Sevillian school of sculpture

Pedro Millán carried on this tradition, and was its most important exponent in Seville, creating such works as the Virgen del Pilar ("Virgin of the Pillar") at the cathedral—with iconography distinct from the Aragonese iconography of the time—and the groups Varón de Dolores ("Man of Sorrows") and Llanto sobre Cristo muerto ("Lament Over the Dead Christ", pictured above), now in the Museum of Fine Arts of Seville.

The great altarpiece of the Seville Cathedral is architecturally Gothic; over the course of a century it acquired thousands of figures arranged in various sacred stories, created by important artists, and which are worked with utmost care even when they are placed very far up in the structure.

Furthermore, the younger Vázquez would go on to create the main altarpiece of the Monastery of Saint Jerome in Granada, where he would establish a distinct Granadan school of sculpture.

In the final quarter of the 16th century, Juan Martínez Montañés, born in Alcalá la Real (province of Jaén) made his residence in Seville; it would be his base throughout his long life and career.

The greatest and most characteristic sculptor of the school of Seville, in the course of a long and fruitful career Martínez Montañés produced important altarpieces and sculptures for numerous places in Spain and the Americas.

Originally a classicist, but tending later in his career toward a light Baroque, his art instantiated the views of the Council of Trent with respect to the pastoral value of sacred imagery.

José de Arce introduced these new influences to Andalusia, renewing the regional and local aesthetic with a new impetus toward clarity, dynamism, and chiaroscuro.

Later notable figures of the school of Seville are Enrique Pérez Comendador, Juan Luis Vassallo and Antonio Cano Correa.