In 1513 the monstrance at the cathedral of Cordova was also made by Arphe, it is similar in style and importance to that of Toledo. Before this, he had also finished the splendid one formerly at Leon, which was destroyed by the French, as was likewise a similar smaller one, also by Arphe, formerly at the Monastery of St. Benito, at Sahagun. The custodia made by Juan de Arphe in 1587, a Leonese artist, and grandson of Enrique, for the cathedral of Seville, competes with that of Toledo. It is formed in the same manner as a temple, but in the Græco-Roman style, covered with an immense number of statuettes, some of which are upwards of a foot high, and reliefs of all kinds, and delicate ornamentation, worked with the utmost skill. The chapter of the cathedral commissioned the theologian, Francisco Pacheco, to direct the subjects which were to be represented, and when it was finished Arphe published a full description of the monstrance, which he does not hesitate to call "the largest and finest work in silver known of its kind." This opinion is hardly an exaggerated one if we look at this splendid work of art. Its plan is circular, and measures 3½ yards high, and weighs 1082 pounds of silver. For details consult Cean Bermudez' "Diccionario," Descripcion de la Catedral de Sevilla, Museo Español de Antiguedades, vol. viii., p. I. Besides these two celebrated silversmiths there was another of the same family, the son of Enrique, and father of Juan, Antonio Arphe, an artist also of great merit, who made in 1554 the custodia which still exists at the cathedral of Santiago. Cean Bermudez says in his "Diccionario," "that in the same manner as the city of Leon gave Spain three illustrious silversmiths, Cuenca gave them other three in the Becerrils," these were Alonso and Francisco Becerril brothers, and Christoval, the son of Francisco. They all worked at the famous and splendid custodia of Cuenca, and between them they produced a most important series of works from 1528 to 1584.