the Prime Minister at Basle. The central figure of the Saviour
has at its feet two tiny figures, quite out of scale; these are
intended for the donors, Emperor Henry and his queen, Cunegunda.

Silversmith's work in Spain was largely in Byzantine style, while
some specimens of Gothic and Roman are also to be seen there. Moorish
influence is noticeable, as in all Spanish design, and filigree work
of Oriental origin is frequently to be met with. Some specimens of
champlevé enamel are also to be seen, though this art was generally
confined to Limoges during the Middle Ages. A Guild was formed in
Toledo which was in flourishing condition in 1423.

An interesting document has been found in Spain showing that craftsmen
were supplied with the necessary materials when engaged to make
valuable figures for the decoration of altars. It is dated May 12,
1367, "I, Sancho Martinez Orebsc, silversmith, native of Seville,
inform you, the Dean and Chapter of the church of Seville, that it
was agreed that I make an image of St. Mary with its tabernacle,
that it should be finished at a given time, and that you were to
give me the silver and stones required to make it."

In Spain, the most splendid triumphs of the goldsmith's skill were
the "custodias," or large tabernacles, in which the Host was carried
in procession. The finest was one made for Toledo by Enrique d'Arphe,
in competition with other craftsmen. His design being chosen, he
began his work in 1517, and in 1524 the custodia was finished. It
was in the form of a Gothic temple, six sided, with a jewelled
cross on the top, and was eight feet high. Some of the gold employed
was the first ever brought from America. The whole structure weighed
three hundred and eighty-eight pounds. Arphe made a similar custodia