The cathedral has other works which it owes to the years of Cano’s residence. The beautiful frescoes of the Capilla Mayor, illustrating scenes from the life of the Virgin, were his work. The lower stage of the west façade we owe largely to him. He designed and superintended the execution of two silver lamps for the principal chapel; he carved the elaborate lectern of the choir, formed of fine woods, bronze, and precious stones; and executed new portals for the sacristy. Two medallions on copper of great delicacy were wrought for the Chapel of the Trinity. Here the figures recall the Virgin in the group of Santa Ana and Virgin and Child. In addition several important pictures were painted for the dome of the Capilla Mayor, and others as altar-pieces for the chapels. Some of these canvases disappeared when Granada was stripped of so many of its treasures by the French. But a few fine pictures remain. The Trinity in the chapel of that name, the Way of the Cross in Nazareno Chapel, and the Virgen de la Soledad, which hangs over the altar of San Miguel, are the most important. This last-named painting is especially interesting to us, for there are two pieces of sculpture certainly copied from it, one in the parish church of Santa Ana, the other in the Church of Santa Paula. Both are excellent. The Virgin has the delicacy and beauty that we expect from Cano. The polychrome is subdued; the flesh of the face and the beautiful folded hands are a dull pallor, befitting grief; the eyes and the tears are formed by crystals, after the custom used by Gregorio Hernandez and Juan de Juni. The dress, which is white, and the mantle, of bluish black, are perfectly harmonious. These colours are a repetition of the cathedral picture. And the question arises, are the sculptures also by Cano? That of Santa Paula has always been ascribed to Josef de Mora. If we accept this, we must account the Soledad of Santa Ana as the work of Cano, and the Santa Paula as a splendid copy. But both statues are so equally good, especially in the colouring, that the pupil’s work must have been touched by the hand of the master. It is impossible to believe that Josef de Mora could have achieved this masterpiece unaided.