In England sculpture was of less account even than in the Netherlands. One circumstance is worthy of notice. Pietro Torrigiano, after quarrelling with Michael Angelo and breaking his nose, fled to England, and his monument of Henry VII. and his queen in Westminster Abbey, erected in 1519, marks the introduction of the style of the Italian Renaissance into England. The structure is of black marble; the statues of the king and queen are in gilt bronze, and are grandly noble in design and finished in execution. The smaller figures and all the details of the monument are fine. The master received L1000 for this work. Torrigiano executed other works, and entered into an agreement to make a monument to Henry VIII. and Catherine of Aragon, but for some reason he went to Spain in 1519 and never returned, as he was destroyed by the Inquisition three years later. It is probable that Torrigiano may have been led to Spain by hearing of the revival of art which was taking place there. Flemish and Italian artists went there, and the influence of their styles was felt by the native masters. The result was that they brought forth a manner of their own, combining certain features of northern and of southern art, and used to express the thoughts of the Spaniards themselves. The carved altars of Seville, Toledo, and Burgos show how splendid this art was; and though we cannot trace the lives and works of Spanish sculptors as we should like to do, we can be sure that there were men among them equal to any demand that could be made upon decorative sculptors. This is proved by the portals and fronts of the churches, by the highly ornamented chapels, the wall niches and choir screens of the interiors, while the monuments are also equal to those of other nations. That of Ferdinand and Isabella in the Church of the Guardian Angel, at Granada, is noble and magnificent. It is believed to have been erected before the death of Ferdinand in 1516, and was probably the work of an Italian sculptor. This monument has a large marble sarcophagus, with a structure above it in the Renaissance style. At the corners of the sarcophagus there are griffins of excellent workmanship, and on the sides reliefs and statuettes of the Four Fathers of the Church; on the lid repose the figures of the royal pair, executed in a grand and dignified simplicity. CHAPTER VII. ITALIAN SCULPTURE IN THE SIXTEENTH CENTURY--CELLINI, MICHAEL ANGELO, AND OTHERS. By the beginning of the sixteenth century sculpture occupied a different place with relation to architecture from that which it had held in the previous centuries which we have just considered. The architecture of Italy became much more plain, and its union with sculpture in any large degree was rare.