have established a studio there in the 1490s. In 2003, to commemorate the fifth centenary of the painter's death, he was the subject of an exhibition in his hometown, Paredes de Nava, which brought together the best of his paintings and clarified some aspects of his life and work. The exhibition also served to stylistically compare his works from Paredes de Nava with works attributed to him from Urbino. Possible presence at Urbino There seems to be a lack of documentation of Berruguete living in Spain during the years of 1471 to 1483. In 1604, a Sevilla artist named Pablo Céspedes wrote about a Spanish painter who had painted a series of famous men for the studio of the Duke of Urbino. A ‘Petrus spagnuolus’ or ‘Pietro spagnolo’, which would translate to Pedro the Spaniard, is documented as painting in the court of Federico Montefeltro in 1477 where he would have collaborated and interacted with a man known as Justus of Ghent. Scholars lean towards the idea that the style of a ‘Petrus spagnuolus’ working for Federico Montefeltro during this period directly correlates to the style of Pedro Berruguete in his later paintings and have attributed some of these paintings to him as well as the Justus of Ghent. Additionally, it is believed that he returned to Spain after his stay in Italy and brought the influence of Italian Renaissance painting back to his country and it impacted his work in Castile. There is no direct documentation of Berruguete making a trip to Italy or residing there. A major difference in the work of Petrus spagnuolus is that the paintings in Italy were executed in oil while Pedro Berruguete’s are completed in tempera grassa. Style and technique Consisting almost exclusively of religious images, Pedro Berruguete's artwork is identifiable by the unique facial features of both his male and female figures, the amount of brocateado and gilding he uses on garments and backgrounds, his use of color and his architectural framing devices. Berruguete's male figures tend to have focused gazes and characteristically large hands with detailed wrinkles. His female figures are usually depicted in interior scenes and tend to have heavy eyelids and round cheeks. Architectural spaces are found in almost all of his paintings, excluding bust portraits of holy or biblical figures. The forms show influence from Gothic architecture as well as the Mudéjar style that was abundantly present in