These Northern artists, widely distributed over Spain, brought about the transformation of art of which we have spoken. The native artists readily absorbed their influence. We now meet a marked change in the direction of realism. The Christs are long, lean, and emaciated, the Virgins are older; we have sharply defined outlines, and the religious scenes and legends are depicted with a stronger and more passionate understanding. The altar-screens were still the most important works that were executed. An interesting example, which shows very clearly this new expression of realism, is an altar-screen in the Museum of Valladolid, which came from the Convent of San Francisco (Plates 60 and 61). It is carved in walnut wood, and there are traces of painting. The figure of Christ is strangely emaciated, the Virgin is older, while all the figures are strongly characterised; there is a very considerable amount of creative thought and power in the presentment of the scene. The author of the work is unknown. Among many other important examples of this over-accentuated realistic type may be mentioned an anonymous Pietà from Salamanca, in which we see the new tendencies expressed at their strongest point of accentuation. An altar-screen in one of the chapels of Palencia Cathedral, the bas-reliefs which ornament the spandril of the Puerta de la Piedad, the south entrance of Barcelona Cathedral, and also the figures which crown the door of the Hospice of Huesca, are further, though less striking, examples. The altar of Santa Ana in Burgos Cathedral belongs to the same period; but in this very charming example we have a work of a different character. The figures, carved in wood and coloured, especially the youthful and beautiful Virgin, have a grace and freedom of movement absent from the more realistic works which were the outcome of the Northern influences. The greatest artist of this period was Gil de Siloe, whose works rank among the most important sculptures in Spain. He was a native of Burgos, and was born at the end of the fifteenth century. His masterpiece is the monument of Don Juan II. and Doña Isabel, known as the Sepulcros de los Reyes, in the Cartuja of Miraflores, Burgos (Plate 64). It was erected by Isabella the Catholic, daughter of Juan II., and was begun in the year 1489, when Gil de Siloe received 1340 _maravedis_ for the design. It was finished four years later, and a further sum of 442,667 _maravedis_ for the sculpture and 158,252 for the alabaster were paid. It is perhaps the finest monument of its kind in Spain, perfect both in design and execution.