adorn the retablo of the Colegio del Arzobispo at Salamanca. The student of Berruguete should visit his native town Paredes de Nava, where numerous carvings are preserved in the Church of Santa Eulalia, for in these early works we see how carefully he studied the antique. In the wooden panels in the sacristy of Mercia Cathedral we notice again the over-excited imagination which was the defect of Berruguete’s work. Much finer is the retablo of Santa Barbara in the sacristy of the Cathedral of Avila. It is carved in alabaster and coloured; the finest of the reliefs represents the Scourging of Christ, a subject specially suitable to Berruguete’s power. The influence of Berruguete was decisive and widespread, and a number of native carvers and sculptors arose who were either his pupils or imitated his style. Gaspar de Tordesillas, born at the end of the fifteenth century, is reputed to have been a pupil of Berruguete, and the vigour of his style, shown chiefly in the attitudes and movements of his figures, and in the folds of his draperies, supports this pupilship. He was first an _entallador_, or carver in wood, and afterwards _escultor_--sculptor--an artist of higher rank. He carved in wood a small retablo for the parish church of Simancas, a small town near to Valladolid, which Antonio Vasquez, another native artist, coloured in oils. As an escultor Tordesillas executed many important works, among them the fine statue of San Benito (Plate 117), now in the Museum of Valladolid, and also two altar-screens for the old monastery of San Benito. Many of the works of Tordesillas have been attributed to his better-known contemporary Juan de Juni, the extravagant follower of Berruguete’s style. The altar-screens in the Church of Santiago and the Church of San Francisco at Valladolid--the first representing the Adoration of the Magi and the other the Entombment of Christ--are all the work of Tordesillas. M. Marcel Dieulafoy’s verdict of this little known carver is that he was “a great artist.”