principle did not change the spatial qualities or architectural structure of those buildings. This process began when the Renaissance arrived in Spain and architects began copying Renaissance architectural features without understanding the new ideas behind them, that is, without letting go of medieval forms and ideas. Many of the Plateresque buildings were already built, to which were added only layers of Renaissance ornamentation, especially around openings (windows and doors), and in general, all non-architectural elements, with some exceptions. Although the appellation 'Plateresque' is usually applied to the act of superimposing new Renaissance elements on forms governed by medieval guidelines in architecture, this trend is also seen in the Spanish painting and sculpture of the time. Plateresque Renaissance (1530–1560) This is the period in which the Renaissance had taken hold on the Iberian Peninsula, although it had not yet reached its peak there. That event occurred with the amendments by Juan de Herrera and Philip II of Spain to the design of the monastery of El Escorial, whose construction began in 1563. By that time the decoration, though still profuse, is completely within Italianate parameters and applied to buildings designed according to the logic of Renaissance ideas. Revival in Spain: 19th & 20th-century Monterrey Style or Neo-plateresque The Monterrey o arose in the 19th century. It was named after the Palace of Monterrey in Salamanca, a plateresque building built in 1539. Widely admired among 19th-century architects, it was profusely imitated across Spain, with the new imitations spawning a new historicist style, the neoplateresque. The style survived until the early 20th century, featured in national and regional 'revivals'. It spread widely, and though not accepted in the critical circles of academia, some examples can be found on the Gran Vía of Madrid. In Mexico there was also a new iteration of Plateresque which spread to the Southwestern United States, beginning in the first half of the 18th century. This Neo-plateresque is not to be confused with that of Spain at the end of 19th and early 20th centuries, the so-called Monterrey style. Examples Plateresque architects and artists Of First Plateresque. Diego de Alcázar Alonso de Covarrubias Martín de Gainza Rodrigo Gil de Hontañón Gil de Siloé Andrés de Vandelvira Diego de Riaño Diego Siloe Vasco de la Zarza Of Neo-Plateresque. Eduardo Adaro Magro José López Sallaberry Plateresque buildings, architectural elements, and other works The facade of Convent of San Marcos (León). The