The contracts for the altar-screen of San Benito, signed in 1526, show that Berruguete undertook “to carve and finish with his own hands the heads and feet of the statues.” This gives special importance to these works, for the execution of many of Berruguete’s carvings was left to his pupils. The most beautiful of the figures is that of St. Sebastian (Plate 113). It is one of the finest possible examples of polychrome. The flesh-tints are subdued, the face somewhat warmer in colour than the body, with skilful touches of carmine on the lips, nostrils, ears, and eyelids. The eyebrows are light, the hair red-brown. Some drops of blood show upon the wounds. The general effect is powerful and true to life. There are some fine bas-reliefs; among them we may mention the Sacrifice of Abraham and the Adoration of the Magi (Plate 113); the heads of the Virgin and the Child Christ in the second panel are splendid examples of Berruguete’s art. Two more panels show the Birth of Christ and the Flight into Egypt, and in these again Berruguete’s special personality makes strong appeal; and hardly less powerful are the panels, with gold backgrounds, of the two Evangelists, St. Mark and St. Matthew. All these bas-reliefs are coloured. Berruguete has left many noteworthy tombs. The monument of Archbishop Tavera, in the Afuera Hospital at Toledo, is generally accounted his masterpiece (Plate 114). But this tomb, carved in his old age--it was Berruguete’s last work--is not really finer than many of his other monuments. The bas-reliefs on the sarcophagus are mannered, and suggest an over-excited imagination. It seems probable that the Toledo tomb owes its fame rather to its being better known than to the superiority of its execution. A finer example of Berruguete’s works in marble, according to M. Marcel Dieulafoy, are the tombs of Don Juan de Rojas and his wife the Marquesa de Poza, in the Church of San Pablo at Palencia. The kneeling figures of the Marquis and his wife, with the fine heads of strongly marked character, prove Berruguete an accomplished carver of portraits in marble. The bas-reliefs, and the numerous figures of saints, evangelists, and angels, are vigorously carved; especially fine is the form of God the Father, which dominates the whole. The monumental tomb of San Jeronimo at Granada, which has been attributed to the Italian Pedro Torrigiano, and also to Berruguete’s successor, Gaspar Becerra, is almost certainly the work of Berruguete (Plate 115). This is the opinion of M. Marcel Dieulafoy. It furnishes a different expression of Berruguete’s powers, and is one of the most characteristically Spanish of his works. Of a similar character to the Palencia tombs, and worthy of notice, are the excellent portrait-bust of the engineer Juanelo Turriano, in the Convent of San Juan de los Reyes at Toledo, the statue-tomb of St. Secundus, Bishop of Avila, in the Church of San Secundo in that city (Plate 116), and the busts of the archbishops which