Francisco Giralte, a sculptor of Palencia, who, like so many of the Spanish artists of this period, studied in Italy, was the principal collaborator with Berruguete in carving the celebrated choir-stalls of Toledo Cathedral. The last of the works which he executed alone is the altar-screen, formerly in the chapel of the Obispo, Palencia Cathedral, but now at Madrid. This screen is described and highly praised by Ponz in his _Viage de España_. The polychrome was carried out by Juan de Villodo, under the direction of Francisco de Vilalpando, an able architect of Palencia. Giralte carved many other retablos, and was assisted by Juan Manzano and other carvers. The most important of his works are the altar-screen of Cardinal Ximénez, that of the Monastery of Valbuena, the great altar at Espinar, another for the parish church of Pozeido, and finally the retablo of the Corral’s chapel in the Church of the Magdalena, Valladolid, remarkable for its bas-reliefs, but unsatisfying in its whole effect on account of the poverty of composition. Giralte died in 1576. Esteban Jordan was the contemporary of Giralte. He was born at the beginning of the sixteenth century and died in 1598 or 1599. We read that Berruguete was the godfather of his son, which seems to suggest an intimate relationship, if not pupilship, between the two artists. But Jordan has very little of the vigorous style of Berruguete. Like Giralte, he was a carver of second-rate merit, who attained fame in his lifetime, but was afterwards forgotten. His best works are the retablo of Santa Maria Magdalena at Valladolid and the tomb of Archbishop Don Pedro Gasco in the same church.