page_title: Sevillian school of sculpture
section_title: Evolution in the 17th century
hierarchical_section_title: Sevillian school of sculpture / Evolution in the 17th century
caption_attribution_description: Español: Detalle del retablo del Altar Mayor de la Iglesia de la Caridad, Hospital de la Santa Caridad de Sevilla. Representa el entierro de Cristo, obra del escultor Pedro Roldán
context_page_description: The Sevillian school of sculpture—the tradition of Christian religious sculpture in Seville, Andalusia, Spain—began in the 13th century, formed a clear tradition of its own in the 16th century, and continues into the present. The sculptures are generally worked in wood in a technique known as encarnación.
context_section_description: The next generation sculptors who continued the Baroque tradition in Seville after Martínez Montañés and Cano included the Cordoban brothers Francisco Dionisio de Ribas and Felipe de Ribas (though the latter did not outlive Martínez Montañés).
  In the middle third of the 17th century, the Fleming Joseph Aerts settled in Seville and Castilianized his name to José de Arce. In his native land, he had been influenced by François Duquesnoy, who, in turn, was influenced by the Baroque style of Gian Lorenzo Bernini. José de Arce introduced these new influences to Andalusia, renewing the regional and local aesthetic with a new impetus toward clarity, dynamism, and chiaroscuro. 
  Pedro Roldán headed an important family studio that also included his daughter Luisa Roldán ("La Roldana") and his grandson Pedro Duque y Cornejo, one of the greatest Sevillian sculptors of the 18th century. They produced numerous excellent and virtuosic Baroque altarpieces, figures, choirs stalls, etc.
caption: Burial of Christ by Pedro Roldán (1698), main altar of the church of the Hospital de la Caridad, Seville.
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