The Museum of Valladolid contains at least three authentic statues by Hernandez. The most important is the Pietà, executed for one of the dispersed convents of the city, a beautiful example of polychrome (Plate 126). The Virgin, whose sorrow is genuinely expressed, with dignity and without exaggeration, supports the dead Christ, a pallid figure finely suggesting death. She wears a red-brown robe partly covered by a blue mantle. The winding-sheet and her veil are white, and also the band attached to the Cross, and are coloured so skilfully that the texture of the stuffs is clearly discernible. M. Marcel Dieulafoy justly says: “The grace and freedom of the modelling is only equalled by the variety and discreet harmony of the painting.” The bas-relief of the Baptism of Christ (Plate 127), though very different, is a work of equal merit, but it has suffered greatly from the damage of time, which has especially injured the beauty of the polychrome. The St. John is a splendid figure of energy and savage strength, and in strong contrast with the Christ, and the contrast is emphasised by the skilful colouring, the complexion of the prophet being browned by exposure to the sun, while that of the Christ is of delicate harmony. The third statue represents St. Francis (Plate 128), a fine and harmonious work. It is coloured in sombre shades, almost monochrome, which speaks for Hernandez’ authorship. To Hernandez also is attributed the reliquary bust of St. Elizabeth in the museum. It is a work of supreme merit, but the polychrome is too brilliant to make it easy to accept it as the work of Hernandez. The vivid orange-brown of the cape with the blue lining, the violet-purple of the turban, the gleaming white of the veil, and the gold tracery of the breast ornament are not the accustomed tones of the Galician master. But though the statue is probably not by Hernandez--and this is the opinion of M. Marcel Dieulafoy--it is a splendid example of polychrome.