The great work of his late years was carving the thirty-five stalls on the Epistle side of the choir of Toledo Cathedral, the stalls on the Gospel side being by Alonso Berruguete (Plates 82-98). The carvings of Borgoña are more delicate and more finished, while those of Berruguete show more creative talent and are more Spanish in their sentiment. Of these truly marvellous choir-stalls Théophile Gautier says: “L’art Gothique, sur les confins de la Renaissance, n’a rien produit de plus parfait ni de mieux dessiné.” In his _Toledo Pintoresca_, Amardor thus begins his description of the stalls: “Portent of Spanish art, in which two great geniuses of our golden century competed, the victory to our own times remains undecided, and astounded the judges who have endeavoured to give their opinion on this matter.” The bas-reliefs represent scenes from the Old and New Testament, and the single statues are of prophets, apostles, and saints. They are carved of walnut wood, separated by jasper and alabaster pillars. M. Marcel Dieulafoy has pointed out the singular resemblance between the figures in these choir-stalls and those in the altar-screen in the Capilla del Condestable of Burgos Cathedral. It seems probable that we owe this fine work to Philip de Borgoña, or at least that it was produced in his studio. It is adorned with numerous reliefs and statues. The scene of the central panel, with life-size figures, depicts the Presentation in the Temple, and is charming by reason of its naïve realism and the beauty of the heads. This altar-screen gains a further importance from the richness of its polychromes. Philip de Borgoña’s last work was the large retablo of the Capilla Real at Granada, with the statuettes of Ferdinand and Isabella kneeling. The reliefs, carved in wood in two sections, are of great historical interest (Plate 103). To the left is Boabdil surrendering the keys of the Alhambra, while that to the right represents the Baptism of the Moors by Spanish monks. Philip de Borgoña died in 1543. The Italian Renaissance became more universal and more strongly marked in the works of the sculptors that followed. This was due to the influence of Michael Angelo, which in the sixteenth century, in Spain, attained a power elsewhere unknown outside of Italy. There was a special reason for this. The great Italian’s work appealed to the Spanish seriousness, to their strong dramatic instinct, and to the deeply emotional character which has always marked their art.