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1. The present discussion is limited to the geographical transcription on faulty copies of the original docu- 32. See Hanno-Walter Kruft, "Genuesische Skulpturen
region of Castile. A complete survey would encom- mentation. I am grateful to Natalia Majluf for assis- der Renaissance in Frankreich," in Evolution Gen-
pass the equally rich provinces of Aragon, Valencia, tance on this discussion of the queen's collection. erale et Developpements Regionaux en Histoire de
and Andalusia. 13. See Valentin Vazquez de Prada, "Les relations com- I'Art, Actes du xxne Congres International d'His-
2. The term estilo Isabel was introduced by Emile Ber- merciales hispano-flamandes et 1'importation de toire de 1'Art (Budapest, 1972), 1:697-704, and "Pace
taux, "I/Art des rois catholiques," in Andre Michel, tapisseries en Espagne," in Tapisserie de Tournai en Gagini and the Sepulchres of the Ribera in Seville,"
Histoire de I'art, vol. 4, part 2 (Paris, 1911), 821- Espagne. La tapisserie bruxelloise en Espagne au in Espana entre el Mediterrdneo y el Atldntico f
852, where it is used to describe the fusion of north- XVIe siecle (Tournai, 1985), 54-87. Actas del xxm Congreso Internacional de Historia
ern late Gothic and Islamic art, which the author 14. This estimate is provided by Juan J. Junquera, del Arte (Granada, 1977), 2:327-338.
considered to be the essential characteristic of the "Le gout espagnol pour la tapisserie," in Tapisserie 33. See John Pope-Hennessy, Italian Renaissance Sculp-
style. It is still employed in this sense by Jose M. de de Tournai 1985, 22. ture (London, 1958), 320-321.
Azcarate, "Sentido y signification de la arquitectura 15. See Sanchez Canton 1952, 17-38. 34. There is no recent biography of Cisneros. For a sum-
hispano-flamenca en la corte de Isabel la Catolica," 16. See Van Schoute 1963. mary of his life and references to the earlier litera-
Boletm del Seminario de Estudios de Arte y Arque- 17. See Jazeps Trizna, Michel Sittow. Peintre revalais de ture, see Diez del Corral Garnica 1987, 49—59.
ologia 37 (1971), 210-233. As will be seen below, I I'ecole brugeoise (1468-1525/6) (Brussels, 1976), and 35. For a lucid summary of Cisneros' career as a patron,
regard the Islamic element (usually called mudejar Fernando Marias, El largo siglo xvi (Madrid, 1990), see Diez del Corral Garnica 1987, 60-77. Also
by Spanish art historians, although the religious 151-156. important is Miguel Angel Castillo Oreja, "La pro-
convictions of the practitioners are not always easy 18. See Juan de Flandes [exh. cat. Museo del Prado] yeccion del arte islamico en la arquitectura del
to discover) and the northern late Gothic style as (Madrid, 1986), and Marias 1990,156-160. primer renacimiento: el estilo Cisneros," Anales del
parallel, not convergent phenomena. The art of the 19. The standard work by Chandler R. Post, A History Instituto de Estudios Madrilenos 12 (1985), 55-63.
Isabelline period has been little studied in the last of Spanish Painting. Vol. iv, The Hispano-Flemish 36. See Proske 1951, 202-210.
twenty-five years and is badly in need of new think- Style in Northwestern Spain (Cambridge, Mass., 37. Much remains to be learned about the career of Juan
ing and research. 1933), is fundamental but out of date. de Borgona, especially the problematic early years.
3. For the chapel and tombs, see C. Gonzalez Palencia, 20. In addition to Post 1933, 4:87-147, see R. M. See Post 1947,162-234; Diego Angulo Iniguez,
"La capilla de don Alvaro de Luna en la catedral de Quinn, Fernando Gallego and the Retablo of Ciudad Juan de Borgona (Madrid, 1954); Adele Condorelli,
Toledo/' Archive Espanol de Arte y Arqueologia 5 Rodrigo (Tucson, 1961). "II problema di Juan de Borgona," Commentari 11
(1929), 109-122, and Beatrice G. Proske, Castilian 21. In addition to Chandler R. Post, A History of Span- (1960), 46-59; and Charles Sterling, "Du nouveau
Sculpture: Gothic to Renaissance (New York, 1951), ish Painting. Vol. ix, part i, The Beginning of the sur Juan De Borgona: son tableau le plus ancien
181-182. Renaissance in Castile and Leon (Cambridge, 1947), connu," L'Od/4oi (1988), 24-31.
4. See G. Conrad von Konradsheim, "Mannequin Coe- 17-161, see Marias 1990,171-181. A new mono-
mans de Bruxelles, introducteur de Part flamand du graph on this important painter is long overdue.
siecle XV dans la region toledane," Melanges de la 22. See Helen Nader, The Mendoza Family in the Span-
Casa de Velazquez 12 (1976), 127-140. ish Renaissance, 1350-1550 (New Brunswick, 1979).
5. For a summary history of the chapel, see Teofilo 23. See Francisco Layna Serrano, El Palacio del Infan-
Lopez Mata, La catedral de Burgos (Burgos, 1950), tado en Guadalajara (Madrid, 1941).
227-255. 24. See Jose M. de Azcarate, "La fachada del Infantado y
6. See Francisco Tarfn y Juaneda, La Real Cartuja de el estilo de Juan Guas," Archivo Espanol de Arte 24
Miraf lores (Burgos, 1925). I am grateful to Ronda J. (1951), 307-3*9-
Kasl, who is preparing a doctoral dissertation on 25. For his biography see Nader 1979,118-123. His
Miraflores, for sharing her information and insights artistic patronage is summarized by Rosario Diez
on the project. del Corral Garnica, Arquitectura y mecenazgo. La
7. See Harold E. Wethey, Gil de Siloe and His School imagen de Toledo en el Renacimiento (Madrid,
(Cambridge, Mass., 1936), 24-55. 1987), 19-47.
8. A contemporary document published by Teofilo 26. See Jose M. de Azcarate, "El Cardenal Mendoza y la
Lopez Mata, El barrio y la iglesia de San Esteban de introduction del Renacimiento," Santa Cruz 17
Burgos (Burgos, 1946), 102-106, refers to a certain (1962), 7-16.
Gil de Urliones as sculptor of the main retable (no 27. The case for Cardinal Mendoza as protagonist in the
longer extant) of San Esteban, Burgos, and reason- Spanish Renaissance is made by Manuel Gomez-
ably suggests that he is Gil de Siloe. Although "Ur- Moreno, "Hacia Lorenzo Vazquez," Archivo Espanol
liones" is thought to be a corruption of the French de Arte y Arqueologia i (1925), 7-40. For another
city Orleans, I believe that it refers to the town of vision of the question, see Marias 1990, 254-257.
Lens. The same word is used in the documentation 28. For his biography see Nader 1979,150—179. His role
(1591) of the Hall of Battles, El Escorial, where it in the transmission of the Italian Renaissance to
unmistakably refers to this town. Spain was first signaled by Elias Tormo, "El brote del
9. See Jose M. de Azcarate, "La obra toledana de Juan Renacimiento en los monumentos espanoles y los
Guas," Archive Espanol de Arte 29 (1956), 11-31. Mendoza del siglo XV," Boletm de la Sociedad Espa-
10. See Antonio Gallego Burin, La Capilla Real de Gra- nola de Excursiones 25 (1917), 51-65,114-121; 26
nada (Granada, 1931), and "Nuevos datos sobre la (1918), 116-130.
Capilla Real de Granada/' Boletm de la Sociedad 29. See Rosario Diez del Corral, "Muerte y humanismo:
Espanola de Ecursiones 57 (1953), 9-16. la tumba del Cardenal don Pedro Gonzalez de Men-
11. "Estrecho sepulcro para la gloria de mis abue- doza," Academia 64 (1987), 209-227.
los " Cited by Gallego y Burin 1931, 23. 30. The tombs by Fancelli discussed below are described
12. Isabella's collection requires a new study. The by Jesus Hernandez Perera, Escultores florentinos en
inventory is published by Francisco J. Sanchez Espana (Madrid, 1957), 10-11 (Cardinal Hurtado de
Canton, Libros, tapices y cuadros que colecciono Mendoza); 11-12 (Prince Juan); 12-13 (the Catholic
Isabel la Catolica (Madrid, 1952). However, as is Monarchs). A new study of Fancelli's career would
pointed out by Roger van Schoute, La Chapelle be welcome.
Royale de Grenade, Les Primitifs Flamands I, 6 31. Miguel Angel Zalama, El Palacio de la Calahorra
(Brussels, 1963), 2-7, Sanchez Canton based his (Granada, 1990).

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