chaplaincy was conferred on him by the Bishop of Salamanca, and the artist was ordained a sub-deacon. Then the king ordered, by a decree dated April 14, 1658, that the Granada prebendaryship should be restored to him, with the condition that he adopted ecclesiastical dress, which hitherto he had refused to wear. At last, in 1659, Cano returned to Granada, and took possession of his prebendaryship, which he occupied in peace for the remaining eight years of his life. This was the period of Cano’s greatest activity. The only sculptured works achieved during these turbulent years were the design for the Holy Week monument of the Church of St. Gines, Madrid, and also the design and the superintending of the building of the triumphal arch erected at the Guadalajara gate for the entry of Queen Mariana on her marriage with Philip IV. But now the restless artist had found a fixed home in the city of his birth, with unhindered opportunity for the exercise of his facile gifts. Granada, and especially the cathedral--in the bell tower of which building his studio was--owe much to these years of Cano’s residence. His activity seems to have been unwearying. But, indeed, it must be granted that the city possesses more works than Cano could possibly have accomplished in a period of eight years. It has been usual to attribute to him every good piece of polychrome statuary in Granada. This is not surprising, for it is often impossible to distinguish with certainty between his work and that of his pupils Josef de Mora and Pedro de Mena, who imitated his style and made copies of many of his works. And the confusion is increased by the habit which Cano had of himself working on the carvings of his assistants; were they in difficulty, he would finish their work with his own hand. Thus it is impossible to pronounce with certainty as to the authorship of many of the reputed Canos in Granada.