As Italian Baroque influences penetrated across the Pyrenees, they gradually superseded in popularity the restrained classicizing approach of Juan de Herrera, which had been in vogue since the late 16th century.
Two of the most eye-catching creations of Spanish Baroque are the energetic façades of the University of Valladolid (Diego Tomé, 1716-1718) and Hospicio de San Fernando in Madrid (Pedro de Ribera, 1722), whose curvilinear extravagance seems to herald Antonio Gaudí and Art Nouveau.