This is even more true of Pedro de Mena, Cano’s second pupil, who had much greater originality and talent. A native of Alpujaras, where, in collaboration with his father Alonso de Mena, he had established a considerable local reputation, like Mora he came to Granada, attracted by the renown of Cano. It is reported that when he saw the master’s works in the cathedral his enthusiasm was so great that he determined to do no more carving until he had become a pupil of Cano. He brought his family to Granada and at once entered the studio of the master. Cano recognised his talent, and passed over to him all the work which he did not wish personally to execute. Under these conditions Mena gained the commission, refused by Cano, to carve forty statues of the saints for the choir of Malaga Cathedral. The work occupied four years, 1658-1662, and for it Mena received payment of 40,000 reals. These statues prove the great talent of Mena. The figures are carved in cedar-wood and are not coloured. What is remarkable is the individuality which Mena has succeeded in giving to the different saints; each is a living character. Professor C. Justi says of these statuettes: “They are among the most singular and startling products of Spanish art, if not of all modern sculpture.” Mena had the Spanish gift of impressive rendering of character, and it is for this quality he claims recognition. In 1667 Mena was appointed sculptor to the Chapter of Toledo. Probably it was at this time that he carved the statuette of St. Francis (Plate 160), now in the Cathedral Treasury, which has erroneously been ascribed to Cano. This ascetic figure, so Spanish in its conception, could never have been carved by Cano. The popularity of Mena increased, and on the death of Cano he took his place, fulfilling many commissions for the different religious orders. The city still contains several of his works. The equestrian statue of St. James and the praying statues of the Catholic Kings in the cathedral are the best known. But these works are of much less merit than the saints in the choir of Malaga. Certainly they have some individuality, but Mena here relies too much on what he had learnt from Cano; or perhaps popularity had made him careless. But Mena’s fame spread, and he was called by Prince John of Austria to Madrid to execute a Virgen del Pilar with St. James at her feet. The success of this work gained a second commission, and Prince Doria ordered a Crucifixion which was sent to Italy, where it gained much praise--a rare honour for a Spanish sculptor. Mena did not remain in Madrid, and after a period of residence in Cordova, Malaga, and Salamanca, where he carved a statuette of St. Francis which is still in the city, he returned to Granada, where he died in 1693. * * * * *