one which was tied to European trends, especially those of the Netherlands and Italy. There were two Schools of special flair and talent: the Seville School, to which Juan Martínez Montañés belonged (called the Sevillian Fidias), whose most celebrated works are the Crucifix in the Cathedral of Seville, another in Vergara, and a Saint John; and the Granada School, to which Alonso Cano belonged, to whom an Immaculate Conception and a Virgin of Rosary, are attributed. Another notable Andalusian Baroque sculptors were Pedro de Mena, Pedro Roldán and his daughter Luisa Roldán, Juan de Mesa and Pedro Duque Cornejo. The Valladolid school of the 17th century (Gregorio Fernández, Francisco del Rincón) was succeeded in the 18th century, although with less brilliance, by the Madrid School, and it was soon transformed into a purely academic style by the middle of the century. In turn, the Andalusian school was replaced by that of Murcia, epitomised in the person of Francisco Salzillo, during the first half of the century. This last sculptor is distinguished by the originality, fluidity, and dynamic treatment of his works, even in those representations of great tragedy. More than 1,800 works are attributed to him, the most famous products of his hand being the Holy Week floats (pasos) in Murcia, most notable amongst which are those of the Agony in the Garden and the Kiss of Judas. In the 20th century the most important Spanish sculptors were Julio González, Pablo Gargallo, Eduardo Chillida and Pablo Serrano. Spanish collectors and museums of art The Spanish royal collection was accumulated by Spanish monarchs beginning with Isabel the Catholic, Queen of Castile (1451–1504), who accumulated large and impressive collections of objets d'art, 370 tapestries, and 350 paintings, a number by important artists including Rogier van der Weyden, Hans Memling, Hieronymus Bosch, Juan de Flandes, and Sandro Botticelli. However many of these were dispersed by auction after her death in 1504. Isabel's grandson, Charles I, the first Habsburg king of Spain, was a patron and collector of art, as was his sister, Mary of Hungary. Both admired works by Titian. When the siblings died, the art passed to Philip II of Spain, Charles's son, an even keener collector. Philip IV (1605–1665) followed in the family tradition as a passionate art collector and patron. During his reign, Velázquez, Zurbarán and others produced many works of art. Philip commissioned works and purchased others, sending his