The Tras-Sagrario altar-screen is the largest retablo in Spain, probably in the world (Plates 78-80). It is made entirely of larch wood, and is in five storeys, each having four compartments, which are decorated with elaborately carved bas-reliefs of the Passion and scenes from the life of the Virgin. Above is a colossal crucifix. The numerous niches and pinnacles contain a veritable crowd of prophets and saints. The style is flamboyant Gothic, for, like Forment, Philip Borgoña did not use Renaissance forms until later in his career. He had as his collaborators Alfonso Sanchez, and his fellow-competitors Sebastian Almonacid, Peti Juan, Diego Copin of Holland, and seventeen other sculptors of renown. Enrique Egas, master architect of the cathedral, and Pietro Gumiel, architect of the archbishopric, directed and looked after the construction. The polychrome was entrusted to Juan de Borgoña, the Toledan painter, and brother of Philip, and he was assisted by Francesco di Amberos, Fernando del Rincon, and others. With the aid of these numerous collaborators the altar-screen was completed in four years, and was inaugurated in 1505. In spite of the merit of its carvings, its great architectural merits, and the profusion and beauty of its colour and gilding, the general effect of the retablo is disappointing. It is too large. Standing near to it, the eye cannot embrace its multitude of detail, while at a distance the parts become confused and lost. It is a splendid and surprising monument, and it is very Spanish, but it is unsatisfying as a work of art. The real talent of Philip de Borgoña is seen best in the admirable bas-reliefs in the Tras-Sagrario at the back of the Grand Altar. In the first, Jesus goes out of Jerusalem to Calvary, accompanied by St. Veronica, who dries his face, wet with drops of blood and sweat, and by St. Simon, who helps to carry the Cross; the second depicts the Crucifixion; the third is in two compartments, which show the Descent from the Cross and the Resurrection (Plate 81). Two bas-reliefs on either side are of a later date, belonging to the seventeenth century; they are the work of Alonso de Rios. It was after the execution of these works at Burgos that Philip de Borgoña underwent his artistic evolution and embraced Italian forms. Whence the influence came we do not know; perhaps it was from Alonso Berruguete, for Philip de Borgoña would seem never to have left Spain.