How far the best designers of Spain, amongst whom must certainly be reckoned Juan de Arfe y Villafañe, acknowledged their dependence upon the great Italian masters for all they considered most excellent in style, may be gathered from the curious account of the development of good art in his time[50] that he gives in his celebrated Treatise on Sculpture and Architecture. After dwelling upon what he curiously enough calls the "obra moderna," with which the great cathedrals of Spain had been, as he considers, built, he observes, "This _barbarous work_, having arrived at its end, its disuse having commenced in our times, gave place to the ancient styles of the Greeks and Romans. Although this style of work had been revived at an earlier period in Italy by the diligence and study of Bramante, Master of the Works of St. Peter's at Rome, Baldassare Perruzzi and Leon Baptista Alberti, celebrated architects, it also began to flourish in Spain through the industry of the excellent Alonso de Covarrubbias, Master of the Works of the Cathedral at Toledo, and of the Royal Palace, father of the most famous doctor, Don Diego Covarrubbias, President of the Supreme Council of his Majesty and Bishop of Segovia, and of Diego Siloe, Master of the Works of the Cathedral and Palace of Granada. These masters began to use this kind of work in many places wherever they built, although always with some admixture of the modern work (Gothic or early Plateresque) which they could never entirely forget." [Illustration: PLATE 78 GUADALAXARA PALACE OF THE DUQUÉ DEL INFANTADO MDW 1869] PLATE LXXVIII. _GUADALAXARA._ PALACIO DE LOS DUQUES DEL INFANTADO.