Gregorio Hernandez had many pupils. We have mentioned Cristobal Velazquez, the master-carpenter who worked with him on the altar-screen of Vittoria. It is probable that he became the pupil of the Galician master. To Cristobal Velazquez must be attributed the beautiful altar-screen of the Church of Las Agustinas at Valladolid, which has been falsely ascribed to Berruguete and to Pompeo Leoni. The references made to Cristobal Velazquez in the contracts for the work, and the fact that he was charged with the “looking over and passing” of the screen after it had been set up, prove his authorship. No mention either of Berruguete or Pompeo Leoni is given, an omission unaccountable if these great artists had participated in the work, when the painters and sculptors are all carefully named. This altar-piece proves that Cristobal Velazquez was a great artist. In the central bas-relief of the Annunciation the Virgin kneels, while the Angel Gabriel, a figure of supreme beauty and nobility, stands upon her right side. Above is a fine Pietà, and to the right and left are the figures of St. Augustin and St. Laurent; while beneath are statuettes of the Evangelists, with two small panels on either side, one of St. Joseph and the Child Jesus, the other of St. Ursula. The architecture, the ornaments, and figures are all finely executed, and the work is one of great beauty and harmony. Unfortunately the colouring, which was carried out by the painter Prado, an artist of great local celebrity who had already decorated the Chapel of Las Huelgas, Burgos, has become so blackened with age that it is difficult to judge its primitive merit. Two sculptors intimately associated with Gregorio Hernandez were Luis de Llamosa, who completed many of his master’s unfinished works, and Juan Francisco de Hibarne, his favourite pupil, to whom he gave his daughter Damiana in marriage. Carvings by these artists will be found in several of the churches of Valladolid. But of greater fame was the Portuguese sculptor Manuel Pereyra, who, though reported to have studied in Italy, must certainly have been the pupil of Hernandez, if we may judge from the testimony of his works. They show no trace of Italian influence, and are inspired by the earnestness of Spanish devotion. We first hear of Pereyra in May 1646, when he carved in stone the statue of San Felipe for the convent of the saint at Valladolid. His reputation grew rapidly, and his statue of St. Bruno, executed for the Hostel of the Chartreuse del Paula, set the seal to his fame. The statue was so greatly admired that it is said that King Philip IV. ordered his coachman, on passing the door, to slacken the pace so that he might admire it at leisure. There is a fine replica of the St. Bruno in the Chartreuse of Miraflores. Like Hernandez, Pereyra used quiet colours, without gilding or damask effects. In his last years Pereyra became blind, but this calamity does not seem to have interfered with his carving. He died in 1667.