o distributed
over the building.

Bruges is almost the only city of the Netherlands that has any
sculptures of this period of which one would speak. Just at this time
the art of that country was painting preeminently, and the Van Eycks and
their followers had done such things as held the attention of all to the
neglect of other arts. At Bruges in the cathedral, the Church of St.
Jacques, and the Liebfrauenkirche there are some fine monuments, and the
Palais de Justice has a carved chimney-piece which is magnificent, and
a work of the highest rank.

In England sculpture was of less account even than in the Netherlands.
One circumstance is worthy of notice. Pietro Torrigiano, after
quarrelling with Michael Angelo and breaking his nose, fled to England,
and his monument of Henry VII. and his queen in Westminster Abbey,
erected in 1519, marks the introduction of the style of the Italian
Renaissance into England. The structure is of black marble; the statues
of the king and queen are in gilt bronze, and are grandly noble in
design and finished in execution. The smaller figures and all the
details of the monument are fine. The master received L1000 for this
work. Torrigiano executed other works, and entered into an agreement to
make a monument to Henry VIII. and Catherine of Aragon, but for some
reason he went to Spain in 1519 and never returned, as he was destroyed
by the Inquisition three years later.

It is probable that Torrigiano may have been led to Spain by hearing of
the revival of art which was taking place there. Flemish and Italian
artists went there, and the influence of their styles was felt by the
native masters. The result was that they brought forth a manner of their
own, combining certain features of northern and of southern art, and
used to express the thoughts of the Spaniards themselves. The carved
altars of Seville, Toledo, and Burgos show how splendid this art was;
and though we cannot trace the lives and works of Spanish sculptors as
we should like to do, we can be sure that there were men among them
equal to any demand that could be made upon decorative sculptors.

This is proved by the portals and fronts of the churches, by the highly
ornamented chapels, the wall niches and choir screens of the interiors,
while the monuments are also equal to those of other nations. That of
Ferdinand and Isabella in the Church of the Guardian Angel, at Granada,
is noble and magnificent. It is believed to have been