The third important altar of Montañés is that of the Church of San Lorenzo. It belongs to a later period of his art, having been undertaken about the year 1639. The statue of St. Lawrence and the four bas-reliefs, though probably not entirely the work of the master, are carvings of excellent taste and distinction. The carvings attributed to Montañés are very numerous, and, as we have stated already, it is necessary to make a distinction between his own work and that of his pupils. The statues of St. Bruno, the Virgin, and St. John the Baptist (Plates 145 and 146), which were executed for the Carthusians of Santa Maria during the period between 1617 and 1620, and which are now in the Museum of Seville, are examples of carvings which, though executed in the studio of Montañés, must not be accounted his personal work. Probably their author was his favourite pupil Solis, who for many years was the devoted collaborator of the master. This is also the opinion of M. Marcel Dieulafoy. The Virgin is a very beautiful polychrome, which speaks of the high skill of the carver. The original colouring has been well cared for, and there is great delicacy in the rose-coloured robe and blue mantle, which is covered with flowers and a network design in gold. The child Jesus wears a robe of pale blue relieved with delicate gold damasking. In the museum is also the celebrated statue of Santo Domingo, which was brought from the high altar of the Church of Santo Domingo de Portacelci. It belongs to the year 1627. It is a fine work, but though much prized in Seville, its merit is not so great as the St. Jerome of Santiponce, the statue with which it should be compared. In the year 1635, when Montañés was at least seventy-five years old, an age when the activity of most men is over, he was called to Madrid by the Grand Duke of Tuscany, to execute an equestrian statue of Philip IV. He modelled a masterpiece, but the mould being sent to Italy to be cast, was by some mischance lost. However, the master’s design served as a model for the sculptor Pietro Tacca, whose work now stands in the Plaza del Oriente, at Madrid. It was during this two years’ sojourn in Madrid that Montañés renewed his friendship with Velazquez, and sat for that incomparable portrait which is one of the masterpieces of the great painter. The last work of Montañés was an altar-screen for the Church of San Miguel at Cadiz. The commission for the work had been given as early as 1609, but Montañés had been occupied with the altar-screens of Santiponce and other commissions in Seville, and the work had been postponed. There was a second commission signed in 1613, but the work was not undertaken until much later, and was not finally achieved until 1640, after the visit to Madrid. The statue of St. Bruno which dominates the altar is very fine; the figure is seated, an unusual position for Montañés. The polychrome was executed by Jacinto Soto.