In the execution of this work Roldan was aided by Francisco de Ribas, a master carpenter, who was the son of Gaspar de Ribas, the first collaborator with Alonso Cano. Francisco Ribas began the altar in 1669, when he contracted for the price of 88,000 reals, with the condition that all the figures were to be carved by the hand of Roldan. We do not know how much Roldan received for his work. He was always indifferent as to the payments made to him. The altar-screen of the chapel of La Caridad is even finer than that of the cathedral. The subject (Plate 152) is the Burial of Christ. The figures placed around the Divine Body, which is being lowered into the tomb, are splendidly grouped, and there is great unity in the composition of the scene. The polychrome was carried out by Juan de Valdés Leal, while Murillo aided that painter with his counsel and possibly with his brush. The architect Bernardo de Puieda contracted for the work, receiving for it 12,500 ducats. Of this sum 11,000 ducats went to Valdés Leal, but we have no knowledge as to the amount appointed to Roldan, though a contemporary writer remarks that “it was very little.” This is what we should expect, for we read of Roldan as being entirely engrossed in his art. He lived in a country house outside Seville, where he enjoyed the beauties of nature, only going to the city when compelled. Then he rode on a small donkey, and occupied his time while journeying in making small models in clay or wax, which he always carried with him. Besides his large altar-screens Roldan executed many small bas-reliefs, which give further proof of his talent. The best examples are in the Cathedral of Jaen. These bas-reliefs are carved in marble, and, like his larger works, are remarkable for the beauty of their composition. The subjects are the Flight into Egypt, the Marriage at Cana, and Christ’s Argument with the Doctors, which are in the interior of the church set over the principal doorway. Then on the exterior of the building are statues of St. Ferdinand, the Doctors, and the Evangelists. Some of Roldan’s sculptured statues in Seville have been attributed to Montañés. This has been the case with the striking Ecce Homo of the Hospital de la Caridad. To complete Roldan’s work we must mention his groups of the “Pasos,” which he carved for the Holy Week procession. In these he appealed most forcibly to the people of Seville. Christ’s Agony in the Garden is the best known; it is as fine as any of the “Pasos” of Montañés.