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Foment, Juni, and Berruguete are among the most noted retablo sculptors, but space will not permit of a more prolific classification or analysis. GOLD AND SILVERSMITHS. The vessels used on the altar-table, effigies of saints, processional crosses, etc., in beaten gold and silver, are well worth examination.
In Valladolid, Columbus obtained the royal permission to sail westwards in 1492, and, upon his last return from America, he died in the selfsame city in 1506; here also Berruguete, the sculptor, created many of his chefs-d'œuvres and the immortal Cervantes appeared before the law courts and wrote the second part of his "Quixote." Then he fixed upon Madrid as his court.
It was Philip of Burgundy who carved, with Berruguete, those miracles of skill and patience we admire to-day in the choir of Toledo. Peter of Champagne painted at Seville the grand altar-piece that so comforted the eyes and the soul of Murillo. The wild Greek bedouin, George Theotocopouli, built the Mozarabic chapel and filled the walls of convents with his weird ghost-faces.
The sculptures are by the school of Berruguete, for whom we had formed so strong a taste at the museum; but our disappointment was not at the moment further embittered by knowing that Napoleon resided there in 1809.
The Andalusian school counts among its early illustrations Vargas, Roelas, the Castillos, Herrera, Pacheco, and Moya, and among its later glories Velazquez, Alonzo Cano, Zurbaran, and Murillo, last and greatest of the mighty line. The school of Madrid begins with Berruguete and Na-varrete, the Italians Caxes, Rizi, and others, who are followed by Sanchez Coello, Pantoja, Collantes.
It is a very clean-looking, cold-looking white monument of the Catholic faith, with a retablo attributed to Berruguete, and much plateresque Gothic detail mingled with Byzantine ornament, and Moorish arabesquing and the famous stucco honeycombing which we were destined at Seville and Granada to find almost sickeningly sweet.
Those who were generous like Tavera built palaces, and encouraged artists like El Greco, Berruguete and others, creating a Renaissance in Toledo, an echo from Italy.
Berruguete, a Spaniard, who had studied in the atelier of Michael Angelo, returned to his own country with the new influence strong upon him, and the vast wealth and resources of Spain at this period of her history enabled her nobles to indulge their taste in cabinets richly ornamented with repoussé plaques of silver, and later of tortoiseshell, of ebony, and of scarce woods from her Indian possessions; though in a more general way chesnut was still a favorite medium.
Going along the outside of the choir, the Tato led Gabriel to the front opposite the door del Perdon. Under the great medallion, which serves as a back to the Mount Tabor, the work of Berruguete, opens the little chapel of the Virgin of the Star. "Look well at that image, uncle. Is there another like it in all the world?
"But in the choir, uncle, there is also something to see. Let us go there; the service is over and the canons are coming out." Luna felt overpowered by admiration as he always did on entering the choir. Those magnificent stalls, the work on one side of Philip of Burgundy, and on the other side of Berruguete, bewildered him with their profusion of marbles, jaspers, gildings, statues and medallions.
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