In the Church of San Julian, situated in the _plaza_ of that name, is a giant San Cristobal, painted by Sanchez in 1484. It is executed in tempera upon the wall of the church, close to the principal entrance. The figure of the saint is of enormous size, entirely subordinating the remainder of the composition, thus producing an effect of exaggeration and lack of proportion. The fresco has unfortunately been repainted, and little of the old master's work remains, except his signature and the date 1484. Of infinitely greater value is his painting on panel, preserved among the pictures collected by the late Señor D. Manuel López Cepero, which may now be seen in the house of Murillo, described elsewhere in these pages. The picture is painted upon a panel of wood, covered with canvas and carefully prepared plaster, as was the manner of the early masters, who did none of their work hurriedly, and devoted much time to the painstaking preparation of their materials. The picture may be regarded as a typical instance of the Hispano-Flemish manner. The conventional grief, symbolised by the drooping eyelids, falling tears and set countenances of the women; the harsh outlines; the extreme length of the reclining figure of the Christ, all bear the imprint of the Gothic school. The picture deserves much study. Its decorative proportions, extreme simplicity and harmony of colour can hardly be praised too highly. It is a meritorious herald of the work of the Sevillian artists. Juan Nuñez, the pupil of Sanchez, continued to imitate the manner of his master. His finest work is a composition, representing the _Piéta_. It was painted for the Chapter of the Cathedral, during the latter half of the fifteenth century, and now hangs in the _Sacristía de los Cálices_, where many of the choicest treasures of art are preserved. The Virgin supports the dead body of the Christ; St. Michael and St. Vincent are at her side, while kneeling ecclesiastics pray below. The Flemish manner still prevails, and the Gothic stiffness of the Saviour's figure bears a strong resemblance to the work of Sanchez. Cean Bermudez praises the picture very highly, and states that it is not inferior to Albert Dürer in colour and arrangement of the drapery. Like many of the early religious painters, Nuñez appears to have been destitute of a sense of humour, and in a picture of St. Michael and St. Gabriel, painted for the Chapter of the Cathedral, he depicted the saints adorned with gaily-coloured peacocks' wings.