Juni has left a great amount of work, and his statues and bas-reliefs, always easily recognised, will be found in the churches and convents of Osuna, Segovia, Valladolid, Santoyo, Aranda de Douro, and Salamanca. His best-known altar-screen is the Descent from the Cross in Segovia Cathedral (Plate 124). In this surprising work we have well displayed both the qualities and defects of Juni’s talents. Instead of the decoration being carried out in compartments, the carvings are in isolated groups, a change in construction which was the greatest service that Juni rendered to Spanish sculpture. The figures are all life-size; the finest is that of the Christ, which has real dignity, and is without exaggeration. The agitation and grief of the Virgin and the holy women is too much emphasised, while the attitudes of the fantastically attired soldiers placed on either side are so accentuated that one is left with a consciousness of insincerity. The dramatic power becomes theatrical and unreal. Contrast this Descent from the Cross with Berruguete’s rendering of the same scene in San Geronimo at Granada, and this becomes abundantly evident. The restraint in the latter work is strength, while Juni’s scene, with its over-acclamation, ends in weakness. But in Spain the Segovia screen is highly treasured. It is brilliantly coloured. We have no proof that Juni himself polychromed his statues, but we know that he was a painter of great talent, and the harmony which exists between his models and the colouring seems to prove that he must have superintended the polychrome. Documentary evidence shows that in some cases, at any rate, the colourisation was done in his studio, under his direction, and that he himself painted the faces, the hands, and the feet of his figures. The same model of the Segovia Christ can be recognised in another work of Juni’s, the Burial of Christ, executed for the Convent of San Francesco at Valladolid, and now in the city museum (Plate 125). Here we have an even stronger example of Juni’s art, in which the conception of woe is depicted with greater extravagance, and with what appears to us as futile exaggeration of the details of sorrow. Death is shown with startling reality in the body of the Christ, which is rigid with the muscles already contracted, and the reality is carried further by the colouring; the limbs and the face are mottled with livid stains. Blood flows from the wounds, which are laid open. The body is horrible with the sense of human corruption. The figures of the Virgin, St. John, and the Magdalen all express passionate and over-emphatic sorrow. But the work is perfectly sincere; to doubt this is to misunderstand the nature of Spanish art. It is the quality that meets us so often; a too dramatic, too emphatic effort to realise a scene exactly as it happened.