Contemporary with Luis de Vargas and Pedro Campaña--the masters of the early Italian mannerists--worked a group of artists of lesser fame. Antonio de Arfian, 1537-1587, a native of Triana, painted frescoes for the parish church of St. Mary Magdalen. Juan Bautista Vasquez, in 1568, executed an altar-piece for the Church of Our Lady of the Pomegranate, in the Court of the Oranges; and other works since destroyed, for the Cathedral. Alonso Vasquez painted many pictures for the Cathedral and the Convents of St. Francis and St. Paul. The few of these works which remain may be seen in the Museo, where they hang neglected, fast rotting in their frames. These artists closely imitated the style of De Vargas. More individuality is revealed in the works of Pedro Villegas Marmolego, 1520-1597, an artist whose pictures are extremely rare. The Virgin visiting Elizabeth, which hangs over the _Altar de la Visitación_ in the Cathedral, is a good example of his work, and displays his charm as a colourist. The garments of both the Virgin and Elizabeth are beautiful with radiant harmony. The works of Francesco Frutet--like Campaña a Flemish artist trained in Italy, who came to Seville, about the year 1548--will be noticed in the account of the Museo. Another foreigner, who worked in Seville during this period, was Sturmio, probably a German, who, in 1554, painted nine pictures on panel for the _Cap de los Evangelistas_, in the Cathedral. These studies are important, for they afford the earliest instance of the fine brown tones distinctive of the Sevillian school. The central picture depicts St. Gregory saying Mass, while around him are grouped the fourteen evangelists, and the saints of the city. Santas Justa and Rufina, the holy maids, frequently portrayed by the artists of Seville, are among the best. The work of all these artists, who may be classified as the early Italian mannerists, reveals a distinctive personality. The individuality of the artist constantly breaks forth, through the strong Italian bias, while traces are often revealed of the truthful expression of the early Hispano-Flemish mode. As the sixteenth century drew to its close, the tendency to adopt a style of affected mannerism was largely augmented in the work of the artists of Andalusia, the result being a corresponding loss of national individuality. All that was essentially Spanish was for the time forgotten, submerged in an imported Italianism. The pictures of these later mannerists are dreary and almost entirely without interest. Their work may be readily identified by the conventional conceptions, the flat tones, the dry, hard colours, and the utter lack of that element of charm, so essential to all works of art.