[53] This kind of parenthetical remark or prayer is one of the many Muslim phrases that have passed into the regular service of the Spanish Christian. With the dawn of the sixteenth century, the Gothic style runs rapidly into that of the Renaissance. At about this time, and as Baron Davillier pointed out, we sometimes find a triple influence, namely, the Burgundian, the Italian, and the native Spanish. Vigarny may be called the champion of the first of these, Berruguete (who studied in Italy) of the second, and Guillermo Doncel of the third. After this the purer Renaissance gives place to the decadent, as in the stalls of Santiago, Málaga, Cordova, and Salamanca. [Illustration: XXXIV _RETABLO_ OF SEVILLE CATHEDRAL (_Detail of Carving_)] Sixteenth-century _sillerías_ of note are those of Burgos cathedral (Plate xxvi.), carved by Vigarny, Avila cathedral, the Pilar of Zaragoza, the Minor Friars of the Cartuja of Burgos, Pamplona cathedral, San Marcos of León, Huesca, the _alta sillería_ of Toledo, and the walnut stalls--carved in 1526 by Bartolomé Fernandez de Segovia, and now in the Madrid Museum--of the Parral of Segovia. The _sillería_ of Avila cathedral is believed to have been begun in 1527 by Juan Rodrigo, although the greater part of it was probably executed between 1536 and 1547 by Cornelis de Holanda, who took for his model the stalls of San Benito of Valladolid. The cost of the walnut wood and of its workmanship amounted to 33,669 _reales_. The upper stalls of Toledo cathedral were carved by Vigarny and Alonso Berruguete in collaboration, so that we find in them the northern and Italian styles effectively and interestingly united. The Plateresque-Renaissance _sillería_, described as "genuinely Spanish," of the old convent of San Marcos of León, containing statuettes of biblical personages and of fathers of the Church--Saint Isidore among them,--was finished in 1542 by Guillermo Doncel, who added the inscription "_Magister Guillermus Doncel me fecit MDXLII_" (Plate xxvii.). We know, however, nothing more about this excellent Spanish artist, except that (on the unsupported testimony of Cean) he worked at the façade of this convent between the years 1537 and 1544.