Egas' original plan, like the work he actually carried out in the Royal Chapel, was undoubtedly for a Gothic edifice, as this style was understood and executed in Spain. From the fact that the original Gothic intention was abandoned for a Spanish Renaissance church, many authorities give the date of its commencement as 1529, when Diego de Siloé's Renaissance work was under way. In the end of the fifteenth and beginning of the sixteenth centuries, the great turning-point had come. Italian influences were beginning to predominate over earlier styles and the last exquisite flames of the Gothic fire were slowly dying out to give place to the heavy Renaissance structure of ecclesiastical inspiration. Spaniards who had returned fresh from Italian soil and tutelage evolved with their ornate sense and characteristic love for magnificence, the style, or rather decorative treatment, which marks the first stage of Spanish Renaissance architecture called "Estilo Plateresco." This is a happy name for it, its derivation being from "plata," or silver plate, and indicating that architects were attempting to decorate the huge superficial spaces on their churches with the same intricacy and sparkle as the silversmiths were hammering on their ornaments. There was evolved the same lace-like quality, the same sparkling light and shade. Wonderful results were indeed obtained by the stone-cutters of the sixteenth century. The Cathedral of Granada is not at all remarkable. Its interest is derived from the city of which it is the chief Christian edifice and the great bodies which it contains; to students of architecture it is in a manner a connecting link between the Gothic building of the middle ages and the modern revival of classical building methods.