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646 to Carracci. Nicolás was inferior and less known. José Ibarra, called the Murillo of New Spain, though with glaring defects and profusion of brilliant colors, stands next in rank to Cabrera, the central figure of colonial art. Cabrera was a Zapotec Indian, and by his excellencies deserved the name of the Raphael of Mexico, though, perhaps, with greater propriety that of Michael Angelo, for he was also an architect and sculptor.

Animate sculpture was too much subordinated as a part of architecture, and confined almost wholly to conventional imitation Special mention is, however, due to the equestrian statue in bronze of Cárlos IV., by Manuel Tolsa, which, for its perfection, has been compared with the finest European work of the kind. Tolsa, for all his splendid talents and his being a teacher in the San Cárlos academy, failed to exercise any influence in the country. In fact, plastic and constructive arts had never enjoyed consideration. The two Coras, who before Tolsa's time were the only sculptors of note, were poorly paid, though some of their work was of a high order. In this respect the feather-work of the aborigines has a claim to recognition. It presented figures with such skilful blending of color as to equal the painting of European masters. In sculpture, some of their figures must be placed above similar conventional specimens of Egypt, while some of the decorative elements in their architecture can safely compare with advanced Greek forms, for beauty of design at least.

Architecture in New Spain may be classed with later Romanesque, with early renaissance, or with the Rococo style. In early days, buildings were erected with a special view to strength. As time