Among Cano’s pupils special mention must be made of Josef de Mora and Pedro de Mena; both imitated their master so closely that, as we have seen, their works have been confused with his. This is perhaps the best praise that can be accorded to the pupils. Joseph de Mora was born at Majorca in 1638, where he passed his youth learning his art from his father. The fame of Cano brought him to Granada, and he at once became a pupil in the studio of the master. He acquired considerable skill as a carver, and a few years later he went to Madrid, where he was appointed sculptor to the king. But the climate of the capital being unsuited to his health, he returned to Granada. From this time Mora became wholly the imitator of Cano. He had a curious habit that is worth recording; no one ever saw him at work, for when in his studio with his model the door was always kept bolted. This explains perhaps why he was able to copy so successfully the carvings of Cano. We have pointed out the various statues in which confusion has arisen between the authorship of the master and that of the pupil. The St. Bruno of the Cartuja and the Virgen de la Soledad of Santa Ana cannot be given to Mora as wholly his own work; a Conception in the Cartuja, if it is by his hand, must also be considered as a copy of Cano. Fortunately for Mora’s personal reputation there is in the Church of Santa Ana a statue by him of St. Pantaleon, which reveals some individual characteristics. The figure of the young martyred saint was modelled from a woman, and the spiritual effect gained by this means is increased by the unusual device of placing the statue in a glass case. The figure is very graceful and delicate, which contrasts with the severity of the face. But there is a weakness in the modelling of the legs and feet, and also in the folds of the vestments, which the artist has striven to hide by the polychrome. This is good, in the style commended by Pacheco, made in subdued tones and with no gilding. The personal qualities of this statue make us regret the practice of imitation of his master in which Mora lost his own talent, which must have been considerable.