The Hispano-Flemish manner was perfected by Alezo Fernandez, who came from Córdova, in 1525, to work in Seville Cathedral. Lord Leighton considers him 'the most conspicuous among the Gothic painters,' and without doubt, his work marks a further advancement in the development of the Andalusian school. It bears testimony to advancing knowledge. For the first time we perceive clearly the growth of a distinctive Spanish style. The Flemish manner is still strongly visible, but from out of this eclecticism emerges that forceful effort after truth and natural expression, which is the conspicuous characteristic of the Spanish school. His finest picture is the Virgen de la Rosa, in the Church of Santa Ana, at Triana. The charm of this work is very great. The mellow splendour of its tones, and the lofty spirit in which it is conceived render it a study of high merit. Other pictures by this master may be seen in the Palacio Arzobiscopal, where hang the Conception, the Birth of the Virgin, and the Purification, three works of great interest; and in the Church of San Julian, where there is a fine altar-piece. The figure of San Pedro depicted upon the left of the composition is one of the ablest; beside him is San Antonio, while San Julian and San Josef stand upon the left. Over the altar are representations of the Incarnation and the Crucifixion. During the opening years of the sixteenth century a new influence from without was imposed upon the Spanish school of painting. The Italian Renaissance extended to Spain, and this movement, which in Italy produced the brilliant group of the _quatrocentisto_, fell upon the artistic genius of Spain as a deadening blight. It was alien to the temper of the Spanish nation. The simple, truthful directness of their early mode was forgotten; gradually their art became steeped in a hopeless mannerism. Luis de Vargas, who was born in Seville in 1502, was the first Andalusian artist, whose work testifies to the Italian influence. He spent many years studying in Italy. He was a devout Catholic, and like all the artists of Seville was supported by the munificence of the Chapter of the Cathedral. Unfortunately his frescoes, upon which his reputation, according to Cean Bermudez, largely rested, have been almost entirely obliterated. Dim traces of them may be seen upon the Giralda Tower, and upon the outer wall which encloses the Court of the Oranges; but it is impossible to appraise the work of De Vargas from these time-spoilt relics.