[71] A quaint but somewhat tautological and prosy letter concerning matters of his craft, addressed by Francés to the cardinal-archbishop of Toledo, is published in the _Museo Español de Antigüedades_, article _Los Púlpitos de la Catedral de Avila_, by Villa-amil y Castro. The _reja_ of the presbytery at Burgo de Osma is thus inscribed: "_Izo esta obra maestre Joan Francés maestre mayor._" The top consists of repetitions of a shield containing five stars and supported by angels, lions, and gryphons. Two iron pulpits project from the lower part of the grille, and a swan of the same metal, with extended wings, rests upon either pulpit. Although the craftsman's name has rarely been recorded, we know that excellent _rejería_ was made at Barcelona in the fifteenth century. Also dating from the fifteenth century, and therefore prior to the Plateresque, is the _reja_, ornamented with leaves and figures of centaurs and other creatures, mythical and real, enclosing the sepulchre of the Anayas in the old cathedral of Salamanca. During the first quarter of the sixteenth century much work in decorative _rejería_ was completed in Seville Cathedral by Fernando Prieto, Fray Francisco de Salamanca,[72] Sancho Muñoz, Diego de Adrobo, and others (_vide_ Frontispiece). Taught by these, while yet belonging to a slightly later time, and linking in this way the riper and decadent Gothic with the new Renaissance and the Plateresque, were Pedro de Andino, Antonio de Palencia, and Juan Delgado. Rosell observes that without doubt these artists, excepting only Juan Francés--the pioneer of them all--were Spanish-born; and they in their turn were succeeded by other Spaniards who worked most regularly at Toledo; such as Bartolomé Rodriguez, Luis de Peñafiel, and Francisco de Silva. [72] A Dominican friar, summoned to Seville in 1518, to make her cathedral _rejas_. He also made the pulpits of the high altar in 1531, and was working in this city as late as 1547. Account-sheets penned by his hand were still extant a century ago, and Cean conveys to us some knowledge of Fray Francisco, receiving as the wages of his labour, now a score or so of ducats, now a bushel or two of corn. The friar, whom the canons spoke of with affection for his many virtues, seems to have been a handy man, seeing that between his spells of _reja_-making he put the clock of the Giralda into trim, and built an alarum apparatus to rouse the cathedral bell-ringer at early morning. For the sums paid to Fray Francisco and to Sancho Muñoz for their work, see Gestoso, _Diccionario de Artífices Sevillanos_, vol. ii. pp. 365 _et seq._