Another picture which helps to throw a light upon this period of Italian imitation is the _Descent from the Cross_ by Pedro Campaña (page 51). This painter was born in Brussels in 1503. But, though of Flemish origin, he gained his knowledge of art in Rome, whence he passed to Spain, living in Seville for twenty-four years, until his death in 1580. Thus he was an important factor in the transitionary development of the School of Andalusia. Murillo particularly admired this picture, and at his own request was buried beneath it in the Church of Santa Cruz. When the latter was pulled down, the picture was removed to the Cathedral, where it now hangs in the Sacristy. Its indebtedness to Raphael is apparent in the group of figures at the foot of the Cross, while a Peruginesque influence is suggested in the draperies of the men upon the ladders and in the placing of their figures against the sky. But also evident is the artificiality of the whole. The gestures and expression of the women are affected; quite inadequate is the support which is being given to the Sacred Body, while the attitude of the latter is too obviously regulated with the double intention of securing certain lines in the composition and of introducing the suggestion of forgiveness of the Magdalen. In fact, the chief virtue of the picture seems to be its extremely handsome composition, which must be admitted to have great nobility as well as a fine organic simplicity. The picture, indeed, is an achievement of science; valuable for its enforcement of academic principles; yet, even so, the work, not of a master, but a manneristic imitator.
It is with more interest than one turns to the work of another artist of this transition period, Luis de Morales. For although he experimented with various motives, his adoption of them seems to have been prompted by his search for the expression of a personally sincere religious fervor. Almost nothing is recorded of his life, beyond the few facts that he was a native of Badajoz, on the frontier of Portugal, and died there in 1586; that, except for a visit to Madrid at the invitation of Philip II he seems to have spent his life in the quiet retirement of his native city, and notwithstanding the estimation in which his pictures were held, reached an old age of poverty. For it is related that the king passing through Badajoz, sent for the artist. The latter, when as a young man he had been summoned to Court, appeared in so sumptuous an attire, that the King remonstrated with him, but was appeased by Morales’ explanation that he donned it in honor of his Majesty. Now, however, he appeared in a condition of extreme destitution. To Philip’s remark: “Morales, you are very old,” the artist replied, “Yes, your Majesty, and very poor.” The king on the spot awarded him a pension of two hundred ducats. “For your dinner,” he said, to which Morales replied, “And for supper, Sire?” The King, so the story goes, accepted the jest and added another hundred ducats a year to the pension. This episode took place in 1581 and it is supposed that Morales at the time of his death, five years later, had reached the age of seventy-seven years.