Another Spaniard who learnt his art in Italy was Tudelilla, a native of Tarragona. He was born at the end of the fifteenth century, and after studying in Italy, in 1527 returned to Spain, in which year we find him charged with the construction and decoration of the choir enclosure of Zaragoza Cathedral (Plate 118). The style in which it is carried out is known in Spain as Plateresque, a name derived from _plateros_, or silver-work, and applied to this form of carving from its elegance and delicacy of execution. The choir is composed of twelve highly ornamented columns, which have a frieze and pediments of delicate workmanship. In the centre is placed a Crucifixion, while between the columns and on either side are statues of saints and four bas-reliefs representing scenes in the lives of St. Vincent and St. Valere, the patrons of the church. In Spain it is held in great estimation, but it must be admitted that the decoration is mannered and of a professional stamp. Tudelilla was largely employed by the nobility of Zaragoza in the decoration of their palaces. We read in contemporary writers of the splendour of these buildings, but almost without exception they have been destroyed. It was the common custom at this period of artistic wealth to lavish large sums on the decoration with statues and sculpture of both the outside and the interior of private dwellings. Wherever these palaces remain they should be studied, as they contain many fine examples of Spanish carving. Among other carvers who were the contemporaries of Berruguete we may mention Diego Morlanes, who completed the portal of the convent church of Santa Engracia at Zaragoza, which was begun by his father Juan in 1505, while a further example of his sumptuous style is the chapel of St. Bernard in the cathedral, with the monument of Archbishop Fernando of Aragon and his mother. Juan de Talavere and Etienne Veray executed the sumptuous portal of the Church of the Virgin at Calatayud; Diego de Riaño and Martin Gainoza worked at Seville, and their carvings in the Sacristia Mayor and in the Capilla Real of the cathedral illustrate the elaborate and fantastic forms in which the native workers now took increasing delight. Of greater importance are Juan Rodriguez and Gerónimo Pellicier, who executed the retablo of the Monastery del Parral at Segovia (Plate 119). All these sculptors and carvers were in greater or less degree imitators of Berruguete. We have in addition numerous anonymous works, some of splendid merit. The enumeration of these carvings would fill a separate volume. Burgos, Seville, and many churches are veritable museums of polychrome sculpture; while many churches, such, for instance, as the Convent of Poblet, now robbed and left bare, were formerly treasure-houses of sculptures. The limit of space makes it impossible to do justice to this multitude of work. The epoch was marked by a wealth of production which shows the enthusiasm that then prevailed for the plastic arts.