BOUGHT WITH THE INCO 
 PROM THE 
 
 SAGE ENDOWMENT 
 
 THE GIFT OF 
 
 1891 
 
 itat*g 
 
 ME n 
 
 FUND 
 
 A.,J!A.LR.2L 
 
arV18144 
 Murillo, 
 
 Cornell University Library 
 
 ,. 3 1924 031 234 069 
 
 olin,anx 
 
Cornell University 
 Library 
 
 The original of tliis book is in 
 tlie Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924031234069 
 
ILLUSTRATED BIOGRAPHIES OF 
 THE GREAT ARTISTS. 
 
 BARTOLOME ESTEBAN MURILLO 
 DE SEVILLA. 
 
ILLUSTRATED BIOGRAPHIES OF 
 THE GREAT ARTISTS. 
 
 NEW SERIES. 
 
 Each volume is hound in ornamented cloth. Price 2s. 6rf. 
 
 MEISSONliER. A Memoir, drawn from various sources. By J. W. 
 MoLLKTT, B.A., Officierde I'Instruction Publique (France) ; Author 
 of " Life of Rembrandt," &c. Illustrated with ten reproductions 
 of Meissonier's well-known paintings, including the Chess-Play ers. 
 La Rixe, the Halt at the Auberge, the Reader, the Flemish Smoker, 
 and a Portrait of the Artist, from a recent etching. 
 
 MURILLO. A Memoir derived from recent Works. By Ellen E. 
 Minor. Illustrated with eight Engravings after the Master's 
 celebrated paintings, including the Immaculate Conception, in the 
 Louvre ; the Prodigal Son, at Stafford House ; the Holy Family 
 (wilh the scodella), at Madrid ; the Beggar Boy, in the Hermitage ; 
 and a Portrait of the Artist. 
 
 THE EARLY ITALIAN SCULPTORS: NiccoLA Pisano, 
 Ghiberti, and Donatello. By Leader Scott. Author of 
 "Era Bartolommeo," &c. Illustrated with engravings of the 
 marble Pulpit of Pisano, the bronze Gate of the Baptistery at 
 Florence, by Ghiberti; the "St. George" of Donatello, and ten 
 other examples of the sculptor's art. 
 
 OVERBECK. By J. Beavington Atkinson. Comprising his 
 early years in Lubeck, Studies at Vienna, Settlement at Rome, and 
 the Rise of the New School of Christian Art. His works at Assisi, 
 Frankfort, and Cologne. Illustrated with eight Engravings after 
 some of his most noted paintings, including Christ blessing Little 
 Children, Bearing the Cross, the Holy Family with the Lamb, &c. 
 
 ROMNEY, HOPPNER and LAWRENCE. Memoirs, by Lord 
 Ronald Gowek, Author of "Figure Painters of Holland." Illus- 
 trated with reproductions of several of these Artists' most popular 
 works, and Portraits of the Painters. \In preparation. 
 
 ROUSSEAU AND MILLET. By W. E. Henley, Author of 
 "Millet: a Memoir." Illustrated with Engravings. [In preparation. 
 
 CORREGGIO. By M. Compton Heaton. lUustrated with 
 Engravings from La Notte, II Giomo, and others. \In preparation. 
 
BARTOLOME ESTEBAN MURILLO. By Himself. 
 
 Formerly in the Collection of King Louis Philippe. 
 Now in the possession of the family of the late Baron Selliere. 
 
The whole world without Art would be one great wilderness ^^ 
 
 M U R I L L O 
 
 By ELLEN E. MINOR 
 
 NEW YORK 
 SCRIBNER AND WELFORD 
 
 LONDON : SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON 
 
 1882 
 6 
 
{Alt rights reserved.) 
 
 LONDOS : 
 
 FEINTED BY 3. B. TIKTDE AKD 00., I.HIITHD, 
 
 OltY BOAD. 
 
PEEFACE. 
 
 MuBiLLo's life is Btrangely devoid of personal interest, 
 even for the usually uneventful career of an artist. What 
 is known of him. and his ■works I have endeavoured to 
 collect within the small compass of this book. I have 
 based it upon Stromer's "MuriUo, Leben und "Werke," 
 which is an outHne of a Spanish biography by Tubino. 
 
 "When I have req^uired further details I have naturally 
 betaken myself to Stirling's "Annals of the Artists of 
 Spain:" Dr. Lucke's article in "Kunst und Kiinstler" 
 I have studied with much interest as an exhaustive treatise 
 upon the spirit and character of MuriUo's art. 
 
 E. E. M. 
 
 October, 1881. 
 
CONTENTS. 
 
 pagS 
 Introduction x 
 
 CHAPTER I. 1618—1645. 
 
 His birth — parents — home — surname of Muiillo — apprenticed to 
 
 , Castillo— Seville schools — the Feria — Pedro de 'Moya — 
 
 Mvirillo's departure for Madrid — residence -with Velazquez — 
 
 Philip IV. — Madrid galleries — Murillo's copies — Olivarez — 
 
 return to Seville — Madrid — Alonso Cauo .... 1 
 
 CHAPTER II. 1645—1660. 
 
 Paintings for Franciscan Convent — religious paintings— heggar- 
 boys— studies from life — marriage — family — three manners 
 — Our Lady of the Conception, 1652— paintings for Don 
 Juan Pederigui — St. Anthony of Padua, 1656 — paintings 
 for.Sta. Maria la Blanca . . ... . . .11 
 
 CHAPTER III. 1660—1671. 
 
 Seville Academy — pupils — paintings for Cathedral Chapter-room 
 — invitation to Court — canonization of King Ferdinand — 
 decoration of AH Saints Chapel 21 
 
 CHAPTER IV. 1671—1674. 
 Brotherhood of the Holy Charity — Don Miguel Mafiara — paint- 
 ings for La Caridad 26 
 
 CHAPTER V. 1674—1680. 
 
 Paintings for the Capuchins — paintings for the Hospital de los 
 
 Venerables — paintings for the Augustines .... 37 
 
CONTENTS. IX 
 
 CHAPTER VI. 
 
 FAQB 
 
 Dogma of the Immaculate Conception — hia Madonnas and 
 Virgins— his Infants Christ and John — Children of the 
 Shell— St. John with the Lamb and the Good Shepherd— 
 St. Ildefonso receiving the Chasuble — Education of the 
 Virgin 44 
 
 CHAPTER VII. 
 Landscapes— portraits — drawings . . ... 51 
 
 CHAPTER VIII. 1680—1682. 
 
 Journey to Cadiz — his accident — ^iUness — death — his will — ^burial 
 — memorials — portraits of himself — character — decline of 
 Seville School 55 
 
 List op Peincipal Paintinos .... . . 65 
 
 Index .... . • . . 87 
 
 LIST OF ILLUSTEATIONS. 
 
 POBTBAIT OP MtTRILLO 
 
 Frontispiece. 
 
 The Begqak Boy . 
 
 5 
 
 The Flowbu Gikl .... 
 
 . 15 
 
 St. Elizabeth or Hungary . 
 
 . 29 
 
 The Retukn of the Pbodioal Son 
 
 . 33 
 
 The Immaculate Conception . 
 
 45 
 
 Los NiSos db la Concha 
 
 . 49 
 
 The Vision op St. Francis . 
 
 . 57 
 
 El Piojoso 
 
 . til 
 
 The Ecstasy or St. Francis . 
 
 . 63 
 
INTEODTJCTIOE". 
 
 THE development of Art was retarded in Spain by 
 her struggles for political existence and her inces- 
 sant contests with, the Moors ; and until the hegianing 
 of the seventeenth century her painters were subject 
 to the varying influences of foreign schools. When, 
 however, through commerce and war, communication was 
 opened up with Italy, all those Spaniards who devoted 
 themselves to art, either from affection or by profession, 
 rushed to that land where it is most loved, and brought 
 back to their own country a taste which they had cultivated 
 under the great masters themselves. Then foreign painters 
 were attracted to Spain by the rewards and encouragements 
 of her King. Schools were formed, the three principal of 
 which were at Valencia, Toledo and Seville ; but they were 
 at first only feeble imitations of those in Italy. Each had 
 its own peculiar style, but the deeply religious tone was 
 common to aU. The school of Castile is generally recog- 
 nised by sombre colouring, cloudy skies, and grey back- 
 
INTRODUCTION. XI 
 
 grounds; tlie Valencian by bright violet hues; that of 
 Seville by ricli bro-wns, reds and golden tints. Objects of 
 still-life, such as water-jars, baskets of fruit, melons, fish and 
 game abound in the Sevillian paintings, and some of these 
 hodegones (or kitchen pieces) as they are called, are works of 
 great merit. In the Valencian school the painters of still- 
 life delighted chiefly in flowers. 
 
 It is in the Seville school that we are now interested, and 
 there it was that the Italian Eenaissance found its most 
 noteworthy representatives, and from it came the greatest 
 names in Spanish painting. The primitive school in Seville 
 was founded by Juan Sanchez de Castro about 1450, and 
 next in importance to his comes the name of Alexo 
 Fernandez ; but the first place in the Kst of artists between 
 Castro and Velazquez must be given to Luis de Vargas, 
 who had the honour of introducing into Spain the art of 
 painting in oils and fresco. In 1563 he executed, upon the 
 restoration of the cathedral, the frescoes in the niches. He 
 had spent twenty-eight years in Italy. The influence of 
 one of his pupils, the Spaniard Eibera, is seen in the 
 first works of the masters of Spain's golden age of art 
 and splendour, Velazquez and Murillo. 
 
 The name of Luis Fernandez has been perpetuated by 
 his scholars Herrera, Pacheco, and the Oastillos,'who were 
 eventually the masters of Velazquez, Cano and Murillo. 
 
 Francisco Herrera, the Elder, was the first Andalusian 
 artist to adopt that free, bold style which afterwards 
 attained to such perfection in Seville. As a teacher, how- 
 ever, his influence was lessened by his hasty temper, which 
 drove his pupils away from him, Velazquez among the 
 number. He was sometimes even left without assistants, 
 
XU INTKODUCTION. 
 
 and tihere is a tradition that on such, occasions he employed 
 his maid-servant to cover his canvas with colours, to which 
 he afterwards gave form and beauty. At one time, under 
 an accusation of coining false money, he was driven to the 
 sanctuary in the Jesuits' , CoUege, and whilst there painted 
 a splendid altar-piece for their church. It was only just 
 completed when Philip IV. visited the town, and on seeing 
 the painting inquired for the artist. Hearing of his crime, 
 he called Herrera before him, and granted him free pardon, 
 saying, " What need of money has a man gifted with 
 abilities like yours? Go. You are free, and take care 
 not to get into such a scrape again." In 1650 Herrera 
 went to reside in Madrid, where he found his runaway 
 pupU Velazquez in the enjoyment of the highest repute. 
 
 Francisco Pacheco was a man of letters as weU as a 
 painter. He was born at Seville in 1671. After spending 
 some time in studying the works of art iu Madrid and 
 Toledo, he returned to his native city and opened a school 
 of painting in his house, to which in due time came Alonso 
 Cano and Velazquez. 
 
 Ag^stin and Juan del CastiUo were contemporary with 
 Herrera and Pacheco. Agustin went to reside in Cordova, 
 but Juan remained in Seville, where he spent the greater 
 part of his life. "When on a visit to Granada, he acquired 
 such fame by some of his paiatings that Miguel Cano 
 came to reside ia Seville, so that his son might study in his 
 workshop, where he had for fellow-pupils Pedro de Moya 
 and MurOlo, the pride of Andalusia. 
 
 In Spain the Church was the truest patron and guardian 
 of art. Catholicism had taken deep root in the land, 
 strengthened as it was by the popular reaction against the 
 
INTRODUCTION. XllI 
 
 Reformation principles of the fifteenth century, and nou- 
 risked by the blood of Moor and Christian. The purity of 
 conception, which is so observable in the Spanish painters, 
 was mainly due to the restraining influence of the Inqui- 
 sition. Pacheco was appointed Familiar and Inspector of 
 Pictures, an office conferring great privileges and immu- 
 nities. His duty was to see that no painting heterodox or 
 offensive to decency was exhibited in the churches or offered 
 for sale. Any one convicted of that offence was liable to be 
 exconununicated, to suffer a penalty of 15,000 ducats and-- 
 a year's exile. The importance of the art of painting was 
 thoroughly understood by the Spanish masters as a means 
 of instructing the young and ignorant. A writer on art 
 in the time of Philip IV. says : " For the learned and the 
 lettered written knowledge may suffice ; but for the igno- 
 rant, what master is like painting ? They may read their 
 duty in a picture, although they cannot search for it in 
 books." 
 
 In 1648 Pacheco wrote a treatise on the art of painting, 
 and laid down a code of laws for the preservation of strict 
 orthodoxy to which all artists were obliged to conform. 
 Angels were not to be represented with beards or without 
 wings. The Virgin must not have her feet uncovered. 
 In paintings of the Immaculate Conception she must have 
 fair golden hair, and be endowed with aU imaginable 
 beauty. The Infant SaViour was not to be represented 
 naked in his mother's arms, because his father Joseph was 
 at aU times well enough off to find clothes for him. It 
 was forbidden even to paint saints in the costume of the 
 day, probably because that custom was adopted by those 
 Dutch artists who were known to have distinctly Protestant 
 
XIV INTRODUCTION. 
 
 leanings. He objects to painting at all from the living 
 model, except the face and hands. Instances are given of 
 great favours shown to devout painters by the saints they 
 honoured, and of purgatorial punishment for the profane. 
 
 Many of the Spanish artists prepared themselves for 
 painting by confession, fasting, and even scourging ; they 
 devoted their skill to the service of God and the Church, 
 rarely entering the regions of history and mythology. 
 Among their number were to be found many who were 
 themselves members of some of the countless religious 
 orders in a land which has been called " the Elysium, of 
 Monks." Hence it is that white, black, and grey friars 
 abound in Spanish pictures. And even in landscape studies, 
 the scenery is generally subordinate to some incident in the 
 life of a character prominent in the sacred writings, or in 
 the traditions of the Church. 
 
MURILLO. 
 
 CHAPTEE I. 
 
 Birth and early life in Seville. — Afoot to Madrid. — Introduction to 
 Velazquez. — Return to Seville. — Alonao Cano, 
 
 A.I). 1618— A.D. 1645. 
 
 BAETOLOM:^ ESTEBAN MUEILLO was bom at 
 Seville, probably on tbe last day of December, 1617, 
 and was baptized on the first day of January, 1618. His 
 fatter, Gaspar Esteban, was a simpl e mechanic, living in 
 Seville ia a house which had formerly belonged to a convent ; 
 it was let to him at a low rent on condition that he kept it 
 in repair, and this proved to be a heavy tax both upon him- 
 seK, and afterwards upon his son. In this modest home 
 the man, in whom aU the glories of Spanish art were one 
 day to be united, came into the world. His mother's name 
 was Maria Perez. In some districts of Andalusia it was 
 customary to assume the surname of relatives, and even 
 that of the god-parents. It is uncertain whether he adopted 
 the name of MuriUo from his father's or mother's side, 
 but according to a genealogical document found amongst 
 
2 MURILLO. 
 
 the archives of Seville Cathedral the name appears only in 
 his fat her's fam ily. 
 
 Very little is ]niown_of_hiB_fiady_jears. Like many 
 other great artists, he showed the bent of his mind when 
 a child by covering his _si^ol books and the school- 
 room walls^ "with/ drawings. His parents died before he 
 was eleven years old, leaving him to ihs^ guardiiinfiliijiL.of . 
 a surgeon of the name of Juan Agustin Lagares, who 
 had mamed his aunt, Dona Anna Murillo. The boy 
 was probably soon afterwards apprenticed to Juan del Cas- 
 tillo, hisjun^^ a^aBjte£^__orclinai^abililgv-8'ii'i formerly 
 pupU of Juan Fernandez, in whose workshop Herrera 
 and Pacheco were also educated. Juan del Castillo's 
 school attained great reputation; his style was fresh, and 
 although his colouring was inclined to hardness, he was 
 highly esteemed for his excellent drawing. Prom his 
 paintings now in the Provincial Museum at Madrid, it is 
 evident that, beyond the so-called "correct drawing," his 
 pupils could have profited little from his teaching. Under 
 his guidance, however, MuriUo made his first steps in the 
 career of an artist. His gentle nature and anxiety to learn 
 soon made him a favourite with his master and feUow- 
 students. Castillo took especial pains with his instruction, 
 but did not allow him to omit any of the tedious and 
 uninteresting details of grinding colours, preparing and 
 cleaning brushes, and other ordinary work of an artist's 
 pupil. 
 
 There was no public academy in Seville where art was 
 scientifically taught, but each master of note had his own 
 school, and was assisted by other friendly artists, who, in 
 common with the pupUs, shared the expenses of lighting 
 
CASTILLO S SCHOOL. 6 
 
 and heating the atelier during the winter. The master 
 sketched portions of the human figure with chalk, pen, 
 or brush for the pupils to copy, or provided fragments 
 of antique sculpture for models, and a rude lay-figure 
 on which drapery was hung. Occasionally, if he was 
 employed upon some important work, a living model was 
 engaged, or, if this were too expensive, one or other of the 
 pupUs offered to sit, so that each student had an oppor- 
 tunity of studying from nature. No pupil was allowed 
 to paint from the living model until he had worked for a 
 long time at the lay-figure, and those who had not 
 talent to rise to the highest region of art were obliged 
 to be content with painting fruit, flowers, and hodegones, 
 to which latter pieces much time was given by the students.- 
 It was also the custom for beginners to paint first of all 
 upon coarse linen, or swrga; the best productions were 
 used at festivals to decorate the altars, walls, and pillars 
 of churches, or were hung in the houses of Andalusian 
 grandees. This style of decorative painting was very 
 serviceable, because it required knowledge of anatomy, 
 great boldness of design, and proficiency in rapid outline 
 drawing. The system, however, fell into disuse at the 
 beginning of the century, when Herrera, Eoelas, and espe- 
 cially Velazquez, adopted the plan of painting all their 
 subjects direct from nature. A praiseworthy rivalry 
 existed between the- different schools, and it was constantly 
 stimulated by the patronage of religious bodies and exalted 
 personages, by commissions from speculators in the colo- 
 nial trade, and also by literary criticisms and poetical 
 comments which public exhibitions called forth. 
 Murillo availed himself of all means of improvement, and 
 
4 MUEILLO. 
 
 soon painted as ■well as his master. "Wliile still in Castillo's 
 school he executed two oil paintings, the Virgin with 
 St. M-aneis, for the Convent de Eegina, and the Virgin 
 del Roswrio with St. Domingo, for the church of St. Thomas, 
 Seville; hoth school pictures in strict imitation of his 
 master's hard, dry style. 
 
 In 1640 Juan del Castillo went to reside in Cadiz, and 
 Murillo was left without his friend and adviser, and in 
 needy circumstances. Tor two years he had a struggle for 
 existence. There were so many artists at that time in 
 Seville that only the works of the most celebrated could 
 be sold at anything like a remunerative price. Murillo 
 was then quite imknown to fame, of a shy, retiring dis- 
 position, without any influential patron to bring him into 
 notice ; and his only resource was to paint rough, showy 
 pictures for the Feria, a weekly market, held in front of the 
 Church of All Saints, where he took his stand at stalls of 
 eatables and old clothes, among groups of gipsies and mule- 
 teers. For a painting to be called " una pintu/ra da feria " 
 was far from complimentary, for the purchasers were of the 
 lowest class, who delighted in bright colours, without a care 
 for correctness of design. This necessity to work for so 
 inferior a class of buyers was not the hard fate of 
 Murillo alone, for many of the SevUlian painters of fame 
 in the sixteenth and seventeenth centuries had begun 
 their artist life in the same lowly way. It was the custom 
 to bring brushes and 'colours into the fair, and to paint or 
 alter the subject of a picture according to order. Many of 
 these rough works were purchased for the colonies. As he 
 stood in the market-place waiting for customers, Murillo 
 had every opportunity of studying the habits and charac- 
 
THE BEGGAE-BOY. By Mlirillo. 
 
 In the Hermitage, St. Futersburg . 
 
b MURILLO. 
 
 teristics of the little beggar-boys wto swarmed in the 
 streets of Seville, and who appear so often and so true to 
 the life upon his canvas. Still he was destined for some- 
 thing better than this. 
 
 Pedro de Moya, a feUow-pupil of Murillo in Castillo's 
 school, having found the restraints of the workshop 
 too irksome, joined the Spanish Infantry then cam- 
 paigning in Flanders. His love of painting, however, was 
 revived when he saw the works of the Flemish artists ; he 
 threw aside his arms and went to London to study under 
 Yan Dyck. Early in 1642, after that master's death, 
 Moya returned to Seville vastly improved by his six 
 months with the Fleming ; he brought with him copies of 
 several paiatings by Van Dyck, and also of many works 
 which he saw in the Netherlands. These, together with 
 his accounts of aU he had seen, and his own rapid improve- 
 ment in style, so jSred the ambition of Murillo that he 
 became discontented with his circumscribed position, and 
 resolved if possible to visit Eome. In order to obtain 
 money for the accomplishment of his design he bought a 
 piece of Knen, divided it into squares of different sizes, and 
 paiated upon them attractive saints, bright landscapes, 
 groups of flowers, fruit, and other subjects which suited 
 the taste of eager purchasers. He proceeded to make 
 suitable provision for his sister by placing her imder the 
 care of some relatives, and then, without a word about his 
 intention, went away over the Sierras on foot to Madrid, a 
 long and tedious journey. Arriving there without money, 
 without friends, without anything ia fact, but a stock of 
 indomitable courage — ^he went first of aU to Velazquez, his 
 fellow-townsman, the court painter to PhUip IV., to ask 
 
IN MADRID. 7 
 
 advice and obtain letters of introduction to artists in 
 Eome. Telazquez, wh.0 was at tte height of his power, 
 received him Mndly, questioned him about Seville, his 
 master, and his intentions. He was so taken with MuriUo's 
 answers and pleased with his manners that he offered him 
 an asylum in his own house, an offer which was gratefully 
 accepted. Velazquez was a favourite with the King, and 
 in a position to he of great service to his protege. 
 
 Philip, a careless and indifferent monarch, was a man of 
 good ability, a patron of literature and art, whose chief glory 
 was to discover and reward rising talent, and he had even 
 attained considerable proficiency in paititing under the 
 instructions of Juan Bautista. The galleries of Madrid 
 were rich in valuable pictures by old and modern masters, 
 for it was Philip's greatest pleasure to acquire works of art, 
 which he added to those collected by his grandfather, 
 Philip II. ; and no money was spared to procure them, and 
 to obtain copies of those old pictures which could not be 
 purchased. His representatives and ambassadors were 
 commanded to buy up aU art treasures which came into 
 the market. Moreover, a considerable number of paint- 
 ings by Rubens and Van Dyck were bequeathed to the 
 town by the Infanta Isabella, daughter of Philip II. 
 Velazquez readily obtained for MurUlo admission to the" 
 Eseurial, Buenretiro, and aU the royal galleries, where a 
 new world of art was opened to the ambitious youth, and 
 where he was permitted to copy all that he most admired. 
 
 During the summer of 1642 Velazquez was absent with 
 the Kong in Aragon, -whither he had gone with the intention 
 of overawing the Catalonians, who had been driven to revolt 
 through the unwise and unjust government of Olivarez. 
 
8 MTJRILLO. 
 
 Upon his return he was much, pleased with some copies 
 which Murillo had made of paintings by Eihera, Van Dyck, 
 and Velazquez himseK, and advised him to restrict his 
 attention to the works of those artists whom he had selected 
 as. models. Velazquez showed these copies to the King, 
 and also introduced the young painter to the Count-Duke 
 OUvarez, the Prime Minister. 
 
 The supremacy of OUvarez in Spain lasted twenty-two 
 years ; his administration was prejudicial to the country, 
 and that, as well as his conspiracy against the life of the 
 King of Portugal, has made his memory hateful; but he 
 was silways a true friend to art and literature, partly from 
 personal predilection, and partly in order to divert the 
 mind of the King from the discontent of his people. In 
 bim Velazquez had found a powerful protector when he 
 first arrived at court, and now he wished to gain the Duke's 
 favour for Murillo. Both artists showed their gratitude 
 for past kindness by remaining faithful to the minister 
 when he was in disgrace and banishment. 
 
 In 1643 — 1644 Velazquez was again absent with the 
 King in the northern campaign, but after the successful 
 siege of Lerida the court returned to Madrid. During 
 this time MuriUo had been working with unflagging 
 ' industry, in the closest study of the masterpieces in the 
 royal galleries. Velazquez was astonished at the pro- 
 gress he had made in freedom of style and decision of 
 colouring. He now advised him to go to Rome, offer- 
 ing to give him letters of introduction to the first masters 
 in that city. But MuriUo had no longer the inclination to 
 leave his country, and he returned to SevUle early in 1645, 
 after an absence of three years. His love for his native 
 
SEVILLE. 9 
 
 town, " th.e glory of the Spanish, realms," is not to be won- 
 dered at. In Murillo's time Seville yet retained much of 
 its old grandeur, and still carried on commerce with the 
 whole world. TJntU Philip II. finally estabKshed the 
 court at Madrid, it was the capital, and many families of 
 the ancient nobility as well as wealthy merchants resided 
 there. Amongst the clergy were many renowned scholars, 
 who lived on intimate terms with the artists, and who 
 were anxious to promote their interests. In this home of 
 art MuriUo saw all that could satisfy his ambition. Poitou 
 says, "The Spaniards boast of SevUle as the pearl of their 
 cities, and the Spaniards are not wrong." Situated as 
 it is in the midst of a luxuriant country, with a climate 
 which is genial all the year round, within its walls were 
 memorials of a long historical period in Moorish and Gothic 
 buildings, a splendid cathedral stUl unrivalled, near to it 
 the Moorish belfry La Griralda with its lace-like stonework, 
 innumerable churches, the royal palace of the Alcazar with 
 its treasures of art, and the imposing Longa, or Exchange. 
 
 Murillo's residence with Velazquez in Madrid, which was 
 then the centre of refinement and splendour, afforded him 
 the advantage of frequent intercourse with the principal 
 painters in that city, and with provincial artists who came 
 to the capital. Pacheco, whose daughter Velazquez had 
 married, was a frequent visitor at the house of his son-in- 
 law. There, too, was Alonso Cano, one of the most remark- 
 able characters in Madrid, a pupU of Pacheco, and also 
 of Oastnio. He had fled thither to escape punishment for 
 having wounded a fellow-artist in a duel. 
 
 Alonso Cano was an architect, sculptor and painter — 
 the Michelangelo of Spain. Some pieces of sculpture, 
 
10 MURILLO. 
 
 oonunenced by Ms father and completed by himself, made' 
 his name famous. Palomino says, that artists had been 
 known to come all the way from Flanders to copy them. 
 During his residence in Madrid he renewed his acquaint- 
 ance with his fellow-student Velazquez, who obtained for 
 him the favour of Ohvarez, and through him he received 
 commissions to superintend public works in the royal 
 palaces, churches, and convents; he was also appointed 
 instructor to the young prince. But again he almost 
 ruined his prospects ; his crime this time was the murder 
 of his wife. He took refuge in a Franciscan convent ia 
 Valencia, and then in a retired monastery on the Sierras. 
 At length he ventured to return to Madrid, where he was 
 seized and tortured, but pleaded exemption for his right 
 hand, which request was granted by the King, the willing 
 protector of a good artist. As Cano passed through the 
 ordeal without uttering a cry he was pronounced innocent. 
 Eventually he went to live in his native city, Granada, took 
 priest's orders, and through Philip's intervention obtained 
 a minor canonry. He now employed his talents for the 
 benefit of the cathedral, which he embellished with 
 exquisite carvings and paintings. The canons, who were 
 displeased at his election, tried their utmost to depose him, 
 but the King again befriended him. Oano never forgave 
 the Chapter for this attempt, and never resumed his chisel 
 or brush for the service of the cathedral. His last days 
 were spent in great poverty, for he gave all he possessed 
 to the sick and poor. His character was full of contradic- 
 tions. As a painter he was excelled by few Andalusians, 
 and his numerous pupils formed what is called the school 
 of Granada. 
 
CHAPTEE II. 
 
 Paintings in the Franciscan Convent, Seville. — Marriage with Dona 
 Beatriz de Cahrera y Sotomayer. — Paintings for Seville Cathedral. 
 
 A.D. 1646— A.D. 1660. 
 
 SOON after Ms return to Seville MuriUo commenced a 
 series of •p ictures wit h life-size figures for the small 
 Franciscan convent near the Casa del Ayuntamiento. A 
 sum of money had been collected by a member of their 
 Mendicant Brotherhood, and the friars determined to expend 
 it upon eleven paintings for the small cloister. The amount 
 ■was so insignificant that none of the Sevillian masters had 
 considered it worth their acceptance. This was just the 
 opportunity for showing his skill for which Mimllo was 
 waiting. The Franciscans, however, hesitated to give the 
 commission to an unknown artist, but at length consented, 
 as no one of established fame offered to undertake the 
 work. For the next three years he was employed 
 upon the paintings, and when they were finished aU mis- 
 trust in the artist was changed to admiration and joy, for 
 they were a real triumph. In aU of them could be seen 
 .the influence of the three years' study of the works of 
 Eibera, Van Dyck and Yelazquez. By the assimilation of 
 
12 MtjaiLLO. 
 
 the styles of all three he gradually developed one peculiarly 
 his own, showing great power of colouring and correctness 
 of design. While his contemporaries still kept to the tame, 
 lifeless style as taught in the Seville schools, MuidUo 
 boldly struck out another path, with nature as his instructor ; 
 and his name soon eclipsed those of Pacheco, Herrera, 
 Valdes Leal and Zurharan, which until then had been 
 most honoured in Seville. 
 
 The subject of the first painting is St. Francis reclining 
 upon an iron pallet, listening with a devout expression of 
 countenance to an angel playing upon a violin. The second 
 represents St. Diego hlesnng a pot of broth before distributing 
 it to some beggars who are waiting by the convent door. 
 The figures are painted with lifelike accuracy, and form just 
 such a group as may be seen any day in the streets. The 
 names of the third and fourth are forgotten. The fifth, the 
 Death of St. Clara, is the finest of the series. She is the 
 favoured saint who received her veil from St. Francis him- 
 self, and whose hair was cut ofE by his own hands. The 
 sixth and companion picture to the last named shows a Fran- 
 ciscan who fell into a state of ecstasy whilst cooking for the 
 convent, and angels are represented doing his work ; it is 
 called The Angel Kitchen, and bears the signature of the 
 artist and the date 1646. The tenth, ^e Ecstasy of St. Giles, 
 passed from the Aguado collection into the hands of Mr. 
 Buchanan, of PaU Mall. The eleventh, formerly in the pos- 
 session of Mr. Ford, Heavitree, Devon, exhibits a Franciscan 
 Monk praying over the dead hody of a Brother Frio/r. "When 
 the French army invaded the country this was the only one 
 of the series which was not carried off by Marshal Soult — 
 and that because it was too stiff to be rolled up. 
 
RISING REPUTATION. 13 
 
 These paintings had heen the glory of the convent for a 
 hundred and seventy years, and had attracted innumerahle 
 artists and visitors. StiU, had it not been for this act of 
 spoliation Murillo's works ■would have perished, for soon 
 afterwards the convent was destroyed hy fire, and nothing 
 was left but the church and the three hundred marble 
 columns which supported the cloisters. By these paintings 
 the artist's reputation was made, and he was soon over- 
 whelmed with orders from different quarters. One of his first 
 productions following upon his sudden burst of renown was 
 the Flight into Egypt, executed for the Convent of Mercy, in 
 SeviQe, a house rich in worts of art. A considerable num- 
 ber of pictures, which no doubt belong to the next few years, 
 and may be reckoned amongst his masterpieces, were painted 
 entirely from every-day life. In later years he produced none 
 of these purely genre works, but side by side with many of 
 his large altarpieces and Conceptions stretches a long series 
 of BibHcal and legendary compositions which have a pre- 
 dominant genre character ; those, for instance, in the Prado 
 Museum, The SoVy Family with the bird, and the Adoration 
 of the Shepherds. The one shows the carpenter's workshop ; 
 Mary is spinning, while Joseph rests from his work to watch 
 Jesus, who stands between his knees holding a bird in his 
 hand, and is playing with a little dog. It is called del Pariyito, 
 from the name of the bird. The figures are characteristic 
 types of the working class ; the whole is powerfully treated, 
 and has some of the peculiarities of the school of Rembrandt. 
 The Adoration also exhibits great power in colouring, and 
 is strictly in accordance with nature, even to the travel- 
 hardened soles of the shepherds' feet. There is also another 
 of the same type in this gallery, Releeca and Elie%er at the 
 
14 MURILLO. 
 
 well, wHcli belongs to Ms earlier works, and is somewliat 
 hard lq coloTiring, but excellently drawn. 
 ^ Tlie charm of his studies from life is seen to perfection in 
 his celebrated paintings of Seville beggar-boys. What ful- 
 ness of life and what happy humour are depicted in these 
 productions of little sun-browned vagabonds, who in poverty 
 and half-nakedness crouch comfortably in street corners, 
 eating grapes and melons, perfectly indifferent to their condi- 
 tion, revelling in the warm sunshine, in the enjoyment of 
 perfect health and simple love of life ! Some of the best of 
 these characters from life are in the Pinakothek, at Munich. 
 Two Boys tossing Money, a third with a dog by them eating 
 a piece of bread. Two Boys, with melons and graces, 
 life size. An Old Woman with a Boy ; she is exterminating 
 unwelcome visitors from the boy's head, who meanwhile 
 eats a piece of bread, from time to time giving a bit to a dog. 
 A Girl counting Money ; she sits on a stone, a boy kneels by 
 her waiting to receive the coins — figures life size. The 
 Prado Museum possesses some in similar style. At the 
 Hermitage, St. Petersburg, are the Flower-girl and a Boy 
 with a Basket and Bog; the boy's face is full of life and 
 roguish fun. At the Louvre is one called JEl Tiojoso, a 
 crop-haired beggar-boy, sitting on the ground, and lean- 
 ing against the corner of a building, occupied " S, 
 detruire ce qui I'incommode ; " a strong ray of light comes 
 in through an opening in a wall, lighting up his rags, and 
 making evident his horror of the external application of 
 clean water. On the ground before him are some prawns, 
 and by his side a basket with fruit, preparations for a meal 
 "whose beginning much resembles the end;" the usual 
 water-jug is also there. In England, MuriLlo was at first 
 
THE FLOWER-GIRL. By MuTlllo. 
 
 In the HermitagCy St, Petersburg, 
 
16 MTJRILLO. 
 
 cMefly known by these paintings of low-class life, of wHcli 
 there are several in public* and private collections. 
 
 Now began a new era for our artist. He was fully occu- 
 pied in decorating the churches of difEerent religious com- 
 munities, and with work for noble patrons ; he was admitted 
 into the highest circle of society and was worshipped by 
 the people. In 1648 his circumstances had so far improved 
 as to enable him to marry a wealthy and noble wife. Dona 
 Beatriz de Cabrera y Sotomayer, who lived at Pilas, where 
 her property lay, a village about five leagues from Seville. 
 There are very few records of her life, which no doubt 
 passed quietly in the faithful discharge of her duties. There 
 is no known portrait of her, but one face appears so fre- 
 quently in MuriUo's paintings that it is not improbable his 
 wife was the model. Apparently the strict Catholic spirit 
 which is so evident in his works also ruled in his home. 
 His two sons became priests ; but very little is known of the 
 elder, Gabriel Esteban, who went to America. The second, 
 Gaspar Esteban, who for a time devoted himself to art, 
 imitating his father's style, became eventually a canon in 
 Seville Cathedral, a post obtained for him by Don Joseph 
 de Veitia Linage, who had married his aunt, and who was 
 a lover of art, a man of taste and letters, and an author. 
 Erancisca, the daughter, entered the Convent of the Mother 
 of God, at Seville, in 1676. 
 
 After his marriage MuriUo's house became the resort of 
 the most distinguished people in Seville, and in 1654, when 
 Pacheco's death occurred, he became the acknowledged 
 head of the Sevillian school. His style continually im- 
 
 * There are four pictures, three of which represent peasant children, 
 by Murillo in the Dulwioh Gallery ; and six of his school. 
 
" OUR LADY OF THE CONCEPTION." 17 
 
 proved, his figures became rounder, Ms outlines softer, 
 the backgrounds more hazy, and his individuality more 
 pronounced. He became all the fashion, and any artist 
 desirous of notice had to foUow in his footsteps. MuriUo 
 had three manners of painting, the "frio " (cold), 
 "cdUdo" (warm), and " vapor oso" (misty). In Viar dot's 
 opinion, his manners were not consecutive according to his 
 development, but were employed alternately as occasion 
 required. Thus for his figures of vulgar life he employed 
 the cold, for ecstasies of saints the warm, for the Annun- 
 ciations and Conceptions the misty. His first work in the- 
 warm manner is Ottr Zady of the Conception, with a friar 
 sitting writing at her feet, painted in 1652 for the brethren 
 of the True Cross. This colossal picture was only intended 
 to be viewed from a great distance, and consequently was 
 not painted with minute deUcaoy. When the friars saw it 
 in their haU, where it was placed preparatory to being 
 elevated to its destined position, they called it a daub and 
 refused to receive it. MurUlo begged to be allowed, before 
 it was removed, to show them the effect when raised to the 
 dome. The friars, then seeing what perfect harmony there 
 was in every part, repented of their harsh judgment, 
 but were only allowed to retain the painting upon payment 
 of double the original price. Three years after, by order 
 of Don Juan Federigui, Archdeacon of Carmona, he 
 painted two pictures for the great sacristy in Seville 
 Cathedral representing St. Isidor and St. Zeander, worthies 
 who lived in the sixth and seventh centuries, each in turn 
 filling the Archiepiscopal throne. It is said that the licen- 
 tiate, Juan Lopez de Talaban, sat for the portrait of St. 
 Isidor, and that the mild and venerable countenance of 
 
 
 
18 MURILLO. 
 
 St. Zeander is that of Alonso de Herrera, maxker of tlie choir. 
 Many artists, before and since MuriUo's time, have taken 
 their friends as models for their saints and Madonnas. A 
 paiating of the Nativity of the Virgin, which hung behind 
 the high altar in the Cathedral until carried away by Mar- 
 shal Soult, was executed the same year. It is the most 
 pleasing example of his second manner. 
 
 In 1656 the CSbapter gave him another commission for a 
 large painting ; this time the subject was to be St. Anthony 
 of PachM. It still hangs in the chapel of the Baptistery, the 
 gem of the Cathedral and one of his most important works. 
 He received 10,000 reals (equal to about £100) for it, a 
 small sum in these days, but at that time it was very con- 
 siderable. The infant Saviour appears to the saint in a 
 golden gleam from a splendid nimbus which encircles a 
 group of graceful and sprightly cherubs on soft clouds. St. 
 ^Snthony is in the act of kneeling down, and is stretching 
 out his arms to receive the OhUd of God, a most sweet figure. 
 Every stroke in this picture is full of beauty and tenderness . 
 The expression of the saint's face, seen in profile, is one of 
 intense yearning and devotion. On the table is a vase of 
 white lilies, so true to nature that birds are said to have 
 tried to perch upon and peck them. The contrast between 
 the heavenly illumination and the perfectly natural day- 
 light, which shiiles into the cell through an opening looking 
 into the convent yard, is given with the consummate art 
 peculiarly MuriUo' s own. It is in these supernatural scenes 
 that he is unique and shows himself deserving of his title, 
 " el pintor del cieh."^ In 1874 the figure of St. Anthony 
 was cut out and stolen. The thief was discovered the follow- 
 ing year in New York when attempting to dispose of his 
 
SANTA MARIA LA BLANCA. 19 
 
 prize; it -was sent back to Seville, iinfortuiiately much 
 damaged, f 
 
 Tte same year (1656) Murillo's great friend and patron, 
 the Canon Don Justine Neve y Yevenes, commissioned him 
 to paint four large semicircular pictures for the church of 
 Santa Maria la Blanca, which was being restored; two 
 were intended to illustrate the charming legend of Our Lady 
 of the Snow, which tells how a good and pious senator and 
 his wife, living atEome in the time of Pope Liberius, being 
 childless, determined to make the Virgin their heir. They 
 had colisiderable wealth, and requested her graciously to 
 intimate to them in what manner it should be invested to 
 be most pleasing to her. Mary appeared to each of them in 
 a dream, and accepted their offering on condition that they 
 erected a church to heir honour upon a certain spot on the 
 EsquUine Hill, which they would find covered with snow. ' 
 They betook themselves to the Pope, who had been pre- 
 pared to receive them by an intimation from the Virgin. 
 After obtaining his blessing, they went, attended by a great 
 train of priests and people, to the Esquiline, and upon the 
 spot indicated by the miraculous snow in summer, marked 
 out the site of a church, which they endowed with all their 
 possessions. 
 
 The first painting by Murillo shows the noble figure of 
 the senator sitting asleep in his chair leaning his head 
 upon a table ; his wife lies upon the floor, also asleep. 
 Above is seen one of the artist's most lovely representa- 
 tions of the Madonna with the Soly Child in her arms, who 
 poults with his finger to the spot, seen through the window, 
 where the church is to be erected ; a glorious light sur- 
 rounds the figures. It is called The Bream, and is the first 
 
20 • MUEILLO. 
 
 pf Murillo's paintings in -vrliicli his third or "vaporosb" 
 manner is observed. In the second picture, The Fulfilment, the 
 worthy couple are seen relating their dream to the Pope ; a 
 friar in a white rohe, who is standing by the papal chair, 
 looks inquisitively at them through his spectacles. There is 
 a vision of the procession wending its way to the hill. Viar- 
 dot calls these paintings the " miracles of MuriUo." They 
 were taken to Paris with others of his works as prizes of war, 
 but were returned to Spain when peace was concluded, and 
 now hang in the San Pernando Gallery at Madrid. The other 
 two for the church of Santa Maria la Blanca, The Immaculate 
 Conception, in which the Virgin is being adored by three 
 priests, and a figure of Faith, have not been recovered froni 
 the French, About this time Murillo finished the Mater 
 Dolorosa and Bt. John the Fvmgelist, which adorned the 
 sanctuary until the time of the French invasion. The only 
 one remaining to the church is a Last Supper, painted ia 
 the artist's early style. 
 
OHAPTEE III. 
 
 The Academy of Se-yiUe. — Paintings in the Cathedral. — Invitation to 
 Court. — All Saints Chapel. 
 
 A.D. 1660— A.D. 1671. 
 
 THE need of a public academy of painting liad teen 
 much felt by Murillo in bis early days, and be 
 determined to supply it for tbe benefit of a younger gene- 
 ration. An attempt bad been made by Velazquez to 
 estabHsb one at Madrid ; but, altbougb supported in bis 
 endeavour by tbe King, be failed. Murillo set to work un- 
 aided, witb bis babitual quiet perseverance, regardless of 
 coldness and iadifiference. By patiently enduring tbe 
 decided opposition of bis rivals, Herrera tbe younger, and 
 Valdes Leal, be at lengtb ■w'on tbem over to join in tbe 
 undertaking, and succeeded in opening tbe academy for 
 purposes of instruction at Seville on tbe 1st Jan,, 1660 
 in one of tbe apartments of tbe Excbange. On tbe lltb 
 of tbe montb tbere was a meeting of tbe members, twenty- 
 tbree in number, consisting of tbe principal artists in tbe 
 city, to draw up a constitution for tbe new society, at wbicb 
 it was agreed tbere sbould be two presidents to act on 
 alternate weeks, to superintend tbe students' work, settle 
 
22 MURILLO. 
 
 disputes, and keep order in the school ; two consuls to act 
 as substitutes or assistants to the presidents, a treasurer to 
 collect subscriptions, a secretary and a deputy. Murillo 
 and Herrera were chosen preadents, the secretary being 
 Ignacio Iri^e, the celebrated landscape painter, and his 
 deputy was Juan de Valdes Leal. The expenses were to 
 be divided amongst the members, the scholars to pay what 
 they could afford. Upon admission each pupil had to 
 make the following profession of faith : " Praised be the 
 most Holy Sacrament and the pure Conception of our 
 Lady." Fines were imposed for swearing and ill-be- 
 haviour of any kind ; no conversation unconnected with 
 the business of the school was allowed. The instruction 
 given was intended for those who had attained some 
 knowledge of the art of paiating, so no copies were pro- 
 vided, but studies were made from the living model and 
 lay-figure. Towards the end of the first year Herrera 
 deserted Seville and the academy, and went to reside in 
 Madrid; the following year MuriHo withdrew almost 
 entirely, probably tired out by the arrogance of Yaldes, 
 who was appointed president at the end of the second 
 year, and constantly strove for sole management. In 1666 
 Vald6s removed his name from the list of members, seem- 
 ingly from jealousy. He considered himself without an 
 equal in the art of drawing, and was much annoyed by 
 the reception into the academy of a foreign artist, in whom 
 he thought he discovered a rival; nor would he brook 
 any authority beside his own as president. The Seville 
 Academy cannot be said to have had any great influence 
 upon Spanish art, and never produced any first-rate 
 artist, nor did it long survive Murillo — a man who had 
 
WORKSHOP. 23 
 
 fewer followers after Ms deatli than, rivals during Ms life — 
 for in twenty years after he had gone it was closed for 
 want both of masters and students. 
 
 After retiriug from the academy, MuriUo confined his 
 instructions to those pupils who assembled in his own 
 workshop. By his gentle teaching he knew how to attach 
 them to himself, and he retained the warm friendship of 
 many even to the end of his hfe. His mulatto slave, Sebas- 
 tian Gomez, who was employed upon the menial work of the 
 studio, proved that he too had so far profited by the lessons 
 which were given to others in his presence, that he one 
 day finished a head of the Virgin which his master had 
 left on his easel. MuriUo, seeing his talent, granted him 
 his freedom and gave him better work to do. There are 
 several paintings by Gomez in Seville after his master's 
 rich style of colouring, but they are faulty in composition. 
 
 In 1668 MurUlo was employed to restore some alle- 
 gorical paintings by Cespedes in the Cathedral chapter- 
 room, and to execute a full-length Virgin of the Conception, 
 together with eight oval half-length pictures of saints; 
 these pictures are still preserved in the Cathedral. The 
 first is a magnificent dark-haired Madonna; the saints 
 are Rufina, King Ferdinand, Lecmder, ArcMishop Laureano 
 on the left or Gospel side ; SermengiU, Isidor, Archlishop 
 Piua and Justa on that of the Epistle. SS. Justa and 
 Eufina were Christians of the third century, whose zeal 
 was so great that in a religious frenzy they broke to 
 pieces a statue of Venus which was being carried through 
 the streets of Seville in solemn procession. They hold 
 high rank among the patron saints of the town ; artists 
 delight in painting them, and the citizens in doing them 
 
24 MUEILLO. 
 
 honour. They are usually represented holding in their 
 hands La Giralda, which was miraculously preserved by 
 their intervention during a storm which destroyed the 
 greater part of the town. Emblems of their trade as 
 potters are often introduced. Single figures of both 
 these saints are in the Stafford House gaEery. Some 
 paintings for the sacristy of the Antigua Ghapel date from 
 this period, ^e Infants Christ and. John, eaidiiiiieJieposeofthe 
 Virgin, but these works have disappeared. 
 
 Palomino says that in 1670, at the feast of Corpus 
 Christi ia Madrid, a painting by Murillo of the Concep- 
 tion which was exhibited attracted great notice, and that 
 Charles II. expressed a desire for the artist to enter his 
 service, and employed Murillo's friend, Don Francisco 
 Eminente, to bring it about. But all his efforts were 
 unavailing, for Murillo had seen nothing attractive in 
 Velazquez's position at court, and preferred his own inde- 
 pendent retirement in SevUle. It is said that he excused 
 himself on the plea of old age, but this could scarcely have 
 been a justifiable excuse if the invitation really was sent 
 at the date given. It is probable, for another reason, 
 that it happened a few years later ; the Eang' was then 
 only nine years of age; Eminente commissioned Murillo 
 to paint something which he could take as a present to 
 Charles ; but as more time was required for its execution 
 than could be allowed, Eminente bought one from Juan 
 del Castillo, St. John in the Desert, probably the same 
 boy Baptist that is now in the Royal Museum. 
 
 The greatest religious festival ever held in Seville took 
 place in 1671 in honour of the canonization of King 
 Ferdinand III., whose body was the most valued relic in 
 
ALL SAINTS CHAPEL. 25 
 
 the Cath.edral. The solemnities lasted several days, and 
 the task of describing them and writing poems in. praise of 
 the new saint was intrusted to a presbyter named La Torre 
 Farf an. To MuriUo was confided the decoration of the AH 
 Saints Chapel, which was so successfully carried out that 
 Farf an expressed his admiration in these words : ' ' One 
 dares scarcely trust one's eyes, and fears to find that 
 one is looking at a phantom and not a real thing. We are 
 lost in wonder at the talent of our Bartolome MuriUo, who 
 also here has created what cannot be surpassed." He 
 calls him a "better Titian," and says that ApeUes might 
 have been proud to be called a Greek MurOlo. So in his 
 lifetime Murillo had the gratification of knowing that men 
 acknowledged his beauty of conception and appreciated his 
 skOl in execution. 
 
CHAPTER IV. 
 
 Paintings for the Hospital of the Holy Charity in Seville. 
 A.D. 1671— A.D. 1674. 
 
 MUEILLO was now at tlie zenith, of Ms power. In 
 1671 lie commenced a series of paintings for the 
 old-estaWished brotherhood of the Holy Charity in Seville, 
 to which he himself had been allied as lay brother since 
 1665. To the brethren belonged the Church of St. Jorge, 
 which about the middle of the seventeenth century had 
 fallen into such utter ruin and decay that the birds had 
 used it for a roosting-place. In 1661 a member of the 
 guild, Don Miguel Maiiara Vicentelo, determined to col- 
 lect funds for the restoration of the hospital and church. 
 Manara had always led a blameless life, but one day the 
 necessity of devoting himself entirely to religion and good 
 works came upon him with especial force. His sole fleshly 
 lust was towards chocolate, and when he looked for some 
 means of self-mortification there was only his favourite drink 
 to abandon, and even that was put away. Every August he 
 used to fill his granary with two supplies of corn, one for 
 his family and the other for the poor. He was famous in 
 Seville for his gjreat benevolence, his humility, and favour 
 with the saints. By his example he induced many of the 
 
LA CARIDAD. 27 
 
 nobility to join tlie Ijrotlierliood, and to give their wealth in 
 charity, much of which passed through his hands. A certain 
 Don F. Gomez de Castro bequeathed his whole estate to him 
 for distribution amongst the poor. Before the close of his life 
 he saw the present church erected and the hospital rebuilt. 
 The first contribution he received towards the necessary 
 fund was fifty crowns, the life savings of a poor mendicant, 
 who wished to give his aU to the service of God. On 
 the faQade of the hospital is the following inscription : 
 ' ' This house wiU stand as long as God shall be feared in it 
 and Jesus Christ be served in the persons of his poor. 
 "Whoever enters here must leave at the door both avarice 
 and pride." There La Caridad stiU stands, and in it 
 the good works, begun more than two hundred years ago, 
 are carried on. 
 
 The interior of the church is one of the most beautiful 
 in Seville, and Manara provided it with plate, cande- 
 labra, and other ornaments of fitting splendour. His 
 personal friend Murillo was engaged to paint eleven 
 pictures for it, which occupied him four years, and are 
 some of his most celebrated works. Three were destiaed 
 for the side altars, where they still hang, the Annunciation, 
 the Infant Saviour, and the Infant St. John. The remaining 
 eight, five of which were carried ofl by Soult, were for 
 either side of the church; the subjects had reference to 
 the principal object of the institution. On the left side 
 was Moses strilcing the RocTc, the Prodigal's Return, Abraham 
 receiving the Three Angels, and the Charity of San Juan de Bios. 
 On the right side the Miracle of the Lomes and Fishes, Ow 
 Lord healing the Pardlytio at the Pool of Bethesda, St. Peter 
 releasedfrom Prison ly the Angel, and St. Mizabeth ofSungary 
 
28 MURILLO. 
 
 tending the Sick. The colossal pictures of Moses and tlie 
 Loaves and Fishes still hang as originally placed ; they are 
 painted with less brilliancy of colouring than was usual 
 with MurUlo, and are light and sketchy. In the first, which 
 is familiarly and appropriately called la Sed, the great 
 hrown rock forms the central object, and divides the canvas 
 into two unequal parts ; its shape is like the one in the 
 wilderness of Horeh, which is pointed out to travellers as 
 the rock of Moses. The figure of the great leader is 
 the most prominent in the picture. He stands in 'front of 
 the rock with uplifted rod, wearing upon his face a look 
 of gratitude to Jehovah, from whom the great gift has 
 come. Behind him is Aaron, looking on with astonish- 
 ment at the miracle. The water has gushed out and has 
 formed a little pool, around which the thirsty animals 
 are crowding along with the men, some of whom are 
 filling bottles, and some on their knees are taking water 
 from the hollow of the hand. Around Moses and Aaron is 
 a group of fifteen figures, one woman, " forgetful of her 
 sucking child " in the agony of thirst, is drinking with 
 averted face to avoid the little one's outstretched hand. 
 On the other side is a smaller group of nine, and a more 
 pleasing and natural representation of a mother. Dogs, 
 sheep, a camel, a white mule, laden with jars and with his 
 nose to a freshly filled iron pot, give variety to the picture. 
 Many of the figures in the foreground are simple types of 
 the lower classes in Seville, only not in ordinary costume. 
 The boy on the mule and a girl near him waiting for her 
 pitcher to be filled are said to be portraits of the artist's 
 son and daughter. This painting is the most striking of all 
 those which combine religious and genre characters. 
 
ST. ELIZABETH OF HUNGARY. By Murillo. 
 
 In the Academy of Sun Fernando, Madrid. 
 
30 MUEILLO. 
 
 The Miracle of the Loaves and Fishes is executed in tlie 
 same manner as its companion picture, but does not equal 
 it in merit. There are two distinct groups in it, each 
 perfect in itself ; our Lord and his apostles on the one side, 
 opposite to it the spectators. Between them on the distant 
 hiUs is seen the multitude, a mass of figures — surely not 
 one of the five thousand is missing. The lad with the 
 loaves and fishes is of a true SeviUian type, and the hest 
 figure in the painting. 
 
 The Cha/rity of San Juan dfi Bios also hangs in its original 
 position, and these three are all that are left to the hospital. 
 St. Juan was called "John of God," and was idolized in 
 Granada, where he went to live after a Uf e full of adventure. 
 His last years he spent in nursing the sick, feeding and 
 clothing the poor, and in other good works. In Murillo's 
 representation of him he is bearing a sick man upon his 
 shoulders, and appears to be failing under the weight of 
 his burden ; he looks gratefully towards an angel who 
 comes to relieve him. There is the light shining round 
 the seraph, while the other figures are in shade. 
 
 The St. Mizabeth of Mungary, called "el Tinoso," in the 
 Fernando Gallery, Madrid, is the only one of those belonging 
 to the series carried off by Marshal Soult that was returned 
 to Spain. Elizabeth is one of the most interesting and re- 
 nowned of the mediaeval saints. A daughter of the King of 
 Hungary, she was born early in the thirteenth century; from 
 her childhood she was remarkable for piety and benevo- 
 lence. At the early age of sixteen she was espoused to 
 Duke Lewis of Thuringia, and then commenced the 
 self-discipline which she exercised during the remainder 
 of her short life of twenty-four years. She reduced 
 
ST. ELIZABETH OF HUNGARY. 31 
 
 herself hj watcMag and fasting, often rising at mid- 
 night to pray, "her husband sometimes sleeping, some- 
 times conniving, often begging her in compassion not to 
 afflict herself indiscreetly, often supporting her with his 
 hand when she prayed" — "being taught by her to pray 
 with her." Wearing a dress of serge, she walked barefoot 
 in processions, visited the most wretched hovels of sin and 
 filth, taking food and clothes to the sick and needy ; she 
 founded many convents, schools, and hospices, where 
 numbers Jof the miserable daily found food and shelter. 
 She suffered great insult and persecution from her hus- 
 band's relatives and the courtiers, who could not understand 
 her humility. In 1225, during Lewis's absence, came a 
 terrible famine which lasted for nearly two years, bringing 
 great numbers to death with hunger. Elizabeth distri- 
 buted all the com from the granaries, built a hospital, 
 where she daily ministered to the sick, at the foot of the 
 Wartburg, on which stood the royal residence, and sold 
 all her jewels to procure food. Upon her husband's return 
 great complaints were made to him of her munificence, but 
 he only said, " Let her alone to do good and give whatever 
 she will for God's sake, only keep Wartburg and Neuen- 
 berg in my hands." When Lewis had to join the Cru- 
 saders she followed him one day, then yet another day, 
 dreading that parting which proved to be for ever in this 
 world, for he received wounds from which he never re- 
 covered. At his death, she and her children were cast out 
 of his castles and deprived of all his possessions, while not 
 one of those whom she had so lovingly tended dared to offer 
 them shelter ! The exiles took refuge in taverns or any 
 safe hiding-place untU rescued by the Abbess of Kitzingen, 
 
32 MUBILLO. 
 
 who delivered them up to the' charge of the Bishop of 
 Bamberg, Elizabeth's uncle. She entered the third order 
 of St. Francis, and when she had nothing left to give in 
 alms she took some leper into her especial care, whose 
 loathsomeness drove every one else away ; several such she 
 received in succession. Murillo's picture shows her in one 
 of the haUs of a hospital washing the head of a leprous 
 boy in a silver basin. She is attended by a duenna and 
 two ladies, who apparently are not relishing the scene or 
 their occupation, one holding a ewer, the other a tray with 
 cups and a napHn. The details of a wretched man clothed in 
 rags with his head bound up, sitting on the floor removing a 
 bandage from his sore leg, are painted with revolting minute- 
 ness. Intense misery is expressed in the attitudes and faces 
 of the crippled and diseased, who are awaiting their turn to 
 be cured or relieved by the hands of the saintly Elizabeth. 
 MurOlo excelled both in the selection and expression 
 of contrasts, and this picture of el Tinoso afforded him 
 a grand opportunity for exhibiting his power. His genius 
 and work are in perfect accord. Seville, that "open 
 air hospital," provided him. with subjects to set off the 
 beauty and refinement, the noble unselfishness and devo- 
 tion, which he wanted to exhibit in the principal figures — 
 rags as a foil for the velvet, disease for health, misery 
 for luxury. Elizabeth is royally dressed, and has a long 
 white veU surmounted by the coronet which she will not 
 wear in church 
 
 " Because, forsooth, the crucifix within 
 Is crowned with thorns." 
 
 By some this is considered one of the artist's finest works, 
 but it is difiB.cult to repress a shudder when looking at it. 
 
34 MURILLO. 
 
 "When the self-suffieient Valdes condescended to ask 
 Murillo's opinion upon one of his own paintings in which 
 was a corpse in an advanced state of decomposition, 
 Murillo remarked that one could not look at it without 
 holding one's nose. If el Tinoso had heen painted Jjefore 
 this, Yaldes might have found a ready retort. Of the four 
 which are lost to Spain, Abraham receiving the Angels and 
 the ProdigaVs JReturn belong to the Duke of Sutherland, 
 at Stafford House. The figure of Abraham in the first is 
 imposing, but those of the angels are deficient in dignity 
 and grace. 
 
 The Retwn of the Prodigal is the old story told in as 
 simple language as the original. The scene is on the 
 broad pavement, raised a step above the ground, in front 
 of a substantial and wealthy house ; one of the high pillars 
 of the porch and the courtyard gate are introduced. The 
 principal figures, the father and his penitent son, are pro- 
 minent in the centre. The half -naked form of the prodigal 
 kneels upon the step with hands clasped suppliantly, half 
 shrinking from the ready and fostering embrace of the 
 grand old father. The features of the two men are the 
 same, but the beseeching expression of the young face, 
 pinched with hunger and with eyes timidly uplifted, "I 
 have sinned," is in strong contrast with that of the old 
 man gazing down upon his longed-for boy with looks of 
 sorrow, but melting with pity. There are no traces of 
 anger, only the signs of divine compassion and sober joy. 
 A sleek little dog in the foreground is leaping up towards 
 the self-neglected wanderer. The servants on the right, 
 one bringing forth the "best robes" upon a tray and 
 another holding up the ring, have a half amused, half 
 
LA CAEIDAD. 35 
 
 supercilious expression at tlie unsuitableness of the adorn- 
 ments to that shrinking figure. On the left of the picture, 
 led in by a little boy who is dancing with delight, is the 
 fatted calf. Even this animal, destined for the axe of the 
 shambling figure by its side, gives a self-satisfied glance at 
 the poor prodigal. 
 
 Mr. Tomline, of Carlton House Terrace, London, is the 
 possessor of the Sealing of the Pwralytic, which contains 
 Murillo's most able representation of our Saviour. There 
 are five principal figures in the composition, our Lord, 
 three apostles, and the subject of the miracle. The angel 
 that " troubled the waters " is seen above, shining with the 
 great glory. In the porch is a group of sick people wait- 
 ing. The succession of arcades seen in perspective is 
 probably taken from the cloisters of the Convent of Mercy 
 in Seville, now the Museum. The colouring of this picture 
 is as powerful as that of St. Elhaheth, and the rich brown 
 of St. Peter's mantle is of the characteristic shade of the 
 Sevillian school. 
 
 The last of the series. The Release of St. Peter, is in the 
 Hermitage, St. Petersburg. The apostle, just awakened 
 from sleep, is sitting on. the floor, his countenance bright 
 with reflected light from the angel. 
 
 Where all are beautiful it is difficult to decide which 
 shall have the pahn. Cean Bermudez, who had the advan- 
 tage, which is impossible for critics in these days, of seeing 
 them all together and in the positions for which they were 
 intended, gives preference to the St. Eli%aheth and The Prodi- 
 gal's Return. By robbing the church of San Jorge (to whom 
 the church was dedicated) of its paintings, the poor were 
 deprived of the help received by contributions from the 
 
36 MUEILLO. 
 
 inmunerable visitors they attracted, and their moral efEect 
 is partially destroyed. "At Seville," says Stirling, "these 
 pictures of charity were powerful and eloquent homilies in 
 which the piety of Miguel Manara yet spake through 
 the pencil of his friend. In the unfamiliar halls of the 
 stranger they are now mere works of art, specimens of 
 Murillo, articles of costly furniture * • *" Marshal Soult 
 carried on a regular system of plunder, sending spies 
 before his army disguised as travellers and provided with 
 Bermudez's " Dictionary of Art in Spain," to mark out the 
 most valuable treasures in the churches and convents, 
 which the monks were compelled to deliver up to the 
 marauder; at the same time they were forced to sign 
 fictitious bills of sale, sometimes even under a threat of 
 instant death. It is no thanks to Soult that a single paint- 
 ing of value is left in Seville. Hundreds were found roUed 
 up at the Alcazar ready to be forwarded to Prance, but so 
 hasty a retreat did the French make from the city that 
 they left them behind. 
 
 These masterpieces of painting were finished in 1 674, as 
 is shown by a receipt (which is extant) given by Murillo for 
 the sum of 78,115 reals. He also made some designs for 
 the front of the church, of Faith, Hope, Charity, and the 
 saints lago and Jorge. These were carried out in blue 
 glaze tiles, the gay bands of which give a bright effect 
 to the buildings, a Moorish style of ornament common in 
 Seville. 
 
CHAPTEE V. 
 
 Paintings for Capuchin Chapel and for the HoBpitad de los Venerahles. 
 A.D. 1674— A.D. 1680. 
 
 SPECIAL artists were often employed by religious 
 bodies — Eoelas, for instance, by tbe Jesuits ; Oarducho 
 and Zurbaran by the Carthusians. MurUlo's great patrons 
 were the Praneiscans, who employed him in Ms first impor- 
 tant worts for their small convent in Seville. Now when 
 his reputation was assured, and probably before he had 
 finished the paintings for the Hospital of the Holy Charity, 
 he received an order from another Praneiscan convent 
 known as that of the Capuchins. It was situated just 
 outside the city walls on the spot where the Monastery of 
 St. Leander and the Church of SS. Justa and Eufina 
 formerly stood. The building was commenced in 1627, 
 but the chapel was not finished until 1670. Murillo 
 was employed upon this work from about 1674 to 1680, 
 and during three of those years he is said to have resided 
 in the convent without leaving it for a single day. The 
 brotherhood possessed a larger number of his pictures than 
 any other religious community, comprehending upwards 
 of twenty finished works, exclusive of several smaller ones 
 
38 
 
 MURILLO. 
 
 for the side altars. To save them from falling into the 
 hands of the French, the monks sent them to Gibraltar^ 
 where they remained until the conclusion of peace in 1813. 
 At the time of the dissolution of the convents seventeen of 
 them were transmitted to the Seville Museum, where they 
 now form a matchless collection of the great artist's works. 
 The Capuchin Chapel, for which they were painted, is 
 now a parish church. In Bermudez's time, most of these 
 paintings still hung in the places for which they were 
 designed. Nine of them formed the "retahlo" of the 
 hi^h altar; one of them, a Madonna and Child, is 
 popularly known as the Madonna of the IfapMn, from an 
 incident which occurred during MuriHo's sojourn in the 
 convent and was the origin of the picture. He had so 
 endeared himself to one of the lay brethren, who acted as 
 cook in the establishment, that when the time came for 
 him to leave it, the man begged for a small picture as a 
 memento of the painter's visit. MurUlo was willing to 
 accede to his request, but had no canvas. " Never mind," 
 said the cook, " take this napkin," and he offered him one 
 which happened to be lying close at hand. The artist 
 took it, and before evening produced, to his friend's delight, 
 a most beautiful representation of the Virgin with the 
 Infant, so natural and full of life that the Child seems as if 
 it woTild spring from its mother's arms. The colouring of 
 this picture, of which innumerable copies and engravings 
 have been made, was never surpassed even by Murillo 
 himself. It is now in the Seville Museum, together with 
 the following, which belonged to the "retahlo : " St. Eufina 
 and Justa, painted, as usual, with La Giralda, palm-branches 
 and pots ; St. Leander and St. Bonmentwe, ordinary -looking 
 
CAPUCHIN CHAPEL. 39 
 
 priests in wliite robes skilfully arranged, from among ■which, 
 those of the Archbishop, peeps a child with a mitre in its 
 hands ; the St. John the Baptist and the St. Joseph, noble 
 and manly figures ; the St. Anthony and St. Felix. 
 
 The large centre picture of The Virgin granting to St. 
 Francis the Jubilee of the Poreiuncula is in the National Museum 
 at Madrid. The Porciunoula was a feast in honour of the 
 Cavern of St. Francis of Assisi, in which he received the visit 
 of the Blessed Virgin and her Child. There is a chapel in. 
 every Franciscan convent appropriated to a model of this 
 cavern. In the painting, the saint is seen kneeling upon the 
 floor amidst a shower, from the hands of a lovely group of 
 cherubs, of red and white roses, blossoms from the briars 
 with which he scourged himself. The monks exchanged 
 this for several modem pictures ; it has passed through 
 several hands and suffered greatly from constant repainting. 
 
 The subjects of the great pictures (in the Seville Museum) 
 which adorned the lateral altars are the Annunciation ; 
 the Virgin with the Sead of the Saviour on her knee, wearing 
 an inexpressible sorrow upon her face as she gazes upon 
 that of her dead Son, that thrills the soul of the beholder ; 
 St. Anthony of Padua and the Infant Christ ; The Virgin of 
 the Conception ; St. Francis of Assisi embracing the Cruoifiei 
 Redeemer; the Nativity; the Vision of St. Felix and St. Thomas 
 of Villanueva. 
 
 The St. Francis is the most striking of all Murillo's 
 devotional pictures. The saint is standing with one foot 
 upon a sphere close to the cross. His left arm is round 
 the half -descending body of the Saviour, who hangs by one 
 hand ; he has removed the other to rest it upon his shoulder. 
 The reverence and commiseration in the upraised eyes of St. 
 
40 MUKILLO. 
 
 Francis, his clinging yet tenderly supporting attitude, the 
 loveliness of the figures attended only by two little angels 
 holding an open hook, the gloom of the surrounding sky 
 •which is relieved by the light round the hanging form — 
 form together an affecting picture of pain, of pity, and of 
 divine condescension. The noble fidelity to nature in the 
 figure of the Crucified, the beauty of its modelling, and the 
 tone of the colouring make this a creation of the highest 
 rank. It was doubtless m.eant to commemorate that 
 wonderful interview between the saint and his Master on 
 Mount Alvemus, in which his passionate desire towards 
 Christ was gratified by the reception of the stigmata. 
 
 In the Museum there are two paintings of St. Anthony, 
 in one of which the Holy Child is standing, and in the 
 other sitting, upon an open book, which the saint appears 
 to have been studying. In the latter there is great deli- 
 cacy of execution and treatment. The cold colouring of 
 the head of St. Anthony contrasts with the warmth with 
 which the holy visitor is painted standing out from a dark, 
 golden-tinged background. 
 
 In the Vision of St. Felix, the saint, who was an Italian 
 Capuchin of great sanctity, is represented receiving a visit 
 from the Blessed Virgin just before his death. She has 
 placed her Child in his arms, and, after returning him to his 
 mother, he is ready to " depart in peace," for his eyes 
 have seen salvation. 
 
 The Charity of St. Thomas of VUlanueva was a favourite 
 subject with MuriUo. In the Ashburton collection is a 
 painting, once at Seville, in which the boy, afterwards a 
 saint, is dividing his clothes among a group of children. 
 One of the artist's best pictures, formerly in the Louvre 
 
CAPUCHIN CHAPEL. 41 
 
 (when the property of Louis Philippe), represents 
 him giving alms at a church door to an assemblage of 
 beggars. But it was for his patrons the Capuchins that 
 he produced his finest wort in honour of their favourite 
 saint, who was celebrated alike for the charity which 
 he had practised from his cradle and for his patron- 
 age of art. In this picture St. Thomas stands at the 
 cathedral door, surrounded by a swarm of mendicants of 
 both sexes and aU ages. The most remarkable figure is 
 that of a lame beggar, half naked, kneeling to receive his 
 dole. In the foreground a boy is exhibiting his wealth 
 to his mother with great delight. The benevolent and 
 noble, but pale, face of the Archbishop bears marks of the, 
 austerities which he practises towards himself. He wears 
 a white mitre and a black robe. 
 
 MurUlo painted two Conceptions for this convent, one 
 far surpassing the other in beauty. In one the Eternal 
 Father is faintly visible amidst the clouds : beneath the 
 Madonna's feet is Satan in the form of a dragon, intro- 
 duced in accordance with the rule which Pacheco laid down, 
 though he did not insist upon it, for it was a detail 
 "which, indeed, no man ever painted with good-wiU." 
 In the other picture, which is of extraordinary merit, the 
 Virgin is depicted in the bloom of youth, with long, fair 
 hair and large blue eyes, standing on a bank of clouds, 
 supported by cherubs. The Spaniards call this Xa Perla, 
 de las Concepoiones, though it is in some respects unequal 
 to the celebrated one in the Louvre. 
 
 Besides these, he also painted a Crucifixion on a wooden 
 cross for the altar, and two pictures of the archangel St. 
 Michael and the Oua/riian Angel. The latter has hung in the 
 
42 MUBILLO. 
 
 cathedral at Seville since 1818, in the chapel -which hears 
 its name. It was presented to the Chapter in 1814 by the 
 friars. The angel form is radiant with the reflected glory 
 of the Father's face, and rejoicing in his charge of the 
 "little one." The picture is, an allegory. It is no fancy 
 of the artist that of the angel-guiding ; he believes devoutly 
 in his own angel, and is merely giving shape to the one 
 hand unseen that holds up each child of man along the 
 road of life, and to the other that points him. to the skies — 
 only bringing out of the shadows that silent guardian from 
 Heaven that attends each one on earth. "Are they not 
 aU ministering spirits sent forth to do service for the sake 
 of them that shall inherit salvation?" In his devotional 
 pictures we see how deeply the artist was imbued with the 
 Catholic spirit of his time, and he manifests those feelings 
 in a manner especially suited to the strong convictions of 
 his countrymen. 
 
 In 1678 Murillo was again employed by his friend Don 
 Justino Neve y Tevenes, this time upon some paintings for 
 the Hospital de los Venerables at Seville, an asylum for 
 aged priests. Two of the pictures were for the chapel : 
 St. Peter weeping, a picture in the style of Eibera, and the 
 Mystery of the Immaculate Conception, which Bermudez con- 
 sidered to be the best specimen in Seville of Murillo' s 
 treatment of the subject. The third hung in the Eefectory, ^ 
 and represented Hxe Virgin and Child enthroned on clouds; 
 an angel holds a basket, out of which Jesus is distributing 
 bread to three venerable priests. , In the Cadiz Museum 
 is a copy of this painting : the original was probably stolen 
 by the French ; it is now in the Buda-Pesth Gallery. 
 
 In the same Eefectory was also a Portrait of Neve, in which 
 
HOSPITAL DE LOS VENEKABLES. 43 
 
 the artist represents his friend seated on a red velvet chair, 
 and wearing a black cassock. The clear olive face is that of 
 a scholar and a gentleman, the dark eyes f uU of intelligence. 
 At his feet is a little spaniel, so true to nature that dogs 
 have come up to it snarling and barking. The likeness was 
 painted as a token of gratitude and esteem, and as a 
 reminiscence to the " Venerables " of their kind benefactor. 
 After passing through several hands, it is now the property 
 of the Marquis of Lansdowne at Bowood. 
 
 About the same time the artist was engaged upon some 
 work for the high altar of the conventual church of the 
 Augustines. The subjects of these pictures are chiefly 
 incidents in the life of the saint. Two of them are in the 
 SevUle Museum. In one the Virgin and Child appear to 
 the Bishop of Hippo ; the other represents the Bishop alone 
 writing. A third, which was in the Louvre (when the 
 property of Louis Philippe), illustrates the weU-known 
 legend of St. Augustine and the little child on the seashore, 
 who is trying to fill a hole in the sand with water, which 
 he is carrying from the ocean in a shell. 
 
 He also painted two scenes from the life of 8t. Thomas 
 of VUlanueva for these friars, one of which, in the Seville 
 Museum, has been mentioned above. 
 
CHAPTEE YI. 
 
 Dogma of the Immaculate Conception. — Paintings of the Conception 
 in the Louvre. — Madonnas. — Boys. — Christ and St. John. 
 
 WITH tlie revival of Catholicism came also iiie revival 
 of tlie desire to do conspicuous honour to the Virgin 
 Mary. In the hreasts of the Spaniards this feeling was 
 pre-eminently strong, and Philip IV. commenced his reign 
 by a special appeal to her protection, and made a solemn 
 recognition of the dogma of the Immaculate Conception. 
 This dogma, that the Blessed Virgin came into the world 
 spotless as her offspring, arose in the fifth century, hut 
 untn the beginning of the seventeenth men were allowed 
 to exercise a free judgment concerning it. In 1617, the 
 year of MurUlo's birth, however. Pope Paul V., at the 
 instigation of Spain, issued a bull which forbade the 
 preaching or teaching of anything contrary to that doctrine. 
 Upon its publication, " Seville flew into a frenzy of joy. 
 Archbishop de Castro performed a magnificent service in 
 the Cathedral, and amidst the thunder of the organs and the 
 choir, the roar of all the artillery on the walls and river, 
 and the clangour of ^11 the bells in all the churches, swore 
 
THE IMMACULATE CONCEPTION. By MuriUo. In the Louvre. 
 
46 MURILLO. 
 
 to maintain and defend the peculiar tenet of his see." In 
 1854 Pope Pius IX. took the opinion of the Church 
 General, and, in accordance with that, pronounced it to be 
 an article of the Catholic Paith. When people asked why 
 came this decree now so late in the history of the Church 
 they were told that the world was not ready for it before, 
 and that if these honours had been claimed for the Virgin 
 prematurely she would have been worshipped as a goddess. 
 The Seville painters vied with each other in representing 
 this favourite dogma. There was not a church or a con- 
 vent which did not possess at least one painting or statue 
 of the Virgin of the Immaculate Conception. But no one 
 treated it with a sentiment more noble, a skill more per- 
 fect, or colouring more gorgeous than did Murillo. He is 
 pre-eminently the "Painter of the Conception," of which 
 he executed upwards of twenty representations. They 
 belong chiefly to his vaporoso manner, the specialities of 
 which are most purely and perfectly worked out in the 
 tone of the aureole, which gradually deepens until it is lost 
 in mysterious darkness. Groups of lovely cherubs sporting 
 in the air or peeping out from behind soft clouds and 
 drapery, sometimes bearing lilies and palm-branches, give 
 life to the statuesque form of the Madonna as she floats up- 
 wards towards the opened heaven. Except in the colouring 
 of the drapery and the Virgin's attitude MurUlo did not 
 adhere closely to Paeheco's rules, and often took the liberty 
 of painting her dark instead of fair. No rules could produce 
 that spirit of purity which breathes throughout the crea- 
 tions of MuriUo, whose hand has stamped upon them, as 
 far as human hand could do, that perfect nature of the 
 Mother of God, " spotless without and innocent within." 
 
THE IMMACULATE CONCEPTION. 47 
 
 The well-known picture in the Louvre, the most cele- 
 brated of his Conceptions, is the one which was painted in 
 1678 for the Church of the Venerables in Seville. It was 
 bought by the French Government at the sale of Marshal 
 Soult's collection in 1862, for the enormous sum of £24,612. 
 The Virgin — in the flower of her age, with her hands meekly 
 folded across her breast, draped in the simple blue mantle 
 and flowing white robe which covers her feet — floats 
 upwards towards the sky, attended by beautiful cherubim 
 in every graceful position. The crescent moon under her 
 foot is a symbol of her triumph over every other being 
 who has been elevated to divine honours by man. Her 
 expression is one of girlish simplicity and devout resigna- 
 tion to her heavenly calling. 
 
 Raphael has only twice painted apparitions of the Virgin 
 and Child, the Madonna di Foligno and the Madonna di San 
 Sisto. His treatment is very difPerent from that of MuriUo. 
 The light about his figures is only intensified daylight, 
 whilst in MurUlo's pictures there is a reminiscence of that 
 weird twilight which is produced by burning iacense. In his 
 paintings of the Annunciation, and whenever he wanted to 
 depict the mysterious maternity, he exhibited the Virgia 
 surrounded by the ordinary articles of daUy use, and as 
 she may "have lived and loved in the home of the 
 carpenter and the little world of Nazareth." At such 
 times she generally appears as an Andalusian peasant 
 woman, with earnest dark eyes, sweet-looking, but not of a 
 high class of beauty. 
 
 His Infant Christ is always a charming child fuU of the 
 joy of living. Most beautiful in conception and treatment 
 is the celebrated Child with the Lamb, in the Prado Museum, 
 
48 MURILLO. 
 
 Madrid, the gem of the collection ; the face has that expres- 
 sion of peculiar earnestness which is often, so remarkahle 
 in little children. But even this is surpassed by Los Ninos 
 de la Concha, in which the little Jesus is holding a shell for 
 his companion, St. John, to drink from. Murillo painted 
 children with especial delight, and his studies from every- 
 day life are charmingly employed in his religious paintings ; 
 as, for instance, the cheruhs in the picture of St. Bernard 
 in the Queen of Spain's gallery, St. John with the Lamb, in 
 our National GaUery, and the Good Shepherd, of the col- 
 lection of the Baroness de Eothschild. The last two were 
 originally companion pictures, but were unfortunately sepa- 
 rated at the dispersion of Sir Simon Clarke's gallery, in 1840. 
 
 MuriUo generally represented the boy Christ and John 
 accompanied by a lamb, and must often have found his 
 models in the streets of Seville, where it was, and still is, 
 a custom to bring to market for the paschal feast lambs, 
 which are led about by children. 
 
 Amongst his best religious compositions must be men- 
 tioned that in the Prado Museum of St. lldefonso receiving the 
 miraculous Chasuble from the hands of our Lady. According 
 to the legend it was given as a reward to the Archbishop of 
 Toledo, for having written emphatically upon her immacu- 
 lateness. He was one day entering his cathedral in pro- 
 cession when he was astounded to see a great light about 
 the high altar, and to find his throne occupied by the 
 Blessed Virgin, who was surrounded by a heavenly choir. 
 She addressed him in these words: "Come hither, most 
 faithful servant of Grod, and receive the robe which I 
 have brought from the treasury of my Son," and then put 
 the divine g^ft upon his shoulders. 
 
i ' c L-.'' 
 
 J: 
 
 
50 
 
 MUEILLO. 
 
 In the Eoyal Gallery of Spain is the painting of the 
 Education of the Virgin, a subject unfamiliar to Spanish art. 
 Eoelas painted it for the Convent of Mercy, hut shrank 
 from robbing the form of Mary of the grand attire -which 
 had always been considered appropriate. In Murillo's 
 painting, howevei^ her only ornament is a white rose for 
 the hair. She is kneeling by the side of S. Anna, listening 
 attentively, and resting her book on her mother's knee. 
 The faces are portraits, perhaps of his wife and daughter. 
 
m 
 
 
 r ^■^^?^^< 
 
 ^^^»^ 
 
 '1^^^^ ^^^^ 
 
 I 
 
 ^fe 
 
 ^ml 
 
 ^« 
 
 ^^^^s 
 
 s 
 
 
 ^^^^^ 
 
 g^^l 
 
 ^^^^^p^« 
 
 OHAPTEE Vn. 
 L andacapes. — Portraits. — Drawings. 
 
 IT was not, however, for convents and churclies only 
 that Murillo painted. Bermudez says that there was 
 scarcely a good house in Seville that did not possess some 
 memento of his skill. He excelled as a painter of land- 
 scapes, a branch of art rarely practised in Spain. He was 
 at first mistrustful of his powers, and requested Ignacio 
 Iriarte to execute his backgrounds in a series of incidents 
 in the life of King David, which he was commissioned to 
 paint for the Marquess of Villamanrique. The two artists 
 could not agree as to whether the figures or landscape 
 should be done first, and at length Murillo determined to 
 undertake the whole. The rupture which followed is much 
 to be deplored, for they had been intimate friends and had 
 worked together for years. Within the present century 
 there existed, in the Santiago Collection, Madrid, a picture 
 in which the figures were sketched in by Murillo, while 
 Iriarte's landscape about them was finished. The painting 
 is said to owe its unfinished condition to the quarrel. Iriarte 
 was called the " Claude Lorrain of Spain," and Murillo 
 used to declare that his work was divinely inspired. 
 
52 MUEILLO. 
 
 Murillo changed the subject of the series which he had 
 undertaken to paint from the life of David to that of Jacoh, 
 and completed five large paintings, which were in Madrid 
 untU the "War of Independence. Two of them, Isaac Messing 
 Jacob and JacoVs Dream, are now in the Hermitage, 
 St. Petersburg; a third, that oi Jacoh and Lahan^s Sheep, '^ 
 formerly in Lord Northwick's collection, is a magnificent 
 production. Laban sea/rching for Ms Gods in the Tent of Rachel 
 is at Grosvenor House, in London. The figure of Eachel 
 sitting at her tent-door is the most prominent ; on the one 
 side are her father and hushand disputing hotly, on the 
 other are seen Leah, the children, and servants. 
 
 Murillo's landscapes are pale and grey in colour, lacking 
 that warm light which usually glows upon his canvas ; but 
 they are pleasingly executed, though wanting in vigour. 
 The Aguado CoUeetion, which was sold in 1843, contained 
 a greater number of them than any other. In the same 
 collection were likewise several smaller works illustrative 
 of passages in the life of Jacob. Three of these — the 
 fiream, his Servitude with Laban, and Wrestling with the 
 Angel — ^have been engraved. The Bream represents a 
 wearied traveller who has lain down to rest by the side of 
 some quiet water,' and has fallen asleep. His staff and 
 other equipment for his wanderings lie on the ground. 
 Sleep has come over him, and in his dreams he sees a 
 shining ladder, reaching from his pillow to the skies, upon 
 the steps of which are two rows of angels, the one ascending 
 to Jehovah, the other descending to whisper in the ear of 
 the weary one. Their feet scarcely seem to touch the steps 
 
 * At the sale of Lord Northwick's collection, in 1859, it was pur- 
 chased hy Mr. John Hardy for £1,480 10s. Od. 
 
POETEAITS. 53 
 
 of the ladder. So calm is the scene, so motionless the 
 foliage, so unruffled the surface of the water, that no sound 
 would seem to be audible but the rustling of the angel 
 wings. 
 
 MuriUo was no exception to the rule that aU Spanish 
 artists are good portrait painters. The few which he 
 executed are of the highest merit, and show that he had 
 profited by the time spent under the renowned Yelazquez. 
 There was formerly in the Louvre among Louis Philippe's 
 Galerie Espagnole a full-length painting of the stern In- 
 quisitor, Bon Andres de Andrade, accompanied by a mastifP, 
 as little to be admired for beauty as his master. Mr. 
 Sanderson, of Belgrave Square, has a likeness of an 
 intimate friend of Murillo, a lovely woman with auburn 
 hair. At Madrid there are two excellent representations 
 of individual life, an old woman spinning and a gipsy girl. 
 Lord Hejrtesbury has a fine painting of two women at a 
 window, portraits known at Madrid as the Galician women 
 (Las Oallegas). Mr. Munro had a repetition of the same 
 figures. 
 
 If the portraits by Velazquez and Murillo do not equal in 
 interest those by Van Dyck and Titian, it is the fault of the 
 originals. Velazquez had even less choice than Murillo, 
 for he was appointed to the service of the King, and his 
 time was employed in painting the grandees of Philip's 
 degenerating court, while MuriUo had all the world of 
 Seville to choose from. There are in the Spanish galleries 
 but few female portraits, for artists had little or no oppor- 
 tunity of portraying high-born ladies, who were guarded 
 by jealous husbands and severe duennas, and surrounded 
 by waiting- women and dwarfs. The style of dress, more- 
 
54 MUEILLO. 
 
 over, was not conducive to pictorial effect : the ladies wore 
 immense toops, long-waisted bodices, and tlieir hair was 
 frizzed out until their heads were of an abnormal size, and 
 the colour of their faces was destroyed by too free a use of 
 the rouge pot. 
 
 Drawings, too, by Spanish masters are extremely rare, 
 priacipally because they were used in the schools in the 
 absence of engravings and models for copies, and were in 
 consequence worn out. The Louvre, however, possesses 
 twenty-three by Murillo, small and neatly finished, chiefly 
 executed in pen and ink, washed over with a solution of 
 liquorice. These, with others, were originally contained 
 in a book belonging to the Count of Aquila, which was 
 sold at his death. Mr. Pord, of Heavitree, had two from 
 the same collection, one of which, a Conception, done in 
 coloured chalks, is probably the finest of the master's 
 extant drawings ; and an excellent St. John and the Lamb ; 
 he had also an impression of the only etchiag ever done 
 by Murillo, representing St. Francis at the Foot of the Cross. 
 
 It was not customary with Murillo to mark his works, 
 so that the authenticity of the monogram attributed to 
 him by some writers is doubtful. 
 
CHAPTEE VIII. 
 
 Last painting.— Accident.— "Will.— Death.— Portraits of MurUlo.- 
 Decline of Spanish art. 
 
 A.D. 1680— A.D. 1682. 
 
 SEVILLE ever remained the theatre of MuriUo's work ; 
 he only once left his dear native town after his j ourney 
 to Madrid in his young days. At the beginning of 1680 he 
 went to Cadiz to paint one large and four small pictures, 
 which he had promised, to fill up the retablo of the high 
 altar in the church of the Capuchin friars. The large one 
 represented the Marriage of St. Catherine, a large portion 
 of which, namely, the graceful centre group of the Virgin 
 and Infant Saviour and the bride, was finished when the 
 artist was compelled to relinquish his work, owing to sudden 
 illness caused by a dangerous fall from the scaifold which 
 he was mounting to enable him to reach the upper part of 
 the painting. Tradition says that this accident occurred 
 in the chapel at Cadiz, but whether there or in his own 
 studio, it is certain that the end of his life was passed in 
 Seville. When too weak any longer to be able to use his 
 brush, he would spend hours in prayer in his parish church 
 of Santa Cruz, close by which he lived. His favourite posi- 
 tion was in front of Campaiia's celebrated painting of the 
 
56 MUEILLO. 
 
 Descent from the Cross, executed a century before, and 
 which Murillo greatly admired. It -was painted in a style 
 harsh and hold, most unlike his own. Pacheco said that 
 he did not care to he left alone with it in its dimly lighted 
 chapel, hut Murillo would study it for hours. One evening, 
 when lingering longer than usual, the sacristan told him 
 that the Angelus had sounded, and asked for what he was 
 waiting? He replied, " I am waiting until those men have 
 hr ought the body of our BJ.essed Lord down the ladder," 
 — the highest praise that could be, given to a painting. 
 
 The fatal picture was afterwards finished by Meneses 
 Osorio, a pupil of Murillo, who left the principal group 
 exactly as it came from the master's hand. It stiU hangs 
 over the high altar in the Capuchin convent, now a 
 hospital, at Cadiz. 
 
 When Murillo felt that his end was approaching he sent 
 for his notary, Antonio Gruerrero, to make his will ; but 
 death came so quickly that he was unable to sign it. He 
 died April 3rd, 1 682, in the arms of his friend Neve and his 
 pupU VUlavicencio. His second son, then a boy, was the only 
 member of his family present ; his wife was already dead. 
 
 The original copy of his will is in the archives of the 
 town of SeviUe, and is a proof of the clearness of his mind 
 until his last breath ; it tells us that, although not rich, 
 he possessed several houses, besides the property he 
 acquired by marriage, a small sum of money, a number of 
 pictures, finished and unfinished, some plate and furniture. 
 The will begins with an acknowledgment of faith in the 
 Eoman Catholic Church, and after committing his soul to 
 God, he orders that his body be buried in the church of 
 Santa Cruz. He desired that foxir hundred masses be said 
 
VISION OP BT. PKAMGis. By Murillo. In the Seville Museum. 
 
58 MUBILLO. 
 
 for his soul, one hundxed in the Convent of our Lady of 
 Mercy, in Seville, and the remainder where his executors. 
 Neve and Yillavieenoio, chose. Some articles of plate 
 which he had inherited from his cousin Maria de MuriUo 
 he directed should be sold to pay for masses for her soul. 
 He left a sum of 50 reals, "to be delivered as soon as I 
 die," to his servant Anna Maria de Salcedo, who had 
 attended to the requirements of his household since his 
 wife's deaths He then mentions what is owing to himself, 
 and what he owes to others, with orders to collect and pay 
 the said debts. He states how much he had received upon 
 the Cadiz picture; and gives details about other paintings. 
 His wife's property is mentioned, and he declares that he 
 himself at the time of their marriage possessed neither 
 landed property nor riches, also that his daughter Fran- 
 cisca had received, her portion when she took the veil. He 
 appoiated his sons residuary legatees. The notary ap- 
 pended the following statement to the document: — '■ 
 "Towards 5 o'clock on the afternoon of 3rd April, 1682, 
 I was sent for to make the will of Bartolome MurUlo, 
 painter and burgher of this town of Seville, and when I 
 had written down as far as the names of his heirs, and was 
 inquiring the name of his son Don Q-aspar Estevan MurUlo, 
 and as he was in the act of saying his name and that of his 
 elder son, I observed that he was dying, and when I asked 
 him the formal question whether he had made any other 
 win he did not reply, and soon after died." His funeral 
 was celebrated with great pomp, and he was laid to rest by 
 his own desire at the foot of his favourite picture, his grave 
 being covered with a stone slab, on which were carved his 
 name, a skeleton, and the two words, "Vive moriturus." 
 
PORTRAITS OF HIMSELF. 
 
 59 
 
 Daring the French, occupation the church of Santa Cruz 
 was demolished, as was also that which covered the remains 
 of Velazquez, in Madrid. The Plaza Santa Cruz now occupies 
 the site of the church. A tablet has been inserted in an 
 adjacent wall, by the Academy of Arts, in memory of its 
 founder, and to record the fact of his burial near the spot. 
 Since then a bronze statue of Murillo has been erected by 
 the city of Seville, near the Provincial Museum, which 
 contains so many of his works. Over the iron gate leading 
 from the vestibule to the court of the house which Murillo 
 occupied during the latter part of his life, a tablet was 
 also placed by a tenant in the present century, a dean of 
 Seville; upon it are these words, "En esta casa murio, 
 B. E. Murillo." 
 
 The portrait of Murillo has been rendered tolerably 
 familiar by engravings. The most popular is that painted 
 by himself in his youth, and left by his wiU to his sons, 
 of which we give a copy as frontispiece. It was formerly 
 in the collection of Don Bernardo Iriarte at Madrid ; and 
 then, passing through the galleries of '■ Don Francisco de 
 la Barrera Enguidanos and Mr. Julian Williams, came into 
 the possession of King Louis Philippe, at whose sale in 1853 
 it was purchased by Mr. Nieuwenhuijs, who subsequently 
 sold it to the late Baron Selliere : it remains in possession 
 of his family. According to the then prevailing fashion, it 
 appears as if painted on a stone slab which rests upon 
 another; a later hand has inscribed upon the edge of the 
 latter his name, with the date of his birth and death. 
 "Vera effigies Bartholomsei Stephani a MuriUo Maximi 
 Pictoris Hispali nati anno 1618 obiit anno 1682 tertia die 
 mensis Aprijis." It has been engraved by Blanchard, by 
 
60 MURILLO. 
 
 Albueme in 1790, by Sichling, and by H. Adlard in 
 Stirling's "Annals." There is also an engraving by Alegre 
 and Carmona which resembles this portrait in features ; in 
 it the artist is represented three-quarter length, with his 
 left hand resting on a drawing and with a crayon-holder 
 in his right. 
 
 Then, of a later period there is a portrait, showing him 
 with a careworn expression and wearing a white collar 
 edged with lace, painted at the request of his children, 
 in the possession of. Earl Spencer at Althorp, inscribed — 
 "Bart™ Murillo seipsum depingens pro filiorum votis 
 acprecibus explendis." This painting was formerly in the 
 possession of Lord Ashbumham, at whose sale in 1850 it 
 was purchased by Lord Spencer for 790 guineas, and is 
 believed to be the original from which the copy by Miguel 
 de Tobar in the Madrid Gallery was taken. It is, in aU. 
 probability, the portrait which was engraved by Bichard 
 Collin, of Brussels, in 1682, the year of MuriUo's death.' 
 CoUin's print is almost identical with the Althorp picture, 
 except that the hand disappears behind the oval frame 
 instead of resting on it as in the painting, and the inscrip-- 
 tion is on a slab instead of a scroll. This painting, which 
 has recently been etched by 0. 0. Murray in the " Port- 
 folio" (1877), was exhibited at the British Institution in 
 1855, at Manchester in 1857, at Leeds in 1868, and at the 
 South Kensington Museum in 1876^ — 79, 
 
 An engraving by Calamatta of MuriUo's portrait, tat en 
 from a painting then in the Aguado Collection, which was 
 sold in 1843, exactly resembles the Althorp picture, except 
 that it is represented in a plain oval. 
 
 Two other engravings of portraits of Murillo exist : one 
 
EL piojoso. By Murillo. 
 In the Louvre. 
 
62 MUEILLO. 
 
 by Edward Scriven, in 1834, shows the artist with a palette 
 and brushes, and the other, by Benedetto Eredi, is in a 
 plain oblong ; bnt neither resembles at all closely either of 
 the above authentic portraits. 
 
 Proofs of aU the above-mentioned engravings may be 
 seen in the British Museum. 
 
 The genuineness of the so-called portrait of himself by 
 MuriUo in the Buda-Pesth Gallery, showing a much older 
 man, has been doubted ; it has been etched by P. Eajon. 
 
 Mr. William Marshall, in 1867, exhibited at Manchester 
 a so-called portrait of Murillo, which he purchased at the 
 Standish Sale in 1853. 
 
 There is no record of any stirring event to interrupt the 
 even course of a Hfe spent in the practice of his art, and it 
 seems almost a truism to say that Murillo's character must be 
 estimated by his works. It is manifest that he was a true 
 Catholic, free from all bigotry, noble-minded, religious 
 and truthful; quick at discerning the good which lies 
 somewhere concealed in the character of every man, and 
 prompt in bringing it to the surface ; happy, too, in exhibit- 
 ing the most pleasing side of human nature, however un- 
 promising it might appeaa*. His quiet influence over 
 others was peculiarly manifested on the foundation of the 
 Academy, and the^ affection of his pupils is an evidence of 
 his power of attaching others to him. His gentleness and 
 benevolence endeared him to all with whom he came in 
 contact, and his loss was keenly felt not only by his equals 
 but by the poor, who had learned to regard him as their 
 especial friend. 
 
 The absence of all signature to his paintings made the 
 
ART IN SPAIN. 
 
 63 
 
 sale of spurious copies simple and profitable ; and many 
 have been sold, especdally those which were tyjaes of lower- 
 class life, which were probably executed by his pupils. 
 
 g:j.7TI^ llf-.Lj 
 
 ■y^L^j. 
 
 ->*flT .ii^ 
 
 THE ECSTASY OF ST. mANCIS. By MlU'illo. 
 
 There is recorded a clever deception by some Flemish 
 
 friars who had a Murillo altar-piece, which they professed 
 
 to be willing to sell, and the would-be purchaser was re- 
 
64 MURILLO. 
 
 quested to attach his seal and signature to the back. But 
 behind the original was a copy framed in with it, which ia 
 due course found its way to the deceived collector bearing 
 the seal which he had put upon it. 
 
 Murillo was an artist of remarkable fertility, yet his 
 circumstances were never sufficiently prosperous to place 
 him above the necessity of accepting all commissions offered 
 to him. From one cause or another many of his produc- 
 tions are not highly finished, and are often repetitions of 
 the same subject, so that he has been called his own 
 plagiarist. 
 
 After MuriLlo, his old rival Valdes Leal was the acknow- 
 ledged art chief, a position after which he had been striving 
 for years, but at his death in 1691 there was no one to main- 
 tain the honour of the school. Duriag the twelve years' 
 war of the succession, national art was again neglected, 
 having lost its principal supporters with the extinction of the 
 House of Austria, till under the Bourbons it became again 
 little more than a feeble imitation of that which was im- 
 ported from foreign cotintries. Numbers of Murillo's paint- 
 ings were taken to France by the noblemen in the suite of 
 Philip v., and this sale of his works was carried to such 
 an excess that in 1779 Charles m. issued a decree for- 
 bidding their exportation under pain of fine and the con- 
 fiscation of the pictures, a law which was of no avail at the 
 beginning of the following century. Many are dispersed 
 among the houses of the nobility in England ; and though 
 the best of his works stiU find a home in Seville, and are 
 the glory of his native city, there is scarcely a gallery in 
 Europe which does not contain some record of his fame. 
 
THE PKINCIPAL WOEKS OF MUEILLO.* 
 
 Amsterdam. 
 
 I.— ON THE CONTINENT. 
 
 272. The Annunciation. 
 
 Berlin. Museum. 
 
 410a. Madonna and Child (rspliea of a picture in the Seville Cfallery). 
 414. St. Anthony of Padua with the Infant Christ. 
 
 Bitda-Pesth. 
 
 (Mngrmed 
 
 Etched ly 
 
 [Formerly Estherhdzy Collection.) 
 
 687. Holy Family. 
 
 688. The Virgin and Child and two Angels. 
 
 689. The Virgin and Child and three Missionaries. 
 by /. Ballin.) 
 
 692. The Flight into Egypt. 
 
 694. Portrait of MuriUo. {Boutted by some critics. 
 
 Faul Rajon.) 
 705. St. Joseph and the Infant Christ. 
 
 Cadiz. Hospital. 
 
 St. Francis of Assisi receiving the Stigmata. 
 
 St. Francis de Paula praying. 
 
 The Marriage of St. Catherine. (His last work.) 
 
 * This list has been compiled from the most recent official catalogues of the various public 
 galleries of Europe, irom Stirling's *' Annals of the Artists of Spain," Waagen's "Art 
 Treasures," and other authorities. The numbers prefixed to the titles are those given in the 
 catalogues. 
 
66 PRINCIPAL WOEKS OF MUEILLO. 
 
 Dresden. Gallery. 
 
 633. Tlie Martyrdom of St. Eodrigues. ( Formerly in t%e Collection 
 of Louis Philippe.) 
 
 634. The Virgin and Child. 
 
 FLOREifCB. Pitti Palace. 
 
 40. Virgin and Infant Christ. 
 
 66. Madonna del Bosario. [From the Collection of the Gramd Duke 
 Ferdinand III.) 
 
 Hague. Gallery. 
 
 255. The Virgin and Infant Christ. {From a monastery at Tpres. 
 Engrwoed by J. Semme, and lithographed by F. B. Waanders.) 
 
 256. Bust Portrait of a Young Man. 
 
 Madrid. Museo del Prado. 
 
 854. Holy Family del Parajito. {From the Collection of Dona 
 
 Isabel Farnesio.) 
 856. Rebecca and Eliezer. {From the Collection of Dona Isabel 
 
 Farnesio.) 
 
 856. The Annunciation. 
 
 857. The Penitent Magdalen. 
 
 858. St. Jerome. 
 
 859. The Adoration of the Shepherds. {Engraved by Hubert.) 
 
 860. The Vision of St. Augustin. {From the Collections of the 
 Marquis de Us llanos and Charles III.) 
 
 861. The Virgin and Christ appearing to St. Francis of Assisi 
 {la Porciuncula.) 
 
 862. The Virgin and Child. 
 
 863. St. James the Apostle. {Engraved by Carmona.) 
 
 864. The Infant Christ as the Good Shepherd. {Etched by 
 Waltner in the " Gazette des Beaux Arts.") 
 
 865. St. John the Baptist. 
 
 866. Christ and St. John {Xos Ninos de la Concha. From the 
 Collection of Dona Isabel Farnesio. Engraved by Carmona). 
 
 867. The Annunciation. 
 
 868. The Mystical Ascension. {Engraved by Muntaner.) 
 
 869. St. Ildefonso receiving the Chasuble from the Virgin. 
 
 {Engraved by F. Selma.) 
 
 870. The Virgin del Bosario. 
 
 871. The Conversion of St. Paul. 
 
PKINCIPAL WORKS OF MUKILLO. 67 
 
 Madrid. Museo del Frado (continued). 
 
 872. St. Anne teaoMng the Virgin to read. {Said to be portraits 
 of his wife and daughter.) 
 
 873. St. Anne teaching the Virgin to read. {Sketch for No. 872. 
 
 874. The Crucifixion. {Aranjteez Collection.) 
 
 875. The Crucifixion. {Collection of Dona Isabel Fwmesio^ 
 
 876. St. Ferdinand. 
 
 877. The Immaculate Conception. {IProm the Collection of Bona 
 Isabel Famesio.) 
 
 878. The Immaculate Conception. {From the Collection of Dona 
 Isabel Famesio.) 
 
 879. The Immaculate Conception. {From the Collection of Bona 
 Isabel Famesio.) 
 
 880. The Immaculate Conception. {From the Collection of Bona 
 Isabel Famesio.) 
 
 881. Martyrdom of St. Andrew. \ {A small replica of this is at 
 Leigh Court.) 
 
 The Prodigal Son {fow Sketches). 
 
 882. Eeceiving his patrimony. 
 
 883. Leaving home. 
 
 884. Wasting his substance with riotous living. 
 
 885. Feeding swine. 
 
 886. The Infant Christ sleeping on a cross. 
 
 887. The head of St. John the Baptist. 
 
 888. The head of St. Paul the Apostle. 
 
 889. St. Jerome reading. {From the Collection of Bona Isabel 
 Famesio.) 
 
 890. St. Francis de Paula, leaning on a stick. {From the Collection 
 of Bona Isabel Famesio.) f 
 
 891. St. Francis de Paula, kneeling. 
 
 892. Old woman spinning. {From the Collection of Bona Isabel 
 Famesio.) 
 
 893. Galician woman with money. {From the Collection of Bona 
 Isabel Famesio.) 
 
 894. St. Francis de Paula. {Bust.) 
 
 895. Eoce Homo. {From the Collection of Bona Isabel Famesio.) 
 
 896. The Virgin de los Bolores. {From the Collection of Dona 
 Isabel Famesio.) 
 
 897. Portrait of P. Cavanillas. {F¥om the Collection of Bona 
 Isabel Famesio.) 
 
Formerly in the church of 
 Santa Maria la Blamca 
 at Seville. 
 
 68 PRINCIPAL WORKS OF MTJRILLO. 
 
 Madbid. Muaeo del Frado ifontinuecl), 
 
 898. Hilly Landscape. 
 
 899. Hilly Landscape. 
 
 Academy of San Fernamdo. 
 
 Eesurrection of Christ. [Fainted for the chapel of la Espiracion, 
 
 in the Convent of Mercy (now the Musetm) at Seville.^ 
 The Dream of the Eoman Senator 
 
 and his Wife. (Engraved by D. 
 
 Martinez.) 
 The Eomam Senator and his "Wife 
 
 telling their dreams to Pope 
 
 Liberius. 
 St. Elizabeth of Hungary tending the Siok._(^; Tinoso. Formerly 
 
 in the Mospital of Charity at Seville.) 
 
 Munich. Fina&othek. 
 YI. Saal. 348. Two hoys, one eating grapes and the other melon. {A replica 
 
 is at Kingston Lacy.) 
 349. Two boys eating bread and fruit, with a dog. 
 357. Three boys, two throwing dice. 
 
 368. A girl with a basket of fruit, and boy. {Mezeotinted iy Fichler.) 
 371. St. Francis de Paula healing a Cripple at the door of a 
 
 church. {From the Sebastiani Collection. ) 
 376. An old woman with a child in her lap. (Etched by Sauber 
 
 § Weiss. Mezzotinted by Fichler.) 
 
 Pabis. Lou/ore.* 
 
 638. The Immaculate Conception. (From the Collection of Zouis 
 XVIII. Engraved in Filhol.) 
 
 539. The Immaculate Conception. (Bought in 1852, at the sale 
 of Marshal Soult's Collection, for 615,S00 francs. Engraved by 
 A. Lefevre, S. Eichens, L. Massard, %e.) 
 
 540. The Birth of the Virgin. (Formerly in the Soult Collection. 
 Engraved by Z. Massard, and by Martinet.) 
 
 641. The Virgin, with angels. 
 
 542. The Virgin «« chapelet. (Engraved by Senriquee in the 
 " Mus4e Frangais," and in Zandon.) 
 
 " The Louvre fannfirly contained thirty-eiglit other paintings ascribed to Murillo, known 
 as " ia Galeris espagnole," the private property of LouiB Philippe. They were withdrawn from 
 the Louvre in 1848, and were sold by auction, in London, in 1853 1 a list of them will be found 
 on page 85. 
 
PRINCIPAL WORKS OF MURILLO. 69 
 
 Paris. Lom>re (continued). 
 
 643. Holy Family. {Engraved in Landon. ) 
 
 644. Christ on tlie Mount of OHves. [Formerly in the Vaadreml 
 Collection. Engraved in Filhol, and in Landon.) 
 
 545. Christ at the Column. (Formerly in the Vaudreuil Collec- 
 tion. Engraved in Landon.) 
 
 646. Miracle' of San Diego (The Angel Kitchen). (From the 
 Soult Collection.) 
 
 647. The Young Beggar. (El Piojoao). (Engraved iy Boutrois , 
 in the " Musee^Franfais," and in Filhol and Landon.) 
 
 Selliere Coll. 
 
 Portrait of Himself. (Formerly in the Collection of Louis Philippe. ) 
 
 St. Peteesetteo. Sermitage. 
 
 359. Jacob's Ladder. (Formerly in the Collection of the Marqmss 
 of Santiago.) 
 
 360. laaac blessing Jacob. (Formerly in the Collection of the 
 Marquess of Santiago.) 
 
 361. The Annunciation. (Similar in composition to a picture in 
 the Madrid Gallery.) 
 
 362. The Conception. (Formerly in the Collections of Cardinal 
 di Grigorio, Pius VI., and the Du!ce Braschi.) 
 
 363. The Adoration of the Shepherds. (Mezzotinted by Green 
 in 1775.) 
 
 364. The Adoration of the Shepherds. 
 
 365. St. Joseph holding in his arms the Infant Christ. 
 
 366. St. Joseph leading the Infant Christ, with two angels. 
 
 367. Kepose in Egypt. (Engraved iy Sanders.) 
 
 368. The Flight into Egypt. (Mezzotinted by Spilsbury, in 1778.) 
 
 369. Holy Family. 
 
 370. Christ on the Cross. (Mezzotinted by Spilsbury, in 1775.) 
 
 371. The Assumption of the Virgin. (Mezzot. by Green, in 1776.) 
 
 372. St. Peter released from Prison. (Soult Collection.) 
 
 373. The Vision of St. Anthony. (Original stiidy for the altar- 
 piece in the Cathedral at Seville.) 
 
 374. The Death of Pedro Arbuez. (Formerly in the Baptistery 
 of the Cathedral at Seville.) 
 
 375. A woman and her daughter in prison. 
 
 376. A boy with a dog. (Collection of M. Paez de la Cadena.) 
 
 377. Young peasant with a basket and dog. 
 
 378. Young peasant girl with flowers. 
 
' Bmt-portraits : in the Chapter Room. 
 
 70 PRINCIPAL WORKS OF MURILLO. 
 
 Sevihe. Cathedral. 
 St. Justa. 
 St. Eufina. 
 St. Ferdinand. 
 St. Leander. 
 St. Lawrence. 
 St. Hermangild. 
 St. Isidor. 
 St. Pius. 
 
 The Immaculate Conception [in the Chapter Soom). 
 St. Leander, seated, i Full-length portraits : in the Saeristia 
 St. Isidor, seated. J Mayor. 
 
 St. Ferdinand (full-length : in the Contaduria Mayor). 
 St. Ferdinand [bust : in the Library). 
 St. Anthony of Padua visited hy the Infant Saviour. 
 The Guardian Angel leading a child. {In the Saeristia de las 
 
 Calices. Engraved iy£. C. £ell, in /Stirling's "Annals.") 
 Head of the Infant Christ. 
 The Baptism of Christ. 
 Christ after the Scourging. 
 
 Santa Maria la IBlanea. 
 The Last Supper {an early worh). 
 
 Church of the Capuchins {beyond the wall). 
 Christ on the Cross. 
 
 La Ca/ridad. 
 
 Moses striking the rock. {3ngraved by B. Usteve, and in part 
 
 by Slanehard.) 
 Tohit hurying the strangled man {a sketch on a tablet). 
 The Annunciation. 
 St. John the Baptist with a lamp. 
 The Infant Christ standing on a glohe. 
 The Miracle of the Loaves and Fishes. {Fan y Feces. Mngrmed 
 
 by Levasseur.) 
 St. John of Grod, sinking under the weight of a sick man, assisted 
 
 by an angel. 
 
 Frovincial Museum. 
 
 44. St. John the Baptist in the desert. {Formerly in the Capuchin 
 Convent.) 
 
PKINCIPAL WORKS OF MUEILLO. 
 
 71 
 
 Seville. Provincial Museum (continued'). 
 
 45. St. Josepli and the Infant Saviour. {Formerly in the Capuchin 
 Convent.) 
 
 51. St. Augustiu praying. 
 
 52. The Yirgin with the Infant Chiist {Za Virgen de la Servilleta. 
 Formerly in the Capuchin Convent. Engraved by B. Amettler. ) 
 
 53. St. Felix of Cantalisi, and the Infant Christ. (From the 
 Capuchin Convent.) 
 
 54. St. Augustin and the Holy Trinity. 
 
 55. The Immaculate Conception. 
 
 59. St. Augustin kneeling at the feet of the Virgin. 
 
 60. St. Anthony with the Infant Christ in his arms. 
 65. The Virgin with the Infant Christ in her arms. 
 
 68. The Immaculate Conception [large : formerly in the Capuchin 
 
 Convent.) 
 72. The Virgin with the Infant Christ in her arms. 
 75. APietL 
 80. St. Pedro Nolasco kneeling hefore the Virgin. 
 
 83. St. Bonaventure and St. Leander. 
 
 84. St. Thomas of VUlanueva giving alms at the door of his 
 cathedral. (From the Capuchin Convent.) 
 
 86. The Birth of Christ. 
 
 88. St. Francis of Assisi supporting the body of Christ on the 
 
 Cross. (Formerly in the Capuchin Convent. Etched by L. 
 
 Flameng in the " Gazette des Beaux Arts.") 
 90. St. Felix of Cantalisi, with the Virgin and Infant Christ 
 
 (From the Capuohin Convent.) 
 
 92. St. Anthony, with the Infant Saviour seated on an open book. 
 (From the Capuchin Convent.) 
 
 93. The Immaculate Conception, with the Almighty. (Formerly 
 in the Capuchin Convent.) 
 
 95. St. Justa and St. Bafina, with la Giralda. 
 
 96 . The Annunciation. 
 
 116. The Immaculate Conception. 
 Stockholm. Soyal Museum. 
 
 Boy with a basket. 
 Boy with a glass of wine. 
 Valladolid. Fublio Museum. 
 
 St. Joseph and the Infant Christ. 
 Vienna. Belvedere. 
 VI. Saal. 27. The young St. John the Baptist with a lamb. 
 
72 
 
 PRINCIPAL WOEKS OF MUEILLO. 
 
 II.— IN ENGLAND. 
 
 Althokp. {Harl Spencer's Collection.) 
 
 Portrait of Himself.* (Inscribed, "Bart™- Murillo seipsum 
 depingens pro filiorum Yotia acpreoitus explendis." 
 Formerly in the Collection of Lord Ashburnham. BteJieel 
 by C. 0. Murray, in the " Fortfolio," 1877.) 
 
 Belvoib. Castle. {DuTce of Rutland's Collection.) 
 
 Ths Virgia witli tlie Infant Christ on her knee, adored 
 
 by Saints. 
 The Holy Family with a Lamb. 
 Adoration of the Wise Men. 
 
 Elenheim. (Dulce of Marlborough' s Collection.) 
 Two Beggar Boys. 
 
 BcEGHliET HoTiBE. (Marquess of Exeter's Collection.) 
 
 Beggar regaling. 
 
 Diogenes throwing away his cup. 
 
 Dtjlwigh CoilEQE. Galkry.f 
 
 2i8. The Spanish Flower Girl. (Formerly in the Collec- 
 tions of Countess de Verrue, Comte de Lassay, de Lagny, 
 Calonne, Desenfans, and Bourgeois. Fngraved by 
 Robinson, B. Cockbum, ^c.) 
 
 283. Three Spanish Peasant Boys. (Mezzotinted by 
 Say.) 
 
 286. Two Spanish Peasant Boys. (Mezzotinted by Say. ) 
 
 347. The Madonna del Bosario. (Mezzotinted by Say ; 
 engranied by J. Somerville, by B. Graves, by George 
 Smith, and by Groser.) 
 
 * For an accoimt of MuxUlo's portraits of himself see page 59. 
 
 + Five other pictures in the Dijlwich Gallery, which were formerly given'to Murillo, are 
 called in Dr. Elchter's catalogue (1880) " after Muiillo " and " School of Murillo." 
 
PEINCIPAL WOKKS OF MT7EILL0. 
 
 73 
 
 Glasgow. Gallery. 
 
 Portrait of Joaua van Belle. 
 
 The Infant St. John playing mth a lamb. {En- 
 graved by Sir Robert Strange.) 
 
 Heytesburt House. (Lord Seytesbury's Collection.) 
 St. John and the Lamb. 
 
 The Galioian "Women. (Las Gallegas. From the 
 AUamira Collection.) 
 
 Kingston Lact. {Mr. Banlees's Collection.) 
 
 Angel with a Cardinal's Cap. {Frohably part of a larger 
 
 picture.) 
 St. Auguatin, seated. {From the Collection of Fhilip, 
 
 DuJce of Savoy.) 
 St. Rosa of Lima. {From the Collection of the Marchese 
 
 Diogma at Granada.) 
 
 Leigh Coukt. {Mr. Miles' s Collection.) 
 The Annunciation. 
 The Flight into Egypt. 
 The Holy Family. 
 Head of the Baptist. 
 Deposition from the Cross. 
 St. John writing the Apocalypse. 
 
 London. National Gallery. 
 
 13. The Holy Family. {Fainted at Cadiz, when the artist 
 
 was about sixty years old. Formerly in the Collection of 
 
 the Marquess del Fedroso. Engraved by A. Bridoux.) 
 74. A Spanish Peasant Boy. {Formerly in the Collection 
 
 of the Marquess of Lcmsdowne. Engraved by J. Eogers, 
 
 in Jones's " National Gallery," and by W. Stmiphrys.) 
 176. St. John and the Lamb. {Formerly in the Lassay, 
 
 Fresle, Robit, and Clarice Collections. Engraved by V. 
 
 Green, F. Bacon, §c. A replica is in the possession of 
 
 the Earl of Lovelace.) 
 Apsley Souse. {Duke of Wellington's Collection.) 
 Isaac blessing Jacob. 
 St. Francis of Assisi praying. 
 Female Saint with palm-branch. 
 
74 PRINCIPAL WORKS OF MURILLO. 
 
 London. Bath Souse. {Lord Ashburton's Collection. ) 
 
 The Immaculate Conception. (Formerly in the CoUeetiont 
 of Queen Isabella Farnese and Marshal Sebastiani.) 
 
 The Virgin with Infant Christ. 
 
 Eooe Homo. 
 
 St. Thomas of ViUaiiueva dividing his cloak among four 
 boys. [Formerly in the Godoy and Sebastiani Collec- 
 tions.) 
 
 Bridgwater Souse. (Earl of JSllesmere's Collection.) 
 Dives and Lazarus (study for a large pieture). 
 
 Dorchester Souse. (Mr. E. S. Solford's Collection.) 
 The Virgio praying. 
 The head of the Virgin. 
 Girl with a white mantilla. 
 
 Grosvenor Souse. (Duke of Westminster's Collection.)* 
 53. St. John with the lamh. (Formerly in the Collection 
 
 of Mr. Andrew Wilson.) 
 72. The Infant Christ sleeping. (From the Agar Collec- 
 tion.) 
 116. Lahau seeking his household gods in Jacob's tent. 
 (Painted for the Marquess of Villamanrique : formerly 
 in the Santiago and Cbesveldt Collections.) 
 
 Samilton Place. (Farl of NortMrooTc' a Collection.) 
 Portrait of Don Andres de Andrade. (Formerly in Louis 
 
 Philippe's Collection.) 
 A Shepherd Boy crowned with ivy, playing the flute. 
 The Immaculate Conception. 
 The Ascension. 
 The Holy Family in the Carpenter's Shop. 
 
 Sertford Souse. (Sir Sichard Wallace's Collection.)f 
 
 294. The Adoration of the Shepherds. (From the Aguado 
 Collection.) 
 
 295. The Annunciation. (From the Aguado and Stowe 
 Collections : engraved by Zefewe.) 
 
 * The numbers refer to the private catalogue. 
 ' t The numbers refer to the catalogue o£ Sir Richard Wallace's Collection when exhibited 
 at Bethnal Oreen in 1872. 
 
PRINCIPAL WORKS OF MXTRILLO. 75 
 
 London. Sertford Some (continued). 
 
 298. Joseph lowered into the well by hia brethren. 
 
 {Formerly in the Capuchin Convent at Genoa.) 
 300. Virgin and Child. 
 
 302. The Holy Family and St. John the Baptist. 
 (From the Collection of Colonel Sugh Baillie.) 
 
 303. Virgin and Child. (From the Collection, of Colonel 
 Sugh Baillie.) 
 
 305. The Charity of St. Thomas of Villanneva. 
 (Formerly in the Capuchin Convent at Genoa. From 
 the Collection of Mr. Wells, of Eedleaf.) 
 
 308. Virgin and Child. 
 
 310. The Virgin and ChUd in glory, with Saints. (From 
 the Affuado Collection.) 
 
 317. Assumption of the Virgin. 
 
 318. The Bsponsals of the Virgin Mary and St. Joseph. 
 
 Zansdowne Mouse. (Marquess of Xansdowne' s Collection.) 
 The Immaculate Conception. 
 The Virgin kneeling. 
 
 The Infant Christ with his left hand on a globe. 
 Don Justine Neve y Yevenes. (Formerly in the Sospital 
 de los Venerables, Seville.) 
 
 Stafford House. (Duke of Sutherland's Collection.)* 
 
 30. Portrait of Ambrosio Ignacio de Spinola. (From the 
 
 Collection of Baron de Faviers.) 
 63. Abraham entertaining the Angels. (From the Gallery 
 
 of Marshal Soult, who stole it from La Caridad, Seville.) 
 60. St. Anthony of Padua, with the Infant Saviour. 
 
 (From the Collection of M. Francillon.) 
 
 62. The Prodigal Son. (From the Gallery of Marshal 
 Soult, who stole it from La Caridad, Seville.) 
 
 63. Head of a child. 
 
 64. The Nativity : with St. John and the Lamb on each 
 side. (Three pictures in one frame.) 
 
 120. St. Justa I ,p^^ ^^^ Altamira Gallery.) 
 
 121. St. Eufina I ^ " ' 
 
 LoNOroRD Castle. (Farl of Radnor's Collection.) 
 
 Euth and Naomi departing from Moab. 
 
 • The numbers refer to the private catalogue. 
 
76 
 
 PEINCIPAl WOEKS OF MURILLO. 
 
 LowTHEE Castle. {lEarl of Lonsdale's Collection.') 
 Boy herding cattle. 
 
 Two boys eating fruit. {Small replica of the picture in 
 the Finakothek, Munich.) 
 
 WoEURN Abeet. (BuJce of Bedford's Collection.) 
 Cheruts scattering flowers. 
 The Virgin and Child. 
 
 in.— PAINTIKGS ATTEIBTJTED TO MUEILLO INJ PRIVATE COL- 
 LEOTIOifS IN ENGLAND, EXHIBITED AT VARIOUS TIMES.* 
 
 At the British Institution (1816 — 1853). 
 Date. Subject. Owner. 
 
 1816. The Marriage at Cana . . . . G. Hihbert, Esq. 
 
 The Flower Girl Dulwich College. 
 
 A Eeposo George Byng, Esq. 
 
 St. John with the Lamb . . . Sir Simon Clarke, Bart. 
 
 Virgin and Child, with Angels . . Dulwich College. 
 
 The Good Shepherd . . . .Sir Simon Clarke, Bart. 
 
 1818. Portrait of Fosco Neivis . . . G.W. Taylor, Esq., M.P. 
 Th« Assumption of the Virgin . . Sir T. Baring, Bart., M.P. 
 
 1819. The Infant Christ appearing to St. 
 
 Anthony "W. B. Cartwright, Esq., M.P. 
 
 St. Thomas distributing his garments 
 
 to the Poor ..... AJex. Baring, Esq., M.P. 
 
 Holy Family . . . . , Admiral Sir B. Harvey. 
 The Shepherds' Offering t . - .A. Champernowne, Esq. 
 
 The Assumption of the Virgin . . Thomas Hamlet, Esq. 
 Joseph presenting the Infant Jesus to 
 
 the Virgin Sir H. Wellesley, K.B. 
 
 St. Francis with the Infant Jesus . Hon. H. Clive, M.P. 
 
 1821. Joseph with the Infant Saviour . , Samuel Eogers, Esq. 
 
 Tobit and the Angel .... William Cartwright, Esq. 
 
 * In the lists of Murillo's works exhibited at the British Institation, Kanchester, Leeds, 
 and the *' Old Masters" at Burlington House, the official catalogues have been strictly adhered 
 to ; it must not be supposed that every picture daBsed as the work of Hurillo is recognised as 
 genuine by the critics ; for example, the Eoyal Academy merely catalogues the works " under 
 the names given to them by the contributors," and " can accept no responfiibility as to their 
 authenticity," 
 
 t This work was originEilly'in the Capuchin Convent, Seville. See Buchanan's " Memoirs," 
 vol. ii. p. 171. 
 
PRINCIPAL WORKS OF MURILLO. 
 
 77 
 
 Date, 
 1821. 
 
 1822. 
 
 1823. 
 
 1824. 
 
 1828. 
 
 1829. 
 
 1831. 
 
 1832. 
 
 Subject. 
 Abraham and Isaac .... 
 The Assumption of the Virgin 
 The Assumption of the Virgin 
 
 Dead Christ 
 
 A Beggar Boy 
 
 The Virgin and ChUd .... 
 St. Francis at Prayer .... 
 The Plight into Egypt . 
 
 The Eeposo 
 
 A Earee Showman .... 
 Monks relieving the Poor at the door of 
 a Convent ..... 
 The Virgin and Infant Saviour . 
 
 The Virgin and Child, with Joseph and 
 
 Angels. Painted on stone 
 Infant Saviour sleeping on the Cross . 
 
 The Assumption of the Virgin 
 
 Portrait of one of the Spinola Family . 
 
 St. Catherine 
 
 The Spanish Courtesan 
 
 St. Bufina .... 
 
 St. Justina .... 
 
 St. Francis with the Infant Christ 
 
 The Assumption of the Virgin 
 
 Beggar Boys 
 
 Beggar Boys 
 
 St. Francis with an Angel . 
 
 St. John, vrith Angels . 
 
 The Virgin and Child . 
 
 St. John .... 
 
 Martyrdom of a Saint . 
 
 The Marriage Feast 
 
 Design for an Altar-piece 
 
 The Immaculate Conception 
 
 Christ feeding the Multitude. A finished 
 model for a large work 
 
 Portrait of Don Diego Ortiz de Zuniga, 
 Annalist of Seville, and the Patron 
 of MuriUo 
 
 Presentation in the Temple, Portrait 
 of Murillo in the foreground 
 
 Owner. 
 William Cartwright, Esq. 
 William Cartwright, Esq. 
 Sir T. Baring, Bart., M.P. 
 N. Ogle, Esq. 
 M. M. Zaohary, Esq. 
 Duke of Bedford. 
 M. M. Zachary,,Esq. 
 Lord Eardley. 
 Ph. J. MUes, Esq., M.P. 
 T. Sloane Stanley, Esq. 
 
 Wmiam Wells, Esq. 
 Col. Hugh BaHUe. 
 
 Lionel Harvey, Esq. 
 Earl Howe. 
 Lord Eardley. 
 Sir Ahraham Hume, Bart. 
 Duke of Wellington. 
 Lord Heyteshury, G.O.B. 
 Marquess of Stafford, E.G. 
 Marquess of Stafford, E.G. 
 Earl Gower. 
 George Vivian, Esq. 
 Dulwich College. 
 Dulwioh CoUege. 
 Charles Dixon, Esq. 
 Duke of Bucdeuoh. 
 Duke of Buocleuch. 
 Earl Grosvenor, 
 (Lender tmnamed). 
 Marquess of Aylesbury. 
 Sir A. Hume, Bart. , 
 Dr. Tupper. 
 
 Hugh A. J. Munro, Esq. 
 
 Colonel Hugh BaUlie. 
 
 Sir M. W. Eidley, Bart., M.P. 
 
78 
 
 PRINCIPAL WORKS OF MURILLO. 
 
 Date, Subject. Owner. 
 
 1834. St. Jolm.'with the Lamb . . . Earl Grosvenor. 
 
 1835. Head of Christ Lionel Harvey, Esq. 
 
 The Virgin J. M. Braokenhury, Esq. 
 
 Mendicants receiving alms at a Convent WiUiam Wells, Esq. 
 
 Finding of Moses Woodhine Parish, Esq. 
 
 The Crucifixion J. M. Brackenbury, Esq. 
 
 The Virgin of the Conception . . J; M. Braokenhury, Esq. 
 
 Tohit and the Angel .... Woodbine Parish, Esq. 
 
 1836. The Assumption of the Virgin . . Lord Ashburton. 
 St. Francis with the Infant Saviour . Lord Cowley. 
 
 The Angels coming to Abraham . . Duke of Sutherland. 
 
 The Eetum of the Prodigal . . Duke of Sutherland. 
 
 St. Julian ... . . J. M. Brackenbury, Esq. 
 
 St. Joseph leading the Infant Saviour, 
 
 who carries a basket of carpenter's 
 
 tools J. M. Brackenbury, Esq. 
 
 St. Eosa espousing the Infant Saviour . J. M. Brackenbury, Esq. 
 
 Virgin of the Assumption . . . J. M. Brackenbury, Esq. 
 Portrait of Don Andres de Andrade and 
 
 his favourite Dog . . . . J. M. Brackenbury, Esq. 
 
 1837. St. Francis Frederick Perkins, Esq. 
 
 St. Anthony Frederick Perkins, Esq. 
 
 A Monk blessing a Cripple at the door 
 
 of a Convent. A model for a large 
 
 picture Sir Herbert Taylor, G.C.B. 
 
 Portrait of a Spanish Gentleman . . Mrs. Hicks. 
 
 Head of a Spanish Girl . . . Sir Thomas Baring, Bart. 
 
 The Holy Family with Angels . . Duke of Devonshire, K.G. 
 
 The Infant Moses .... Duke of Devonshire, K.G. 
 
 Belisarius .... . Duke of Devonshire, K.G. 
 
 A Boy piping Sir Thomas Baring, Bart. 
 
 The Crucifixion . . . . J. M. Brackenbury, Esq. 
 
 The Virgin of the Crescent. A model 
 
 for a large picture . . . J. M. Brackenbury, Esq. 
 
 A Bacchanalian Boy .... Miss C. Brackenbury. 
 
 1838. St. John with the Lamb . Sir Simon Clarke, Bart. 
 A Group of Peasants .... Sir Charles Coote, Bart. 
 A Man drinking .... Colonel Fitzgibbon. 
 The Death of the Virgin . . John Biddulph, Esq. 
 Head of a Boy . . . Lord Cowley. 
 
PRINCIPAL WORKS OF MURILLO. 
 
 79 
 
 Bate. Subject. 
 
 1838. Portrait of a Knight of Calatrava 
 The Virgin of the Crescent . 
 The Infant Christ Sleeping . 
 
 1839. Spanish Peasants 
 
 The "Virgin at the foot of the Cross 
 
 1840. The Holy Family with Angels . 
 
 A Reposo ...... 
 
 Holy Family. A sketch 
 
 Infant Christ and St. John. Sketch 
 
 The Assumption of the Virgin 
 
 1841. The Virgin of the Crescent 
 
 1842. The Virgin and ChUd .... 
 St. Francis with the Infant Christ 
 
 1843. Dives and Lazarus. A sketch 
 
 1844. The Virgia and Child . 
 
 St. Julian .... 
 The Virgin of the Conception 
 Spanish Girl ... 
 
 1845. The Assumption of the Virgin 
 The Flight into Egypt 
 Sleeping ChUd ... 
 A Crucifix . 
 
 1849. St. Peter ... . . 
 Cleopatra and the Asp . 
 
 1850. Moses striking the Eook 
 
 The Infant Sa-yiour .... 
 Cupid .... 
 
 1851. St. Veronica ... 
 Angels strewing Flowers 
 The Virgin and Child . 
 
 1852. St. Francis at Devotion 
 St. Francis in Ecstasy 
 
 Spanish Girl 
 
 1853. The Charity of St. Thomas de ViUanueva 
 The Assumption of the Virgin. A sketch 
 The Coronation of the Virgin. A sketch 
 Virgin and Child .... 
 Don Andres de Andrade, Leader of the 
 
 Processions of the Cathedral of 
 Toledo 
 
 1854. Virgin and Child .... 
 
 Owner. 
 Viscount Alford, M.P. 
 George Vivian, Esq. 
 E. W. Lake, Esq. 
 Lady Dover. 
 
 "W. E. Cartwright, Esq., M.P. 
 Sir Thomas Baring, Bart. 
 George Byng, Esq., M.P. 
 John Hardwick, Esq. 
 John Hardwick, Esq. 
 Sir Thomas Baring, Bart. 
 Martin Tupper, Esq. 
 Sir Watkin W. Wynn, Bart. 
 George Byng, Esq., M.P. 
 Lord Francis Egerton, M.P. 
 S. Jones Lloyd, Esq. 
 J. M. Brackenbury, Esq. 
 J. M. Brackenbury, Esq. 
 E. S. HoUord, Esq. 
 Lord Saye and Sele. 
 Lord Saye and Sele. 
 Edward Davies Davenport, Esq. 
 Sir J. M. Brackenbury. 
 Earl of Yarborough. 
 Earl of Yarborough. 
 Earl of Normanton. 
 Lord Eobert Grosvenor. 
 Lady Garvagh. 
 Lord Overstone. 
 Duke of Bedford, K.G. 
 Lord Overstone. 
 Frederick Perkins, Esq. 
 Frederick Perkins, Esq. 
 E. S. Holford, Esq. 
 T. Baring, Esq., M.P. 
 Earl of Suffolk. 
 Earl of Suffolk. 
 Eev. F. Leicester. 
 
 T. Baring, Esq., M.P. 
 Col. Hugh D. Baillie. 
 
80 
 
 PEINCIPAL WORKS OF MTTRILLO. 
 
 Date. Subject. 
 
 1856. A Legendary Subject . 
 
 Portrait of Himself 
 
 Spanish Gentleman 
 
 Spanish. Lady 
 
 HolyFamUy 
 
 Assumption of the Virgin . 
 
 Mater Dolorosa . 
 
 Portrait of a Man 
 
 Assumption of the Virgin . 
 
 Assumption of the Virgin . 
 
 II Eeposo .... 
 
 Virgin and Child 
 
 Good Shepherd . 
 
 Virgin and Child 
 
 Infant Saviour and Angela . 
 
 Santa Justa .... 
 
 Santa Bufina 
 
 Miracle of St. Francis de Paula 
 
 St. John the Baptist . 
 
 Presentation in the Temple 
 
 Portrait of a Man 
 
 The Magdalen . 
 
 Virgin and Child 
 
 Virgin and Child 
 
 Assumption of the Virgin . 
 
 St. Francis at Devotion 
 
 Flight into Egypt 
 
 St. Francis 
 
 Santa Bosa . 
 
 The Magdalen . 
 
 The Good Shepherd 
 
 Holy Family . • 
 
 1863. Glorification of the Virgin . 
 The Magdalen . 
 St. Francis and Infant Saviour 
 Immaculate Conception 
 
 1864. Spanish Girls looking from Window 
 Santa Bosa . 
 
 1865. The Holy Family with St. John . 
 Laughing Boy 
 Ecce Homo . 
 
 1856. 
 
 1857. 
 
 1858. 
 
 1860. 
 1861. 
 
 1862. 
 
 Owner. 
 Lord Elcho. 
 Earl Spencer. 
 Earl of Caledon. 
 Earl of Caledon. 
 Mrs. Myles Fomihy. 
 Earl of Caledon. 
 "William Gihbs, Esq. 
 Col. Hugh Baillie. 
 Eyre Coote, Esq. 
 Daniel Tupper, Esq. 
 Lord Enfield. 
 Benjamin Oliveira, Esq. 
 WiUiam Stuart, Esq. 
 Lord Methuen. 
 Earl Howe. 
 Duke of Sutherland. 
 Duke of Sutherland. 
 Bight Hon. W. E. Gladstone. 
 
 E. P. Nichols, Esq. 
 
 Sir M. W. Bidley, Bart. 
 
 F. Graves, Esq. 
 Thomas Kibble, Esq. 
 John AUnutt, Esq. 
 Thomas ICibble, Esq. 
 Sir CuUing Eardley. 
 George Perkins, Esq. 
 Sir CuUing Eardley. 
 George Perkins, Esq. 
 Bev. C. Brackenbury. 
 H. Waiiams, Esq. 
 Baron L. de Eothsohild. 
 H. Williams, Esq. 
 Lord Overstone. 
 Wentworth B. Beaumont, Esq. 
 Earl of Strafford. 
 
 George Perkins, Esq. 
 Lord Heytesbury. 
 H. P. J. Bankes, Esq. 
 Lord Heytesbury. 
 Earl of Warwick. 
 Earl of Zetland. 
 
PRINCIPAL WORKS OF MURILLO. 
 
 81 
 
 At the Manchester Akt Treasures Exhibition, 1857. 
 
 622. 
 623. 
 
 629. 
 
 631. 
 632. 
 
 Cat. No. Subject. 
 
 620. St. Giles standing in a transport of 
 
 religious ecstasy before Pope 
 
 Gregory IX. . ... 
 
 Fainted for the Franeiscan Convent at 
 
 Seville; taken from Spain it/ 
 
 Faivier. From the Aguado Coll. 
 
 St. Augustine and the Infant Saviour . 
 
 Head of the Saviour .... 
 
 Brought from Spain hj Mr. Ford. 
 Woman drinking 
 Study for the group in the great pic- 
 ture of " Moses striking the Sock ' ' 
 in the Hospital of Charity at Seville. 
 Abraham entertaining the Angels 
 His own Portrait .... 
 
 From the Standish Gallery. 
 
 633. Landscape . ... 
 
 634. St. Anthony on his ki»es. The Infant 
 
 Saviour, holding a globe and cross, 
 appearing to him .... 
 From the Sogers Collection. 
 St. Joseph embracing the Infant 
 
 Saviour 
 
 From the Collection of Henry Hope and 
 Samuel Sogers. 
 
 The Baptism 
 
 Purchased by Mr. N'. Wetherall from 
 
 the Nuns of St. Leamdro, Seville. 
 
 The Madonna and Saviour with St. John 
 
 Figures life size. From the Dominican 
 
 Nunnery of Madra de Dios, Seville. 
 
 Infant Christ sleeping in the arms of St. 
 
 Joseph 
 
 From the Standish Gallery. 
 
 639. Holy Family- 
 
 640. His own Portrait . 
 
 641. Madonna in Glory 
 
 63d. 
 
 636. 
 
 637. 
 
 638. 
 
 Owner. 
 
 P. Miles, Esoi. 
 
 Lord Elcho. 
 Lord Overstone. 
 
 William Stirling, Esq. 
 
 Abraham Darby, Esq. 
 William Marshall, Esq. 
 
 Francis Edwards, Esq. 
 
 Miss Burdett Coutts. 
 
 Miss Burdett Coutts. 
 
 William Burdon, Esq. 
 
 WiUiam Stirling, Esq. 
 
 G. A. Hoskins, Esq. 
 
 Rev. T. Staniforth. 
 
 Earl Spencer 
 
 Sir Culling Eardley, Bart. 
 
83 
 
 PRINCIPAL WORKS OF MURILLO. 
 
 643. 
 644. 
 
 645. 
 
 647. 
 
 Cat. Nu. Subject. 
 
 642. Virgin and Child .... 
 
 Formerly in the Chapel of Falaoe of 
 the Margmss Santiago at Madrid ; 
 brought to England hy Buchanan. 
 From the Berwick Collection. 
 The Flight into Egypt . 
 
 " Ecoe Homo " 
 
 From the Standish Gallery. 
 St. John and the Pharisees . 
 Formerly in the Nunnery of St. Zeandro, 
 Seville. Sold by Mr. Wetherall to 
 Mr. Furvis. 
 The Good Shepherd . . . . 
 This was once the companion picture to 
 the Infant St. John with the Lamb, 
 now in the Nat. Gall., when in 
 Falais du Lassay. They were 
 afterwards in the Collections of 
 Fresle and Robit, purchased in 
 1801 by Sir Simon Clarke, and 
 were separated in 1840. 
 l.t The Adoration of the Shepherds^ . 
 2.t Charity of St. Thomas de VUlanueva . 
 3.t Joseph being carried by his Brethren to 
 
 the month of the Well . 
 4.t The Annunciation .... 
 S.t A Holy FamUy 
 
 Owner. 
 Lord Overstone. 
 
 Sir Culling Eardley, Bart. 
 Thomas Birchall, Esq. 
 
 John Anderson, Esq. 
 
 Baron Lionel Bothschild. 
 
 Marquis of Hertford. 
 
 At the Leeds Abt Tbeasubes Exhibitiok, 1868. 
 
 Cat. No. Subjeet. 
 
 313. Holy Family. {Engraved by Boydell.) 
 321. Portrait of a Touth 
 329. Laughing Boy f 
 342. Portrait of Himself 
 
 Owner. 
 Eev. Thomas Stamforth. 
 J. "Whatman, Esq. 
 Earl of ■Warwick. 
 Earl Spencer. 
 
 + In Saloon H, devoted entirely to the Hertford Collection. Tliese five and six oth era 
 were exhibited by Sir Bichard Wallace at Bethnal Oreen in 1872 . 
 
PRINCIPAL WOKKS OP MUKILLO. 83 
 
 Cat. No. Subject. Owner. 
 
 344. The Holy Family Duke of Devonshire. 
 
 348. St. Francis receiving the Stigmata Sir William Fitzherhert, Bart. 
 
 352. The Immaculate Conception . . Eev. J. G. Beresford. 
 
 355. A Landscape, with St. Teresa at her 
 
 devotions Sir W. Stirling-Maxwell, Bart. 
 
 361. EcceHomo . . . ... . Earl of Zetland. 
 
 362. St. Anthony of Padua and the Infant 
 
 Saviour H. H. Gihhs, Esq. 
 
 363. Adoration of the Sh^herds . . .Dr. De Mey. 
 369. The Coronation of the Virgin . Wynn EIUs, Esq. 
 
 383. Beggar Boys Major HiU M. Leathes. 
 
 [From the GodolpMn Collection.) 
 
 At the " Exhibition of the Works op the Old Mastees." 
 
 Date. Subject. Owner. 
 
 1870. An Angel . . . . Mrs. Bankes. 
 
 Holy Family . . Sir William Miles, Bart. 
 
 Portrait of Audrade . . . Thomas Baring, Esq., M.P. 
 
 The Good Shepherd . . Baron Lionel de EothschUd. 
 
 The Assumption of the Virgin . Captain Arthur C. Tupper. 
 
 Santa Kufina . Duke of Sutherland. 
 
 Santa Justa .... Duke of Sutherland. 
 
 1871. Christ crowned with Thorns . Francis Cooke, Esq. 
 
 St. John with the Lamb . Marquess of Westminster. 
 
 A Magdalen .... . William Wells, Esq. 
 
 The Infant Christ sleeping . . Marquess of Westminster. 
 
 The Flight into Egypt .... Mrs. Culling Hanbury. 
 
 Virgin and Child ... . Lord Overstone. 
 
 La Madonna de la Faja . . . . K. W. BiUings, Esq. 
 
 The Boyhood of St. Thomas Villa- 
 
 nueva Lord Ashhurton. 
 
 The Assumption of the Virgin . . Mrs. CuUing Hanbury. 
 
 An old Gipsy Woman, Boy, and Dog . Earl Dudley. 
 
 Santa Justa Earl Dudley. 
 
 The Virgin covering the body of Santa 
 Clara with a mantle brought from 
 
 Heaven Earl Dudley. 
 
84 
 
 PKINCIPAL WOKKS OF MUKILLO. 
 
 Date. Sutjecft. 
 
 1871. The Prodigal Son receiving his Portion 
 
 „ Leaving his Father's House 
 ■„ Wasting his Inheritance in 
 
 riotons living 
 „ Turned out of doors hy his 
 
 riotous companions 
 „ Eating Husks among the Swine 
 „ Ketnrning to his Father's House 
 
 1872. Ecoe Homo ... . . 
 The Charity of St. Thomas 
 
 Moses in the Bulrushes . 
 
 1873. A Monk. {From the Sault Collection.) . 
 La Cuisine des Anges. {A sketch.) 
 Abraham entertaining the Angels 
 
 {Fainted for the Santa Coridad at 
 Seville, 1674.) 
 " The Angels came and ministered unto 
 
 Him" .... 
 The "Virgin and Child 
 Euth and Naomi 
 
 1875. A Peasant Woman in red and green 
 
 dress, with Basket of Fruit and 
 Flowers . 
 
 1876. The Crucifixion 
 
 1877. Laughing Boy 
 The Crucifixion 
 El Sueno 
 Spanish Gipsies 
 
 ■'St. John the Baptist 
 
 Landscape and Figures . 
 
 1878. St. Joseph and the Infant Jesus 
 
 1879. St. Francis of Assisi 
 The Magdalen .... 
 The Assumption . 
 
 1880. Assumption of the Virgin 
 
 1881. The Marriage Feast, and Miracle 
 
 Cana of Galilee 
 St. Joseph and the Boy Christ 
 Ecce Homo 
 
 Owner. 
 
 ) Earl Dudley. 
 
 Col.'BirohaU. 
 
 Sir Richard Wallace, Bart. 
 
 Duke of Devonshire. 
 
 Viscount Hardinge. 
 
 K. Baxter, Esq. 
 
 Col. E. Burnaby. 
 
 S. L. Finzi, Esq. 
 F. Clare Ford, Esq. 
 Earl of Radnor. 
 
 J. Landon, Esq. 
 
 Miss Lace. 
 
 A. J. Robarts, Esq. 
 
 Lord Ronald Gower. 
 
 Miss Hannah de Rothschild. 
 
 W. F. TrimneU, Esq. 
 
 Rt. Hon. G^ Cavendish Ben- 
 
 tiuck, M.P. 
 W. Graham, Esq. 
 Lady Cranstoun. 
 Sii* William FitzHerbert, Bart. 
 J. Osmaston, Esq. 
 J. Osmaston, Esq. 
 Alfred Fletcher, Esq. 
 
 Marquess of Ailesbury. 
 
 Earl of Strafi'ord. 
 
 Hon. R. Baillie Hamilton. 
 
PEINCIPAL WORKS OF MURILLO. 
 
 85 
 
 PAINTINGS BY MURILLO, THE PROPERTY OF THE LATE KING 
 LOUIS PHILIPPE, 
 Sold at Christib and Hanson's, on May 6th, 7tli, 13th, 14th, 20th, 
 and 21st, 1853.* 
 
 Cat. No. 
 
 Subject. 
 
 70. St. Joseph and Infant Jesus . 
 
 71. Reposo of the Infant Jesus . 
 
 72. Virgin and Infant Jesus. (Known in 
 
 Spain as " La Vierge a la Oeinture," and 
 was obtained from the Comte d' Aguilar.) 
 
 73. St. John the Baptist 
 
 74. Jesus and St. John on the banks of the 
 
 Jordan ...... 
 
 (Obtained from a Canon at Seville.) 
 
 75. The Prodigal Son .... 
 
 76. Christ crowned with Thorns. {With- 
 
 drawn by the Queen.) 
 IGl. Jacob placing branches in the Well 
 (Obtained from a Nunnery.) 
 
 162. The Annunciation 
 
 (From a Convent at Madrid) 
 
 163. The Conception, with Angels 
 
 (From a Convent at Cordova.) 
 
 164. The Conception ..... 
 
 (Obtained from La Comtesse de la Torre.) 
 
 165. The Nativity . ... 
 
 166. Virgin and Infant Jesus. (From the 
 
 Nunnery of Constantinople, Madrid.) 
 167., St. Joseph and Infant Jesus . 
 168. St. Joseph and Infant Jesus . 
 
 240. Ecce Homo ... 
 
 241. The Sayiour ... . . 
 
 242. Repentance of St. Peter 
 
 243. Head of St. Peter 
 
 244. The Magdalen. (Obtained from a Canon 
 
 of the Cathedral, Seville.) 
 
 245. The Queen of the Angels 
 
 Purchaser. 
 
 
 Amount 
 Paid. 
 £ s. d. 
 
 Colnaghi 
 Drax 
 
 
 150 
 31 
 
 
 
 
 
 
 
 Colnaghi. {Due 
 Montpensier) 
 
 de 
 
 1,550 
 
 
 
 
 
 Favard 
 
 (?) 
 
 Cave 
 
 Hickman 
 
 Drax 
 
 Cave 
 
 Drax 
 
 
 
 660 
 
 110 
 
 160 
 
 38 
 
 810 
 
 Beauclerk 
 
 270 
 
 
 
 
 
 Drax 
 
 21 
 
 
 
 
 
 Pearce . 
 
 180 
 
 
 
 
 
 Cave 
 
 300 
 
 
 
 
 
 Eutley . 
 
 440 
 
 
 
 
 
 Norton . 
 
 160 
 
 
 
 
 
 Duke of Cleveland . 
 
 250 
 
 
 
 
 
 Walesley 
 
 31 
 
 
 
 
 
 Lane Fox 
 
 10 
 
 
 
 
 
 WeUs 
 
 840 
 
 
 
 
 
 35 
 
 • This list is copied verbatim from Messrs. Christie and Hanson's marked catalogrue, with 
 the exception of the names given in italic, which are those of the actual purchasers. 
 
86 
 
 PEINCIPAL WORKS OF MTJRIIiLO. 
 
 Cat. No. 
 
 Subject. 
 
 Purchaeer. 
 
 246. St. Augustine at Hippona 
 
 247. St. IVancis in Prayer . 
 274. Death of St. Clare 
 
 325. Young Man playing the Harp 
 
 326. MuriUo's Servant . 
 
 327. A Landscape 
 
 328. Portrait of Don Andreas of Andrada . 
 
 [Obtained from a Oanon at Seville.) 
 
 329. Portrait of Himself, in an oval. {In- 
 
 scribed " Vera Effigies Bartholomiei Ste- 
 phania Murillo, Maximi Fictoris Sispali, 
 natianno 1618, obiitanno 1682, tertia die 
 mensis Aprijis." Bought for £1,000.) 
 
 493. St. Prancis receiving the Infant Christ 
 
 494. St. Francis carrying the Cross 
 
 495. St. Francis carrying the Cross. Half- 
 
 length. [These three pictures came from 
 a Convent at Seville.) 
 
 496. St. Anthony of Padua and Infant Jesus 
 
 497. St. Bonaventura, writing his Memoirs 
 
 after Death. 
 
 498. St. Thomas de ViUaneri (sic). '{From 
 
 a Convent of St. Thomas at Seville.) 
 
 499. St. Felix of CantaHus .... 
 
 {From a Convent at Seville.) 
 
 500. St. Eoderigo in his rohes, crowned by an 
 
 angel. {From the Convent of St. Clare 
 at Seville.) 
 601. St. Catharine. {Obtained at Madrid 
 from the Due d'Sijar.) 
 
 Amount 
 
 Faid. 
 
 £ s. d. 
 
 680 
 
 78 
 
 28 
 54 
 
 58 
 
 81 
 
 1,020 
 
 420 
 
 Cherry 
 
 Pearce 
 
 Drax 
 
 Pearce 
 
 Drax 
 
 Drax 
 
 Graves 
 
 Nieuwenhuys . 
 
 HosWns . 
 
 Drax 
 
 Haxdinge 
 
 Colnaghi 
 Durlacher 
 
 Graves. {Mr. Thomas 
 
 Faring.) . . 710 
 
 Beauclerk . 350 
 
 Graves. {The Dresden 
 
 Gallery.) . . 210 
 
 Duke of Cleveland . 300 
 
 25 
 
 
 
 
 
 27 
 
 
 
 
 
 41 
 
 
 
 
 
 85 
 
 
 
 
 
 35 
 
 
 
 
 
INDEX. 
 
 Ahraham reoeiving the Angels . 34 
 
 Adoration of t/ie Shepherds . ■ 13 
 
 Angel Kitchen, The . . . ■ 12 
 
 Annunoiation, The . ■ • ■ 27 
 
 Bautista, Juan . . . • • ' 
 
 Cano, Alonso ■ ^ 
 
 Capuchin Chapel, Seville . • 37 
 
 Castillo, Juan del . . . . • • 2 
 
 Castro, F. Glomez de. . . . 27 
 
 Charity of San Juan de Bios . 30 
 Charity of St. Thomas of Vil- 
 
 lanueva ^'^ 
 
 Child with the Lamb .... 47 
 
 Death of St. Clara .... 12 
 Drawings by MuriUo ... 54 
 Bream, The 19 
 
 Early works of MurUlo ... 4 
 
 Ecstasy of St. Giles . : . ■ 12 
 
 Education of the Virgin, The . 50 
 
 " El Fiojoso " 1* 
 
 Eminente, Francisco .... 24 
 
 Flight into Egypt 13 
 
 Elower Girl, The 14 
 
 Franciscan Convent, Seville, 
 
 Paintings in the . . . 11, 37 
 Eraneisean Monk praying over the 
 
 dead body of a Brother Friar 12 
 
 Fulfllmmt, The 20 
 
 Gomez, Sebastian . ' . . . . 23 
 Good Shepherd, The . . ■ 48 
 Guardian Angel, Tlie . ... 41 
 
 Healing of the Paralytic . . 
 Herrera, Francisco de . 
 Soly Family {del Parajito) . 
 Hospital delos Venerables . 
 
 PAGE 
 
 . 35 
 
 . 12 
 . 13 
 . 42 
 
 Immaculate Conception . 41, 42, 47 
 Infant Saviour, The .... 27 
 Infant St. John, The . . 27 
 
 Iriarte, Ignacio . . .22 
 
 Isaac blessing Jacob . . .52 
 
 Jacob and laian's Cattle . . 52 
 Jacob's Bream 52 
 
 Laban searching for his Gois . 52 
 Landscapes by MuriUo ... 31 
 
 ^' Las Gallegas" 53 
 
 Leal, Juan de Valdes . .12 
 Los Niiios de la Concha . .48 
 
 " Madonna of the Na/pTAn" The 83 
 
 Manara Vicentelo, Miguel . . 26 
 
 Marriage of St. Catherine . . ■'55 
 
 Mater Dolorosa 20 
 
 Miracle of the Loaves and Fishes 30 
 
 Moses striking the Book . . 28 
 
 Moya, Pedro de . . . . 6 
 MuriUo — 
 
 1617. Bom at Seville (Deo. 31st !) 1 
 Apprenticed to Juan del 
 CastiUo ... 2 
 
 1642. Visited Velazquez at Ma- 
 drid ... fi 
 
 1645. Beturned to Seville . . .8 
 
 1648. Married Beatriz de Soto- 
 
 mayor . . . 16 
 
 1660. Instituted the Academy of 
 
 Painting at Seville . 21 
 
 1670. Invited to Court . 24 
 
88 
 
 INDEX. 
 
 Murillo — 
 
 1671. Fainted for the Hospital of 
 
 the Holy Charity . . 26 
 l&IS, Fainted the Immacidate 
 
 Conception . . .47 
 
 1680. Accident at Cadiz . 6S 
 
 His last Ficture . . .56 
 
 1682. Death at Se-rille (April 3id] SB 
 
 Nativity of the Virgin ... 18 
 Nevey Vevenes, Justino . . 42 
 
 Olivarez, The Count-Duke . . 8 
 
 Osorio, Meneses 56 
 
 " Our Zady of the Conception " , 17 
 
 Pacheco, Francisco . 
 PhiKp IV. of Spain . 
 Porciuncula, The . . 
 Portraits ty Murillo . 
 Portraits of Murillo . 
 Prodigal's Return, The 
 
 Eehecca and Eliezer . 
 Release of St. Peter, The 
 
 St. Anthony .... 
 St. Bernard .... 
 
 St. Diego 
 
 St. Elizabeth of Hungary (el 
 
 Tinoso) .... 
 St, Francii .... 
 
 9 
 
 51 
 69 
 34 
 
 13 
 35 
 
 40 
 48 
 12 
 
 30 
 12 
 
 PAGE 
 
 St. Francis and the Crucified 
 
 Redeemer . 39 
 
 St. Francis at the Foot of the 
 
 Cross (etching) . ... 54 
 St. Ildefonso receiving the mira- 
 culous Chasuble 48 
 
 St. Isidor 17 
 
 St. John in the Desert ... 24 
 
 St, John the Evangelist ... 20 
 St. Johm. with the Lamb . . 48, 54 
 
 St. Zeander 17 
 
 St. Michael 41 
 
 St. Peter weeping 42 
 
 Saints, Pictures of the, at Seville 
 
 Cathedral 23 
 
 Saints, Pictures of the, in the 
 
 Capuchin Chapel . . 38 
 
 Seville, Academy of . . . 21 
 Sotomayor, Dona Beatriz de 
 
 Cahrera y 16 
 
 "Styles" of Murillo . . 17 
 
 Van Dyck, Influence of . . 6 
 
 Velazquez .6 
 
 Virgin of the Conception, The . 23 
 
 Vision of St. Felix ... 40 
 
 Wm, Murillo's 56 
 
 Zurharan, Francisco ... 12 
 
ILLUSTRATED BIOGRAPHIES OF THE 
 GREAT ARTISTS. 
 
 nTHE intention of the projectors of this Series has been to produce, 
 -L in an easily accessible form and at a price within reach of 
 every one, the results of the recent investigations which have been 
 made by many well-known English writers, as well as the critics of 
 Germany and the Netherlands. r 
 
 Each volume is fully illustrated; but as cheapness of price has 
 been especially aimed at, electrotypes of engavings have been sought 
 in many instances from the most important art-publications in France 
 and Germany. 
 
 Crown Zvo., bound in ornamental cloth, f rice y. dd. each. 
 
 ITALIAN PAINTERS, &'c. 
 
 1. GIOTTO. By Harry Quiltek, M.A., Trinity Coll., Cambridge. From 
 
 recent investigations at Padua, Florence, and Assisi. With many Illustra- 
 tions. 
 
 *,* An Edition de luxe, with 13 photographs from his most celebrated 
 paintings, is also published. Crown 4to., handsomely bound, price 15^. 
 
 2. FRA ANGELICO and the EARLY PAINTERS of FLO- 
 
 REN CE. By Catherine Phillimore. With 16 Illustrations. 
 
 3. FRA BARTOLOMMEO and ANDREA DEL SARTO. By 
 
 Leader Scott, Author of "A Nook in the Apennines." With 16 
 Illustrations. 
 
 4. MANTEGNA and FRAN CIA. By Julia Cartwsight. With 
 
 many Illustrations. 
 
 5. LEONARDO DA VINCI. By Dr. J. Paul Richter, Author of 
 
 " Die Mosaiken von Ravenna." With 16 Illustrations. From recent 
 researches. 
 
 6. MICHELANGELO. By Charles Cl4m;ent, Author of "Michel- 
 
 Ange, Leonard et Raphael." With many large Engravings. 
 
 7. RAPHAEL. From the text of J. D. Passavant. By N. D'Anvers, 
 
 Author of " An Elementary History of Art." With 20 Engravings. 
 
 8. TITIAN. From the most recent researches. By RICHARD Ford HsATH, 
 
 M.A., Hertford College, Oxford. With l6 Engravings. 
 
 9. TINTORETTO. From investigations at Venice. By W. RoscoE Osler, 
 
 Author of occasional Essays on Art. With many Engravings. 
 
 10. VELAZQUEZ. By Edwin Stowe, M.A., Biasenose College, Oxford. 
 
 With many Illustrations. 
 
 11. VERNET and DELAROCHE. From Charles Blanc By J. 
 
 Ruutz Rees, Author of various Essays on Art. With 16 Engravings. 
 
Ilhcstrated Biographies of the Great Artists. 
 
 TEUTONIC. 
 
 12. ALBRECHT DURER. From recent authorities. By R. F. Heath, 
 
 M.A., Hertford College, Oxford. With 20 Illustrations. 
 
 13. HOLBEIN. From the text of Dr. Woltmann. By Joseph Cundall, 
 
 Author of " Life and Genius of Rembrandt." With 20 Engravings. 
 
 14. THE LITTLE MASTERS OF GERMANY. By W. B. ScoiT, 
 
 Author of "Lectures, on Fine Arts." With 16 Engravings. 
 
 %* An Edition de luxe, with 14 extra plates from rare engravings in the 
 British Museum, and bound in Roxburgh style, price \os. dd: 
 
 15. REMBRANDT. From the text of C. Vosmaer. By J. W. Mollett, 
 
 B.A., Officier de I'lnstrnction Publique (France). With 16 Engravings. 
 
 16. RUBENS. From recent authorities. By C. W. Kett, M.A., Hertford 
 
 College, Oxford. With 16 Engravings. 
 
 17. VAN DYCK and HALS. From recent authorities. By Percy R. 
 
 Head, B.A., Lincoln College, Oxford. With 16 Engravings. 
 
 18. FIGURE PAINTERS OF HOLLAND. By Lord Ronald 
 
 GowER, Trustee of National Portrait Gallery. With 18 Engravings. 
 
 ENGLISH PAINTERS. 
 
 19. HOGARTH. . From recent researches. By AUSTIN DoBSON, Author of 
 
 " Vignettes in Rhyme." With 16 Illustrations. 
 
 20. REYNOLDS. From the most recent authorities. By F. S. Pulling, 
 
 M.A., Exeter College, Oxford. With 16 Illustrations. 
 
 21. GAINSBOROUGH and CONSTABLE. By G. Brock-Arnold, 
 
 M.A., Hertford College, Oxford. With many Illustrations. 
 
 22. TURNER. From recent investigations. By Cosmo Monkhouse, Author 
 
 of " Studies of Sir E. Landseer." With 20 Engravings. 
 
 23. "WILKIE— A Memoir, by J. W. Mollett, B.A., Officier de I'Instruction 
 
 Publique (France) . With many Illustrations. 
 
 24. LANDSEER — A Memoir, by Frederic G. Stephens, Author of 
 
 "Flemish Relics," &c. With many Illustrations. 
 *j,* Km Edition de luxe, containing 16 photographs from the best engravings, 
 after Landseer's woiks, in crown 410., handsomely bound, price 21s. 
 
 From a Review in the Spectator, July 5, 1879. 
 " It is high time that some thorough and general acquaintance with the works 
 of these mighty painters should be spread abroad, and it is also curious to think 
 how long their names have occupied sacred niches in the world's heart, without 
 the presence of much popular knowledge about the collective works of their 
 lives. ... If the present series of biographies, which seems to be most tho- 
 roughly and tastefully edited, succeeds in responding to the wants of modest, if 
 ardent, art -knowledge, its aim will be accomplished." 
 
 SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON, 
 crown buildings, i88, fleet street.