Other carvings in the cathedral that are ascribed to Cano, though his authorship in some of the pieces is disputed, are the colossal busts of Adam and Eve placed very high to the right and left of the entrance to the Capilla Mayor, and the heads of St. Paul and St. John the Baptist, which are hidden in the darkness of the Chapel of Nuestra Señora del Carmel. These carvings, and especially the bleeding heads of the saints, are subjects that do not properly belong to Cano’s art, but were undertaken by him to meet the popular taste of his day, and for this reason they are of less interest. Yet their importance is great on account of the excellence of the polychrome. The Adam and Eve, larger than life-size, are carved in oak, and harmoniously coloured with excellent care. Unfortunately the height at which they are placed makes it very difficult to see them. The head of St. Paul and that of the Baptist--if this is Cano’s work, and the skill of the craftsmanship points to its being so--must be classed with the similar head of St. John the Baptist in the Church of Santa Paula, which is also ascribed to Cano. This last piece seems to have been copied from the head of the Prophet sculptured by Montañés for the Church of Santa Clara. There is also a most excellent Head of St. John the Baptist in the Camarin of the Chapel of San Juan de Dios, which must certainly be Cano’s work (Plates 154-156). None but a master could have carved this head; it is the finest example in Spain of a polychrome of this subject. The livid face, which shows the death-marks, is surrounded with tumbled locks of black hair and a beard of the same colour. Both it and the bleeding neck are faithfully and splendidly rendered: there is beauty in the horror. The charger on which the head is placed is of gold, and forms a sort of aureole around it. At the top an eagle has seized it in its beak to carry the relic to heaven; the bird is painted a deep warm black with beautiful reflections.