THOSE who have a taste for the study of prehistorical monuments in Spain, will find a very extensive collection of arms and other utensils of this period at the MusÉo Arqueologico, Madrid, which have been found in different localities of the country. They chiefly consist of hatchets, knives, and lance and arrow points made of flint, and are similar in form to those which have been discovered in the north and centre of Europe. There are therefore, constant analogies between the implements used by the primitive Iberians, and those of other European races of the prehistoric period.

The arms and weapons of the following age, known as the age of bronze, are less common in Spain, although a few specimens exist in the MusÉo of Madrid, and the "Academia de la Historia." They chiefly consist of swords, daggers, and lance and arrow points. The hilts are formed of the same material as the blade in some instances, in others they consist of a blade fitting into a wooden or ivory handle. The blades are cut on both sides; they are straight, and finished off in a point; in the centre runs a thick rim made for the purpose of strengthening the blade, and that it should not bend. One of these specimens measures 30 inches long. The daggers are about one-third smaller, with the same rim in the centre; the bronze hilt is nailed to the blade, and the lance and arrow points are of the same kind. These weapons are similar in style to the numerous examples found in other countries, especially England. The hatchets are also the same, their manner of being fixed on to their handles and their size and weight being identical with the English ones. One of the few specimens which varies from this general rule, is a dagger, with a cylindrical horn-like hilt, belonging to S^r. Villaamil: it was found at Galicia with other interesting arms. (Consult MusÉo EspaÑol de Antiguedades, iv. 63.)

The probable antiquity of these weapons always remains a matter of doubt; this is especially the case with stone implements. When on their discovery the geological structure of the soil has been studied, some evidence exists on which to ground an opinion; but this is very seldom the case in Spain, and Messrs. Prado, Villanova, Botella, and MacPherson, are among the few and most trustworthy geologists who have investigated this subject. With reference to bronze implements, Spanish authors have a tendency to attribute them to prehistoric times. I see no reason to justify this opinion, and it appears to me that when this subject has been studied in a more satisfactory manner, it will appear that these arms were used during the Roman domination at the same time as the iron ones.

In reaching the Iron period, already within historical times, we find that the Spanish people, when once under the Roman rule, used the well known arms and utensils which will be found reproduced in all elementary books on archÆology. In this, as in every other sphere, the Romans imposed their civilization on the races they conquered. Some important exceptions, however, exist to this general rule. The Spanish swords must have been excellent in quality, since the Romans adopted them after the Carthaginian war: they were however, never able to imitate the manner in which they were tempered. Suidas says: Romani patriis gladiis depositis Hannibalico bello Hispaniensium assumpserunt ... sed ferri boni atem et fabrica solertiam imitari non potuerunt. The locality where the best swords were made in Spain was Bilbilis (Calatayud, province of Aragon), the birthplace of the poet Martial, who, when praising the waters of the river Jalon and the excellence of its quality for tempering metals, says, Salone qui ferrum gelat. These swords were wide, and cut on both edges; their points were sharp, and all of them had in the centre signs of a central groove running down its length. Several specimens may be seen at the Museo Arqueologico, Madrid, which are 15 or 19 inches long. The Spaniards used also swords of another form, which were known by the name of falcata, from falx, sickle; the blade was curved, and it has been supposed to be the genuine Spanish model. The blade was widened in proportion from the hilt to the point, which was very sharp: it cut like a sickle in the interior curve, and only a small part was sharpened in the opposite side. The best specimen, which exists in the Madrid Museum, is 22½ inches long. The weapons made at Toledo must have been very famous during the Roman period: Gracio Falisco, a poet of the time of Julius CÆsar, says, in mentioning them: Ima toletano prÆcingant ilia cultro; the sword manufactory there attained afterwards great importance.

I must end by mentioning the funda, or slings, and leaden plummets (glandes), which were thrown so dexterously by the slingers of the Balearic Islands. The slingers of this province are mentioned with great praise by ancient authors. (V. Smith, Dictionary of Greek and Roman Antiquities. Funda.)

During the Visigothic domination, some modifications must have been introduced in the form and number of the arms used, probably owing to the tradition of the Gothic race, and the Byzantine or Oriental influences, which they accept in every sphere; but the names and explanation of these weapons, given by San Isidoro in his "Etimologies," lib. xviii., indicate that the Roman system was adopted as a general rule. The chief modification which may be established for the Visigoths, and the greater part of the European races, is that from their time the breast-plates and metallic pieces, which served as a protection for the legs and arms, fell into disuse, and were substituted by coats of mail or chain armour. This is deduced from San Isidoro's not describing these metallic plates; although he gives numerous details on different sorts of coats of mail, including those made of coarse stuffs woven in Silisia. At this time, the use of planks or boards to protect the body was abandoned, and did not prove acceptable until the end of the 13th century, when they again became very generally adopted in Spain.

During the 13th and 14th centuries, the Spanish Christians continued to use the same weapons as in other European states. The history of Spanish arms, in like manner with its artistic history and civilization, is similar to that of other nations; it frequently occurs that objects of this kind are classified with those of other countries, the only exceptions to this general rule being those which result from the Moorish conquest and influence.

The Arabs, after they took possession of Spain at the beginning of the 8th century, imported, with their arts and industries, special arms and weapons, the greater part of which were copied from Persian models; their swords, helmets, and shields deserve special attention; in other weapons the difference is not so great; and, indeed, in the two first it is chiefly confined to their decoration.

None of the arms made by the Moors have been so justly celebrated, or so delicately worked as their swords. An Arabic author, El Camus, says the Arabs had as many as 1000 names to designate swords. In the first years of the Hegira, their historians praise the swords made at Yemen, and in India; later on, those of Syria; Damascus was, however, the great centre where arms of all kinds were made. Several interesting Arabic manuscripts are known on this subject, such as the Treatise on steel blades in the library of Gotha, that on Different kinds of arms, with the properties of lances, swords, and horses, in the Library of Leyden, and numerous articles by Oriental scholars, which have appeared in the "Journal Asiatique," and other reviews. The manufacture in Syria decayed in the 15th century; other centres gained in importance, specially those in Egypt, Morocco, and Spain, which had rivalled the East in this industry during the Middle Ages.

The Arabs introduced their forms and manner of decorating arms when they invaded the Peninsula; it is, however, highly probable that the traditions still existed at Bilbilis and Toledo of the manner of tempering steel. It is known that Abd-er Rahman II. (A.D. 822-852) reformed the manufacture of arms at Toledo, and that in A.D. 965, Al Hakem II. sent a rich present of specimens made in the locality to Don Sancho, King of Leon. Notwithstanding the high reputation of the industries of Cordova, the great centre and court of the Spanish Arabs during the earlier period of their domination, "it never became famous for its working steel," as Fernandez Gonzalez tells us in his study on Spanish moresque swords, from which much of this information has been derived. (V. Mus. Esp. de Antiguedades, V. I. and V.). Almeria, Murcia, Seville, and Granada were greatly distinguished in this manufacture during the domination of the Arabs in Spain.

We know that Almeria, during the 12th and 13th centuries, "was also famous for the fabrication of all sorts of vases and utensils of iron, copper, or glass." (Mohamadan Dynasties in Spain, by Al-Makkari, vol. i. p. 51.) Abou Said, in writing in the 13th century of Murcia, says, "Objects are made there of latteen and ron, consisting of knives and scissors, with an ornamentation in gold. Other similar utensils, proper for the outfit of a bride, or a soldier, in such large quantities, that the mere thought of it confuses the imagination."

The same author, when speaking of the swords of Seville, says, "The steel which is made at Seville is most excellent; it would take too much time to enumerate the delicate objects of every kind which are made in this town." These industries must have continued in the hands of the Moors after the town was conquered by Spaniards in the 13th century. In the following century we find in the will of King Dⁿ. Pedro, "I also endow my son with my Castilian sword, which I had made here in Seville, ornamented with stones and gold."

No specimens of HispaÑo moresque swords exist previous to the 15th century. We possess some highly interesting examples of this period, all, or the most part, of which were made at Granada, the last centre of civilization of the Spanish Arabs. The most important are the sword, dagger, and double-handed sword and knife, which, with the authentic costume, belonging to Boabdil, the last king of Granada, are now in the possession of the Marquis of Villaseca, at Madrid. These objects were gained by an ancestor of the marquis, who took Boabdil prisoner in 1482 at the battle of Lucena. In compliance with the chivalrous practice of the time, the arms of the conquered king went to the conqueror, and have been kept as heirlooms since that time.

The sword of Villaseca is 39 inches long, this includes 12 inches of the hilt. (See woodcut.) "The steel blade," says S^r. Fernandez, in his article, vol. v. p. 395, "is of a later date, and appears to have been added to the sword after the older one had disappeared. It is a Toledo blade, marked with the letter S, similar to the one used by Alonso Sahagun the elder, and with a hollow line in the centre."

I am of opinion, however, that it may be the original blade, for the other sword, which still exists at Granada, of the same kind, has likewise a blade marked T, Toledo. This coincidence appears to suggest that those made there were preferred, and in both instances they exactly fit the sheath, which is the original one.

The hilt of this fine sword is formed of solid gold, enamelled in blue, white, and red. This decoration runs along the pommel and cross bars. The axle is made of ivory carved with the utmost skill. Two octagons are on each side, with the following inscription in semi-Cufic letters:

Arabic

(may you) "obtain your object." On the other side:

Arabic

"in saving his life."

SWORD OF BOABDIL. VILLASECA COLLECTION, MADRID.
SWORD OF BOABDIL. VILLASECA COLLECTION, MADRID.

Four shields surround in the upper part this axle, which contains the following inscription in rather illegible characters:

Arabic

"In the name of God, power belongs to him, there is no other divinity but he, happiness proceeds from God alone."

In the lower part in similar shields we read:

Arabic

"Miracles belong to God, for certainly the ignorant do not know God at first, for it is their habit to err."

On the pommel is the following inscription:

Arabic

Say, "He alone is God, Eternal God, who neither created, nor was engendered."

Under the pommel, on green enamel, appear the following letters:

Arabic

Say, "The only God, Eternal, not ..."

On the other side:

Arabic

"was neither created, nor engendered, and has no equal."

On a band which appears under the axle, on enamel, are the following letters:

Arabic

"God is clement and merciful," and on the other side:

Arabic

"God is gifted with the best memory."

The learned archaeologist and orientalist, Dⁿ Pascual de Gayangos, is of opinion that this sword was worn hanging round the neck, between the shoulder blades. A small bag, tahali, probably hung also from the leather girdle, which still exists in the collection of Villaseca.

The montante, or double-handed sword, has an iron cylindrical hilt inlaid with ivory. On it appears the motto of the kings of Granada:

Arabic

"God alone is the conqueror."

The blade, part of which is wanting, is marked with the crescent.

The dagger is superior in artistic merit. The hilt is made of iron, ornamented with ivory delicately engraved in arabesques. The blade is damascened in gold, with inscriptions on one side, repeating:

Arabic

"Health, permanent glory, and lasting happiness [belong to God"].

On the opposite side:

Arabic
Arabic

"It was made by Reduan."

The scabbard of this dagger is most beautiful, its chapes are made of silver enamelled in green, and the remainder is of crimson velvet embroidered in gold, from which hangs a fine tassel of silk and gold thread. A small eating knife is fitted into this same scabbard, which possesses no artistic interest.

The woodcut on the next page will give a good idea of the blade of a Moorish dagger of the 15th century.

A sword of a similar kind to the one already described may be seen at Granada at the Administrador's of the Generalife. It belongs to the marquis of Campotejar, a descendant of Sidi Jahia, a Moorish prince who was converted to Christianity. The marquis of Vega de Armijo has an interesting sword of the same kind, and two others exist at the Museo de Artilleria, Madrid, which belonged to Aliatar; Boabdil's sword is at the Royal Armoury. The Hispano Arab sword, which for centuries had been in a saint's hand at the church of San Marcelo, Leon, is now at the Museo Arqueologico, Madrid.

The Spanish Moors used helmets similar in form to those of the Christians, though their manner of decoration was different; after the importations made by the Crusaders, the similarity must every day have been greater. The almofar, which appears by its name to have been originally oriental, and which is constantly named in Spanish documents from the poem of the Cid, was a protection for the head, of a similar form to those used in France and other countries, consisting of a hood made of chain armour, covering the head and leaving the face free; upon it was placed the hood or helmet. Some helmets exist at the Royal Armoury of Madrid of Spanish Moorish origin; among them are two very remarkable ones, which have been attributed to Boabdil, the last king of Granada. (Nos. 2345, 2356, of the Catalogue.) They are decorated with gold filigree, niellos, and geometrical ornamentation in the best oriental style, most admirably worked, and different in this respect to the helmets used in this time. Another interesting helmet, which belonged to this ill-fated monarch, exists in the province of Almeria.

The adargas, or shields, are more varied: they were frequently adopted by the Christians. They were generally round, with a salient point in the centre, ombilicus, or a sort of iron grating made for the purpose of entangling the adversary's sword. These shields were of wood or thick cowhide, vacaries, and were decorated outside in a variety of ways, sometimes with pierced iron plates or bands of leather, forming arabesques; and at other times with an ornamentation of iron, and leather embroidered with gold and silver, with rich hanging tassels and pendants. Shields of a prolonged form were also very constantly used, terminating in a semicircle in the upper part, and in the lower by a sharp point or a semicircle at the top and bottom, as may be seen in the paintings of the Sala de la Justicia at the Alhambra. A good collection of round shields may be seen at the Armoury at Madrid: they are not earlier in date than the 15th century, the most interesting among them are Nos. 233, 253, 389, 595, and 607 of the Catalogue. Some of them are exquisite in work and detail. These shields, although belonging to the latest period of the middle ages, were used before this time, for they appear on the ivory casket existing at the cathedral of Pamplona, [V. Ivories, p. 130], dated A.D. 1005, and in miniatures of Spanish MSS. of that date. One of the best examples, which may be mentioned to confirm these indications, will be found in a MS. at the British Museum (Add. ii., 695), which was painted during a period of twenty years in the monastery of Silos, near Burgos, and finished and completed A.D. 1109. Mr. Shaw, in his "Dresses and Decorations," vol. v., reproduces some of these figures, and says: "The figures which form our plate represent Spanish warriors of the later part of the 11th century, and are interesting on account of their remarkable resemblance to the Anglo-Norman soldiers on the celebrated Bayeux tapestry. This resemblance is observable in the style of the drawing, as well as in the costumes. It is highly probable that the military habits of this period were borrowed from the Saracens. This supposition is strengthened by the fact that Arabic inscriptions in Cufic letters are found among the ornaments of the several robes still preserved which belonged to German and Frankish barons of the 10th and 11th centuries. One peculiarity of our Spanish warriors is the round shield with the elegant ornaments on the disc."

These may be considered the chief varieties of Spanish arms in the Middle Ages. In other instances the French and Italian forms are adopted. The manufacture of arms was not reduced then as at a later date to the monopoly of the Government or to determined localities. Besides the arms made at Toledo, those of Seville, Granada, Valencia, Zaragoza, Barcelona, the Basque provinces, and Cuellar, were very famous. Readers of Shakespeare will remember Falstaff's bilbo, a rapier made at Bilbao in the Basque provinces. The principal merit of these arms consisted in the manner in which the artist tempered his metal. It was generally done at night in order to distinguish in the darkness the exact colour of the heated steel in dipping it into the water. The swords known by the name of perrillo were highly esteemed in Spain during the 15th and 16th centuries; they were marked with a figure resembling a dog. Cervantes mentions and praises these blades in his "Rinconete y Cortadillo" and "Don Quixote." They were made by a Moor of Granada, who it is stated had been swordsman of King Boabdil, and became a Christian under the name of Julian del Rey. His godfather was King Ferdinand, and besides working at Granada he did so at Zaragoza and Toledo. When an artist of merit excelled in a given locality, it absorbed all the fame of this industry. During the Renaissance larger centres of this industry were established in large towns, and the fame of the objects they produced was concentrated there. Toledo absorbed the importance in the industry of sword making.

We find that the Municipal Ordinances of the Middle Ages give very little information by which we can judge of the merits of the objects produced. A Guild of Armourers existed at Barcelona as early as 1257, and of Sword makers from the 14th century; but the information given concerning this subject is very slight. We find more details in the Ordinances of Toledo, Seville, and Granada, whence we learn that manufactories of arms existed in these towns.

The sword manufactory of Toledo acquires its greatest importance during the Renaissance period until the end of the 17th century, when it terminated. It was re-established again in 1760 under the patronage of the Government, and continues to work in the present day. Don Francisco de Santiago Palomares wrote, in 1772, an "Account of the Sword Manufactory of Toledo," the manuscript of which exists at the Academia de la Historia (E. 41). The most interesting part of this study consists in the details given upon the manner of tempering the blades. The names he has collected of the most remarkable artists, are taken from the original dies of their marks which existed at the Archives of the Ayuntamiento at Toledo. These marks have been published in the "Catalogo de la Armeria," Madrid, 1849, from which I copy them. It must be borne in mind that Palomares, after quoting the text by the Poet Gracio Falisco, which I have given at the beginning, does not establish any definite fact which enables us to study the historical progress of this manufactory during the Middle Ages. The author says, p. 111: "At the beginning of this industry there was no centralization or monopoly in this manufactory, some armourers formed a guild, placing each artist in his proper place. The kings of Castille granted them privileges of different kinds."

Bowles says, in his "Introduction to the Natural and Geographical History of Spain," that the steel used at the manufactory of Toledo was taken from an iron mine existing at a league from Mondragon, the only one then known in Spain.

The celebrity of Toledo blades has excited the curiosity of many who wished to ascertain the cause of their great excellence and renown. Some supposed the sword manufacturers of Toledo possessed a secret for tempering their arms: it was not so, however; their only secret being the waters of the Tagus and the fine white sand on its banks. This sand was used for cooling the steel: when the steel was red-hot, and began to give forth sparks, it was uncovered a little and sprinkled with sand, and sent on to the forgers. As soon as the blade was ready it was tempered in the following manner: a line of fire was made and the blade placed in it in such a manner that only four-fifths of its length should touch the fire. As soon as the blade was red-hot it was dropped perpendicularly into a bucket of Tagus water; when cold, if it was found to be bent, a small portion of sand was poured on the yoke, the blade was placed upon it, and beaten until properly straightened. After this the fifth part of the blade was fired, and when red-hot was seized with tongs and rubbed with suet, which soon began to melt; after this the blade was sent to the grinding-stones, and finished by being polished by wooden wheels with emery powder.

Charles the Third, a year after he became King of Spain, re-established officially the manufactory of arms of Toledo. He placed it in a building near the Miradero Alto, and the works began in 1761. The king soon found the building too small for the purpose, and ordered his architect, Sabatini to build the present one, outside the town near the river Tagus, which was finished in 1783, and from this time has been under the superintendence of the Royal Artillery. Not a single sword maker existed in 1760 of any note who was competent to be placed at the head of the works, and it was found necessary to bring a proper person from Valencia.

Palomares, who was present, says: "As soon as the building was ready and disposed for working, Luis Calisto, a famous sword maker, began to work. Calisto was a native of Valencia, and more than 70 years of age when he was appointed. Other artists were chosen at the same time by the Director. In the short space of time in which that chief master armourer lived, he made most excellent weapons; he was most skilful, and was probably imitated by his successor."

Names of the Sword Makers of Toledo.

The numbers given correspond to the plates of their marks, given in "Catalogo de la Real Armeria."

1.	Alonso de Sahagun, el viejo, 1570.
2.	Alonso de Sahagun, el mozo.
3.	Alonso Perez.
4.	Alonso de los Rios; he also worked at Cordova.
5.	Alonso de Cava.
6.	Andres Martinez.
7.	Andres Herraez; he also worked at Cuenca.
8.	Andres Munesten; worked at Calatayud.
9.	Andres Garcia.
10.	Antonio de Baena.
11.	Antonio Gutierrez.
12.	Antonio Gutierrez, a son of the former.
13.	Antonio Ruiz, 1520; he used the initial letter of his name.
14.	Adrian de Zafra; worked at Sn. Clemente.
15.	BartolomÉ de Nieva.
16.	Casaldo y CampaÑeros; worked at Cuellar and Badajoz.
17.	Domingo de Orozco.
18.	Domingo Maestre, el viejo.
19.	Domingo Maestre, el mozo.
20.	Domingo Rodriguez.
21.	Domingo Sanchez; called el Tigerero.
22.	Domingo de Aguirre.
23.	Domingo de Lama.
24.	Domingo Corrientes; worked also at Madrid.
25.	Fabrian de Zafra; hijo de Adrian.
26.	Francisco Ruiz, el viejo, 1617.
27.	Francisco Ruiz, el mozo.
28.	Francisco Gomez.
29.	Francisco de Zamora; worked also at Seville.
30.	Francisco de Alcozer; worked at Madrid.
31.	Francisco Lurdi.
32.	Francisco Cordiu.
33.	Francisco Perez.
34.	Giraldo Reliz.
35.	Gonzalo Simon, 1617.
36.	Gabriel Martinez.
37.	Gil de Almau.
38.	HortuÑo de Aguirre, 1604.
39.	Juan Martin.
40.	Juan de Leizalde; worked at Seville.
41.	Juan Martinez, el viejo.
42.	Juan Martinez, el mozo, 1617.
43.	Juan de Almau, 1550.
44.	Juan de Toro.
45.	Juan Ruiz.
46.	Juan Martinez de Garata.
47.	Juan Martinez Menchaca; he lived at the beginning of the 16th century, and worked at Lisbon, Seville, and Madrid.
48.	Juan Ros.
49.	Juan Moreno.
50.	Juan de Saludo.
51.	Juan de Meladoria.
52.	Juan de Vargas.
53.	Juan de la Horta, 1545.
54.	Juanes de Toledo.
55.	Juanes de Algruniva.
56.	Juanes de Muleto.
57.	Juanes, el viejo.
58.	Juanes de Uriza.
59.	Julian del Rey, the Moor; he worked for Boabdil, King of Granada, 15th century.
60.	Julian Garcia; worked also at Cuenca.
61.	Julian de Zamora.
62.	JosÉ Gomez.
63.	Jusepe de la Hera, el viejo.
64.	Jusepe de la Hera, el mozo.
65.	Jusepe de la Hera, el nieto.
66.	Jusepe de la Hera, el visnieto.
67.	Jusepe del Haza.
68.	Ignacio Fernandez, el viejo.
69.	Ignacio Fernandez, el mozo.
70.	Luis de Nieves.
71.	Luis de Ayala.
72.	Luis de Belmonte.
73.	Luis de Sahagun.
74.	Luis de Sahagun.
75.	Luis de Nieva; worked at Calatayud.
76.	Lupus Aguado, 1567.
77.	Miguel Cantero, 1564.
78.	Miguel Sanchez.
79.	Melchor Suarez; worked at Lisbon.
80.	Nicolas HortuÑo de Aguirre, 1637.
81.	Pedro de Toro.
82.	Pedro de Arechiga.
83.	Pedro Lopez; worked at Orgaz.
84.	Pedro de Lerzama; worked at Seville.
85.	Pedro de Lazaretea; worked at Bilbao.
86.	Pedro de Orozco.
87.	Pedro de Belmonte.
88.	Roque Hernandez.
	Sarabal; used no mark.
89.	Sebastian Hernandez, el viejo, 1637.
90.	Sebastian Hernandez, el mozo; he worked also at Seville.
91.	Silvestre Nieto.
92.	Silvestre Nieto.
93.	Tomas de Ayala, 1625.
94.	Zamorano, el Toledano.

Nos. 95, 96, 97, 98, and 99, are the marks of sword makers whose names are unknown.

The following names may be added to this list—

This artist, and the eleven following, are mentioned in original documents at the Academia de San Fernando.

Two fine rapiers are in the Kensington Museum, Nos. 626, '68, and 2214, '55, which belong to the 16th and 17th centuries, and give a good idea of this industry of Toledo. Woodcuts of these appear on the opposite page. One of the blades is marked with the name of Francisco Ruiz. A large and most important collection of rapiers, swords, and other arms exists at the Royal Armoury of Madrid.

The breastplates are unusually fine, but the finest among them are by Milanese artists. A good example, which has been considered Spanish, was formerly in the Bernal Collection (see woodcut on p. 98); it gives an excellent idea of the artistic importance attained by this industry.

SPANISH RAPIERS. SOUTH KENSINGTON MUSEUM.
SPANISH RAPIERS. SOUTH KENSINGTON MUSEUM.

The saddles used in Spain were similar to those of other European countries, for we find the same names adapted to the Spanish language. In the poem of the Cid, 13th century, and other works of the Middle Ages, gallega and barda saddles are mentioned which were peculiar to Spain. The gallega saddles were called so from being made in Gallicia; the barda proceeded from the Moors. We find no details which explain their exact structure.

BREASTPLATE, FORMERLY IN THE BERNAL COLLECTION.
BREASTPLATE, FORMERLY IN THE BERNAL COLLECTION.

A very remarkable collection of saddles of every description may be studied at the fine collection of armour at Madrid; among them are two of special interest—No. 2311 of "Catalogue of Armoury"—traditionally supposed to have belonged to the Cid, and No. 1310, which was used by King James the Conqueror in the 13th century. The Cid's saddle (see woodcut) is intended for a war-horse; its bows are covered with black metal plating, ornamented with a design of leaves and pilgrims' shells, partially gilt, and the word "Fides," considered to be the Cid's devise. Much has been written on the origin and authenticity of this saddle. Cervantes alludes to it in the 49th Chapter of "Don Quixote," Part I. For further details see "Catalogue of the Armeria."

SADDLE OF THE CID. ARMOURY, MADRID.
SADDLE OF THE CID. ARMOURY, MADRID.

The greatest novelty which was introduced during the Renaissance period was the use of fire-arms. The only names of ancient artists that I have met with, who had any connection with the manufactory of large pieces of artillery were Pedro Burgues, an iron master of Barcelona, who lived in 1393; Rodrigo de Almanza, and Pedro Colomer, who made fire-arms at Barcelona in 1413; and the Moor, Alfarax Darhin, an iron master of Tarazona; V. Fernandez Duro. [Museo EspaÑol, vol. v. p. 18.]

Portable fire-arms were introduced into Spain towards the middle of the 15th century. Count Clonard, in treating this subject in the "Memorias de la Academia de la Historia," ix. p. 214, says:—"Alfonso de Palencia tells us the espingarda, or large hand musket (see woodcut), and arbatana culverin, were used in the insurrection at Toledo in July, 1467. He assures us they had been very recently invented and named. They had been mentioned as early as 1449. In the siege of Toledo, Don Alvaro de Luna could not be kept back from the dangerous position in which he had placed himself, notwithstanding the shower of stones, rockets, arrows, and shots of espingardas which were thrown into the town."

SPANISH MUSKETS.
SPANISH MUSKETS.

At the same time as these portable fire-arms were used in Spain, the ancient ballestas, crossbows, so generally used in the Middle Ages, were very popular. Several artists became very famous in their manufacture. Alonso Martinez de Espinar enters into many details of this implement in his rare volume on the "Arte de Ballesteria y Monteria," Madrid, 1644, 4to, from which I copy the following passage, p. 11:—"The crossbow is more secure and less dangerous than the arquebuse; for it has never been known that a man's life has been lost by breaking the string or cord, two things which are dangerous, but not to a considerable extent. The crossbow has many advantages over the arquebuse: it kills, but does not frighten game; this cannot be done with the arquebuse, for the sound it makes alarms and frightens the game, and is heard everywhere. Once set, its shot is secure; which is not the case with the arquebuse, which often misses fire.

"This weapon has been used in Spain from very early times, and has been made by the best masters; the most famous among them were—

Azcoitia el Viejo. Pedro de la Fuente. Christoval de Azcoitia. Juan Hernandez. Juan Perez de Villadiego. Juan Azcoitia. Vzedo. Hortega.

"The only famous maker of crossbows of the present time is Juan de Lastra."

Espinar does not mention the name of Miguel, a crossbow maker of Zaragoza, or another celebrated maker who lived at Barbastro. The ambassador Salinas alludes to them both in an hitherto unedited letter written to King Ferdinand of Hungary, the brother of the Emperor Charles V. He says:—"Before I was able to find a lodging in this town of Monzon (Aragon), which was about five or six days, I went to Balbastro, Barbastro, and there occupied myself in making a pair of crossbows for your Majesty. I believe they are so made that they will satisfy the desires which were required; they were made in my presence and according to my wishes, and as your Majesty is annoyed when they do not go off as you wish, I determined to make them in the following manner: One of them weighs l. ounces, which is considered here a very great weight. I, knowing your Majesty's wishes, had another made of lvi. ounces, that is to say 3½ lbs. of Castille, carved and worked in such a manner that the cords should not break; and that it be pleasant to shoot, I can affirm your Majesty that the maker is the best which exists in Spain, and yet he has never made so fine a crossbow as this one which is now sent to your Majesty; and if not to your liking, I do not expect you ever will be pleased with one. I have sent them to Victoria in order that the screws may be made to fit the cords, and have ordered them to be made without delay; and as soon as they are ready they are to be sent to Bilbao to be forwarded to Flanders to the Queen, to whom your Majesty must write, in order that whatever you may wish may be done with them. When we leave here, it is said, we are to go to Zaragoza, where your Majesty will stay ten or twelve days. I will order two crossbows from Maestro Michel, who competes with the maker at Barbastro. I will do the same with these as the others. I entreat your Majesty should provide that the best of the two should not be lost. I am thoroughly satisfied with it, and am sure it will please your Majesty. From Monzon, 27th day of August, MDXXXIII." (Copy of a letter by Martin de Salinas to Ferdinand, King of Bohemia and Hungary, MS. fol. Acad. of History, c. 71).

Martinez de Espinar gives in his "Arte de Ballesteria," p. 41, the names of the best Spanish arquebuse or musket makers, and says: "The first cannon brought to Spain came from Germany; the artist who made them used the following marks:—

"Two heads.

"A vase.

"A vase and pine.

"A pair of tongs.

"Flames.

"A knife.

"An excellent artificer worked formerly in Italy called Lazari Cominaz, but many bad cannons have been attributed to him.

"The best Spanish masters were—

"Maestre Simon, el viejo.

"Maestre Pedro, his brother, who made at Madrid excellent cannon and locks.

"They came over with the Emperor Charles V., and worked also for the Kings Philip II. and III., and marked the pieces they made with three sickles.

"Maestre Simon had four sons; all of them followed his profession. Felipe and Simon Marcuarte have worked for Philip III. and IV. Simon Marcuarte is still alive. They mark with a sickle in a shield, and make also excellent hunting-knives, archers' knives, halberds, and other things. Pedro, their brother, is also an excellent artificer.

"Juan Salado worked in several localities, and died at Salamanca. He was an excellent arquebuse maker. His mark was the letter of his name and a horse.

"Sanchez de MirveÑa, his son-in-law, followed him. He marked with a lion and his initials.

"Gaspar Fernandez was brought by King Ferdinand from Salamanca, and the arms he makes are the best in Spain.

"Pedro MuÑoz worked at Seville. He was surnamed El Toledano, and marked with all the letters of his name.

"Juan de Metola did the same.

"Leguizamo worked at Seville. He marked with his name and two stags.

"Francisco Hernandez used his full name.

"Andres Herraez was a native of Cuenca. He made every sort of arm, and marked with an eagle and his initials.

"Maestre Cristoval de Ricla marked with an X.

"Pedro Palacios with P P."

A fine musket exists by Palacios at the Royal Armoury of Madrid—No. 427. By Cristoval de Ricla there is a cannon of worked iron, No. 2319, mounted on its gun-carriage, with the following inscription, "Hizome en Ricla Cristoval Frisleva aÑo, 1565." A fine gun, also at the Armeria, is by the same artist.

Juan de Espinar does not mention the following artists, who lived at his time at Madrid. I find their names given in original documents in the Library of the Academia de San Fernando.

BartolomÉ de Orgaz	1643
Juan de la Cruz	1629
Juan de Mazo	1613
Juan de Pozo	1625
Juan de Zuazo, armourer of his Majesty	1645
Lucas de Ros, armourer of his Majesty	1623-1628
Matias Suezo, was arquebusier of the guards of Seville in	1625
Rafael Villato in	1625
Pero Matia appears in documents of the archives of Simancas as musket-maker living at the Alhambra at the end of the 16th century.

By extracting the information on this subject which is given in the introduction to the Catalogue of the Armoury, we find this list can be brought down to our time:—

• Gaspar Hernandez had two excellent pupils.
• Domingo Garcia and Juan Belen, who marked with a lion with a lifted paw. He was appointed gunsmith to King Charles II. in 1699.
• Alonso Martinez was an excellent artist; he marked his work with the letters of his name.
• Luis Santos, 1739.
• Nicolas Bis.
• Matias Baeza, gunsmith of King Philip V., 1739.
• Alonso Martinez, 1732.
• Diego Esquivel.
• Juan Fernandez, appointed in 1726.
• Diego Ventura, appointed gunsmith to Charles III., 1760.
• Luis Santos.
• Matias Baeza, 1740.
• Francisco Bis.
• Ignacio Barcina.
• Sebastian Santos, 1752.
• Gabriel de Algora, appointed gunsmith to Ferdinand VI., 1746.
• Juan Fernandez.
• Manuel Sutil, an excellent artist.
• JosÉ Cano, 1740.
• Joaquin Celaya, 1749.
• JosÉ Lopez.
• Diego Ventura.
• Benito San Martin.
• Juan Santos.
• Francisco Lopez, a great artist, gunsmith of King Charles III., in 1761.
• JosÉ Cano.
• Diego Alvarez, 1775.
• Joaquin Celaya.
• Salvador Cenarro, 1762.
• Antonio Gomez, 1762.
• Pedro Ramirez.
• Agustin Bustindui.
• Sebastian Santos.
• Pedro Fernandez.
• Gabriel de Algora.
• Agustin Ortiz, 1761.
• Miguel Cegarra, 1768.
• Francisco Lopez.
• Francisco Garcia, 1788.
• Isidoro Soler, 1792.
• Francisco Targarona, 1792.
• Gregorio Lopez, 1792.
• Agustin Ortiz.
• Pedro Fernandez.
• Carlos Rodriguez.
• Antonio Navarro.
• Diego Alvarez.
• Valentin Lopez.
• Juan de Soto.
• Carlos Montargis, 1783.
• Manuel Cantero, 1792.
• Hilario Mateo.
• Antonio Gomez.
• Juan Lopez.
• Ramon Martinez.
• Basilio Escalante.
• Manuel Soler.
• Melchor Alvarez, the first gunsmith who forged spiral cannon in Spain, and made double-barrelled guns.
• Gregorio Lopez.
• Aquilino Aparicio.
• Ramon Zuloaga.
• Eusebio Zuloaga.
• *** The marks used by these artists are given in plate 9 of "Catalogo de la Armeria de Madrid," 1849.

Daggers, knives, scissors, and other small arms made in Spain, have been famous from early times. A good example of a dagger is No. 2238, 55 at the Kensington Museum. A great number of towns have been distinguished for this industry, such as Albacete, Murcia, Alcazar de San Juan, and Guadix, where even in the present day much cutlery is produced. The cutlery made in Spain preserves the traditional Moorish forms. Al Makkari says, in speaking of these objects, in his "Moham. Dyn. in Spain," vol. i., p. 93:—"Murcia was likewise famous for the manufacture of coats of mail, breast-plates, and steel armour inlaid with gold; all kinds of instruments of brass and iron, such as knives, scissors, and other trinkets, and especially weapons and other warlike instruments, wrought in such perfection as to dazzle with their brightness the eyes of the beholder." The translator adds, p. 393: "Several towns in the province are renowned for this industry. At Albacete there are several manufactures of well-tempered scissors, daggers, and knives, which, from the shape of their blades, betray their Moorish origin. Since the expulsion of the Moriscos, the Spaniards have kept up this manufacture, and daggers and knives of the end of the last century are often met with bearing Arabic inscriptions and verses from the Koran. I have seen one which on one side has the following inscription, 'I shall certainly kill thy enemies with the help of God,' and on the reverse, 'Fabrica de Navajas de Antonio Gonzalez, Albacete, 1705.'"

Sr. Rico y Sinovas has published an interesting article on ironwork in the "Almanaque de el Museo de la Industria," 1872. He gives the names of the following artists who were famous in this industry.

• Aguas, Juan; he worked at Guadix in 1735.
• Albacete, signed Cel, 18th century.
• Ambrosio, worked at Mora in the 18th century.
• Arbell, Ramon, worked at Olot, CataluÑa, in the 17th century.
• Beson, Manuel, worked at Madrid.
• Castellanos, el viejo, worked at Albacete in 1766.
• Castellanos, el mozo, worked at Albacete in the 18th century.
• Castello, Gregorio, 16th century.
• Cerda, Miguel de la, worked at Madrid and Segovia in 1590.
• Diaz, Pedro, worked at Albacete in the early half of the 18th century.
• Escobar, Cristoval, 16th century.
• Escobar, Juan, 17th century.
• Fernandez Manso de Payba, Jose, master cutler of the 18th century.
• Garcia de la Torre, Teodoro, 18th century.
• Garijo, master cutler of Albacete; he worked in 1771.
• Gomez, Mateo, worked at Albacete in 1659.
• Grande, Juan, 1643.
• Gutierrez, worked at Chinchilla, 1701.
• Herrezuelo, el viejo, worked at Baeza in 1643.
• Herrezuelo, el mozo, worked at Baeza in 1643.
• Horbeira, Angel, worked at Madrid in the second half of the 17th century.
• Lallave, Juan, locksmith of Madrid in 1820.
• Leon, worked at Albacete early in the 18th century.
• Llorens, Pablo, worked at Olot in 1699.
• Moro, worked at Madrid late in the last century.
• Ramirez, Juan, worked at Mexico in 1590.
• Romero, worked at Albacete in 1769.
• Rosel, worked at Mora.
• San JosÉ, worked at Jaen in 1673.
• Selva, Juan, worked at Cartagena in 1780.
• Segura, worked at Mora towards the end of the last century.
• Sierra, Juan, worked at Albacete in 1771.
• Sosa, Madrid, 17th century.
• Torres, Albacete, 17th century.
• Vicen Perez, worked at Albacete in 1674.
• Vilarosa, Antonio, worked in the 17th century.
• Vicen Perez, Julian, worked at Albacete in 1710.
• Zervantes, Francisco, Toledo, 17th century.

The following artists' names may be added; they consist of master cutlers of Madrid, and are to be found in a bundle of original documents at the Academy of San Fernando.

• Alcocer, Francisco, 1635.
• Baltanos, Lucas de, 1611.
• Castillo, Rafael del, 1625.
• Cuenca, Francisco de, 1613.
• Fuente, Pedro de la, worked at Mora and Madrid in 1628.
• Garcia, BartolomÉ, 1642.
• Gonzalez, Marcos, 1624, 1625.
• Heras, Antonio de las, 1611.
• Luzon, Andres de, 1611.
• Martin, Alonso, 1643.
• Martinez de Machuca, Pedro, 1611.
• Morel, Alonso, 1643.
• Rodriguez de QuiÑones, Pedro, 1611.
• Torres, Antonio de, 1622.
• Valsarias, Lucas de, 1611.

The following names of artists are given in Calomarde's "Historia Politica de Aragon."

• Ferrara, Andres, Zaragoza, 16th century.
• Picado, Jeronimo, Calatayud, 1722.
• Nieva, Luis, Calatayud, 17th century.
• Munester, Andres, Calatayud, 18th century.