Bartolomé Ordóñez

A few months later, he and Juan Petit Monet were commissioned to create a group of sculptures representing the Entombment of Jesus for the Hospital de la Santa Creu; that piece does not survive.

After the stage just described, Ordóñez made a documented visit to Naples beginning 11 December 1517, during which, together with Diego Siloé, he worked in the Caracciolo di Vico chapel of the church of Saint John Carbonara.

The altarpiece includes an excellent relief representing the Adoration of the Magi, with a delicate pyramidal composition reminiscent of Leonardo da Vinci, very balanced, and a perfect, nearly painterly, technique.

Ordoñez composed reliefs representing the profession of faith by Saint Eulalia before the judges (showing a strong influence from Michelangelo) and the moment of her martyrdom, in which the flames, far from consuming her chaste, naked body, turn against the executioners.

[3] Other possible works of his in Spain are the alabaster relief Holy Conversation in the Diocesan Museum of Barcelona, poorly finished, and the Resurrection in the retrochoir chapel of the Cathedral of Valencia.

Each section of the main body of the tomb is decorated with reliefs; the most notable by Ordóñez are the Nativity, the Adoration of the Kings, the Agony in the Garden and the Descent from the Cross, but there are a plenitude of other figures and ornamental elements.