Nothing is known as to the way in which Morales learned his art, but a comparative study of his various styles suggests that he may have had access to some work or copy of a work of Michelangelo, to some examples of the Milanese School of Leonardo da Vinci and to pictures of the contemporary Flemish and German Schools. The Michelangelesque influence, according to the official notice of this artist in the catalogue of the Prado Gallery, is discernible chiefly in works that are to be found in Badajoz and Lisbon. It would appear that they are distinguished by an exaggeration of manner. A similar trait appears in a _Pietá_ which hangs in the Academy of San Fernando in Madrid. The Virgin is seated at the foot of the Cross, supporting the dead body of Christ. The latter is in an attitude of being seated, the arms suspended and the head laid back on the shoulder, immediately below the head of the Virgin. The nude form is as hard as if it were carved in wood, and in contrast to its pallid whiteness are long streams of crimson blood, as glossy and stiff as ribands. In fact, combined with the naturalistic correctness of the drawing the figure has an exaggerated Gothic feeling, while another excess, this time of refinement, appears in the microscopic precision with which the hair of the beard and head is represented. This delicacy, suggestive of the Milanese influence, reappears in the _Virgin Caressing the Infant Jesus_ of the Prado Gallery and the variations of the same theme which may be seen in the Hispanic Museum, New York. Here, however, the meticulous rendering of the little golden chestnut curls which cluster on the heads of the Mother and Child is in accord with the loving, tender regard for refined sweetness of expression that characterises the whole treatment. The Prado also possesses an _Ecce Homo_; the figure, seen nearly to the waist, nude but for a crimson mantle which covers the shoulders and is fastened on the chest. One of the bound hands holds a reed and a crown of thorns surmounts the head, drops of blood showing on the forehead. The face, with its straight brows and deep-set eyes, long finely chiseled nose, and sensitive mouth, surrounded by a softly growing beard, the whole modeled sensitively with a Milanese subtlety of chiaroscuro, expresses an interesting blend of intellectuality and ecstasy. In this union one may easily discover an essentially Spanish feeling. However the methods may have been borrowed from elsewhere, the sentiment is Castilian of the sixteenth century, a mingling of high-bred nature and spiritual introspection. Another picture of the Prado, selected for reproduction on page 62, is _The Presentation of the Infant Jesus in the Temple_. It is an important example, revealing a fuller capacity for ordered composition, in which there is a grandiose dignity, strangely [Illustration: DESCENT FROM THE CROSS PEDRO CAMPAÑA SEVILLE CATHEDRAL]