Alonso Martinez carved, with Francisco de Ribas, the altar-screen of the Chapel of San Pablo in the cathedral, and it is to his hand we owe a very beautiful polychromed figure of the Virgin (Plate 149). Alonso de Mena, a sculptor whose fame has been overshadowed by his son Pedro, the disciple of Alonso Cano, carved many works for the churches of Alpujaras; in addition he executed for the Chapel of the Kings two large buffets of which the folding doors are ornamented with eight excellent medallions of the Queens and Kings of Spain. To Luis Ortiz we owe the earliest of the cathedral stalls at Malaga, which were carved by him in 1630 in collaboration with Josef Micael. He was also the author of the altar-screen of the royal chapel of Nuestra Señora de los Reyes. The two brothers Francisco Ruiz and Juan Antonio Gixon were taught their art by Alfonso Martinez. Antonio Gixon was professor, and later director, of the Academy of Seville, founded by Murillo. Francisco Ruiz remodelled, after Montañés, the dying Christ (Plate 150) which is in the church at Triana, a suburb of Seville. It is a very beautiful carving, which bears comparison with the master’s Crucifixion in the cathedral. The polychrome also is harmonious, equal to the finest work of the masters of that art. Indeed the merit of this unknown statue is surprising when the late period at which it was undertaken is remembered. But the art of sculpture still had strong life in Seville, and the school was to produce another master to continue the traditions of Montañés. Pedro Roldan was born in Seville in 1624, and he learnt his art in the studio of Montañés, working afterwards in the Academy of Seville. He is the pupil who did the master the greatest credit: he may even be said to have surpassed him in the art of composition. No one else among the Southern sculptors had his power of grouping a number of figures. His two masterpieces--one in the parish church of the cathedral, the other in the Hospital de la Caridad--are veritable pictures in relief. They are the finest altar-screens in Seville, and must be compared with the works of Gregorio Hernandez and Juni, the masters of the Northern schools. The cathedral altar-screen is a bas-relief representing the Descent from the Cross. The Virgin supports the body of the Christ, and around them are grouped St. John and several disciples, the Magdalen, and the holy women. The figures are larger than life-size. In the background are the two thieves outlined against the Temple, which is seen in the distance. Around this central composition are beautiful angel figures carrying the instruments of the Passion. Then on the base of the altar is outlined the triumphal entry of Jesus into Jerusalem.