86-B19272 
 ND813.M9 M56 1900 
 Minor, Ellen E. 
 Murillo. 
 
 
THE J. PAUL GETTY MUSEUM LIBRARY 
 
MASTERS IN ART 
 
 ■;A SERIES OF .ILLUSTRATED 
 MONOGRAPHS: ISSUED MONTHLY 
 
 vt 
 
 PART 10 
 
 OCTOBER, 1900 
 
 VOLUME I 
 
 I 0 
 
 CONTENTS 
 
 Plate I. “The Holy Family” 
 
 Plate II. “Virgin and Child” [Detail] 
 
 Plate III. “The Birth of the Virgin ” 
 
 Plate IV. “The Divine Shepherd” 
 
 Plate V. “St. Anthony of Padua and the Christ-Child” 
 
 Plate VI. “St. Elizabeth of Hungary Healing the Sick” 
 
 Royal Academy of Fine Arts: Madrid 
 Plate VII. “The Melon-Eaters ” Munich Gallery 
 
 Louvre: Paris 
 P iTTi Palace: Florence 
 Louvre: Paris 
 The Prado: Madrid 
 Berlin Gallery 
 
 Plate VIII. “The Children of the Shell” 
 
 Plate IX. “ The Immaculate Conception ” 
 
 Plate X. “The Vision of St, Anthony of Padua' 
 
 The Prado: Madrid 
 Louvre: Paris 
 Seville Cathedral 
 
 Portrait of Murillo: Earl Spencer’s Collection, Althorp, England Page zo 
 
 The Life of Murillo Page 21 
 
 Ellen E. Minor 
 
 The Art of Murillo Page 24 
 
 Criticisms by Justi, Beule, Solvay, Stirling 
 
 The Works of Murillo: Descriptions of the Plates and a List of Paintings Page 30 
 
 Murillo Bibliography Page 36 
 
 Fhoto-Engravings hy Folsom (sf Sunergren : Boston. Press-work by the Everett Press: Boston. 
 
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jHurillo 
 
Digitized by the Internet Archive 
 in 2016 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/murilloOOmino 
 
MAS'l'KHS 
 
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 PHOTOORAPH 
 
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MAS'I'KKS IN’ Airr. Pr<A’I'K II. 
 
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MASTKHS I.V AKT. PLATE V. ST. ANTHONY (JF PAHUA AND THE CHKIST-CHrLD 
 
MASTKKS I.V ART. J»r.ATK VI. 
 
 PHOTOGRAPH sy BRAUN, CLEMENT A ClE. 
 
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POHTRAIT OF MURILLO OWA'ED B3T EARL SPEXCER, ALTIIORP, EXG. 
 This portrait, which shows Murillo at about the age of sixty, was painted by him at 
 the request of his children, and is inscribed, “ Bartus Murillo seipsum depingens pro 
 filiorum votis acprecibus explendis.’* It is believed to be that portrait which his con- 
 temporary Palomino speaks of as “wonderful,” and is probably the painter’s most 
 authentic likeness. 
 
MASTERS IN ART 
 
 Bartolomc ^0teian iWuriUo 
 
 BORN 1C17; DIED IC82 
 SPANISH SCHOOL 
 
 ELLEN E. MINOR “MURILLO” 
 
 B ARTOLOME ESTEBAN MURILLO [pronounced in Spanish Moo-reel'-yo, 
 and in English, Mew-ril'-o] was born in Seville, probably on the last day of De- 
 cember, 1617, and was baptized on the first day of January, 1618. Very little is 
 known of his early years. His parents died before he was eleven years old, leaving him 
 to the guardianship of a surgeon of the name of Juan Agustin Lagares, who had married 
 his aunt Dona Anna Murillo. The boy was probably soon afterwards apprenticed to 
 Juan del Castillo, his uncle; a painter of ordinary ability, under whose guidance Murillo 
 made his first steps in the career of an artist. His gentle nature and anxiety to learn 
 soon made him a favorite with his master and fellow students. Castillo took especial 
 pains with his instruction, but did not allow him to omit any of the tedious and unin- 
 teresting details of grinding colors, preparing and cleaning brushes, and other ordinary 
 work of an artist’s pupil. Murillo availed himself of all means of improvement, and 
 soon painted as well as his master. 
 
 In 1 640 Juan del Castillo went to reside in Cadiz, and Murillo was left without his 
 friend and adviser, and in needy circumstances. For 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 unknown to fame, of a shy, retiring disposition, 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 the stalls of eatables and old clothes, among groups of gypsies and mule- 
 teers. For a painting to be called “ una pintura da feria'’’ was far from complimen- 
 tary, for the purchasers were of the lowest class, who delighted in bright colors, with- 
 out 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 Sevillan 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 colors 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 characteristics of the little beggar boys who 
 swarmed in the streets of Seville, and who appear so often and so true to life upon his 
 canvas. Still he was destined for better things than this. 
 
 Pedro de Moya, a fellow pupil of Murillo’s in Castillo’s school, having found the 
 restraints of the workshop too irksome, joined the Spanish infantry, then camping in 
 Flanders. His love of painting, however, was revived when he saw the works of the Flem- 
 ish artists; he threw aside his arms and went to London to study under Van Dyck. Early in 
 
22 
 
 in 3lrt 
 
 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 paintings by Van 
 Dyck, and also of many works which he saw in the Netherlands. These, together 
 with the accounts of all he had seen and his own rapid improvement in style, so fired 
 the ambition of Murillo that he became discontented with his circumscribed position, 
 and resolved if possible to visit Rome. In order to obtain money for the accomplish- 
 ment of his design he bought a piece of linen, divided it into squares of different sizes, 
 and painted upon them attractive saints, bright landscapes, groups of flowers, fruit, and 
 other subjects w'hich suited the taste of eager purchasers. Then, without a word about 
 his intention, he went away over the Sierras on foot to Madrid, a long and tedious 
 journey. Arriving there without money, without friends, without anything, in fact, 
 but a stock of indomitable courage, he went first of all to Velasquez, his fellow towns- 
 man, then court painter to Philip IV., to ask advice and obtain letters of introduction to 
 artists in Rome. Velasquez, who was at the height of his power, received him kindly, 
 questioned him about Seville, his master, and his intentions. He was so taken with 
 Murillo’s answers and pleased with his manners, that he offered him an asylum in his 
 own house, an offer which was gratefully accepted. . . . 
 
 During the summer of 1642 Velasquez was absent with the king in Aragon, and 
 upon his return was much pleased with some copies which Murillo had made of 
 paintings by Ribera, Van Dyck, and Velasquez himself. In 1643-44 Velasquez was 
 again absent with the king, in the northern campaign, and during this time Murillo 
 had been working with unflagging industry, in the closest study of the masterpieces 
 in the royal galleries. Velasquez was astonished at the progress he had made in freedom 
 of style and decision of coloring. He now advised him to go to Rome, offering to 
 give him letters of introduction to the first masters in that city. But Murillo had no 
 longer the inclination to leave his country, and he returned to Seville early in 1645, 
 after an absence of three years. 
 
 Soon after his return he commenced a series of pictures with 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 insignifi- 
 cant that none of the Sevillan masters had considered it worth their acceptance. This 
 was just the opportunity for showing his skill for which Murillo 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 paindngs, and when they were finished all mis- 
 trust in the artist was changed to admiration and joy, for they were real triumphs. In 
 all of them could be seen the influence of the three years’ study of the works of Ribera, 
 Van Dyck, and \’elasquez. By the assimilation of the styles of all three he had grad- 
 ually developed one peculiarly his own. While his contemporaries still kept to the tame, 
 lifeless style as taught in the Seville schools, Murillo boldly struck out another path, with 
 nature as his instructor; and his name soon eclipsed those of Pacheco, Herrera, Valdes- 
 Leal, and Zurbaran, which unul then had been the most honored in Seville. By these 
 paintings the artist’s reputation was made, and he was soon overwhelmed wdth orders 
 from different quarters. 
 
 Now began a new era in his life. He was fully occupied in decorating the churches 
 of different religious communities, and with work for noble patrons; he was admitted into 
 the highest circle of society, and was worshipped by the people. In 1648 his circum- 
 stances had so far improved as to enable him to marry a wealthy and noble wife. 
 Dona Beatriz de Cabrera y Sotomayer. Apparently the strict Catholic spirit which is 
 
23 
 
 u r i 11 0 
 
 so evident in his works also ruled in his home. His two sons became priests. The 
 elder, Gabriel Esteban, went to America. The second, Caspar Esteban, who for a 
 time devoted himself to art, imitating his father’s style, became eventually a canon in 
 Seville Cathedral. 
 
 After his marriage, Murillo’s house became the resort of the most distinguished peo- 
 ple in Seville; and in 1654, when Pacheco’s death occurred, he became the acknowl- 
 edged head of the Sevillan school. His style continually improved, his figures became 
 rounder, his outlines softer, the backgrounds more hazy, and his individuality more 
 pronounced. 
 
 The need of a public academy for painting had been much felt by Murillo in his 
 early days, and he determined to supply it for the benefit of a younger generation. By 
 patiently enduring the decided opposition of his rivals, Herrera the younger and Valdes- 
 Leal, he at length won them over to join in the undertaking, and succeeded in opening 
 an Academy, of which he and Herrera were chosen the first presidents, on the first of 
 January, 1660. The expenses were to be divided among the members, the scholars to 
 pay what they could afford. The Seville Academy cannot be said to have had any great 
 influence on Spanish art, and never produced any first-rate artists, nor did it long sur- 
 vive Murillo, — a man w'ho had fewer followers after his death than rivals during his 
 life, — and twenty years after his death it was closed for want both of masters and students. 
 After retiring from the Academy, Murillo confined his instructions to those pupils who 
 assembled in his own workshop. By gentle teaching he knew how to attach them to 
 himself, and retained the warm friendship of many even to the end of his life. 
 
 Palomino says that in 1670 a painting of the Conception by Murillo, which was 
 exhibited at the feast of Corpus Christi in Madrid, attracted great notice, and that 
 Charles II. expressed a desire that the artist should 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 Velasquez’s position at court, and 
 preferred his own independent retirement in Seville. He was now at the zenith of his 
 power. In 1671 he commenced a series of paintings for the hospital of the old estab- 
 lished brotherhood of the Holy Charity in Seville, to which he had himself been allied 
 as a lay brother since 1665. He was engaged to paint eleven pictures for it, which 
 occupied him for about four years, and are some of his most celebrated w'orks. From 
 this time on he was constantly occupied in painting innumerable religious pictures 
 for convents, monasteries, and churches. But it was not for convents and churches 
 only that Murillo painted. Bermudez says that there was scarcely a good house in 
 Seville that did not possess some memento of his skill. 
 
 Seville ever remained the theatre of Murillo’s work; after his journey to Madrid 
 in his younger days he only once left his native town. At the beginning of 1680 he 
 went to Cadiz to paint one large and four small pictures, with which he had promised 
 to fill 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 had a dangerous fall from the scaffold 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. Too weak any longer to be able to use his brush, he 
 would spend hours in prayer in the parish church of Santa Cruz, close by which he 
 lived. His favorite position was in front of Campana’s celebrated painting of the 
 “Descent from the Cross,” executed a century before, and which Murillo greatly 
 admired. 
 
24 
 
 in ^rt 
 
 When Murillo felt that his end was approaching, he sent for a notary to make his 
 will; but death came so quickly that he was unable to sign it. The notary appended 
 the following statement to the document: “Towards five o’clock on the afternoon of 
 the third of April, 1682, I was sent for to make the will of Bartolome Murillo, 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 Gaspar Esteban Murillo, 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 
 will, he did not reply, and soon after died.” 
 
 His funeral was celebrated with great pomp, and he was laid to rest by his own de- 
 sire in the church of Santa Cruz at the foot of his favorite picture. 
 
 M. F. SWEETSER “MURILLO” 
 
 T he free march of French armies throughout the Spanish peninsula in the days of 
 the first Napoleon brought about an extension of the fame of Spanish art; for 
 their retreating baggage-trains carried into Northern Europe hundreds of priceless paint- 
 ings. Marshal Soult was especially energetic in plundering Southern Spain of its best 
 pictures, from whose sale he derived great sums in after-years. 
 
 Soult’ s robberies were skilfully planned and premeditated; and the cities in advance 
 of his army were explored by spies, in the disguise of tourists, who were provided with 
 Bermudez’s “ Dictionary of Art in Spain,” and marked out the richest treasures. The 
 Marshal seized the objects of his covetousness, and carefully guarded the legality of their 
 titles by forcing their owners to sign fictitious bills of sale. The trophies were trans- 
 ferred to his house in Paris; and for many years afterwards the thrifty veteran derived 
 a large income from selling them, one by one, to wealthy English nobles. Hundreds 
 of other pictures were huddled into the Alcazar of Seville, awaiting transportation to 
 France; hut the sudden retreat of the French army compelled their abandonment. In 
 1852 what remained of Marshal Souk’s collection was sold, and the fifteen Murillos 
 which it contained brought ^232,649. 
 
 'Cljr 9irt of jHurillo 
 
 CARL JUST! INTRODUCTION TO BAEDEKEr’s “SPAIN AND PORTUGAL” 
 
 I T has lately become fashionable to depreciate Murillo in contrast with Velasquez, 
 partly in reaction against his popularity with the layman, and partly on technical 
 and artistic grounds. It appears to us that neither reason is justified. The two masters 
 should not be compared, — the one holds the mirror to nature and his period, the other 
 shows us what lies behind the brow. Murillo, who lived in a fanatically Roman Cath- 
 olic provincial town, and painted for conventual churches, hospitals, and sacristies, 
 had to represent, like the contemporary Italians, the subjects that pleased the devout of 
 his day, such as the Immaculate Conception, the visions of the monk’s cell, the mys- 
 teries and ecstasies of asceticism. He could not devote his entire energy to the repro- 
 duction of the mere visual phenomenon. He had to depict what he had never seen; he 
 had to wrestle for years with such a problem as how to paint successfully a human face 
 set against a background of glowing light. But his critics shut their eyes to his marvel- 
 lous mastery of the illustrative apparatus, in which he vies with the Italians of the aca- 
 demic school. They assert that his effects are purely materialistic, though hundreds of 
 
25 
 
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 artists, already forgotten or quickly passing into oblivion, have produced precisely sim- 
 ilar effects so far as the material outside is concerned. The fact that we speak of 
 Murillo’s “St. Anthony” and his “Immaculate Conception” as if he had created 
 them is itself a proof that he does not owe everything to his material. It is more prob- 
 able that the depreciation of Murillo has its real ground in the modern materialist’s dis- 
 like of the mystical subjects of the painter. He has represented things which the power 
 of Velasquez refused to grapple with; but to give reality to the never-seen is also legit- 
 imate art. He depicts the miraculous in so naive and intimate a way that it loses its 
 unnatural character; and his pictures are so simple and so truthfully felt that even the 
 sceptic can appreciate their charm and read into them purely human ideas. 
 
 Murillo was originally as essentially a realist as Zurbaran or Velasquez. When his 
 task was merely to reproduce the actual, as in his famous groups of boys, and in the 
 rendering of accessories, such as animals, ecclesiastical vessels, or the contents of a 
 library, he has combined his characteristic broadness of touch with due attention to the 
 accuracy, form, and pleasingness of the external appearance. His artistic greatness, the 
 secret of his wonderful success, lies in the fact that he recognized the unique character 
 and special charm of the human nature of Southern Spain, adapted it to the palette and 
 the brush, and ventured to introduce it into paintings of religious subjects. This accounts 
 for those elastic figures, the soft and supple forms of which lend themselves much more 
 readily to painting than to sculpture; this is the source of the deep brown of the eyes 
 and hair, set off by a warm flesh-tone reflecting the light. 
 
 To many this seems a thing of no great importance; but he was the first to discover 
 it, and none of his imitators has reached his level. The Andalusian saints and Madon- 
 nas seen elsewhere might just as well have been painted in Naples or in Holland. Like 
 Rembrandt, he recognized with the insight of genius, that biblical history and the legends 
 of the saints could be best narrated in the dialect of the people. . . . 
 
 The pupil of a careless and incorrect academician like Juan de Castillo, Murillo would 
 not have become what he was if he had not undergone the purging of both phrase and 
 manner offered by the naturalism of the period. Manv of his earlier paintings are cold 
 and sombre in tone, sad in coloring, black in the shadows, jejune and trivial in charac- 
 ter and expression. This early style is known as the estilo frio, or cold style, though 
 such generalizations must not be applied in too sweeping a manner. His next phase, 
 known as the warm style, estilo caiido, is marked by deeper coloring and strong contrasts 
 of light and shadow; but the light is actual light and the plastic forms are well defined. 
 Murillo’s last style, peculiar to himself, is known as el vaporoso, from a certain va- 
 porous or misty effect that it produces. He here shows the unmistakable influence of 
 Rubens, whom he had studied in engravings. The struggle of all great colorists to over- 
 come the heaviness, opacity and hardness of matter led Murillo to his last system. Al- 
 though still of solid impasto (hence the enduring quality of his painting), his brush- 
 work is now loose and free; he produces his effect by a variety of tints melting into one 
 another; he arranges the drapery now in sharp folds, now in flat. He models in the 
 light without the aid of gray shadows; his palette is full of cheerful and warm colors; 
 his figures are overflowing with life and sensibility; he has found the secret of so de- 
 materializing them, partly through their gestures and partly through his handling of 
 drapery, chiaroscuro, and accessories, that they seem to float in air; his visions are, as 
 it were, woven of light and air. 
 
 The description of Murillo as an improvisatore, who “paints as the bird sings,’’ is 
 not very apposite. Few men have so well understood the art of pictorial composition 
 or known so well how to charm the eye by gradations of light, skilful attitudes, and 
 adroit foreshortenings; few painters have calculated their effects more carefully. 
 
26 
 
 in 9lrt 
 
 C. E, BEULE “REVUE DES DEUX MONDES”: 1861 
 
 M urillo L a popular idol, not alone in his native country, but throughout 
 Europe, where his pictures command prices equal to those ot the greatest mas- 
 ters, as the director of the Louvre can testify. On the other hand, artists seem to have 
 but a mediocre opinion of him; for though they acknowledge his facility and charm, 
 thev do not find in him that force which commands their attention, nor the technique 
 nor those original qualities which make him worthy of their study. A wiser judgment lies, 
 it seems to me, between the two; and for my part, while I delight in his happy gifts, I 
 cannot shut my eyes to his defects; and though I study his work with lively pleasure, 
 I cannot accord him that blind admiration which is the due only of the greatest masters. 
 Therefore those critics whom Murillo inspires with so overwhelming an admiration must 
 pardon me if I cannot follow them in imitating the solemn rites with which they ap- 
 proach their idol. For example, — and perhaps to establish a likeness to Raphael, as 
 if such changes in style were to be remarked only in the greatest artists! — they attrib- 
 ute to Murillo three formal manners, and pointing from one example of his work to 
 another say, “This picture is in his ‘warm ’ manner, this in his ‘cold,’ and this third 
 in his ‘misty’ style.” I have striven in vain to find the true basis for any such cut- 
 and-dried divisions. The only divisions in his art which seem to me to hold, are those 
 which mark his progress successively from a formative period, when to gain an imme- 
 diate livelihood he was hastily daubing his bits of linen at the fair; a second, when he 
 was developing his style by a study of the masterpieces in Madrid; and a third, when 
 he finally became master of his individual talent. It would be a more exact description 
 to say, simply, that one picture is badly composed and crude in color and design, that 
 another is, on the contrary, vigorously painted, and that a third is so rendered that the 
 outlines seem half lost in clouds. 
 
 Indeed, Murillo’s nature was, to my thinking, quite too simple to lend itself to such 
 critical subtleties. A man of instinct rather than will, of sentiment rather than system, 
 a painter by temperament, whose inspiration was facile, flowing, and unpremeditated, 
 he painted as a bird sings, without effort and without definite intention. I believe he 
 would have been highly perplexed if he had been asked to expound his “theories of 
 art. ” The carelessness of brush, the promptitude of conception, the absence of conscious 
 volition, - — • in a word, the happy freedom from bonds, is so evident in his works that it 
 should disarm those crit’cs who approach them to judge and measure by rule and formula. 
 
 To my mind, both the weaknesses and the talents of Murillo are but clear expressions 
 of the man’s own nature and of the wider nature of the Andalusian race. Let us set 
 his portrait before us; — not that which he painted for his sons, and which depicts him 
 in mature age, a formed and accomplished artist, but that other likeness which Louis 
 Philippe bought in Seville, and which shows him in the flush of youth, with all his pos- 
 sibilities before him. We find him brilliant, ardent, fresh-colored, the warm blood flow- 
 ing close under his skin; his eyes black, penetrating, full of fire and fuller still of passion; 
 his forehead high, and modelled with those slight bosses which show a quick but rather 
 feminine intelligence; the lower part of his face (as is frequently the case with his 
 countrymen) less finely cut, and marred by a coarse mouth and the heavy outline of 
 the chin. The total impression is that of a nature in which ardor serves instead of force, 
 of facile but superficial rather than profound intelligence, and, as a prime trait, highly 
 mundane and sensual. Are not these the verv qualities we find written in his works? 
 
 Look at his Virgins, whose beauty is of so human a cast; his infant Christs, whose 
 grace is so much more carnal than divine; his angels and cherubs, which might have 
 been the despair of Boucher and his school; his saints and monks, w’ho adore the 
 Madonna or the Christ-child with such earthly passion. One of the most religious of 
 painters in his subjects, Murillo was, it seems to me, one of the most pagan in his sen- 
 
27 
 
 u r i n 0 
 
 timents. With him the embodiment speaks more loudly than the idea, and the forms, 
 borrowed from nature, have perhaps a beauty a thought too graceful, and a fleshliness a 
 thought too near voluptuousness to accord with the highest devotion. 
 
 And yet, in saying this I have no wish to imply a doubt of Murillo’s personal de- 
 voutness or the sincerity of his intentions. The faith which his paintings express was 
 the faith of his time and country. Before his day conflict with the Jews and Moors had 
 excited religious passion in Andalusia to the highest pitch; — nowhere had the auto de 
 fe caused greater bloodshed, or the tyranny of the Inquisition been more magnificently 
 imperious. But in Murillo’s time this severity had relaxed. A sentimental devotion had 
 replaced fanaticism. The Jesuits, whose whole policy of adaptable principles, allowance 
 of many pleasures, easy penances, sense-charming ceremonies, and adornment of the 
 churches with hitherto unknown magnificence, was exactly adapted to the Andalusian 
 character, were welcomed with special eagerness by the people of Seville. At the same 
 time, the inflammable imaginations of the people were excited by the exploitation of 
 new miracles, by the revival of old legends, by daily accounts of apparitions, visions, 
 and ecstasies. It was no longer the robust faith of the Middle Ages nor the austerity 
 of the cloisters, but an easier devotion and a more picturesque and emotional type of 
 religion that Murillo’s brush was called upon to serve. This is why he so frequently 
 painted these ecstatic Assumptions and Conceptions; these monks before whose faith the 
 depths of a glad heaven open; these Franciscans upon whom the infant Saviour bestows 
 his childlike kiss; these Dominicans who embrace the crucifix with such passion that 
 Christ leans from it to caress them; these winged seraphs who change the scourges of 
 self- torturing saints to roses and lilies. In all such cases he found his plan ready-made 
 and his procedure simple. He was not forced to constantly exert imaginative invention, 
 — a . tax which might have been beyond the limit of his powers. 
 
 His historical pictures will serve as a still more satisfactory test by which to measure 
 his talents and their limitations; for it is in such subjects that the ability of the painter 
 in composition, in style, and in dignity is most taxed, and in which the mediocre endow- 
 ment soonest betrays itself. 
 
 Let us take, for example, Murillo’s large canvas of “ Moses Striking the Rock” in 
 the Hospital of La Caridad in Seville. Here the artist has given us a picture which is 
 clear, interesting, and agreeable, but he has treated his subject without distinction, in- 
 deed I might almost say without intelligence, for the true elements of its grandeur — 
 the awfulness of thirst, the passionate gratitude of the little band rescued from imminent 
 death, the sublime inspiration of the prophet who, for the moment, wields the power 
 of God — have entirely escaped him. Remove Moses and Aaron from the picture — 
 and indeed their removal would be easy, for they are not integral parts of the composi- 
 tion, and their expressions are, at best, uncertain — and there will remain merely a 
 large genre-picture, which might appropriately be called “The Halt at the Foun- 
 tain.” It would be a very charming picture too, with its groups of women filling 
 their jugs, the mothers caring for their little children, the dog drinking, all expressed in 
 the gay flower-like tones which Murillo knew so well how to employ. It is evident 
 that the deeper meaning of his subject did not preoccupy the artist for a moment, and 
 that, in the delight of painting these bits of familiar life, the real every-day types which 
 were to his taste and within the scope of his talents, he forgot its gravity. The same is 
 true of his picture of “ Christ Feeding the Multitude.” Here neither Christ nor the 
 apostles first attract our attention, but the waiting women seated in the foreground. We 
 shall find the same merits and the same deficiencies in the “ St. Elizabeth of Hungary.” 
 The saint has a cold, distracted air, and tends her patients as disinterestedly as if she 
 had held such a clinic daily for twenty years. Of the spirit of tender charity which 
 should have been the vital animation of the picture Murillo has given us nothing. He 
 
28 
 
 in ^rt 
 
 was himself interested and he interests us in his painting of the patient who bends over 
 the basin, the man in the foreground who unwinds the bandage from his leg, the cripple 
 who is making-off behind, or the little ragamuffin who is scratching his head with such 
 a monkey-like grimace. 
 
 But if Murillo’s talent was insufficient for large historical compositions, it was ample 
 and delightful in those smaller canvases where the interest in individual figures, such as 
 the isolated bits in his more ambitious pictures, serves in place of the grand style, and 
 the general effect is intended rather to charm than to impress. 
 
 On the one hand, then, to copy nature without reading into her, as the greatest 
 artists have been able to do, a deeper meaning than lies upon the surface, and on the 
 other to gracefully express the half pious, half emotional movements of the soul, — herein 
 lies Murillo’s role. He is by turns of the earth and of the sky; half a painter of the 
 real, half a painter of pleasant and sensual dreams. 
 
 In considering Murillo’s work in its more technical qualities, I find that many of his 
 most ardent admirers content themselves with extolling his coloring, and make no at- 
 tempt to defend his drawing. In truth, considering that he was a painter so fond of 
 copying nature, his drawing was mannered to a surprising degree; and, more than this, 
 I must confess that I find in it something which I can no better express than to call it 
 a taint of “ commonness ” — a fault which seems to me far more regrettable than such 
 blemishes as badly finished fingers, arms which lack anatomy, or heavy and impossible 
 folds of drapery; for such blemishes do not, on the whole, deprive a design of charac- 
 ter, while the sin of vulgarity is an all-pervading and deadly one. 
 
 As for color, Murillo was endowed by nature with a gift for it; and like all those who 
 are guided rather by instinct than by science, he sometimes failed sadly in his harmonies, 
 and at other times was most exquisitely inspired. His coloring is ordinarily unctuous 
 and consistent rather than vigorous, and is usually warm and charming; but here too 
 I must qualify my praise and confess to finding in his use of color what I must again 
 call the taint of vulgarity. Nothing is more fatal to a Murillo than the proximity of a 
 painting by Velasquez, whose aristocratic brush, whose color, imposing by its force of 
 truth, makes the coloring of the other seem almost “pretty ” and chromo-like, and his 
 light rather the light of the lamp than the white radiance of day. — abridged from the 
 
 FRENCH. 
 
 luciensolvay “l’artespagnol” 
 
 M urillo was the spoiled child of his owm time, and he has continued to be the 
 spoiled child of subsequent generations up to the present; but it is already fore- 
 shadowed that the generation to come will judge him less blindly. Indeed, to our thinking, 
 such universal popularity alone is enough to establish his intrinsic inferioritv to Velasquez, 
 Zurbaran, and Ribera, whose works had nothing of popular appeal in them. To admire 
 one must understand, and what the great majority fully understands is likely to be but 
 mediocre. On the other hand, it is clear that Murillo’s work has in it a true fun- 
 damental value, for wide-spread popular admiration, no matter how superficial, has al- 
 ways some just basis. The power of Murillo is due to the facts that he was one of the 
 most fertile artists of his time, and that he had an engaging personality which he was 
 able to put into his work. 
 
 It would have been better for his final fame if he had painted fewer Assumptions and 
 Holy Families, with their swarms of cherubic angels and their infant Christs, and spent 
 more pains upon those he did paint. But he multiplied them without number, and from 
 constant repetition their peculiar grace — in which there is perhaps some taint of affecta- 
 tion — soon became but a stereotyped grace. He turned out cherubs by the dozen. 
 
29 
 
 u c i II 0 
 
 all equally charming, with great black eyes and blonde hair and rosy mouths, as if from 
 a stock formula. 
 
 His historical paintings, more severe in inspiration and of a higher type, escape, at 
 least, this danger of constant and stereotyped repetition. In all of them we recognize 
 a gift for arrangement, and the hand of an artist of taste and knowledge. We shall, 
 however, search in vain among them for works of true power. Whatever the scene 
 which he undertook to paint, Murillo will always remain a “ pleasant ” painter, whose 
 “pleasantness” verges upon insipidity; an “elegant” colorist, whose elegance verges 
 upon effeminacy. The Catholic religion, to whose service he had devoted himself, was 
 no longer in his hands that virile, austere, and almost savage religion of the Inquisition 
 and the auto de fe of the former Spanish masters. His God was but a benign Father, well 
 disposed, no longer to be feared but rather to be adored. When He appears upon 
 Murillo’s canvas it is always with open arms, always to pardon, always to rejoice, never 
 as the inspirer of awe or the bearer of punishment. Devotion is thus transformed into 
 a sort of delicious hysteria. 
 
 One can hardly imagine the paintings of Murillo adorning the cold, sombre walls of 
 a cloister. What a cruel antithesis there seems to be between the ascetic solitude of the 
 monastery and Murillo’s gentle pictures, with their Virgins who are so almost profanely 
 feminine, and their bouquets of cupid-like cherubs sporting among roses upon golden 
 clouds! They seem fitted rather to adorn the silken walls of boudoirs where the day- 
 light filters through curtains of tinted lace to fall upon them. 
 
 When a subject inherently sad or violent was presented to his brush, a subject which 
 of necessity compelled other than grace and smiles, Murillo, the compatriot of those 
 sombre historians of Spain’s church militant, adds accessories to turn our eyes away 
 from the painful spectacle. The sky opens and choirs of blonde and rosy angels 
 hasten to bring victorious palms to the sufferer, to remind us that the tortures of the 
 martyr are but momentary. Whenever it is possible these pretty, winged angels of 
 his reappear to relieve the monotony of his dark brown or black backgrounds by the 
 rosy whiteness of their dainty bodies; and I will wager that the celebrity of the “ St. 
 Anthony of Padua ’ ’ depends much more upon the fresh band of these delightful dolls 
 of heaven who accompany the little Jesus (so delicious a child that the sight of him 
 should soften the heart of the severest cenobite) than upon the fervent attitude and ex- 
 pression of the saint himself. 
 
 In singular contrast with these legions of angels and flower-like Madonnas is the 
 tatterdemalion troop of poor, which appears in many of his most famous pictures. To 
 my mind these figures will plead loudly for his glory before the tribunal of posterity. 
 His beggar boys and the cripples and lepers in “St. Elizabeth of Hungary ’’recall 
 “The Topers” of Velasquez by the pungency of their local color and their lifelike 
 and picturesque humanity. In painting them Murillo must have felt his native Spanish 
 instincts revived and quickened. It seems as if it were a healthy relief to him to thus 
 give play to the natural blood in his veins after having so constantly devoted himself to 
 painting supernatural dreams; and it he had not bent his imagination so exclusively to 
 heavenly visions, and had consecrated himself to the study of his kind, as did Velasquez, 
 he would, I believe, have been to the Spanish common people the painter that Velas- 
 quez was to the Spanish nobility. — abridged from the french. 
 
 WILLIAM STIRLING “ANNALS OF THE ARTISTS OF SPAIN” 
 
 A mong the ecclesiastical painters of Spain Murillo holds the same unapproached 
 pre-eminence that is held by Velasquez amongst the painters of the Spanish 
 Court. “All the peculiar beauties of the school of Andalusia,” says Cean Bermudez, 
 
30 
 
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 “ its happy use of red and brown tints, the local colors of the region, its skill in the 
 management of drapery, its distant prospects of bare sierras and smiling vales, its clouds 
 light and diaphanous as in nature, its flowers and transparent waters, and its harmonious 
 depth and richness of tone, are to be found in full perfection in the works of Murillo.” 
 As a religious painter he ranks second only to the greatest masters of Italy. In ideal 
 grace of thought and in force and perfection of style he yields, as all later artists must 
 yield, to that constellation of genius of which Raphael was the principal star. But his 
 pencil was endowed with a power of touching religious sympathies and awakening ten- 
 der emotions which belonged to none of the Italian painters of the seventeenth century. 
 Some of them doubtless display a more accurate knowledge of the rules, but none have 
 so efficiently fulfilled the purposes of art. He did not, because he could not, follow the 
 track of the^ great old masters; but he pressed forward in the true spirit towards the 
 mark of their high calling. The genius of ancient art, all that is comprehended by artists 
 under the name of the antique, was to him “ a spring shut up and a fountain sealed.” 
 He had left Madrid long before Velasquez had brought his collection ot casts and mar- 
 bles to the Alcazar. All his knowledge of pagan art must have been gleaned in the Al- 
 cala Gallerv, or, at second hand, from Italian pictures. Athenian sculpture of the age 
 of Pericles therefore had, directly at least, no more to do with the formation of his taste 
 than the Mexican painting of the age of Montezuma. All his ideas were of home 
 growth; his mode of expression was purely national and Spanish; his model, nature as 
 it existed in and around Seville. 
 
 %i)t l^orfes of Jtturillo 
 
 DESCRIPTIONS OF THE PLATES 
 
 “THE HOLY FAMILY” LOUVRE: PARIS 
 
 T his picture, sometimes called “La Vierge de Seville,” was probably painted in 
 1670. It was purchased by Louis XVI. The Virgin, in a robe and mantle of 
 blue, is seated in the centre, holding on her knees the Child, whom she presents to the 
 adoring gaze ol St. Elizabeth and of the youthful St. John, who offers a reed cross to 
 the infant Jesus. In the open heavens are seen God the Father, and the Holy Spirit 
 descending as a dove, surrounded by cherubs. 
 
 “VIRGIN AND CHILD” [DETAIL] PITTI PALACE: FLORENCE 
 
 “TJ 7 VERY great painter,” says Gautier, “ has depicted his own type of the Madonna, 
 JHy in which he incarnates his especial dream of beauty. As Murillo has represented 
 her, the Virgin is a pretty Andalusian girl, no doubt idealized, but whose prototype 
 one may still see among the models at the Christina, or on the Promenade del Duque; 
 and in saying this I have no thought of a reproach, for nothing can be more charming 
 than the woman of Seville, with her great eyes full of light and her fresh coloring and 
 vermilion lips. 
 
 “The child Jesus is treated by Murillo with a sort of caressing adoration. In paint- 
 ing him he seems to have found tones which do not belong to our earthly planet. Yet 
 through all the graces, all the smiles, all the naive ways of infancy, there is still to be 
 felt a touch of the divine.” 
 
u r i n 0 
 
 31 
 
 “THE BIRTH OF THE VIRGIN” LOUVRE: PARIS 
 
 T he birth of the virgin” was painted by Murillo in his calido 
 manner about 1655, for the Cathedral of Seville. Paul Lefort, who considers 
 it the most beautiful Murillo in the Louvre, writes: “It is a most admirable achieve- 
 ment in coloring. The general tone is based upon strong reds, deep in the shadows, 
 which become more and more orange as they approach the light, till, drowned and 
 overpowered toward the centre and upper parts of the picture by the vaporous light, 
 they fade into the most delicate and flower-like tones of lilac, violet, pale pink, carmine, 
 and tender green, producing a wonderful effect, which at once recalls that other marvel 
 of color wherein the reds play so powerful a part, ‘The Tapestry Weavers’ by 
 Velasquez.” 
 
 The subject of the picture is as charming as its color. “In the centre of the com- 
 position,” says Gautier, “like a bouquet of flowers lighted by a ray of the sun, the 
 baby Virgin swims, as it were, in a cloud of light. An old woman, the tia as the Span- 
 ish call her, raises the child from its cradle with a caressing gesture. In the foreground 
 a girl, clad in a lilac, tender green and straw'-colored robe, leans forward curiously, 
 leaning on a beautiful white arm, satin-like in texture and dimpled at the rosy elbow. 
 But the most marvellous figure in this group is the young angel, modelled, as it seems, 
 from nothing, — a rose-colored vapor touched with silver. She leans her adorable head 
 — made with three brief brush strokes — ^over the Virgin, resting one delicate hand on 
 her breast, the fingers nestling among the folds of her dress as if in the petals of a flower. 
 Above the cradle of the Virgin a hovering glory of child angels illumines the room like 
 a glowing smoke. Half hidden in the shadow of the background the bed of the mother 
 may be vaguely distinguished. It is impossible to imagine anything more fresh, more 
 tender, more lovely, than this picture.” 
 
 It is probably of this work, which formerly hung in the Seville Cathedral, that Ford 
 relates the following anecdote: “ On Marshal Soult’s arrival in Seville this picture w'as 
 hidden by the chapter. A traitor informed him of its concealment and he sent to beg 
 it as a present, hinting that if refused he would take it by force. Some years after, 
 in Paris, the worthy Marshal was showing Colonel Gurwood his collection, and stop- 
 ping opposite a Murillo, said, ‘ I very much value that specimen. It saved the lives 
 of two estimable persons. ’ An aide-de-camp who was standing by whispered, ‘ He 
 threatened to have both of them shot on the spot unless they gave up the picture.’ ” 
 
 “THE DIVINE SHEPHERD” THE PRADO: MADRID 
 
 P AINTED probably about the year 1670, this picture shows the transition from 
 Murillo’s second, or calido, manner to his third, or vaporoso. It represents the 
 child Jesus clad in a red tunic and sheepskin garment, seated on a terrace. His left hand 
 rests on the back of a sheep, while in his right he holds a crook. “ Murillo,” w'rites 
 Curtis, “is supposed to have been indebted for this design to an engraving of Cupid 
 by Della- Bella, which is to be found in an edition of the Meta?norphoses of Ovid.” 
 
 “ST. ANTHONY OF PADUA AND THE C H R I S T - C H I L D ” BERLIN GALLERY 
 
 I N this picture, one of the most celebrated of Murillo’s works, St. Anthony of Padua, 
 kneeling, holds in his arms the infant Jesus, who lovingly caresses the face of the 
 saint. An opening in the heavens above reveals a group ol cherubs in an atmosphere 
 of glowing light, while on the ground are seen two more, one with an open book and 
 the other holding lilies, — • attributes of St. Anthony of Padua. The picture, according 
 to Curtis, is probably the one taken in 1810 from a convent in Seville by Marshal Soult, 
 with the assistance of a troop of infantry. 
 
32 
 
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 “ST. ELIZABETH OF HUNGARY HEALING THE SICK ” ROYAL ACADEMY OF FINE ARTS: MADRID 
 
 O F the eleven remarkable pictures which Murillo painted when at the height oi his 
 power, between 1671 and 1674, for the Hospital of La Caridad in Seville, the 
 “ St. Elizabeth of Hungary ” ( El Tinoso), now in the Royal Academy of Fine Arts in 
 Madrid, is considered the finest. “Whoever has not seen it,” says Justi, “does not 
 know what Spanish painting really is.” 
 
 St. Elizabeth was a sovereign princess of Hungary in the fourteenth century, whose 
 life was consecrated to religion and charity. She maintained a daily table for nine hun- 
 dred poor, and an hospital where, in spite of the scorn and murmurs of her ladies, she 
 personally performed the duties of sick nurse. “ In his picture of St. Elizabeth of Hun- 
 gary,” writes Theophile Gautier, “ Murillo takes us into the most thoroughgoing real- 
 ity. Instead of angels we were here shown lepers; but Christian art, like Christian char- 
 ity, feels no disgust at such a spectacle. Everything which it touches becomes pure, 
 elevated, and ennobled, and from this revolting theme Murillo has created a master- 
 piece. The pious queen has her head enveloped by a sort ot white veil which frames 
 the pure oval of her face, and on this half-monastic veil there shines a light crown 
 which marks her as a queen, and which radiates like an aureola and marks her as a 
 saint. She stands at the entrance of the palace receiving her clients, the poor, the sick, 
 and the infirm. A large silver basin filled with water is set upon a stool, over which 
 bends a poor child (el tinoso) and presents his diseased head to the white hands of 
 the royal saint. Two young girls accompany their lady, and assist her in the menial 
 occupation. One of them holds a salver on which are bandages and flagons of ointment, 
 while the other holds a pitcher to refill a silver basin. Nothing is too beautiful for the 
 service of the poor. Upon the first step of the terrace sits an old woman in rags, whose 
 sharp profile stands out boldly against the violet velvet of the queen’s robe. In the fore- 
 ground, near the line of the frame, a beggar is wrapping a bandage around his leg, while 
 behind a cripple hurries forward upon his crutches. In the background, and through a 
 piece of architecture which recalls Veronese, may be seen the queen again, accompanied 
 by her women feeding the hungary poor.” 
 
 “This picture,” writes Professor Hoppin, “unites the excellences of Murillo’s 
 three styles, more especially the frio and calido, with fine effects of atmosphere and of 
 the management of light. The faultlessness of the drawing, the luminous shadows, 
 the treatment of light, the inimitable skill in the disposition of different groups, exhibit a 
 mastery of technique as well as of coloring.” 
 
 “Murillo’s ‘St. Elizabeth of Hungary,’ ” writes Paul Lefort, “may be studied as 
 one of the best manifestations of the characteristics and tendencies of the Spanish school, 
 — a sublimity in conception, linked to the most audacious naturalism in form; qualities 
 and defects which seem the essence and originality of Spanish genius.” 
 
 “THE M E L O N - E A T E R s ” MUNICH GALLERY 
 
 N O example of Murillo’s celebrated beggar boys, upon which so large a portion 
 of his fame rests, is now to be found in any public gallery of Spain. The one here 
 reproduced was acquired by the Munich Gallerv in 1802. 
 
 “As a painter of children,” says Stirling, “ Murillo is the Titian or Rubens of Spain. 
 He appears to have studied them with peculiar delight, noting their ways and their 
 graces in the unconscious models so abundantly supplied by the jocund poverty of An- 
 dalusia. Amongst the bright-eyed, nut-brown boys and girls of the Feria, he found 
 subjects far better fitted for his canvas than the pale Infants and Infantas who engrossed 
 the accurate pencil of Velasquez. ” 
 
u r i 1 1 0 
 
 33 
 
 “THE CHILDREN OF THE SHELL” THE PRADO; MADRID 
 
 T he children of the shell” (Los Ninos de la Concha), called 
 
 by Professor Hoppin “the most beautiful picture of children in the world, in 
 which childlike loveliness can no farther go,” represents the child Jesus giving the young 
 St. John — “a girdle of skins about his loins,” and bearing the bannered cross of his 
 mission — water to drink from a shell; while through the opening skies, angels look 
 down upon the charming scene in rejoicing sympathy. This picture is an excellent ex- 
 ample of Murillo’s vaporoso manner. Over the whole is spread the seeming veil of an 
 unseen mist, — a warm, transparent haze, impalpable and dreamy, which tones the 
 splendor of the setting sun that lights the picture into a glowing harmony. 
 
 “THE IMMACULATE CONCEPTION” LOUVRE: PARIS 
 
 O NE of three works painted by Murillo in 1678 for the Hospital de los Venerables, 
 in Seville, this picture was among those taken from Spain by Marshal Souk, and 
 at the Souk sale, in 1852, was acquired by the French government for 586,000 francs, 
 a higher price than had at that time ever been realized by a work of art. 
 
 The dogma of the Immaculate Conception was a favorite one in the Spanish Church, 
 and Murillo, with whom it was a favorite subject (he represented it some twenty times), 
 became known as “the painter of the Conception.” 
 
 “For the treatment of this important subject,” says Stirling, “the directions of 
 Pacheco (the Inspector-General of Sacred Pictures to the Inquisition) are very full and 
 precise. The idea is borrowed from the vision in the Apocalypse, of the wondrous 
 woman clothed with the sun and with the moon under her feet, and having upon her 
 head a crown of twelve stars. ‘In this gracefullest of mysteries,’ says Pacheco, ‘Our 
 Lady is to be painted in the flower of her age, with all the beauty that a human pencil 
 can express.’ Her eyes are to be turned to heaven, and her arms meekly folded. 
 The mantling sun is to be expressed by bright golden light behind the figure; the ped- 
 estal moon is to be a crescent with downward-pointing horns; and the twelve stars are 
 to form a diadem like a celestial crown in heraldry. The robe of the Virgin, of course 
 covering her feet with decent folds, must be white, and her mantle blue; and round 
 her waist is tied the cord of St. Francis, because in this guise she appeared to Beatriz 
 de Silva, a noble nun of Portugal. About her are to hover cherubs, bearing emblematic 
 boughs and flowers; the upper glory is to reveal the forms of the Eternal Father and 
 the mystic dove; and in the clouds beneath the moon, the bruised head of the great 
 red dragon. These last accessions, however, Pacheco does not absolutely require; and 
 he is especially willing to forgive the omission of the dragon, ‘ which, indeed,’ says he, 
 ‘ no man ever painted with good will. ’ 
 
 “Murillo is by no means exact in his adherence to the letter of Pacheco’s laws. 
 The attitude of the figure and the colors of the drapery are the sole points in which he 
 exhibits habitual obedience. The horns of his moon generally point upwards; he usually 
 omits the starry crown; and in spite of his predilection for the Capuchin order, he com- 
 monly dispenses with the girdling cord of St. Francis. His Virgin is sometimes a fair 
 child with golden locks, gazing to heaven with looks of wondering adoration; some- 
 times a dark-haired woman, on whose mature beauty the sun has looked, bending her 
 eyes in benign pity on this sublunar sphere. . . . 
 
 “ The celestial attendants of the Virgins of Murillo are amongst the loveliest cherubs 
 that ever bloomed on canvas. He permitted no difficulty of attitude or foreshortening 
 to deter his facile and triumphant pencil. Hovering in the sunny air, reposing on clouds, 
 or sporting amongst their silvery folds, these ministering shapes give life and movement 
 to the picture, and relieve the Virgin’s statue-like repose.” 
 
34 
 
 
 “THE VISION OF ST. ANTHONY OF PADUA” SEVILLE CATHED'RAL 
 
 S T. ANTHONY of Padua was a Portuguese by birth, who for a time taught divin- 
 ity at the University ot Padua; but impelled by a desire for wider usefulness, he 
 forsook scholastic honors, and, as a humble Franciscan friar, went forth to teach the 
 gospel to the poor. On one occasion, when expounding with wonderful eloquence the 
 mystery of the Incarnation, it is related that he saw the iixfant Jesus descend from 
 heaven and stand upon the open Bible before him. This is “ The Vision of St. Anthony 
 of Padua,” which Murillo, with various changes oi mise e?i scene, so frequently chose 
 as a subject. The present version is the largest painting he ever executed; and is con- 
 sidered by many critics as his highest achievement. 
 
 “Never,” writes Theophile Gautier, “was the magic of a painter’s brush pushed 
 further. I consider this picture better than Murillo’s ‘ St. Elizabeth of Hungary;’ bet- 
 ter than all his Virgins and holy children, pure and lovely as they are. He who has not 
 seen the ‘St. Anthony of Padua’ has not seen Murillo’s masterpiece. The saint in 
 ecstasy kneels in the middle of his cell, all the poor details of which are depicted with 
 that Tigorous realism which is characteristic of the Spanish school. The upper part of 
 the picture, flooded with vaporous light, is filled with groups of angels of truly ideal 
 beauty. Drawn down by the fervor of prayer, the infant Christ, descending from cloud 
 to cloud, is about to place himself between the outstretched arms of the saint.” 
 
 “The picture,” writes Paul Lefort, “exhibits in a way that is unrivalled in any 
 period and in any school Murillo’s rare faculty of closely combining the supernatural 
 with natural beings and tangible objects, and of introducing celestial visions into the very 
 midst of humble and familiar every-day life. Under his brush visions, dreams, and mir- 
 acles acquire in some way the indisputable authority of fact; and a golden legend be- 
 comes history.” 
 
 In November, 1874, discovered by the guardians of Seville Cathedral that 
 
 the picture had been mutilated by cutting out the figure of St. Anthony, although, 
 so far as was known, the curtain covering it had not been withdrawn during the previ- 
 ous forty-eight hours. The Spanish government immediately sent photographs of the 
 mutilation to its foreign representatives, and instructed them to aid in the search for the 
 criminal. In January, 1875, ^ Spaniard who called himself Fernando Garcia offered to 
 sell in New York to Mr. Schaus, a well-known picture dealer, an authentic Murillo, 
 which he said had been in his family for years. This Murillo proved to be none other 
 than the stolen fragment, tacked to a new American stretcher, and much damaged by 
 having evidently been kept rolled for some time. Mr. Schaus immediately recognized 
 it, purchased it from Garcia for $250, and notified the Spanish consul. Garcia was 
 arrested but finally released, because of insufficient evidence of his complicitv in the 
 theft. The fragment was replaced, the injury as far as possible repaired, and the pic- 
 ture reinstated in its old place in the Baptistery, with public festivities, in October, 1875. 
 
 THE PRINCIPAL PAINTINGS OF MURILLO, WITH THEIR 
 PRESENT LOCATIONS 
 
 A LTHORPE, Eng., Earl Spencer’s Collection: Portrait of Murillo (Page 20) — 
 Aynhoe, Eng., Cartwright Collection: Immaculate Conception; St. Anthony 
 and Infant Jesus; St. John Baptist; Ecce Homo; Mater Dolorosa; Tobias and the Angel; 
 Abraham and Isaac — Berlin Gallery: St. Anthony of Padua and the Christ-child 
 (Plate V) — Cadiz Museum: Ecce Homo — Cadiz, Capuchin Church: Immaculate Con- 
 ception; Marriage of St. Catherine; St. Francis of Assisi — Cadiz, Church of San Felipe 
 Neri: Immaculate Conception — Chicago, Art Institute: Adoration of Shepherds; Im- 
 maculate Conception — Dresden, Royal Gallery: Virgin and Child; St. Rodriquez; 
 
35 
 
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 Death of St. Clara — Dulwich Gallery: Virgin and Child; Flower Girl; Two Peasant 
 Boys; Three Peasant Boys — Florence, Pitti Palace: Virgin and Child (Plate ii); 
 Virgin and Child with Rosary — The Hague, Museum: Virgin and Child — London, 
 National Gallery: Holy Family; St. John and the Lamb; Peasant Boy; Boy 
 Drinking — London, Wallace Collection: Annunciation; Assumption; Virgin and 
 Child with Rosary; Virgin and Child {bis)', Holy Family; St. Thomas of Villanueva; Vir- 
 gin, Child, and Saints; Virgin, Child, and St. Rosalie; Adoration of Shepherds; Marriage 
 of the Virgin; Joseph and his Brethren — London, Stafford House: Abraham and 
 Angels; St. Anthony and Infant Jesus; St. Justa; St. Rufina; Archbishop Ambrosio 
 Ignacio Spinola; Prodigal Son’s Return; A Girl — London, Lord Overstone’s Collec- 
 tion: Immaculate Conception; Holy Family; Three Pictures of Virgin and Child; Ecce 
 Homo — London, Earl Dudley’s Collection : St. John; St. Anthony and Infant Jesus; 
 Five Scenes from Life of Prodigal Son; St. Justa; Old Woman and Boy — London, 
 Grosvenor House: Infant Jesus Asleep; St. John; Meeting of Jacob and Laban — 
 London, E.arl of Northbrook’s Collection: Assumption; Immaculate Conception; 
 Holy Family; Repose in Egypt; St. Thomas of Villanueva; Peasant Boy; Sleeping 
 Infant; Portrait of Don Andres de Andradae — -Madrid, The Prado: Annunciation {bis)-, 
 Three Pictures of Immaculate Conception; Adoration of Shepherds; Holy Family; Educa- 
 tion of the Virgin; Infant Jesus Asleep; The Divine Shepherd (Plate iv); Christ on the Cross 
 {bis)-, Eive Sketches for Pictures of Prodigal Son; Virgin and Child {bis)-. Children of the 
 Shell (Plate viii); St. John and the Lamb; Ecce Homo; Mater Dolorosa; Head of John the 
 Baptist; Head of St. Paul; Conversion of St. Paul; St. Augustine; Martyrdom of St. An- 
 drew; Vision of St. Bernard; San Fernando; St. Francis of Assisi; Three Pictures of St. 
 Francis de Paul; St. James; St. Jerome {bis)-, St. Ildefonso; Father Cavanillas; Mary Mag- 
 dalen; Rebekah and Eliezar; Two Landscapes; Peasant Girl; Old Woman Spinning — 
 Madrid, Royal Academy of Fine Arts: St. Elizabeth of Hungary Healing the Sick; 
 (Plate vi); Dream of the Roman Senator; Roman Senator Relating his Dream; Virgin 
 and Child; Resurrection; Mary Magdalen; St. Francis of Assisi; St. Diego Blessing a 
 Pot of Soup — Munich Gallery: Melon-eaters (Plate vii); Two Peasant Girls; Boys 
 Playing Dice; Old Woman and Boy; St. Francis of Assisi (.?) — New York: Metro- 
 politan Museum: Magdalen — New York, Owned by C. B. Curtis, Esg., St. Diego 
 Surprised by the Guardian — Orwell Park, Eng., Owned by George Tomline, 
 Esq.: The Pool of Bethesda; St. Joseph and Infant Jesus; St. Augustine — Paris, 
 Louvre: Birth of the Virgin (Plate iii); Immaculate Conception (Plate ix); Immaculate 
 Conception {bis)-. Virgin and Child; Holy Family (Plate i); Angels’ Kitchen; Peasant Boy; 
 Duke of Osufia; Don Francisco de Quevedo Villegas — Paris, Owned by Baron Seil- 
 LiERE: Portrait of Murillo — Richmond Hill, Eng., Owned by Francis Cook, Esq.: 
 The Virgin; Ecce Homo; Christ after Flagellation; Christ on the Cross; St. Francis of 
 Assisi; St. Joseph and Infant Jesus; St. Peter; St. Bonaventura; Landscape; Portrait of 
 Murillo — Rome, Corsini Palace: Virgin and Child — Rome, Vatican: Adoration of 
 Shepherds; St. Peter Arbuez; Marriage of St. Catherine — Seville, Museum: Annuncia- 
 tion; Four Pictures of Immaculate Conception; Adoration of Shepherds; Three Pictures 
 of the Virgin and Child; St. Thomas of Villanueva; St. Joseph and Infant Jesus; Pieta; 
 John the Baptist; St. Francis of Assisi; St. Augustine {bis)-, St. Anthony of Padua and 
 Infant Jesus {bis)-, St. Peter Nolasco; St. Felix {bis)-, St. Leandro and St. Bonaventura; 
 St. Justa and St. Rufina — Seville Cathedral: Vision of St. Anthony of Padua 
 (Plate x); Immaculate Conception; Baptism of Christ; The Guardian Angel; St. Pius; 
 St. Isadoro {bis)-, St. Justa; St. Rufina; St. Ferdinand {bis)-, St. Laureano; St. Leandor 
 {bis)-, St. Hermengild; Madre Francisca Dorotea Villalda — Seville, Hospital of La 
 Caridad: Moses Striking the Rock; Miracle of Loaves and Fishes; St. John and the 
 Lamb; Annunciation; Infant Saviour; San Juan de Dios — St. Petersburg, Hermi- 
 tage: Annunciation; Assumption; Immaculate Conception; Adoration of the Shepherds; 
 Holy Family; Crucifixion; St. Joseph and Infant Jesus {bis)-, St. Anthony of Padua and 
 Infant Jesus; Jacob’s Dream; Isaac Blessing Jacob; St. Peter in Prison; St. Peter Arbuez; 
 Peasant Boy {bis)-. Flight into Egypt; Repose in Egypt; Peasant Girl — Valladolid, 
 Museum: St. Joachim and the Virgin — Vienna, Imperial Gallery: St. John and 
 the Lamb. 
 
in ^rt 
 
 3 6 
 
 iHuriUo 33it)Uograpi)j 
 
 A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES 
 DEALING WITH MURILLO AND HIS SCHOOL 
 
 A lfonso, L. Murillo. (Barcelona, 1886) • — Amador de los Rios. Sevilla Pintor- 
 esca, etc. (Seville, 1844) — Aulnoy, La Comtesse d’. La cour et la ville de Madrid. 
 (Paris, 1874) — Baxley, H. W. Spain: Art Remains and Art Realities. (London, 1875) 
 — Bermudez, C. Diccionario historico. (Madrid, 1800) — Blanc, C., and others. 
 Histoire des Peintres. (Paris) — Cumberland, R. Anecdotes of Eminent Painters in Spain. 
 (London, 1787)^ — Cunningham, A. Life of Sir David Wilkie. (London, 1 843) — Cur- 
 tis, C. B. Catalogue of the Works of Velazquez and Murillo. (New York, 1883) — 
 Farfan, F. de la Torre. Fiestas de la Sta. Iglesia Metropolitana, etc. (Seville, 1672) 
 - — Fiorillo, J. D. Geschichte der zeichnenden Kiinste, etc. (Gottingen, 1798) — Flat, 
 P. L’art en Espagne. (Paris, 1891) — Ford, R. Handbook for Travellers in Spain, 
 Edition of 1855. (London, 1855) — Gautier, T. Guide de I’amateur au Musee du 
 Louvre. (Paris, 1882) — Head, Sir E. Handbook of the History of the Spanish and 
 French Schools of Painting. (London, 1848) — Hoppin, J. M. The Early Renaissance. 
 (Boston, 1892) — Knackfuss, H. Murillo. (Leipsic, 1897) — Krell, P. F. Die Klas- 
 siker der Malerei. (Stuttgart, 1878) — Latour, A. de. Etudes sur I’Espagne. (Paris, 
 1855) — Lawson, E. K. Catalogue of the Museo del Prado. (Madrid, 1896). — Lefort, 
 P. La Peinture espagnole. (Paris, 1893) — Lefort, P. Murillo et ses eleves. (Paris, 
 1892) — Lubke, W. History of Art: Trans, by Clarence Cook. (New York, 1878) — 
 LticKE, H. Murillo. [In Dohme’s Kunst und Kiinstler.] (Leipsic, 1880) — Madrazo, 
 Don Pedro de. Catalogo del Museo del Prado. (Madrid, 1872) — Minor, E. E. Mu- 
 rillo. (New York, 1882) — O’Neil, A. Dictionary of Spanish Paintings. (London, 
 1833) — Pacheco, F. El Arte de la Pintura. (Seville, 1649) — Palomino de Castro, 
 Y Velasco. El Museo Pictorio y Escala Optica. (Madrid, 1715) — Passavant, J. D. 
 Die Christliche Kunst in Spanien. (Leipsic, 1853) — PoNZ, D. Antonio. Viage de 
 Espafia, etc. (Madrid, i 772) — Quilliet, F. Dictionnaire des peintres espagnols. (Paris, 
 1816). — Ris, Le Comte Clement de. Le Musee Royal de Madrid. (Paris, 1859) — 
 Scott, W. B. Murillo and the Spanish School of Painting. (London, 1873) — Smith, 
 G. W. Painting, Spanish and French. (London, 1884) — Solvay, L. L’Art esp.agnol. 
 (Paris, 1887) — Stirling, W. Annals of the Artists of Spain. (London, 1848) — 
 Stothert, j. French and Spanish Painters. (London, 1877) — Stromer, T. Murillo: 
 Leben und Werke. (Berlin, 1879) — Sweetser, M. F. Murillo. (Boston, 1877) — 
 Tollemache, W. A. Spanish Towns and Spanish Pictures. (London, 1871) — Tubino, 
 Francisco M. Murillo, su Epoca, etc. (Seville, 1864) — Viardot, L. Les Musees 
 d’ Espagne. (Paris, 1839). 
 
 magazine articles 
 
 A rt Journal, vol. 35: Velazquez and Murillo (P. Villiers) — Foreign Quarterly 
 Review, 1834: Spanish Painters (E. Head) — Gazette des Beaux-Arts, 1875: 
 Murillo et ses eleves (P. Lefort) — Harper’s Monthly Magazine, 1885: Original De- 
 sign for the Picture of St. Elizabeth of Hungary. — New Englander Magazine, 18S9: 
 Murillo (J. M. Hoppin) — Quarterly Review, 1848: The Paintings of Spain (R. Ford) 
 — Revue des Deux Mondes, 1861: Murillo et I’Andalousie (E. Beule) — Revue de 
 Paris, 1835: Etudes sur la peinture espagnole; Galerie de Marechal Soult (T. Thore) 
 — Zeitschrift fur Bildende Kunst, 1890—92: Murillo (C. Justi). 
 
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