After the death of Pedro Millan and Torrigiano we find in Seville a band of capable artists, though none are equal in merit to Gregorio Hernandez, who at the same time was working in Valladolid. At their head stands Micer Antonio Florentine, who, on the death of his father Miguel, took charge of his studio, and continued to direct the activities of the Sevillian sculptors. The best known of his own works was the Good Friday monument for the cathedral which he designed, modelling its statues with his own hands. His contemporary, Bartoloméo Morel, was the author of the statue of Faith Triumphant which crowns the Giralda Tower (Plate 139), and also of the celebrated Tenebrario of the cathedral of which Cean Bermudez says “that it is of its kind the finest piece of sculpture in Spain.” In this work collaborated Pedro Delgado, a capable artist, and the favourite pupil of Antonio Florentine. Pedro Delgado himself had many pupils. Among them were Juan Bautista Vasquez, one of the many artists who worked on the altar-screen of Toledo Cathedral, and Juan Giralte, a Flemish carver, who seems to have executed much work, but whose history is unknown. Jerónimo Hernandez was an artist of higher merit. Though he was a pupil of Pedro Delgado, he drew his inspiration from Torrigiano. This explains the attribution of the St. Jerome of the cathedral to the Italian master. But this fine sculpture is undoubtedly the work of Jerónimo Hernandez. He was also the author of the beautiful Jesus, and a Resurrection in the possession of the Dulce Nombre Brotherhood; of a lost work, a group of the Virgen del Rosario with the Infant Jesus in her arms and St. Domenico and St. Catherine kneeling at her feet; and of the altar-screen of the Convent of San Leandro. These statues prove that Jerónimo Hernandez was a carver of distinguished merit. In the altar-screen of San Leandro he was assisted by Juan de Sancedo and Vasco de Pereyra, a celebrated Portuguese painter, who carried out the painting and gilding of the statues. A pupil of Jerónimo Hernandez was Gaspar Nicolas Delgado, who also studied with his uncle Pedro Delgado. He gained a higher reputation than his masters, and in Seville is accounted as one of the greatest sculptors. This estimate is misleading. His chief work, the St. John the Baptist in the Desert, which is in the chapel of the Nuns of St. Clemente though a bas-relief of real merit, the landscape especially being well represented, does not justify his position as a master. The merit of the work has gained from the fine polychrome, which was carried out by the artist Pacheco.