Four years later Dancart was entrusted with the important work of erecting the grand altar of the cathedral (Plate 134). He executed the design, but the work was carried out by his pupils Marco and Bernardo de Ortega. The latter artist worked at the screen until his death in 1505, when the completion of the work was left to his son Francesco and to his grandson Bernardino. Gomez Oroco, George and Alexis Fernando Aleman, and Andres de Covarrubias also worked at different parts of the screen. In 1519, when the work was completed, the canons, for some reason not known, employed a pupil of Fernando Aleman named Moya to modify the design. He was three years over the work, which he finished in the autumn of 1564. Some years later two wings were added, and the screen was finally completed in 1564. This mixed authorship was a mistake, and has resulted in a want of continuity in the design which has marred to some extent the beauty and harmony of the work. Of more importance are the carvings of Pedro Millan, a pupil of Nufro Sánchez, who takes rank as the first really important master of the Sevillian school. The date of his birth is unknown. We hear of him first in the year 1505, when he executed the statues for the cimborium of the cathedral, which unfortunately were destroyed when the copula fell on December 28, 1512. Pedro worked in the style of the Burgundian masters, and his carvings show a genuinely creative talent, united with a true study of nature. To him we owe the statues in terra-cotta known as the Baptismo and the Nacimiento, which are outside two of the cathedral doors. The heads and hands are most beautifully modelled and the draperies are skilfully handled to display the figures. The bas-relief inserted in the pointed spandrel between the first ribs of the flying-arch, which represents the Adoration of the Magi, is also the work of Pedro Millan. But his best-known statue is the noble Virgen del Pilar, in the Capilla de Nuestra Señora del Pilar. M. Marcel Dieulafoy believes that this is an earlier work than the terra-cotta bas-reliefs. Its importance is great on account of the polychrome, the original colours having been most carefully preserved. The flesh-tints are beautiful, delicate rose-shades on the cheeks, lips, and ends of the fingers. The robe shows reflections of pale gold, and the mantle, of the same tint, has arabesques of brown, while the veil is in full gilt. Besides these works in the cathedral, there are two statues of Pedro’s in private collections in Seville, and one is a masterpiece. This is the small polychromed statuette of St. Michael in the possession of Don Jose Gestoso y Perez. Like most of this artist’s works, it is executed in terra-cotta. It bears the signature of Pedro Millan in Gothic characters. The other statue group is a Pietà, in which the Virgin, Mary Magdalen, and St. John mourn over the body of Christ. It is in the gallery of Don Lopéz Cepero, y 7, Plaza de Alfaro. Unfortunately it has