invariably stimulated from without. But it was these imported art-styles, naturally awakening imitation, which called into existence the native schools of carving, and showed anew those distinct traits which can be called Spanish. There were at this time, in Castile and Aragon, a number of really capable native artists; without doubt they learnt their art from the French sculptors who had settled in Spain. The most skilful native worker was Juan de la Huarte, of whose exquisite Virgin we shall speak directly. But besides Juan de la Huarte, we know of Pedro de Vallfongona, called Father Johan, who has left many fine carvings; and Jordi Johan, doubtless his brother, commonly known as Maestro Jordi, maker of images, the author, among other works, of the Sepulchre of Juana, Countess of Asturias (1386), and of the Archangel Raphael, which crowns the beautiful doorway of Barcelona Town Hall. Then there was Pedro Oller, who carved, in 1450, the screen of the grand altar of Vich, and, in 1442, the tomb of Ferdinand I. of Aragon. There were also skilled goldsmiths such as Marcos Canzes and Francisco Vilardell; nor must we forget the unknown author of the incomparable Custodia of Vich Cathedral, a splendid example of the silver-work of the period. Before closing this chapter it is left to notice a few isolated works that are treasured in the different cities of the Peninsula. And first must come the perfect statues and statuettes of the Virgin, which, as we might expect in religious Spain, are to be found in almost all the great churches. That known as the Virgin of Huarte, which was carved by Juan de la Huarte, was brought to Pampeluna in 1349. The statue is of white marble, and the face and vestments still bear traces of colour. Of a noble simplicity, it is one of the most exquisite productions of art in the fourteenth century. Of less ideal beauty, but more Spanish in its sentiment, being without the French influence, is St. Ferdinand’s small ivory statuette of the Virgen de las Batallas in the Capilla Real of Seville Cathedral. This is one of the earliest works of the kind in Spain. The Cathedral of Plasencia has several images of the Virgin. Good examples--one in silver and richly jewelled--are found at Burgos and Salamanca (Plates 51 and 52), besides figures carved in wood and coloured, and also at Toledo, Sigüenza, Gandía, Segunto, and the churches in many other cities. The Santo Cristo of Burgos Cathedral may also be mentioned. Madonnas are to be seen over the altars of chapels, in gateways, or in the great retablos, as for instance at Leon (Plate 53), or again at Tortosa and Palma, where, in the last church, a really beautiful statue is hidden by a modern altar. Among these Madonnas are works full of dignity and sweetness, of genuine beauty, and carved without stiffness or looseness. They give a convincing defiance to those who decry ancient polychrome.