are complete, and in a perfect state of preservation: they are 16 inches long by 6 inches wide; in the centres are two medallions in relief with a bust of the consul, who is represented in the act of throwing down with his right hand the _mappa_ or handkerchief, and holding in his left hand a sceptre. The right angles are ornamented with masks, the rest of the surface is plain. The two following inscriptions run along the upper part of the leaves: FL·STRATEGIVS APION. STRATEGIVS APION V. ILL: COM. DEVV. DOMM. ET · CONS · OR. Flavius Strategius Apius. Strategius Apius, illustrious man, count of the most fervent servants, and consul in ordinary.