been painted a horrible stone colour and quite disfigured. Pedro Millan also furnished the models for the small terra-cotta figures on the beautiful portal of Santa Paula, which were executed by Niculoso of Pisa, the author of the curious altar in terra-cotta in the Alcázar. It was about this period that the Italian influences of the Renaissance began to be felt in Andalusia. Artists were attracted to Seville by the growing opulence of the city. Besides this, Italian works of art were brought to decorate the palaces of the nobles. Vasari, for instance, tells us Luca del Robbia sent several of his works to the Spanish king for his Southern capital, and he speaks also of a large bronze bas-relief, representing a fight between nude men, the work of Antonio Pallando, which had the same destination. But the old Flemish traditions were very deeply rooted, and remained longer active here than in the Northern schools of Castile and Aragon. Thus a style arose that united the two sources of inspiration. The oratory and screen of Isabella la Catolica in the Alcázar are interesting examples of the expression of this double influence (Plate 135). They are the work of Francisco Niculoso Pisano, an Italian artist who settled in Seville, and whose work was of importance in directing the art of the sixteenth century; the altar bears his inscription, “Francisco Niculoso me fecit,” with the date 1503. The principal parts of the altar and also the screen are in very pure Italian style, but the panel above the altar, as well as some details of the decoration, show clearly the old Spanish traditions founded on the Flemish methods. This may be explained as M. Marcel Dieulafoy suggests, if we accept the theory that the Italian master employed his colleague Pedro Millan to assist him in the execution of the work. Another foreigner who helped in the introduction of Italian art to the native workers of Seville was Miguel, known as “the Florentine,” who worked with the wood-carvers in the cathedral. Afterwards, in the last years of the fifteenth century, Miguel executed the tomb of Mendoza, Archbishop of Seville. After the completion of this work, which gained much admiration, Miguel was constantly employed by the chapter, and he remained working in Seville until his death in the middle years of the century, when his position was taken by his son Micer Antonio Florentine, an artist of even greater talent than his father. Among Miguel’s works are the statues of St. Paul and St. John at either side of the Puerta del Perdon, and the bas-relief above representing Christ turning the Money-changers out of the Temple (Plate 136), and also the life-size terra-cotta statues on the enclosure of the Capilla Mayor.