Nowhere had the classical revival in architecture more influence than in Spain. The almost exclusive type of church which, both in Spain and in her vast colonies, is pointed out as the Spanish church, is that either of the Renaissance or of the styles which have sprung from it. This soon became fashionable, but its semi-pagan additions frequently harmonize but ill with the deeper religious feeling of the preceding styles. Still it has many fine examples; the works of Berruguete and Herrera are well worthy of study. The Escorial, the work of the latter, is redeemed from ugliness or meanness by the noble proportions of its central chapel and pantheon. But to this semi-classical style succeeded, in the eighteenth century, the Churrigueresque, the most debased of all styles, wherein plaster took the place of sculpture, sham that of reality, and masses of gilding and an incongruous medley of meaningless ornament concealed the blunders in proportion and poverty of idea. The adoption of this style by the Jesuits procured its prevalence in many districts of Spain and of her colonies; occasionally the size of the buildings constructed gives a certain grandeur and hides the debasement of the methods. The domestic, palatial, and castellated architecture of Spain has little peculiar beyond what has been already indicated. The royal palace at Madrid, however, is one of the most successful architectural efforts of the eighteenth century. The sculptured coats of arms on mean dwellings are perhaps the most notable distinction of Spanish houses. Traces of the influence of Moorish traditions may not unfrequently be observed. In the north, the cottages and farms of the Basques, with overhanging roofs and wooden galleries, recall in some degree those of Switzerland; in the south the iron bars or rails (rejas) before the lower windows, and the lattices (celosias) in the upper stories tell of insecurity and of habits of almost Oriental seclusion of women.