The style of the objects which we have hitherto described is undoubtedly Oriental, and we must seek in Persia the origin of this industry. There is, however, every probability that these seven ivory boxes were made in Spain by Spanish Arabs, or artists who had settled there from the East. On all these carvings the names of Spanish historical persons appear, and it is hardly possible that they were ordered in remote countries, especially as some of these objects are small and comparatively unimportant. It must also be borne in mind that we find in contemporary authors many details on the luxury and magnificence of this period of the Spanish Arabs, and the great height which the arts and industries had reached at that time. The ivory carvings which I have described present all the characteristics of the Oriental school, which was copied by European Christian sculptors during the 11th and 12th centuries. We find in Christian productions of this period, too constantly to require any further comment, the same geometrical traceries, flowers, leaves, animals, and birds. The subjects represented on monuments of Christian art have been erroneously interpreted by modern ecclesiologists who have endeavoured to demonstrate the symbolism of these figures in a purely Christian sense with only the unsatisfactory result of checking and leading astray art students of the Middle Ages. It is of the utmost importance to go to the primitive sources from which this art is derived in order to illustrate this important theory. The Oriental school of sculpture was soon transmitted, either through the influence of the Spanish Arabs, or by other means, to Christian artists. As an interesting example of this may be mentioned the shrine which King Dn. Sancho ordered to be made, A.D. 1033, in which to deposit the bones of San Millan, still preserved in San Millan de la Cogulla, in the province of La Rioja, Spain. This fine shrine is 4 feet 6 inches long, by 2 feet 3½ inches high. It is of wood, and covered with gold plates and inlaid stones and crystals. Between this metal work are placed 22 plaques of ivory carved with subjects representing passages from the life of the saint, and single figures of the princes, monks, and benefactors who helped to defray the expense of this work of art. Among them there are two small figures with the names of Apparitio Scholastico, Ramirus Rex. These have been generally supposed to be the artists' names. A sculptor is also represented carving a shield, and near him is one of his workmen. Underneath these figures ran formerly an inscription, of which the first part only remains, containing the name of the artist--"(Magis) tro et Rodolpho filio."