The same difficulty of authorship between the master and the pupil confronts us in the two statues of St. Bruno, both in the Cartuja (Plate 158). One, life-size, is in the sacristy, and this work is reported to have been ordered from Josef de Mora; the other, a statuette, which is placed over the high altar, may with little question be ascribed to Cano. At least, if it is not his work, then it is a copy of a lost original. Josef de Mora could not by himself have designed so exquisite a work. The statuette exceeds the statue in beauty. Both the carving and colouring are equally fine; the latter is a triumph of polychrome. The monk’s pale face and hands, his white robe, and his scapular of the same colour, are perfectly transcribed, a richness being given to the white of the dress, in contrast to the pale flesh, by the device of the old damask workers of painting over a gold ground. This small work is another masterpiece which Cano achieved. It takes rank with the St. Anthony in San Nicolas of Murcia, a better known work, which belongs to an earlier period of Cano’s art. The Cartuja formerly contained a fine statue of the Magdalen, which is ascribed to Cano (Plate 159). It was taken away, with many works of art, during the invasion of the French. There is almost hopeless uncertainty with regard to the remaining commissions carried out by Cano for the religious orders of Granada. Cean Bermudez catalogues many paintings and sculptures that have disappeared. For the Convent of the Angel we read that Cano carved in marble a figure of the Guardian Angel to be placed over the portal, and designed an elaborate altar-screen, which was carved by Pedro de Mena, though Cano chiselled several of the statues with his own hand. He also painted a picture of our Lord parting from the Virgin in the Via Dolorosa. Other pictures were painted for the Convent of San Diego, and a series of half-length figures of the Apostles were designed and executed for the Dominican Monastery of Sta. Catalina. Then Cano worked for private patrons. Palomino tells of a statue of St. Anthony of Padua, carved for the Auditor of the Chancery, which Cano, becoming enraged with his client about the payment of the work, dashed to pieces: a characteristic incident, which recalls the action of Torrigiano. Unfortunately the disappearance of many of these churches and monasteries with all their contents, and the change of the names of others, makes it impossible to estimate these works or to hazard an opinion as to their present whereabouts. Cano closed his activity with a series of works for Malaga Cathedral. He designed the Capilla Mayor, and undertook to carve new stalls for the choir, but a dispute arising about the payment, he threw up the work with his usual impetuosity and returned to Granada. A group of important pictures were also painted in these last years.