[110] In the monastery of Miraflores, near this city, the queen of Ferdinand the Catholic built, at her expense, a rich pantheon to guard the ashes of her parents and her brother. The coloured glass was made by Simon of Cologne. One day, while visiting Miraflores, Isabella noticed upon the windows of this sanctuary the shield of a gentleman named Martin de Soria. Furious at the liberty thus taken with a fabric of her own, "afferte mihi gladium" she called in Latin to one of her attendants, and, raising the sword, dashed the offending window into a thousand pieces, crying that in that spot she would allow no arms but those of her father. Other good cathedral windows prior to the sixteenth century are those of Avila, which date from about the year 1497, and were executed by Diego de Santillana, Juan de Valdivieso, and other artists; those of the Seo of Zaragoza, by the Catalans Terri and Jayme Romeu (1447); and some at Barcelona, painted in 1494 by Gil Fontanet. It is, however, in the sixteenth century that Spanish ecclesiastical window-glass attains its highest grade of excellence.[111] Dating from this century are windows in Toledo cathedral, painted in 1503 by Vasco de Troya, in 1509 by Alejo Jiménez, in 1513 by Gonzalo de Córdoba (these are considered by competent judges to be the finest of any), in 1515 by Juan de la Cuesta, in 1522 by Juan Campos, in 1525 by Albert of Holland, in 1534 by Juan de Ortega, and in 1542 by Nicolás Vergara the elder.[112] In 1537 Ortega was engaged to repair the damaged or broken panes at a yearly salary of 11,250 _maravedis_. Where the panes were wanting, he was to replace them by new ones painted by his hand, receiving, for each _palmo_ of new glass so painted, an extra payment of ninety _maravedis_.[113] [111] Señor Lázaro, who has recently made at Madrid windows for León cathedral imitating those of the fourteenth and fifteenth centuries, remarks that with the sixteenth century the process grew more complicated, patterns composed with pieces of a single colour being replaced by glass containing a variety of tints. He has also discovered the following usage of the older Spanish craftsmen: "By way of furnishing a key to their arrangement, all the pieces used to be marked with the point of a diamond, and this mark indicates the tone the glass requires for such and such a part of the design. The signs most often employed were three, namely X, L, and V, for red, blue and yellow respectively, intermediate tones being shown by combinations of these letters--XL, LV, XV, with "lines of unities" placed before or after to indicate the necessary gradation in the tone."