Spain. Berruguete made heavy use of gilding in almost all of his pieces, employing it in halos, garments, and backgrounds architectural or otherwise. The gold leaf is often incorporated into elaborate brocaded designs, which are used on the costumes of important figures or as a tapestry-like background. Work First stage Works from his first stage (between 1470 and 1471) include Verification of the cross of Christ in the Church of San Juan of Paredes de Nava and the Adoration of the Magi in the Alvarez Fisa collection. Because his earlier works are lacking documentation, the dates are estimated by his later shift in style. This short introductory phase of his is due to his young age during this time and possibly his suspected trip to Italy. The panels for the Verification of the Cross of Christ depict 2 scenes from the story of the True Cross and 4 images of the Evangelists. The Adoration of the Magi is considered to be one of his oldest works. These early paintings have figures that are much more simplified than the realistic and detailed figures of his later stages. His signature use of brocade designs, gilding and the use of architectural spaces within painting are present, but the recession of space and use of perspective looks awkward and his figures look less realistic than the figures in his third stage after he refines his style. Second stage (1471–1483) In his second stage it is speculated that he travelled in Italy. There is little documentation of the work of Berruguete at this time, and there are controversies as to authorship. The Portrait of Federico da Montefeltro and His Son Guidobaldo (Gallery of the Marches, Ducal Palace in Urbino), and the series of Famous Men of which it forms part (Louvre Museum, Paris and Galleria Nazionale, Urbino) are sometimes attributed to him although they are also attributed to the Flemish painter Justus van Gent. It may also have been a collaboration between the two artists, with Berruguete working on the series while working in van Ghent's workshop in Urbino. This stay in Italy would have been interrupted by a return trip to Paredes de Nava in 1478 for marriage, after which he returned to Italy. If he indeed travel to Italy, this would explain the influence of Flemish and Italian Renaissance style inclusive in his third stage of Castilian art. Third stage (1483–1503) His masterpieces