Montañés was already old when in 1630 he executed the statue, which was the earliest of his Immaculate Conceptions, now in the cathedral (Plate 144). Her type is Andalusian, and she is shown in the full bloom of her beauty. She appears to be meditating on the Immaculate Birth, and what we note especially is the dignity and grace of her attitude and the serene expression. The folds of the robe and mantle follow, but do not accentuate, the beautiful figure. Angels hover around her feet, which are hidden by her robe, as is commanded by the Church. The polychrome of the statue has been renewed, owing to damage having been done to the original painting by the removal of the vestments, with which, up to the year 1779, the figure was barbarously clothed. But the work has been carefully done, with due regard to the design of the primitive polychromists. The flesh tints are warm and glowing, and the hair is black with brown reflections. The robe is white over a red dress, of which only the sleeves appear, and is covered with a pattern of gold inset around with a brown fillet. This black mantle is also enriched with a design of golden palm-leaves. We do not know who was the original painter of this work. It was not Pacheco, for before 1630, the date of the Conception, the father-in-law of Velazquez had, after the lawsuit in 1622, severed his connection with Montañés, who wished to exercise a closer superintendence in the carrying out of the polychrome of his statues than Pacheco would submit to. Montañés does not seem to have undertaken the polychrome himself; his works were too numerous to permit this. An interesting contract dated 1641, and relating to the colouring of the altar-screen of San Miguel at Xeres, names Jacinto Soto as the polychromist, and besides furnishes strict injunctions that he must accept and follow in the work the directions of Montañés. From this document we may assume that Jacinto Soto succeeded Pacheco. The consideration of these Christs of the Passion and the Conceptions has carried us away from the chronological order of Montañés’ work. The years 1615 to 1622 were occupied with the execution of the screen of the high altar and four altars in the nave of the Church of Santa Clara, of which the statues and the sculptures are the work of Montañés. The carvings are of great merit, but unfortunately the screen of the high altar was redecorated after the death of the master and almost ruined. It has fine statues of Santa Clara, of the Christ and God the Father, as well as a Conception, which formerly was on one of the side altars, four bas-reliefs and a number of statuettes, among which special attention should be given to the very beautiful group of angels, who carry the lamps of the Holy Sacrament. On the side altars are the figures of St. Francis, St. John the Baptist, and St. John the Evangelist.