Next year, the European commission will retable proposals for a "common consolidated corporate tax base" (CCCTB).
Three of the 14 canvases he painted in 1609 for the retable of Santiago de Tlatelolco have survived: one, the Porziuncola, shows figures of Christ and the Virgin floating on clouds in front of a kneeling St. Francis.
About 1586 Pereyns made the retable of Huejotzingo the only retable he worked on that remains intact with Concha, sculptor Pedro de Requena, and goldsmith Marcos de San Pedro.
After finishing the retable of San Pedro, Bitti in 1583 went to Cuzco, where he remained until the end of 1584, constructing the high altar of Cuzco's Jesuit church.
His compositions of this period, notably the Retable of Santiago in the church of Algemesí (1603, 1610), are highly imitative and mediocre.
A gold relief retable of the Pentecost (1160 70) is in the in Paris, but an important and more elaborate retable of Saint Remaclus, of about 1150 and extending about nine square metres, was broken up at the French Revolution, and only two round enamel plaques survive, in Berlin and Frankfurt, though a 17th-century drawing survives in Liège.
Among his major sculpture commissions of the Valladolid period were the retables, or altarpieces, for the monastery of La Mejorada at Olmedo (1526), for San Benito at Valladolid (1527 32), for the Colegio de los Irlandeses at Salamanca (1529 32), and for the Church of Santiago at Valladolid (1537).
As mentioned above, the commissions for retables inspired the creation of great sculpture.
The most exuberant anticlassical style coming after the Baroque in Latin America is often mistakenly called the Mexican Churrigueresque (for the Spanish Churriguera family of retable designers) but is preferably referred to as the Ultrabaroque.
In the church of San Francisco in Santafé de Bogotá, Colombia, for example, the wooden interior has a retable composed of square-framed biblical representations that were carved and painted anonymously in 1633.
