™ I ;-<s».«i'. • I 
 
 B9 
 
 ■■■■■ 
 
BARTOLOME 
 ESTEBAN 
 MURILLO 
 
 BORN 
 DECEMBER, 1617 
 
 * 
 
 DIED 
 APRIL 3rd, 1682 
 
THE SPANISH SERIES 
 
 MURILLO 
 
BY THE SAME AUTHOR 
 
 IMPRESSIONS OF SPAIN 
 
 LIFE OF CERVANTES 
 
 THE ALHAMBRA 
 
 MOORISH REMAINS IN SPAIN 
 
 ALFONSO XIII. IN ENGLAND 
 
i 
 
MURILLO 
 
 A RECORD AND A REVIEW BY 
 ALBERT F. CALVERT WITH 155 
 ILLUSTRATIONS REPRODUCED 
 FROM THE MOST FAMOUS 
 OF MURILLO'S PICTURES 
 
 1 
 
 LONDON : JOHN LANE, THE BODLEY HEAD 
 NEW YORK : JOHN LANE COMPANY MCMVI 
 
William Clowes & Sons, Limited, Printers, London 
 
To 
 
 THE MARQUIS DE VILLALOBAR, 
 
 Chamberlain to H.M. the King of Spain, 
 Councillor to His Embassy near His Britannic Majesty. 
 
 My dear Marquis, 
 
 Whe?i I stop for a moment to think of the many 
 times I have had occasion to express my thanks to you in 
 the course of my work in connection with Spain, I am 
 reminded of an obligation that I find myself powerless 
 adequately to acknowledge . And so, lacking better means of 
 assuring you of my deep appreciation of all your kindness, 
 allow me to claim an author's privilege, and in asking 
 you to accept the dedication of this little book, make a public 
 avowal of my gratitude and add yet another phrase to my 
 frequent and sincere thanks. 
 
 Believe tne, 
 
 My dear Marquis, 
 
 1 'our ever grateful and obliged, 
 
 ALBERT F. CALVERT. 
 
PREFACE 
 
 In taking Bartolome Estcban Murillo as the 
 subject of this first volume of the new Spanish 
 Series I was influenced by two principal con- 
 siderations. The art of the painter of the Con- 
 ceptions and of the even more widely-known 
 Beggar Boys has been exhaustively treated in 
 every European language ; but in the English, I 
 am not acquainted with any popular and unpre- 
 tentious biography and guide to the works of 
 Murillo, on the lines of this little work. 
 
 Although Murillo and Velasquez have been 
 proclaimed side by side as the 44 noblest artist " 
 and the u greatest painter " that Spain has pro- 
 duced, the illustrious Court-painter to Philip IV. 
 has ever received the lion's share of popularity. 
 Velasquez has been familiarised to the English 
 public by several inexpensive and adequate 
 volumes, while Murillo has waited long for his 
 introduction to the domestic hearth of the general 
 reader. 
 
viii PREFACE 
 
 The belief that the time has arrived when an 
 attempt to furnish a brief but comprehensive 
 survey of Murillo's masterpieces might of itself 
 be considered a sufficient apology for this publica- 
 tion, but I possess, in addition, the excuse of what 
 has been described as the most complete series of 
 reproductions of any one artist's pictures ever 
 brought together. The delays that have occurred 
 in completing the book, and the postponement of 
 publication, have been occasioned by the tardy 
 despatch of little known examples, or by the 
 substitution of better illustrations for others already 
 selected and printed off. 
 
 In this volume the attempt has been made to 
 show the painter's art in its relation to the religious 
 feeling of the Age in which he lived and his own 
 feeling towards his art. Murillo was the product 
 of his religious era, and of his native province, 
 Andalusia. To Europe in his lifetime he signified 
 little or nothing. He painted to the order of 
 the religious houses of his neighbourhood ; his 
 works were immured in local monasteries and 
 cathedrals, and, passing immediately out of circula- 
 tion, were forgotten or never known. 
 
 But the romance from which his life was almost 
 
PREFACE ix 
 
 free attaches to his pictures, which, after being 
 immured for two hundred years in shaded cloisters 
 and dim convent recesses, were torn from their 
 obscurity by the commercial greed of Napoleon's 
 generals, and thrust before the amazed and 
 admiring eyes of Europe. The fame of the 
 " Divine Murillo," which grew beneath the shadow 
 of the altar, was re-born amid the clash of arms, 
 and in countries which for two centuries had 
 forgotten his existence, he lived again the triumph 
 which was his in his life-time. 
 
 In the text which accompanies the illustrations, 
 I have propounded no new theory regarding the 
 artist's work, and while I have ranged at large over 
 the field of Murillo literature, from Richard Cumber- 
 land's " Anecdotes of Eminent Painters in Spain " 
 — 1782 — to Sir William Stirling-Maxwells u Annals 
 of the Artists of Spain," and from Cean Bermudez' 
 " Diccionario Historico de los mas ilustres pro- 
 fesores de las Bellas Artes en Espana," his 14 Des- 
 cripcion Artistica dc la Catedral de Sevilla," and 
 Francisco Pacheco's "Arte de la Pinturo " to Paul 
 Lefort's u La Peinture Espagnole," and 41 Murillo 
 et ses Aleves " ; I cannot claim to have enriched 
 the biographies of the painter with a single new 
 
x PREFACE 
 
 fact. But in this volume I have succeeded, with 
 the invaluable assistance of Rafael Garzon, Franz 
 Hanfstaengl, J. Lacoste and other eminent artists 
 and photographers, to whom I desire to express my 
 indebtedness and my thanks, in getting together 
 reproductions of no fewer than 1 50 of his pictures. 
 On the strength of this modest but unprecedented 
 achievement, I commend my monograph on Murillo 
 to the favour of the public. 
 
 A. F. C. 
 
 " ROYSTON," 
 
 Swiss Cottage, 
 N.W. 
 
Chronology of Events in the Life of 
 Bartolomd Estdban Murillo 
 
 1 617. Last week of December. Born in Seville. 
 
 1618. January 1st. Baptised in the parish church 
 
 of La Magdalena. 
 1618-1629. Lost his parents by a malignant 
 1 epidemic ; was adopted by his uncle, 
 
 Juan Agustin Lagares ; apprenticed to 
 
 Juan del Castillo. 
 1632. Painted "The Virgin with St. Francis'' for 
 
 the Convent de Regina. 
 1640. Castillo closed his studio and went to Cadiz. 
 1 640- 1 643. Sold pictures painted on saga-cloth 
 
 at the weekly fairs in the Macarena of 
 
 Seville. 
 
 1643. Pedro de Moya returned to Seville. Murillo 
 
 departed for Madrid. 
 1643- 1 645. Studied in the Royal Galleries of 
 
 Madrid under the guidance of Velasquez. 
 
 1645. Returned to Seville. 
 
 1646. Painted his first great cycle of Pictures for 
 
 the Franciscan Convent. 
 1648. Married Doiia Beatriz de Cabrera of Soto- 
 mayor. 
 
xii 
 
 CHRONOLOGY 
 
 1648-1652. The period of his estilo frio, or cold 
 style. 
 
 1652. Commenced his estilo cdlido, or warm style, 
 in picture of " Our Lady of the Concep- 
 tion," for the Brotherhood of the True 
 Cross. 
 
 1655. Painted " St. Leander," "St. Isidore," and 
 
 a " Nativity of the Virgin." 
 
 1656. Painted " St. Anthony of Padua," and com- 
 
 menced his third style, el vaporoso, in 
 four pictures for the Church of Santa 
 Maria la Blanca. 
 
 1658. Projected his scheme for founding an 
 Academy of Art in Seville. 
 
 1660. Academy of Arts established with Murillo 
 and Herrera as first presidents. 
 
 1 67 1. Executed the most important decorations 
 of Seville Cathedral for canonisation 
 ceremony of Ferdinand III. 
 
 1671-1675. Painted his series of pictures for the 
 Hospital de la Caridad. 
 
 1 67 5- 1 68 1. Painted his great series of twenty 
 pictures for the Capuchin Convent, a 
 series for the Hospital de los Venerables, 
 several pictures for the Augustin Friars, 
 "The Guardian Angel," the Louvre 
 " Conception," and many other famous 
 compositions. 
 
 1 68 1. Painted "The Holy Family" (National 
 
CHRONOLOGY 
 
 xiii 
 
 Gallery) and several small pictures for 
 the Capuchin Convent. 
 1682. Visited Cadiz to paint some pictures for the 
 Capuchin Convent. While painting " The 
 Espousals of St. Catherine " for the altar, 
 he fell from the scaffolding and con- 
 tracted the injury which caused his death. 
 Returned to Seville. Died 3rd of April. 
 Buried in the church of Santa Cruz. 
 
MURILLO 
 
 DlEGO DA Silva, who is known to the world as 
 Velasquez, and Bartolome Esteban, who like his 
 great contemporary is more generally called by 
 his mother's patronymic, Murillo, had many points 
 in common. They were both natives of Seville ; 
 both embraced the pursuit of Art with the same 
 whole-souled devotion ; both achieved a brilliant 
 career — the unblemished careers of men who, as 
 has been written of one of them, 14 in the height of 
 worldly success never lost the kindness of heart 
 and simplicity of disposition which had charac- 
 terised the student years." But though they had 
 honour and Art in common, and to-day their 
 names are linked together in the annals of Art as 
 Spain's twin contribution to the immortal band of 
 world-painters, their paths in life were placed wide 
 apart. Velasquez, the eagle, soared in the rarefied 
 atmosphere of the Court ; he was robed in jewelled 
 velvets and was carried to his last resting-place by 
 nobles as befitted a Knight of Santiago. Murillo's 
 way took him through shady cloisters and the dim- 
 lit stillnesses of convents and cathedrals. From 
 
 B 
 
2 
 
 MURILLO 
 
 the practice of a devotional activity in Art and the 
 companionship of priests, he passed to an honoured 
 grave beneath a stone slab, still preserved behind 
 the high altar of the church of Los Menores, on 
 which, by his own desire, was carved his name, a 
 skeleton, and these two words — 
 
 VIVE MORITURUS. 
 
 But the remains of neither Velasquez nor Murillo 
 survived the vandal reign of the French in the 
 Peninsula. The Church of San Juan in Madrid 
 was pillaged and pulled down in 1811, and the 
 ashes of Velasquez that reposed there, were 
 scattered to the winds, while Soult in Seville 
 reduced the Church of S ta . Cruz to a ruin, and 
 the bones of Murillo were lost beneath a weed- 
 covered mound of rubbish. 
 
 Velasquez, says an Italian commentator, was an 
 eagle in art and Murillo an angel ; the one all 
 sparkle and vivacity, the other all softness. 
 Velasquez drew his inspiration from his courtly 
 environment ; Murillo lived by the composition of 
 altar-pieces and in continual study of the histories 
 of the Virgin and St. Francis. And their styles 
 varied in accordance with their several purposes 
 and the inspiration of the distinctive surroundings 
 in which they laboured. The one, working amongst 
 connoisseurs in art, and enjoying leisure and a fixed 
 salary, was obliged and was able to bestow much 
 
MURILLO 
 
 3 
 
 care upon the execution of his works ; while the 
 other, executing large commissions for religious 
 houses, had not the same time to give to the elabo- 
 ration of details and was satisfied with less technical 
 excellence. Moreover, as Sir William Stirling- 
 Maxwell has remarked, the court-painter, whose 
 pictures were the ornaments of palaces, has been 
 less exposed to have clumsy forgeries fathered 
 upon him than the provincial artist whose works 
 were scattered far and wide among the convents of 
 Andalusia. 
 
 Of the styles of the two painters it has been said 
 that they are so different and opposite that the 
 most unlearned could scarcely mistake them, and 
 Sir David Wilkie, in comparing Velasquez and 
 Murillo, has indicated the peculiar merits of each 
 without awarding the palm to either. 
 
 " Velasquez," he says, " has more intellect and expression, 
 more to surprise and captivate the artist. Murillo has less 
 power but a higher aim in colouring ; in his flesh he has an 
 object distinct from most of his contemporaries, and seems, 
 like Rembrandt, to aim at the general character of flesh 
 when tinged with the light of the sun. His colour seems 
 adapted for the highest class of art ; it is never minute or 
 particular, but a general and poetical recollection of nature. 
 For female and infantile beauty, he is the Correggio of 
 Spain. Velasquez, by his high technical excellence, is the 
 delight of all artists ; Murillo, adapting the higher subjects 
 of Art to the commonest understanding, seems, of all 
 painters, the most universal favourite." 
 
 B 2 
 
4 
 
 MURILLO 
 
 Murillo was born in the last week of 1617 in 
 Seville, and was christened on the 1st of January, 
 1 61 8, at the parish church of La Magdalena, which 
 was destroyed by the French in 18 10. Palomino 
 fixed 1618 as the date of the painter's birth, and 
 for a birthplace allotted him Pilas, a village 
 some five leagues distant from Seville ; but 
 these details have been authoritatively corrected 
 by Cean Bermudez. His baptismal register can 
 still be seen in the Church of San Pablo. 
 Murillo's parents, Gaspar Esteban and Maria 
 Perez, were people occupying a very humble 
 station in life, and the narrow, awning-covered 
 street in the Jewish quarter in which he was born 
 is situated in the meanest part of the city. 
 Nothing is recorded of Murillo's life until he 
 had entered his eleventh year, when his parents 
 died of a malignant epidemic, and the lad with 
 his little sister went to live with a needy uncle, a 
 medical practitioner, named Juan Agustin Lagares, 
 who resided in Seville. But Lagares' means were 
 strictly limited, and young Murillo who had already 
 betrayed artistic leanings was speedily transferred, 
 as a non-paying apprentice, to the studio of Juan 
 del Castillo. Here, in the intervals of his menial 
 duties, which would consist in the mixing of paints, 
 the stretching of canvases, and much other less 
 artistic utility work, he studied with unwearied zeal. 
 Castillo, who was brought up in the Florentine 
 
MURILLO 
 
 S 
 
 traditions of a much earlier period was, according 
 to Bermudez, a dry and hard colourist, but his 
 design was pure and good. Murillo's immature 
 manner inevitably caught something of his master's 
 style, and it is not surprising to learn that his first 
 known picture, a " Virgin with St. Francis," which 
 was painted at the age of fifteen for the Convent 
 de Regina, impressed Sir Edmund Head, who saw 
 it in the collection of Prebendary Pereria at Seville, 
 as " hard and flat," and " giving little or no promise 
 of the artist's future excellence." Another picture, 
 painted about the same time, depicting " Our Lady 
 attended by Santo Domingo," and hung in the 
 College of St. Thomas, is also described as reflect- 
 ing the stiff hard style of his master. 
 
 In 1640, when Murillo was twenty-three years 
 old, Castillo removed his studio to Cadiz, and his 
 pupil remained in Seville to fend for himself and 
 his younger sister. He was very poor, and, lacking 
 cither friends or influence, was hard put to it to 
 satisfy their few modest needs. A small number of 
 poorly paid commissions from unimportant convents 
 and churches came his way, but no priestly patron 
 detected the latent talent in his work, and Seville 
 was full of artists who could cover the consecrated 
 walls of his native city with far greater dexterity 
 and with less regard to the market price of 
 pigments. Murillo was compelled by lack of 
 means to supplement his income by painting rude 
 
6 
 
 MURILLO 
 
 pictures on saga-cloth, and hawking them in the 
 Feria or weekly fair held every Thursday in the 
 Macarena. Saga-cloth is a loose-textured material, 
 not unlike bunting, the rough surface making for 
 broad effects, and conducing to the greatest freedom 
 of treatment. The pictures were bright, pleasing, 
 and effective, and they found a ready sale in the 
 Macarena, which is still the slum suburb of Seville, 
 and where, even to-day, the frequenters delight in 
 fierce colour, and have a sublime contempt for 
 truth. Oftentimes the pedlar-painter would revise 
 his studies to suit the taste of the customer, or he 
 would execute a commission to order while the 
 prospective purchaser idled beneath the shade of 
 the awning. A pintura de la Feria is a term still 
 applied to a bad painting, while a picture which 
 possesses high merit is still alluded to in Seville as 
 " a Murillo." It is the Andalusian colloquial equiva- 
 lent in criticism for a work of surpassing excellence, 
 or as the American enthusiast has it, " a peach." 
 
 Stirling-Maxwell in his explanation of the use 
 of the term " Murillo," says that in Andalusia the 
 painter holds a place in the affections of the people 
 hardly lower than Cervantes. Like Correggio at 
 Parma, and like Rubens at Antwerp, he is still the 
 pride and idol of his native city. When the great 
 drama of Corneille was yet in the morning of its 
 glory, it became a common expression of praise in 
 France to say of anything admirable that it was " beau 
 
MURILLO 
 
 7 
 
 comme Le Cid." In Castile, when the most fertile 
 and versatile of writers was daily astonishing the 
 literary world with some new masterpiece, the 
 word " Lope " came to be used in common speech as 
 synonymous with excellent. The metaphor in the 
 course of time has fallen into desuetude in spoken 
 French, and the epithet has become obsolete in the 
 Castilian. But at Seville to this day they call any 
 picture of extraordinary merit a " Murillo " ; not that 
 it may pass for one of his works, but to express its 
 beauty in a word that suggests beauty more vividly 
 than any other in that copious language. 
 
 In the Macarena, in the 17th century, many 
 artists congregated to sell their pictures, for the Feria 
 presented a ready market for religious daubs of every 
 kind, and vast quantities were shipped off with 
 great store of relics and indulgences to adorn the 
 thousand churches and convents and the colonial 
 homes of transatlantic Spain. These prentice 
 artists who practised this extempore kind of 
 painting and grappled with the difficulties of the 
 palette before they had learned to draw, have been 
 compared by Bermudez to those intrepid students, 
 who seek to acquire a foreign language by speaking 
 it, and afterwards, if opportunity serves, improve 
 their knowledge of the idiom by means of books. 
 But if the pictures were very bad, the price de- 
 manded for them was very small, and it must be 
 admitted that the system has been productive of 
 
8 
 
 MURILLO 
 
 some able painters. It was in the Feria that 
 Murillo studied the beggar boys who were to be 
 the subjects of so many of his famous pictures, and 
 he studied them with an obvious eye to the market. 
 One has only to glance at his " impossibly sinless 
 and confiding " little ragamuffins to recognise that he 
 gazed upon them with his senses attuned not to 
 life but to the making of pictures. His vision was 
 limited by the limitations of his larder, and he saw 
 them as possible subjects for pictures which, above 
 all other considerations, must be saleable. In order 
 to sell they must please, and in his attempts to 
 please, the artist transformed these dirty, unkempt, 
 ill-developed and disreputable mendicants of Seville 
 into incarnations of picturesque innocence — smooth, 
 smiling and cherubic. As human documents they 
 have small resemblance to truth, but they are 
 superbly decorative and, outside Spain, are as well 
 known as any of Murillo's pictures. 
 
 But the day was approaching when this merchant 
 of the sidewalk, this creator of pictures while you 
 wait, was to make his last descent upon the Feria 
 before starting on his life's work. In the studio 
 of Juan del Castillo, Murillo had made the acquaint- 
 ance of a fellow apprentice, one Pedro de Moya, of 
 Granada, who is known to students of Spanish art 
 as the soldier-artist. This " insignificant mannerist/' 
 as Mrs. Walter Gallichan calls him, was of a roving, 
 adventurous temperament, and he laid aside his 
 
MURILLO 
 
 9 
 
 pencil to carry a pike as a foot soldier in the army 
 of Flanders. Or rather, he laid about him with 
 pencil and pike alternately, cultivating art amidst 
 the bustle of the camp, and employing his leisure 
 from military duties in copying the pictures which 
 abound in the churches of the Low Countries. 
 Fired by the pictures of Vandyck, Moya obtained 
 his discharge from the Spanish army, and in the 
 summer of 1641 he crossed over to England to 
 become the pupil of the great Fleming. Vandyck 
 received his Spanish visitor kindly, but he was dead 
 within six months of Moya's arrival in England, 
 and the soldier-painter returned to Spain and to 
 Seville. 
 
 Here he fell in again with Murillo, and, insignifi- 
 cant mannerist as the Granadan may have been, 
 his copies of the soft and easy lights of Vandyck 
 were a revelation to the student of Castillo's hard 
 contours. As he pondered these sketches, and 
 listened to the recital of his old studio-companion, 
 the dormant passion of Murillo was awakened, and 
 he determined to adventure himself to Rome or 
 Flanders, and to see for himself the artistic wonders 
 of which he had heard. But in order to travel one 
 must have money, and the young enthusiast was 
 penniless. Italy and the Low Countries were 
 beyond the reach of his most extravagant hopes, 
 but Madrid was comparatively accessible. He 
 purchased a quantity of saga-cloth, and cutting it 
 
10 
 
 MURILLO 
 
 into the most marketable sizes, he primed and 
 prepared the little squares, and immediately set to 
 work to cover them with saleable daubs. Saints 
 and Madonnas, flower groups and landscapes, 
 sacred hearts and fanciful cascades — he painted 
 them all and sold them wholesale to a speculative 
 ship-owner for re-sale in the South American 
 colonies. He then placed his sister under the 
 protection of some uncles and aunts, and without 
 informing anybody of his plans or his destination, 
 he disappeared from Seville. 
 
 Three years later he returned as mysteriously 
 as he had gone, to be hailed by his admiring 
 countrymen as the first painter in Andalusia. 
 The interval had been occupied in unceasing 
 work, copying the masterpieces of the Venetian 
 and Flemish schools, drawing much from casts and 
 from the life, and following a thorough system of 
 education under the advice and protection of the 
 King's painter, Velasquez. The attitude of the 
 great artist towards his impecunious fellow towns- 
 man, the youth of twenty-five with the thick black 
 hair and weather-worn garments, shows Velasquez 
 in a most amiable light. He not only questioned 
 him about his family and his ambitions and his 
 motive for undertaking so long a journey, but he 
 provided him with a lodging in his own house, 
 procured him admission to the Alcazar, Escorial 
 and the other royal galleries, examined the young 
 
MURILLO 
 
 1 1 
 
 man's paintings, pointed out his deficiencies, warned 
 him of the pitfalls most dangerous to his genius, 
 explained the secret of " relief," and submitted 
 specimens of his work to the King and the all- 
 powerful minister, the Count-Duke of Olivares. 
 Had ever young artist so munificent a friend and 
 patron ? What the art of Murillo owes to the great- 
 hearted generous Velasquez — " our Velasquez," as 
 Palomino proudly calls him — can never be over- 
 stated. 
 
 Murillo's spirit responded to the inspiration of 
 the new world which Velasquez revealed to him. 
 By the advice of his master he restricted himself 
 largely to the study of Ribera — better known 
 as Spagnoletto — Vandyck, and Velasquez, and on 
 the return of the latter from Lerida in 1644, he 
 surprised him with some pictures of such un- 
 doubted excellence that his judicious critic pro- 
 nounced him ripe for Rome. He offered him 
 money to cover his expenses and letters of 
 introduction to facilitate his visit, but Murillo 
 declined to leave his native soil. Velasquez 
 advised, persuaded, remonstrated ; but to no pur- 
 pose. For some reason or reasons that have never 
 been explained, he refused to undertake the 
 journey. He may have been recalled to Seville 
 by his sister, or he may have decided that he had 
 learned enough to qualify him for his purpose of 
 portraying Andalusia. His apprenticeship was at 
 
12 
 
 MURILLO 
 
 an end, and his beloved province was calling him 
 back to Seville. Where others would have thirsted 
 for the widening inspiration of Italy, he hungered 
 to reproduce himself in his native city. He had 
 learned too early the fascination of turning out 
 pictures, to study longer in unfruitfulness, and he 
 was longing to be back again at his life's work of 
 producing pictures, always pictures, and yet more 
 pictures. 
 
 In 1646 he parted from his friend and returned 
 to Seville, never to see Madrid or Velasquez again. 
 An Andalusian he was born, an Andalusian he was 
 to die, and in the charmed atmosphere of the 
 beautiful city he lived and worked to the close of 
 his life, only varied by an occasional journey to Cadiz 
 or to some other town within the province. In point 
 of fact his visit to Cadiz, on which he met with the 
 accident which caused his death, is the only 
 authentic instance we have of his ever again leaving 
 the shadow of the Giralda Tower. Palomino tells 
 us that a " Conception " painted by Murillo created 
 a great stir in the artistic circles of Madrid, and 
 that his presence in the capital was commanded by 
 Charles II. The same authority declares that the 
 painter pleaded as an excuse for not obeying the 
 royal invitation that he was too old to travel, but 
 as Murillo was only fifty- three years of age at 
 the time and the King was still a child, the story 
 is probably a fabrication. The only fact in con- 
 
MURILLO 
 
 13 
 
 nection with the incident is that whether the artist 
 was invited or not, he did not go to Madrid. 
 
 Towards the close of his life Murillo occupied a 
 house at the corner of the Plaza de Santa Cruz, but 
 on his return to Seville in 1646 he lived at No. 7 
 Plaza de Alfaro near the Calle Rope de Rueda. 
 He came back as quietly as he had departed 
 and waited, with what patience he might, for an 
 opportunity to reveal to his fellow-townsmen the 
 craftsmanship he had learned in Madrid. Nor had 
 he long to wait for his chance. The friars of the 
 fine Franciscan convent behind the Casa del Ayun- 
 tamiento had in hand a small sum of money, 
 collected by one of their begging brotherhoods, 
 which it was decided to expend upon a series of 
 pictures for their small cloister. But it was no 
 slight thing they wanted ; nothing less than eleven 
 large pictures were required, and their available 
 capital is described, in default of actual figures, as 
 paltry. Certainly it was not sufficient to enlist the 
 brushes of Herrera or Pacheco or Zurbaran, but to 
 the needy, unknown, employless Murillo, it repre- 
 sented that 
 
 . . . "tide in the affairs of men 
 Which, taken at the flood, leads on to fortune." 
 
 Indeed, he was more eager to accept the friars' 
 beggarly pay than they were to engage his 
 services ; and it was only the poverty of the 
 
MURILLO 
 
 Franciscans that induced them to close with his 
 offer. That dubiously given, ill-paid commission 
 was to make the Franciscan convent of Seville 
 famous throughout the world and to establish the 
 reputation of Murillo for ever. His work burst on 
 the Sevillians as a miracle of wonder ; they 
 marvelled at, but could not understand, the amazing 
 transformation of his style. Antonio Castillo 
 Saavedra of Cordova, nephew of Juan de Castillo, 
 and one of the ablest painters of Andalusia, was 
 the first to recognise his power. "It is all over 
 with Castillo ! " he cried. " Is it possible that 
 Murillo, the servile imitator of my uncle, can be 
 the author of all this wondrous grace and beauty of 
 colouring ?" 
 
 None of the Franciscan cycle of pictures are now 
 to be seen in Seville, for Soult, when he gutted the 
 convent, carried off all save one, which was too stiff 
 to roll up, and only two, "The Charity of St. 
 Diego " and " St. Francis listening to the Heavenly 
 Musician," are in Spain ; but Cean Bermudez tells 
 us that the influence of his course of study at 
 Madrid was plainly seen in these works. In the 
 colouring of one there was " much of the strength 
 of Ribera, with a super-added softness and delicacy 
 of tone ; " another revealed " all the life-like truth 
 and accuracy of detail which distinguished the early 
 studies of Velasquez " ; and the face in a third 
 picture, u might have been painted by Vandyck 
 
MURILLO 
 
 himself." The figure of St. Francis of Assisi, 
 reclining on his pallet with a crucifix in his 
 hand and listening to the melody of a violin, 
 played near his ear by an angelic musician, is 
 described by Bermudez as finely conceived and 
 no less carefully executed, while the graceful pose 
 of the angel and the devout ecstasy which 
 beams from the countenance of the Saint, were 
 characteristics calculated to exercise an irresistible 
 fascination upon the emotional Sevillian tempera- 
 ment. The group of ragged beggars and urchins 
 who solicit the bounty of San Diego of Alcala, is 
 a study revealing the Feria experiences executed 
 in the manner of Velasquez. Other unnamed 
 pictures are described as containing excellent 
 heads and draperies ; and in one, a distant land- 
 scape is flooded with light from a globe of fire, 
 in which the soul of Philip II. is supposed to 
 be ascending into Heaven. It is the head of 
 Santa Clara, as she is represented dying in the 
 midst of a group of virgins, which Bermudez 
 declares might have been painted by Vandyck. 
 Of six others, the same able and indefatigable 
 historian of Spanish art only informs us that one 
 was a composition of two figures, and that another, 
 in size a companion canvas to the Santa Clara, 
 portrayed a Franciscan, seized with a holy rapture 
 while engaged in cooking for his convent, while his 
 culinary functions are being performed by a flight 
 
i6 
 
 MURILLO 
 
 of ministering angels. The picture bore the 
 signature of the artist, " B meeus Steph* de Murillo, 
 anno 1646 me, f" 
 
 Antonio Ponz, one of the most laborious of 
 Spanish writers on Art, signals out for special 
 praise a composition of six figures, representing 
 San Gil standing in a religious ecstasy in the pre- 
 sence of Pope Gregory II. This picture passed 
 into the gallery of the Marquess Aguado and 
 eventually found its way to England. The canvas 
 which resisted the efforts of Soult to roll it, repre- 
 sents a holy Franciscan praying over the body of a 
 dead grey friar as if about to restore him to life. 
 It is painted in a strong Ribera-like style. It is 
 worthy of remark, though the accident of fate can 
 scarcely be accounted to the credit of the military 
 robber, Soult, that his burglarious attention to the 
 Franciscan Convent saved these Murillos to the 
 world, for the building was destroyed by fire in 18 10. 
 
 Such were the pictures which reveal to modern 
 eyes — so far as they can be judged by the two that 
 are to be seen in Madrid — a mixture of realism and 
 emotionalism — a religious emotionalism combined 
 with an idealised fidelity to the model, and a 
 passion to please, allied with a mission to make 
 pictures. Murillo accepted the public verdict which 
 ordained him the pictorial exponent of Roman 
 Catholicity, and his success inspired him to greater 
 efforts in the production of yet more pictures. For 
 
MURILLO 
 
 17 
 
 the Franciscan series filled the convent with crowds 
 of artistic and critical visitors who worshipped the 
 glory of the new star that had arisen. In a moment 
 Murillo became the most popular painter in Seville, 
 the idol of Andalusia. His fame went abroad, and 
 commissions began to pour in upon the happy 
 favourite. Andalusia was opulent, and could afford 
 to deal liberally with its idols. The fortune of 
 Murillo was made. 
 
 ' Although much has been written in defamation 
 of the collecting propensities of the French generals, 
 Soult and Sebastian, during the Peninsular War, it 
 must be admitted that their robbery achieved a 
 utilitarian purpose in drawing attention to the 
 stores of artistic masterpieces that were stored 
 away in Spain, and in extending the knowledge of 
 her greatness in painting. Twenty- five years before 
 that war Murillo was very little known beyond the 
 boundaries of his own province of Andalusia, where 
 large numbers of his pictures were then immured 
 in the palaces of the nobles. Richard Cumberland, 
 politician and playwright, when secretary to the 
 Board of Trade, made a secret mission to Spain 
 in 1780, which, unfortunate in itself, enabled him 
 to express the following opinion regarding the 
 Spaniards' neglect for their art treasures : — 
 
 " As for Murillo, although some pieces of his have been 
 exported from Seville, yet I think I may venture to say that 
 not many of them which pass under his name are legitimate, 
 
 C 
 
i8 
 
 MURILLO 
 
 and in a less proportion can we find such as are true pictures 
 any of so capital a rank as to impart a competent idea of 
 his extraordinary merit. ... In private houses it is not 
 unusual to discover very fine pictures in neglect and decay, 
 thrown aside among the rubbish of cast off furniture, whether 
 it be that the possessor has no knowledge of their excellence, 
 or thinks it below his notice to attend to their preservation ; 
 but how much soever the Spaniards have declined from their 
 former taste and passion for the elegant arts, I am persuaded 
 they have in no degree fallen off from their national character 
 for generosity, which is still so prevalent among them that 
 a stranger who is interestedly disposed to avail himself of 
 their munificence, may, in a great measure, obtain whatever 
 is the object of his praise and admiration." 
 
 In order to restrain this amiable weakness, 
 Charles III. in 1779 issued an edict prohibiting the 
 exportation of pictures by Murillo, whose beggar 
 boys had obtained a vogue which was denied to his 
 religious works until some time afterwards. 
 
 So little was Spanish Art known to the rest of 
 Europe before the Peninsular War that the cata- 
 logues of the rich collection of our Charles I. do 
 not contain the name of a single Spanish master. 
 John Evelyn, in his " Memoirs," puts it on record 
 that at the sale of Lord Melford's effects at 
 Whitehall in 1693, "Lord Godolphin bought the 
 picture of the Boys, by Morillio, the Spaniard, for 
 eighty guineas," and he adds by way of comment 
 that it was " deare enough." In his " Anecdotes " 
 of about a century later, Cumberland admits that 
 
MURILLO 
 
 19 
 
 Murillo was better known in England than any 
 Spanish master except Ribera, but he " very much 
 doubts if any historical group or composition of his 
 be in English hands." 
 
 Europe's estimation of Spanish art in the 
 eighteenth century is revealed in the u Reflections 
 on Poetry and Painting" first published in Paris in 
 17 19 by the Abbe Dubois, who instances Spain as 
 one of those unfortunate countries where the climate 
 is unfavourable to art (!), and remarks that she had 
 produced no painter of the first class and scarcely 
 two of the second — thus erasing from the book of 
 fame by a stroke of his pen, the names of Murillo 
 and Velasquez, Cano, Ribera and Zurbaran ! 
 
 But the neglect by Europe of the countless trea- 
 sures of Spanish painting was soon to be dispelled, 
 and the country was literally to be turned inside 
 out to the gaze of the art world. That rich, un- 
 explored field of the dealer and collector was to be 
 exploited by military critics, and its treasure-house 
 was to be prised open by the swords of the French 
 marshals. 
 
 " To swell the catalogue of the Louvre," writes Stirling- 
 Maxwell in his 1 Annals,' " was part of the recognised duty of 
 the French armies ; to form a gallery for himself had become 
 the ambition of almost every military noble of the Empire. 
 The sale of the 1 Orleans,' * Calonne,' and other great collec- 
 tions, had made the acquisition of works of art fashionable in 
 England, and had revived the spirits of the elder Arundels 
 and Oxfords in the Carlisles and the Gowers. With the 
 
 C 2 
 
20 
 
 MURILLO 
 
 troops of Moore and Wellesley, British picture-dealers took 
 the field, well armed with guineas. The Peninsula was over- 
 run by dilletanti, who invested galleries with consummate 
 skill, and who captured altar-pieces by brilliant manoeuvres, 
 that would have covered them with stars had they been 
 employed against batteries and brigades. Convents and 
 cathedrals — venerable shrines of art — were beset by con- 
 noisseurs, provided with squadrons of horse or letters of 
 exchange, and demanding the surrender of the Murillos or 
 Canos within ; and priest and prebend, prior or abbot, 
 seldom refused to yield to the menaces of death or the 
 temptation of dollars. Soult at Seville, and Sebastiani at 
 Granada, collected with unerring taste and unexampled 
 rapacity ; and having thus signalised themselves as robbers 
 in war, became no less eminent as picture-dealers in peace. 
 King Joseph himself showed great judgment and presence 
 of mind in his selection of the gems of art which he snatched 
 at the last moment from the gallery of the Bourbons as he 
 fled from their palaces at Madrid. Suchet, Victor, and a 
 few of 6 the least erected spirits ' valued paintings only for 
 the gold and jewels on their frames ; but the French captains 
 in general had profited by their morning lounges in the 
 Louvre, and had keen eyes as well for a saleable picture as 
 for a good position." 
 
 Before proceeding to the examination of Europe's 
 estimate of Murillo's art, it may be opportune to 
 explain the relation of the painter to his pictures 
 by a brief survey of the attitude of Catholic Spain 
 towards the great art movement of the seventeenth 
 century. At that time, when poetry and painting 
 in Italy and France and England were deriving 
 inspiration from the joyous well-springs of romance 
 
MURILLO 
 
 21 
 
 Spanish art and culture were recovering from the 
 dominion and influence of the Moslems under 
 the aegis of the church. After centuries of infidel 
 rule, Spain was emancipated by a gigantic effort 
 inspired by Rome and led by a king, who was 
 termed holy during his life and after was enrolled 
 among the saints of the church. The Christian 
 faith, in a barbarous and severe manner, obsessed 
 the minds of soldier and student, of artist and 
 men of science alike. As William B. Scott points 
 out, a red-hot sword of clerical conservatism turned 
 every way in all men's sight from the end of the 
 middle-ages to the close of the seventeenth century. 
 This guiding and restraining influence limited the 
 subjects of the Spanish painter and determined his 
 treatment of them. For Spain there was no 
 renaissance at the period of her artistic zenith. 
 Fancy and imagination was held subject to an 
 austere mentor, and, chained to religious thought, 
 the painter could indulge his love of the beautiful 
 in portraiture alone, and fulfil himself only in the 
 technical development of his art. 
 
 It is this superb technique which elevates 
 thousands of its painful and otherwise revolting 
 scenes of martyrdom into noble works of taste, and 
 we are reconciled to the matter of the pictures by 
 the manner in which they are presented. Spanish 
 art was made a servant and minister of the church ; 
 speaking her thoughts and teaching her lessons. 
 
22 
 
 MURILLO 
 
 Art for art's sake was a stand that the boldest 
 Spanish artist dared not take up. The church 
 inspired the painter and purchased his pictures ; 
 they paid the piper and they called the tune. The 
 paintings were designed to decorate churches and 
 religious houses, and they were undertaken in that 
 spirit. The sculptors carved and painted their 
 marble and wooden saints, which in those days 
 were treated as if they were living gods, having 
 their own attendants to wash, dress, and wait upon 
 them. Richard Ford tells us in his Handbook that — 
 
 " no one is allowed to undress the Paso or Sagrada images 
 of the Virgin. Such images, like queens, have their came- 
 rera mayor, their mistress of the robes, and their boudoir 
 or camerin, where their toilet is made. This duty has now 
 devolved on venerable single ladies, and thus has become a 
 term of reproach, ha quedada para vestio imagines, 6 she has 
 gone to dress the images ' ; but the making and embroidering 
 the superb dresses of the Virgin still afford constant occupa- 
 tion to the wealthy and devout, and is one reason why this 
 Moorish manufacture still thrives pre-eminently in Spain." 
 
 From this it will be seen that sculpture, even 
 more than painting, existed only as a servant of the 
 Church, and in Spain these two arts have been 
 more closely allied than anywhere else. 
 
 It will, moreover, be observed that the character- 
 istics of Spanish art follow the characteristics of 
 the Spanish character. It is grave and ascetic, 
 dark and lurid, and it is invariably natural even to 
 
MURILLO 
 
 23 
 
 realism. Their saints are real natural persons, 
 their divinities are strictly human ; the ideal has no 
 existence in their canvases. Murillo's beauty is 
 the beauty of his model ; his saints are women of 
 Seville ; and even the divine persons of the Trinity 
 cool themselves in the deep shadows of the 
 Giralda. Again, Spanish painting was not only 
 without any ascertainable love of the beautiful, 
 but it was uninspired by poetry. Painting was the 
 foster-child of the Church, poetry was its bane and 
 its enemy. The poets of Spain, so far as they 
 dared, emancipated themselves from the narrowing 
 influence of the clergy, but the painters willingly 
 confided themselves and their art into the hands of 
 the Church. As Ford says : — 
 
 " To provide painted books for those who could not read 
 printed ones, to disseminate and fix on the popular memory 
 those especial objects by which her system was best 
 supported, her purposes answered, and what Tacitus calls 
 the * sacra ignorentia' of her flocks maintained, was what 
 the Church required of art, treating it in her palmy power, 
 like the priests of Egypt ; it was to be silent, impassive, and 
 immutable. She exacted a stern adhesion to an established 
 model ; she forbade any deviation from her religious type. 
 To have changed an attitude or attribute would have been 
 a change of Deity." 
 
 The sobriety and purity of imagination which 
 distinguished the Spanish painters is mainly to be 
 attributed to this restraining influence of the 
 
2 4 
 
 MURILLO 
 
 Inquisition. Palomino quotes a decree of that 
 tribunal forbidding the making or exposing of 
 immodest paintings and sculptures on pain of 
 excommunication, a fine of fifteen hundred ducats, 
 and a year s exile. The proverbial gravity of the 
 Spanish people has already been quoted as another 
 cause of the severity and decency of Spanish art, 
 and yet a third and very important cause was the 
 sincerity with which the artist regarded his mission 
 as a mouthpiece of the Church. 
 
 "We Protestants," writes Sir William Stirling-Maxwell, 
 "to whom religious knowledge comes through another and 
 a better channel, are scarcely capable of appreciating the 
 full importance of the Spanish artist's functions. The great 
 Bible, chained in the days of King Edward VI. to the parish 
 lectern, silenced for us the eloquence of the altar-piece. But 
 to the simple Catholic of Spain, the music of his choir and 
 the pictures of his ancient shrines stood in the place of the 
 theological dogmas which whetted and vexed the intellect of 
 the Protestant peasant of the north. . . . The Spanish 
 painter well understood the dignity of his task, and not 
 seldom applied himself to it with a zealous fervour worthy of 
 the holiest friar. Like Fra Angelico at the dawn of Italian 
 painting, Vicente Joanes was wont to prepare himself for a 
 new work by means of prayer and fasting and the holy 
 Eucharist. The life of Lewis de Vargas was as pure as his 
 style ; he was accustomed to discipline his body with the 
 scourge, and, like Charles V., he kept by his bedside a coffin 
 in which he would lie down to meditate on death." 
 
 The union between religion and painting at this 
 time, as has been briefly noted, was made the 
 
MURILLO 
 
 25 
 
 more complete by this acquiescence of the artist 
 in the conditions imposed upon him. Many 
 painters took the priestly vows, and many priests 
 expressed themselves in paint. There were few 
 religious houses that did not possess, at one time 
 or another, an inmate with some skill or ambition 
 as an artist, and it is not surprising to find that 
 much learning and research was devoted to the 
 investigation of rules for representing sacred sub- 
 jects and personages. 
 
 We learn in the " Annals of the Artists of 
 Spain " that the question was handled in every 
 treatise on art. That considerable portion of 
 Pacheco's book which relates to the subject is 
 said to have been furnished by his friends of the 
 Jesuits College at Seville. But the most complete 
 code of sacro-pictorial law is, perhaps, that of 
 Interian de Ayala, which was not, however, 
 promulgated till the race of painters, for whose 
 guidance it was designed, was nearly extinct. This 
 work, it does not amaze one to learn, is a fine 
 specimen of pompous and prosy trifling. For 
 example, several pages are devoted to the casti- 
 gation of those unorthodox painters who draw the 
 cross of Calvary like a "J" instead of in the ordinary 
 Latin form. Then the question of the Marys at 
 the Sepulchre on the morning of the Resurrection, 
 as to whether two angels or only one should be 
 seated on the stone which is rolled away, is 
 
26 
 
 MURILLO 
 
 anxiously debated. Again, the right of the devil 
 to his horns and tail undergoes a strict examina- 
 tion, of which the result is that the first are fairly 
 fixed on his head on the authority of a vision of 
 Santa Teresa, and the second is allowed as being 
 a probable, if not exactly proven, appendage of the 
 fallen angel. 
 
 As was only to be expected, any unnecessary 
 display of the nude figure was strongly reprobated 
 by the severe patrons of the period of Spain's 
 artistic eminence. Ayala censures those artists 
 who expose the feet of their Madonnas. The 
 Austrian princes, descended of Charles V., were 
 all of them rigid formalists in religion, and Philip II. 
 and Philip IV. threw the weight of their influence 
 into the scale against licence of the pencil ; and 
 Richard Cumberland declares, in his " Anecdotes/' 
 that the Spanish Charles II. permitted some 
 foolish monks of the Escorial to employ Luca 
 Giordane in letting down the robe of Titian's 
 St. Margaret, because she slew her dragon, to 
 their thinking, with a too free exposure of her leg. 
 
 Francisco Pacheco, an artist distinguished more 
 by his great knowledge than by genius, and better 
 known as the master and father-in-law of Diego 
 Velasquez than by his pictures, was for a while the 
 agent appointed by the Holy Office to see that no 
 pictures were painted likely to disturb moral or 
 religious ideas. Pacheco was the author of the 
 
MURILLO 
 
 27 
 
 much quoted "Art of Painting " and other inter- 
 esting works on art, in which he gives his advice to 
 his younger brother painters. His strictures on 
 Michelangelo's Last Judgment, introduced as illus- 
 trating his views, quoted by Sir E. Head in his 
 " Handbook of Spanish Painting," are highly inter- 
 esting. He objects to angels without wings and 
 saints without clothes ; also to the damned being 
 in the air, because, as they are without the power 
 of grace, they could not leave the solid earth. 
 These criticisms have a manifest propriety from 
 the orthodox point of view ; and when he treats of 
 the Virgin Mary, his directions are supported by 
 similar reasons. Her feet are not, on any account, 
 to be visible, and, as his pictures go to prove, this 
 rule was strictly observed by Murillo. Pacheco 
 points out how the incidents of her life are to be 
 treated ; for example, she is to be dressed in blue 
 and white in the Immaculate Conception — a peculi- 
 arly Spanish subject — and so we find her in the 
 great works of the employe of the brown-frocked 
 friars of St. Francis — Bartolom6 Esteban Murillo, 
 the well-beloved. The reason given for this is 
 conclusive ; the Blessed Virgin was so dressed 
 when she appeared to Dona Beatrix de Silva, a 
 Portuguese nun, who founded the order called after 
 her. Students, by this counsel, are not to study 
 the nude, and, in regard to the female form, they 
 must see only the hand and faces of their relatives 
 
28 
 
 MURILLO 
 
 or honourable ladies when painting the saints. So 
 faithfully was this advice observed, that Ford is 
 able to declare that there is not probably in the 
 whole of Spain such a thing as a painting of a 
 naked female figure of the size of life, or of any 
 other size. 
 
 Stirling-Maxwell contends that if Velasquez and 
 Murillo have not equalled the achievements of Titian 
 and Vandyck as portrait artists, it is not that the 
 genius and skill of the Spaniards were less, but that 
 the fields of their famous rivals were less restricted. 
 The Senate of Venice, and the splendid throngs of 
 the imperial court, the Lomellini and Brignoli of 
 Genoa, and the Herberts and Howards of England, 
 afforded better models of manly beauty than the 
 degenerating nobility of the court of Philip IV. and 
 the clergy and gentry of Seville. But the Spanish 
 painters were even more hampered when it came 
 to the portrayal of the aristocratic beauties of the 
 period, which has been termed the highest touch- 
 stone of skill. Jealous husbands are not the 
 most sympathetic patrons of portrait painters, and 
 Velasquez and Murillo lived in an age when the 
 nobles cared not to set off to public admiration the 
 charms of their womenkind. Moreover, the beauties 
 of the seventeenth century were robed in the most 
 unsightly costumes, and the fairest forms were 
 disguised in stiff, long-waisted corsets and mon- 
 strous hoops. Luxuriant tresses, as we are told 
 
MURILLO 
 
 29 
 
 by Madame d'Aulnoy, were twisted, plaited, and 
 plastered into such shape that the fair head that 
 bore them resembled the top of a mushroom ; or 
 were curled and bushed out into an amplitude of 
 frizzle that rivalled the cauliflower wig of an abbe. 
 But worse even than the hideous costumes and the 
 unsightly way of dressing the hair was the abomina- 
 tion of rouge which fashion imposed, and which 
 tinged not only the cheeks, but also foreheads, ears 
 and chins, and was also bestowed on the shoulders 
 and hands. The very nymphs and goddesses 
 which figured among the statues on the terrace of 
 the royal palace of Madrid had their marble checks 
 and bosoms smeared with carmine. This perversion 
 of taste at the toilet not only destroyed the 
 complexions of the court beauties, but — what is 
 more distressing to lovers of art — spoiled the 
 female portraits of Spain's greatest painters. And 
 with this brief explanatory survey of the conditions 
 of the period let us back to the subject of our sketch ! 
 
 In the early years of his success Murillo painted 
 assiduously, and many of his canvases of this 
 period, which retain the severity and the dark 
 colours of the realists, are in the Madrid Gallery. 
 As has been said, the colour is generally dark, but 
 the outlines are distinct, and the light and shadow 
 is extremely well handled. This estilo frio of 
 Murillo is the first of the styles into which it is 
 usual to divide the painters artistic expression. 
 
30 
 
 MURILLO 
 
 This frio, or cold manner, shortly after his marriage, 
 gave place to the estilo cdlido, or warm style. The 
 earliest work in this second manner noticed by 
 Bermudez — a picture of " Our Lady of the Con- 
 ception " — hung in the Franciscan convent among 
 the masterpieces of the first manner, was painted 
 in 1652. It reveals its development in its outlines, 
 which have become softer and rounder ; in its 
 backgrounds, which have gained in depth of 
 atmospheric effect ; and in its colouring, which has 
 gained in transparency. As Reynolds, borrowing 
 the ancient criticism passed by Euphranor on the 
 Theseus of Parrhasius, remarked that the nymphs 
 of Borroccio and Rubens appear to have been fed 
 upon roses, so Murillo's flesh tints now seem to 
 have been painted, in the phrase of a Spanish 
 critic, con sangre y leche — with blood and milk. In 
 1656, in the four pictures commissioned by the 
 renovated church of Sta. Maria la Blanca, Murillo 
 entered upon his third or vapoury manner {el va- 
 poroso), in which the outlines are lost in the light 
 and shade, as they are in the rounded forms of 
 nature. This distinctive style, which is full of that 
 glow and emotion and witchery which made him 
 the adored of the Sevillians, is peopled with those 
 beautifully imagined saints and virgins and angels 
 — sweet, affected in pose, and ultra-ethereal — and 
 made glorious by melting yellows and cool greys 
 and sunlit flesh tones that melt in the mystic lights. 
 
MURILLO 
 
 3i 
 
 It was in this ability to suggest the transparencies 
 of vapour on canvas, to incarnate air, that Murillo 
 revealed the originality and creative property of 
 his genius, and won the adulation of his contem- 
 poraries. Atmosphere in painting has become a 
 trick, and one which is calculated to become a vice 
 rather than a virtue in weak hands. Murillo's gift 
 of painting air, as Moratin expresses it, was an 
 entirely different power, and he used it like the 
 great artist he was. M. Charles Blanc points out 
 that Murillo's technique in tones had no affectation 
 about it ; his atmosphere did not threaten the solidity 
 of nature in his works, but enhanced its richness* 
 This power to express grey grounds and cool 
 distances, and yet preserve colour and warmth, has 
 been admirably observed by M. Blanc : u II en 
 conserva de plus un excellent ton gris qui ordinaire- 
 ment sert de fond de Velasquez, ou la gravite des 
 personnages vetus de noir se combine si heureuse- 
 ment avec ce fond tranquille et froid. Mais que 
 dis-je ? Les tons froids de l'Espagne sont encore 
 des tons chauds." 
 
 In all the pictures of Murillo— in his genius and 
 in his limitations, in his apparent affectations as 
 well as in his palpable truths — we know that he was 
 genuine and sincere. His affectations are merely 
 a part of his nature, his environment, his age. He 
 is local in his conceptions because by birth and 
 mode of life he was a provincial — he saw, felt, 
 
32 
 
 MURILLO 
 
 thought, and painted in the spirit of Andalusia. 
 This great and dominant fact must never be over- 
 looked in dealing with the pictures and purposes of 
 Murillo. His inspiration was local, and it was also 
 of the period in which he worked. His treatment 
 of his subjects and his conception of religion 
 belonged not to the wide world, nor could they have 
 any influence upon posterity — they were derived 
 from and belonged to Andalusian Spain of the 17th 
 century. While the mastery of his execution and 
 the charm of his colouring will command admira- 
 tion and homage so long as his canvas endures, 
 his works beside those of Velasquez, of Rubens, and 
 of Titian, are, by many, regarded as posters or 
 fashion plates — their inspiration is that of a day 
 that is dead. In the religious pictures of Murillo, 
 those embodied expressions of Spanish Catholicism, 
 he reveals himself as a good showman and a devout 
 servant of the Church. Neither views of life nor of 
 religion are universal, and Murillo reveals to us the 
 Andalusian habit of life and the monkish aspect of 
 religion, both idealised, but strictly local, beautiful 
 in technique, but, to our modern ideas, destitute 
 of message. In his day he was adored, and in 
 his own country he will always be supreme. He 
 represented for the people of Andalusia their saintly 
 legends in a manner which brought the moral and 
 the truth straight home to their hearts. He attuned 
 all his work to the sensual, emotional spirit of 
 
MURILLO 
 
 33 
 
 Southern Spain. He felt with the heart of the 
 people, and they saw with the eyes of Murillo. 
 His message to Andalusia could not fail — he is, 
 and will always be, their favourite painter. 
 
 As a landscape painter Murillo was excelled by 
 no Spaniard save only by Velasquez, and as a 
 religious painter he ranks second only to the greatest 
 masters of Italy. As the artistic genius of Castile 
 blossomed into full beauty and perfection in Velas- 
 quez, the artistic genius of Andalusia discovered its 
 highest expression in Murillo. The ablest of their 
 successors are those who most closely followed in 
 their tracks and reflected in their works the greatest 
 portion of their light. These great men, as Stirling- 
 Maxwell points out, acquired their wonderful skill by 
 the same means, — the close and earnest study of 
 nature. The skill so acquired, however, was applied 
 by each to his individual purpose, and in each 
 became modified by the different circumstances of 
 their lives. The principal business of the Court painter 
 being to portray princes and grandees, to represent 
 " the tenth transmitter of a foolish face " to the best 
 advantage, demanded the exercise of great tact and 
 judgment, while the highest qualities of the portrayer 
 of religious compositions were imagination and 
 inspired piety. In ideal grace of thought and in 
 force of style Murillo yields, as all later artists 
 must yield, to that constellation of genius of which 
 Rafael was the principal star. But his pencil was 
 
 D 
 
34 
 
 MURILLO 
 
 endowed with a power of touching religious sympa- 
 thies, and awakening tender emotions, which 
 belonged to none of the Italian painters of the 
 seventeenth century. He did not — to follow Stirling- 
 Maxwell's analysis still further — because he could 
 not, follow the track of the great old masters ; 
 but he pressed forward in the true spirit toward 
 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 of casts and marbles to the Alcazar. All 
 his knowledge of Pagan art must have been 
 gleaned in the Alcala gallery, 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 at 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. 
 
 Murillo's art has no restraint. There is in it no 
 selection which limits, focuses, and thereby gains 
 artistic truth. He strove, as it has been written, to 
 unite the actual with the ideal, and to express 
 thoughts beyond the power of his own inspiration. 
 The decorative simplicity that governs all great art is 
 wanting in his work. He poses his figures in atti- 
 
MURILLO 
 
 35 
 
 tudes which might be natural as passing move- 
 ments, but the result is affectation when those 
 postures are imprisoned upon the canvas. His 
 figures are Andalusian men and women, but they 
 are studied into unreality. In spite of all their 
 charm, his beggar boys are always posed, and their 
 rags are more picturesque than true. The very 
 animals in his pictures are painted in arranged 
 positions. Every detail of scene and atmosphere 
 is emotionally interpreted. Murillo's realism was 
 not the actuality of Velasquez and Zurbaran ; he 
 was not content simply to record what he saw. 
 Instead, he painted what the Church had taught 
 him men ought to see. 
 
 Yet to realise that his message is not dead to all 
 ears, that the calm and gentle endearment of his 
 nature, which he put into his pictures, still has 
 power to draw a tribute of emotion and love from 
 the heart of the modern critic, listen to the apprecia- 
 tion of that susceptible, fervent critic, Edmondo de 
 Amicis : — 
 
 " Murillo is not only a great painter," writes Amicis, "but 
 has a great soul ; is more than a glory ; is, in fact, an object 
 of affection for Spain ; he is more than a sovereign master 
 of the beautiful, he is a benefactor, one who inspires good 
 actions, and a lovely image which is once found in his 
 canvases, is borne in one's heart throughout life, with a 
 feeling of gratitude and religious devotion. He is one of 
 those men of whom an indescribable prophetic sentiment 
 tells us that we shall sec them again ; that the next meeting 
 
 D 2 
 
36 
 
 MURILLO 
 
 with them is due to us like some prize ; that they cannot 
 have disappeared for ever, they are still in some place ; that 
 their life has only been like a flash of inextinguishable light, 
 which must appear once more in all its splendour to the eyes 
 of mortals. 
 
 " In art Velasquez is an eagle : Murillo an angel. We 
 admire the former and adore the latter. His canvases 
 make him known as if he had lived with us. He was 
 handsome, good and pious ; many knew not where to touch 
 him ; around his crown of glory he bore one of love. He 
 was born to paint the sky. Fate had given him a peaceful 
 and serene genius, which bore him heavenward on the wings 
 of a placid inspiration ; and yet his most admirable pictures 
 breathe an air of modest sweetness, which inspires sympathy 
 and affection even before wonder. A simple and noble 
 elegance of outline, an expression full of vivacity and grace, 
 an ineffable harmony of colour are the points which strike 
 one at first sight, but the longer one looks at them, the more 
 one discovers in them, and astonishment is transformed, little 
 by little, into a sweet feeling of gladness. His saints have 
 a benign expression that cheers and consoles one ; his 
 angels, whom he groups with a marvellous mastery, make 
 one's lips tremble with a desire to kiss them ; his virgins 
 clothed in white and enveloped in their blue mantles, with 
 their great black eyes, their folded hands so willowy, slight 
 and aerial in appearance, make one's heart tremble with 
 sweetness and one's eyes fill with tears. He combines the 
 truth of Velasquez with the vigorous effects of Ribera, the 
 harmonious transparency of Titian, and the brilliant vivacity 
 of Rubens." 
 
 One of the best examples of the first manner of 
 Murillo and the most natural of all his Holy 
 Families is the one known as " Del Pajarito" — 
 
MURILLO 
 
 37 
 
 "The Little Bird." The simplicity of the scene 
 constitutes its enduring charm. There is a suspicion 
 of affectation in the pose of the dog and in the 
 gesture of Joseph's hand, but the whole conception 
 is graceful, simple and restrained. Mary is sitting 
 at her spinning-wheel in the background, Joseph is 
 in partial shadow, and, in the full light, leaning 
 babylike against his father's knee is the sweet and 
 innocent figure of the little Christ. The colouring 
 is rich and the paint is excellently handled. The 
 picture of 11 Rebecca and Eleazar" is admirable in 
 its draughtsmanship, but the colouring is hard and 
 dark, and while the colour in the 44 Adoration of the 
 Shepherds" is exceptionally fine, there is a distinct 
 suggestion of weakness in the pose of the figures. 
 A study of the 44 Virgin with the Infant Jesus on her 
 Knee," several conceptions of Christ, some studies 
 of different saints and a picture of San Fernando, 
 King of Spain, are representative samples of this 
 period of the painter's growth. The sketch of the 
 Virgin in the Museo of Madrid, which is treated 
 wholly in the realistic spirit, was probably painted 
 before he went to Madrid, and the three studies in 
 the Prado, representing 44 San Ildefenso receiving 
 the Sacerdotal Vestments from the Hands of the 
 Virgin," 44 San Bernardo " and 44 San Geronimo 
 kneeling in his Grotto," betray striking evidence of 
 the influence of Velasquez and Ribera. 
 
 Murillo won the favour of the great populace less 
 
38 
 
 MURILLO 
 
 by the technical excellence of his colouring than by 
 the homely realism with which he treated his sub- 
 jects. He amazed and delighted his Andalusian 
 admirers by reflecting the images of themselves on 
 his canvases. Until his advent in Seville, Zurbaran 
 and Pacheco, Herrera and Valdes Leal had accus- 
 tomed the people to gaze on heroes and gods, and 
 to accept their archaic manner and flat lifeless 
 style as the ideal in art. But Murillo was to depict 
 men as men, to reveal Palestine as a province of 
 Spain, and to people his Spanish Holy-land with 
 Andalusian disciples and apostles. His Eastern 
 backgrounds were taken from familiar Spanish 
 landscapes, he surrounded Scriptural events with 
 a local atmosphere, he dressed his characters in the 
 costumes of his own country, and over all this 
 naturalism he cast the glamour of a strong and 
 fervent emotion. 
 
 With Murillo — so different from the case of his 
 great countryman, Cervantes — popularity spelt 
 prosperity. While the public were loud in his 
 praise, priors and noble patrons were overwhelming 
 him with commissions, and in 1648 his worldly 
 circumstances were so flourishing that he was 
 accepted as the husband of a rich and noble lady. 
 Of Dona Beatriz de Cabrera y Sotomayor, whom 
 he married in that year, we know little beyond the 
 fact that she possessed property at Pilas, a village 
 situated five leagues from Seville. That she made 
 
MURILLO 
 
 39 
 
 him a discreet and dutiful wife is generally accepted, 
 and there is certainly no evidence to the contrary. 
 There is a kind of legend that Murillo first met her 
 at Pilas, where he was painting an altar-piece for 
 the Church of San Geronimo. The story affirms 
 that he wooed the lady by painting her as an angel 
 in that composition. But it is extremely doubtful 
 whether the painter ever employed his wife as a 
 model in any of his pictures. Murillo appears to 
 have had great affection for his models, and he 
 reproduces their faces as saints, angels, or beggar- 
 boys with unfailing persistence ; but we cannot, with 
 any certainty, recognise Doiia Beatriz in any of his 
 compositions. It is somewhat curious that the artist 
 exercised but little invention in the posing and 
 arrangement of his religious figures and situations. 
 The majority of his saintly visions are realised in a 
 set, unvaried style. The figures are the same, the 
 posing is the same ; the same treatment is common 
 to all. For this reason while his Capuchin pictures 
 are dramatic, the inspiration appears to be senti- 
 mental rather than saintly. They are weak and 
 lacking in vigour ; they are blurred in luminous 
 vapour, and the colour is frequently luscious even 
 to satiety of sweetness. 
 
 One of his favourite models is said to have been 
 the son of Sebastian Gomez, the painter's Mulatto 
 attendant, who profited so well by the instructions of 
 the studio that he was able to finish the head of a 
 
40 
 
 MURILLO 
 
 Madonna that Murillo was prevented from com- 
 pleting, and to whom in reward the artist gave his 
 freedom. The juvenile Gomez is immortalised in 
 the head of the " Boy looking out of Window " in 
 the English National Gallery, and he is reproduced 
 in other pictures by Murillo as an angel, a fruit- 
 seller, and a figure in a crowd. 
 
 Murillo's marriage was the means of his enlarging 
 the sphere of his hospitality, but while his house 
 became the resort of the brethren of his craft and 
 of the best society in Seville, the artist, instead of 
 limiting his output, devoted himself to the pro- 
 duction of pictures with unabated industry and 
 enthusiasm. As his sacred legends increased and 
 found their way into the cathedral and the various 
 religious houses of the city, he gradually lost the 
 realistic method he had acquired in Madrid and 
 surrendered himself to the emotionalism of his 
 religious temperament His figures took on a 
 spiritual exaltation, their attitudes became pic- 
 turesquely unreal, his outlines lost their strength 
 and distinctness, and his colours acquired the tones 
 of melting transparency which characterised his 
 later style. 
 
 One of the earliest experiments in this second 
 manner that is particularly mentioned by Cean Ber- 
 mudez is " Our Lady of the Conception," in which 
 the sainted figure is represented with a friar seated, 
 and writing, at her feet. It was executed in 1652 for 
 
MURILLO 
 
 4i 
 
 the Brotherhood of the True Cross, who paid the artist 
 2.500 reals for the picture. Some three years later 
 he painted for the Chapter of the Cathedral another 
 large canvas, " The Nativity of the Blessed Virgin," 
 which is regarded as one of the most pleasing 
 examples of the artist's second style. The com- 
 position of the picture has been declared to be 
 beyond criticism. In the foreground the new-born 
 babe is being dressed by a graceful group of 
 women and angels, and in the background St. Anne 
 is depicted in bed, with St. Joseph bending over 
 her. A pleasant landscape closes the distant scene, 
 and a cluster of joyous cherubs are seen above in 
 the air. The bare left arm of one of the minister- 
 ing maidens was, by reason of its perfect roundness 
 of form and beauty of colour, the envy of the 
 ladies of Seville. The public admiration it excited 
 has caused the limb to be quoted as the rival of the 
 leg of Adam in the famous picture M La Generacion " 
 by Luis de Vargas. 
 
 But the most celebrated picture in this second 
 manner of Murillo, which still hangs in the chapter 
 of the baptistery of the Cathedral, is the u Vision of 
 the Holy Child by St. Anthony of Padua"— a 
 canvas which, to this day, is greatly venerated in 
 Seville. In the picture the shaven, grey-frocked 
 Saint, kneeling near a table, gazes rapturously 
 aloft at a vision of the naked infant Jesus, who is 
 descending to earth in a golden flood of glory 
 
42 
 
 MURILLO 
 
 surrounded by a garland of graceful forms and 
 beautiful cherub faces. Palomino declares that the 
 table, which bears a vase containing white lilies, 
 and the arch, on the left of the picture, disclosing 
 the architectural prospective of the cloister, were 
 painted in by Valdes Leal, but the story is regarded 
 as extremely improbable. For this picture, which 
 was painted in 1656, the artist was paid the sum 
 of 10,000 reals. Despite the high esteem in which 
 it is still held in Seville, the picture, judged by 
 modern standards, must be described as a mystical 
 conception, lacking in simplicity and impressiveness. 
 Compared with the truthful simplicity of the Child 
 in " Del Pajarito," the infant Saviour is a theatrical 
 little angel, and his pose in the sky is affected and 
 unnatural, but the weakness of the composition is 
 redeemed by the colouring, which is fine and glow- 
 ing, and reveals the master hand in its manipula- 
 tion. In 1874 the figure of the Saint was cut from 
 the canvas, and although it was discovered in New 
 York and cleverly restored, the picture still bears 
 traces of the injury. 
 
 Of this picture of " St. Anthony of Padua " the 
 story is told and implicitly believed in Seville, that 
 the Duke of Wellington — Captain Widdrington in 
 his Spain and the Spaniards in 1843 refers to him 
 as u a lord " — had declared himself ready to give 
 £40,000 for the work. M. Viardot in his Mustes 
 D'Espagne gives the tale on reverend authority, in 
 
MURILLO 
 
 43 
 
 the following passage : " Une chanoine qui avait 
 bien voulu me servir de cicero7ie y ma raconta qu' 
 apris la retraite de Frangais, en 1813, le Due de 
 Wellington avait offert d'acheter ce tableau pour 
 TAngleterre en le couvrant d'onces dor ; mais 
 l'Angleterre a garde son or, et Seville le chef- 
 d'oeuvre de son peintre." The canvas is about 
 15 feet square, which, allowing each golden ounce 
 to be worth £5 6s. , and to cover a square 
 of i£ inches brings the Duke's offer to over 
 £47.50o. 
 
 It is curious to remark that the evidences of 
 weakness and mannerism which this picture betrays 
 pass unnoticed by John Lomas, a critic, who, as 
 will be noticed a little later, could be quite out- 
 spoken on the subject of the shortcomings of 
 Murillo. But of " St. Anthony of Padua M he says, 
 4< In conception and composition, drawing and 
 colouring, this superb picture is unexceptional, 
 while the smallest accessories are painted with 
 wonderful care. And, although there is something 
 of the inevitable Murillo prettiness about the infant 
 Christ, there is at the same time an unwonted 
 dignity and protecting power, a fine divinity; 
 while the kneeling figure is quite living in 
 its expression of yearning dependency and 
 trustfulness." 
 
 To the three divisions of style under which 
 Murillo's work is usually classified, Mrs. Walter 
 
44 
 
 MURILLO 
 
 Gallichan (" A Record of Spanish Painting ") 
 suggests a new division — 
 
 "... that depends upon the thought of the work rather than 
 upon the manner of rendering — one that reverses the order, 
 and places the early and more truthful work first in 
 importance. All the initial religious pieces and the genre 
 paintings, may be tabulated as natural work tinged with the 
 unreal. From the hovering between realism and emotion, 
 Murillo's manner gradually changed, until the natural was 
 mingled with the unreal, and it becomes difficult to 
 differentiate between the ideal and the fact. In his last 
 work the natural was lost in the unreal, and all trace of 
 direct rendering of nature faded in mystic emotion." 
 
 But the writer admits that the small group of 
 Murillo's portraits cannot be included in this 
 analysis. A likeness of Archbishop Urbina exe- 
 cuted for the monks of the Franciscan convent 
 prior to his visit to Madrid, is the earliest portrait 
 of which we have any record. Sir Edmund Head 
 says of it a that the execution is hard, but the 
 head has considerable power." Very few of Murillo's 
 likenesses are to be seen outside Spain, though 
 many regard them as his finest and truest work, for 
 in it he lost his instinct for making pictures, and 
 gave us his real conception of his model. In the 
 Sacristia Mayor of Seville Cathedral are his studies 
 of " St. Leander " and u St. Isidore " ; the former is 
 a representation of Alonso de Herrera, the leader 
 of the Cathedral choir ; the latter is the portrait of 
 
MURILLO 
 
 45 
 
 the licentiate Juan Lopez Talaban. Both are 
 splendid pieces of work, the figures, although 
 somewhat short, being simply posed and magnifi- 
 cently handled, while the technique in every detail 
 reveals great finish and admirable effect. Of these 
 two portraits, which in addition to the faithfulness 
 of the detail, are full of character and truth, Carl 
 Justi writes : u We are struck by the fact that 
 their individual truthfulness is purer and more free 
 from the conventional pattern, than many highly 
 esteemed portrait painters of the century." 
 
 There are to be seen in the Prado of Madrid 
 some brilliant and effective portrait studies which 
 reveal the great technical skill and excellence of 
 Murillo's feeling in this branch of art, and in 
 addition to these — a bare-footed monk dressed in 
 the habit of his order, a woman spinning, a Galician 
 woman counting money — and a few portraits in 
 private collections in this country there are also 
 several portraits of the artist painted by himself. 
 One of these, which was bequeathed by Murillo to 
 his sons, and according to Cean Bermudez, came 
 into the possession of Don Bernard Friarte, was 
 subsequently sold by Don Julian Williams to the 
 King of the French and now adorns the Spanish 
 Gallery at the Louvre. The head is painted, with 
 a modishness characteristic of the age, on a stone 
 slab resting on a block, on which is inscribed the 
 name of the artist. The countenance of Murillo as 
 
4 6 
 
 MURILLO 
 
 here depicted in his younger days shows a gentle 
 and thoughtful face, with firm lips and keen intel- 
 ligent eyes surmounted by a broad intellectual 
 brow. It boasts none of the beauty of feature and 
 courtly air which we find in pictures of Velasquez, 
 but the face is in keeping with his genius, and 
 bears the stamp of that piety and deep humanity 
 which one finds in all his work. At the request 
 of his children, Murillo painted at a later period of 
 his life, a second portrait of himself, which repre- 
 sents him as a somewhat careworn man of middle 
 age. This was copied by his pupil, Miguel de 
 Torbar, and is in the Madrid Gallery. Still another 
 portrait of the painter, a three-quarters length 
 canvas, seems to be an enlarged repetition of the 
 picture in the Louvre, and Don Lopez Cepero has 
 in Seville an unfinished study of a head which 
 is believed to be another portrait of Murillo 
 executed by himself. 
 
 In 1656 the small church of Sta. Maria la Blanca 
 was renovated, and Murillo's powerful friend and 
 patron, the canon Don Justino Neve y Yevenes, 
 commissioned the artist to paint for this church 
 four large pictures of a semi-circular form, two for 
 the nave and one for each of the lateral aisles. 
 These four pictures, which M. Viardot has called "the 
 miracles of Murillo/' were carried off by the French 
 and placed in the Louvre, where two of them, a 
 " Virgin of the Conception " adored by churchmen 
 
MURILLO 
 
 47 
 
 and described by Stirling-Maxwell as one of the 
 earliest of the painter's Conceptions, and a figure 
 of Faith holding the elements of the Eucharist, 
 still remain. The other two were happily rescued 
 at the Peace, and now hang in the Academy of San 
 Fernando in Madrid. These two canvases, which 
 are named respectively " The Dream M and u The 
 Fulfilment/' were designed to illustrate the history 
 of the festival of Our Lady of the Snow. In the 
 picture of " The Dream " are depicted the sleeping 
 figures of the Roman Senator and his rich but 
 childless wife ; and the Blessed Virgin, who has 
 been adopted as their heir, is shown seated on a 
 cloud and surrounded by a glory. The Virgin, 
 according to the legend, is revealing to the sleepers 
 her acceptance of their inheritance, on condition of 
 their repairing to the Esquiline Hill and there 
 erecting, on a piece of ground they would find 
 covered with snow, a church in her honour. This 
 scene, drawn with a splendid mastery of technique, 
 is particularly interesting as betraying the first 
 evidence of the artist's third manner. In the com- 
 panion picture, " The Fulfilment," the devout couple 
 are relating their dream to the dignified, Titian- 
 like Pontiff, Pope Liberius, and in the far distance 
 a procession of priests, accompanied by a great 
 press of people, is seen approaching the snow patch 
 on the Esquiline Hill. A 44 Mater Doloroso," a 44 St. 
 John," and a "Last Supper'' of Murillo, the latter 
 
4 8 
 
 MURILLO 
 
 painted in his early style, were at one time in the 
 possession of the Church of Sta. Maria la Blanca ; 
 to-day only the "Last Supper" graces its ancient 
 walls. 
 
 Although it is difficult to trace in Spanish art 
 the influence of the Public Academy of Art which 
 Murillo conceived in 1658 and established in Seville 
 two years later, the scheme enjoyed the close 
 attention of many of the best years of the painter's 
 life. The artists of Madrid, supported by the art- 
 loving Philip IV. in the previous reign, had vainly 
 endeavoured to surmount the difficulties that beset 
 such a project, and in Seville the conflicting 
 jealousies of the rival painters were even more 
 pronounced. But Murillo's heart was in the enter- 
 prise ; he remembered the disadvantages under 
 which he had laboured in his own artistic beginnings, 
 and the importance of painting as an educational 
 and religious influence with the people, nerved him 
 to overcome all obstacles. By enlisting the sym- 
 pathies of Valdes Leal and the younger Herrera 
 he paved the way for the meeting of twenty-three 
 of the leading artists of the city, who assembled on 
 the nth of January, 1660, and drew up a consti- 
 tution for the new society. Murillo and Herrera 
 were elected to the two presidential chairs, and 
 among the other chosen office-holders were Juan de 
 Valdes Leal, Sebastian de Llanos y Valdes, Pedro 
 Honorio de Palencia, Cornelius Schut and Ignacio 
 
MURILLO 
 
 49 
 
 Iriarte. The two presidents were to act on alternate 
 weeks as director of studies and the guide, philo- 
 sopher and friend of the students, and the other 
 officers were to form the council of the president 
 and to superintend the clerical and financial work 
 in connection with the Academy. The working 
 expenses were to be defrayed by the members 
 of the society, whose liabilities were limited to a 
 monthly subscription of six reals each, while the 
 pupils were admitted on the most liberal terms. 
 They were only asked to pay whatever they could 
 afford and to faithfully obey the few simple but 
 strictly enforced rules. Each student, on admission, 
 was to pronounce his orthodoxy in these words — 
 " Praised be the most holy Sacrament, and the 
 pure Conception of Our Lady" — to bind himself to 
 refrain from swearing or loose talk, and to eschew all 
 conversation on subjects not relating to the business 
 of the school. 
 
 Students were numerous from the first, but 
 differences among the subscribing members led to 
 many secessions and changes among the office- 
 holders, and in the second year of the Academy's 
 existence Murillo appears to have had unrestricted 
 control in the management of its affairs. But, after 
 a while, the friction which produced these changes 
 died out, and in 1673 the last minute preserved in 
 the original records printed by Cean Bcrmudez, 
 states that the meeting held on November 5th was 
 
 E 
 
50 
 
 MURILLO 
 
 attended by forty-three academicians and by their 
 "most noble protector," Don Manuel de Guzman, 
 who occupied that exalted station in succession to 
 the deceased Count of Arenales. While Murillo 
 was actively interested in the direction of the 
 Academy the institution flourished, but it is evident 
 that after a while the jealousy of envious brethren 
 of the craft inclined him to give fuller heed to 
 the calls of his own studio. Yet even when he 
 withdrew from active participation in the conduct 
 of affairs it continued to exist until his death, when, 
 after a chequered career lasting for a score of years, 
 the school was closed. 
 
 Between 1668 and 1671 Murillo was engaged by 
 the Chapter of Seville Cathedral to retouch the 
 allegorical designs of Cespedes in the Chapter- 
 room which was under repair and to execute a 
 full-length Virgin of the Conception and a series 
 of eight oval half-length saints. Ponz finds the 
 saints pleasing yet of no great artistic merit, but 
 the Virgin, with her orthodox escort of lovely 
 cherubs, is described as a dark-haired and magni- 
 ficent Madonna. About this time he also painted 
 for the sacristy of the Chapel de la Antigua the 
 infants, Christ and St. John, and the " Repose of 
 the Virgin." As these works were missing after 
 the Peninsular War, it is supposed that they had 
 the misfortune to excite the admiration of one or 
 other of the French military critics. About this 
 
MURILLO 
 
 5i 
 
 time Murillo was employed by the Cathedral 
 authorities to decorate the Capilla Real in honour 
 of the canonization of St. Ferdinand III. The 
 whole cathedral was adorned for this great cere- 
 mony, perhaps the greatest that ever took place in 
 Seville, and the Capilla Real, as sheltering the 
 body of the saint, which still lies stretched out in a 
 silver shrine before the high altar, was apportioned 
 to the city's most illustrious painter. There is no 
 record extant of the nature or scope of the decora- 
 tion adopted on this occasion, but it is of interest 
 to admirers of Murillo on account of the allusion 
 made to him in Don Fernando de la Torre Farfan's 
 adulatory poem in honour of the new saint. It also 
 affords us an idea of the amity which existed between 
 the painter and the priests and the deep respect in 
 which he was held by the Church, that in such a 
 connection and in such a poem the reverend author 
 should assert : " One dares scarcely trust one's eyes 
 for fear one is looking at a phantom and not at a 
 real thing. We are lost in wonder, when we gaze 
 at the pictures, at the talent of our Bartolome 
 Murillo, who here has created that which cannot 
 be surpassed." The " Memorial of the Festivals 
 held at Seville on the Canonisation of St. Ferdinand," 
 in which this signal homage to the genius of the 
 artist is preserved, was printed at the expense of 
 the Chapter of Seville for presents, and has been 
 claimed to be one of the most beautiful books of 
 
 E 2 
 
52 
 
 MURILLO 
 
 Spanish local history. In the poem from which we 
 have quoted, Don Fernando, after proclaiming the 
 renown of Murillo's name and the " learning " of 
 his pencil, and eulogising him as a " better Titian," 
 remarks of one of his delineations of the Im- 
 maculate Conception "that those who did not 
 know that it had been painted by the great artist 
 of Seville would suppose that it had had its birth 
 in Heaven/' 
 
 Such was the esteem in which Murillo was held 
 in 1 67 1, when the most glorious period of his 
 career was still before him. During the three fol- 
 lowing years he was to paint for the Hospital of 
 La Caridad his series of eleven pictures, which 
 have been described as the finest works of the 
 master. In these, Stirling Maxwell finds evidence 
 that the artist determined to leave to posterity an 
 example of the variety of his style, and of the full 
 compass and vigour of his genius. 
 
 The project of restoring the forlorn and moulder- 
 ing ruin of the Hospital of San Jorge and its 
 dilapidated church, had its origin in the pious 
 mind of Don Miguel Matiara Vicentelo de Leca, 
 Knight of Calatrava, a Don Juan of Seville — 
 duellist, boon-companion, rake, roysterer — who had 
 abandoned his profligate life and become a devout 
 pietist. He was born in 1626, and his conversion 
 is the subject of several stories. One annalist has 
 it that Manara, while stumbling homewards after a 
 
MURILLO 
 
 53 
 
 night of carousal, saw a funeral procession approach- 
 ing him. The priests and the usual torch bearers 
 accompanied the bier. Stepping up to the bearers 
 the young man said : " Whose body is that which 
 you are carrying ? " The reply was startling : 
 "The body of Don Miguel de Manara." The 
 prodigal reeled away, filled with horror ; for he had 
 looked upon the corpse and recognised his own 
 features. Upon the next morning Manara was 
 found insensible in a church. It was the turning 
 point of his life. He became an ascetic, a devotee, 
 and the patron of Murillo. Yet his protrait in the 
 Sala del Cabildo of La Caridad, the man with the 
 sad thin face was executed, not by Murillo, but 
 by Juan de Valdes. In 1661 the desolate shell 
 of the building on the bank of the river, close to 
 the Torre de Oro, attracted the attention of the 
 then devout Knight of Calatrava, and he assumed 
 the heavy responsibility of raising the funds neces- 
 sary to restore the hospital to the city in a pros- 
 perous condition. The first contribution he received 
 towards the purpose was a gift of fifty crowns, the 
 savings of a lifetime, which a beggar named Luis, 
 desired to devote to the service of God and the 
 poor. On this slender foundation Manara com- 
 pleted his pious work at the cost of over half a 
 million ducats, constructed the church, which boasts 
 an interior more elegant than any in Seville, and 
 the hospital with marble cloisters and spacious 
 
54 
 
 MURILLO 
 
 halls, dedicated to the necessities of " our masters 
 and lords the poor." The altars of the church of 
 San Jorge are among the richest in Spain ; its 
 pictures included eleven of the matchless canvases 
 of Murillo. Three of these pictures which still 
 adorn the lateral altars, represent the Annunciation 
 of the Blessed Virgin, the Infant Saviour and the 
 Infant St. John, and the remaining eight treat of 
 appropriate scriptural subjects. The names and 
 prices paid for these eight compositions are as 
 follows : — 
 
 "Moses striking the Rock" . . . 13,300 reals 
 " Miracle of the Loaves and Fishes " . 15,975 „ 
 "Charity of San Juan de Dios" and] 
 
 " St. Elizabeth of Hungary tending) 16,840 „ 
 
 the Sick" ) 
 
 " Abraham Receiving the three Angels,"^ 
 
 the " Return of the Prodigal,'' "Our/ 
 
 Lord healing the Paralytic " and V 32,000 „ 
 
 " St. Peter released from prison by I 
 
 the Angel " ) 
 
 78,1 15 reals, 
 or about ^800 
 
 Of these masterpieces the acquisitive Soult 
 secured five ; four of which went into his own 
 picture warehouse and one he presented to the 
 Louvre. The "St. Elizabeth of Hungary" was 
 happily recovered by the Spaniards and is now in 
 Madrid, the "Release of St. Peter " is at the 
 
MURILLO 
 
 55 
 
 Hermitage at St. Petersburg ; " Abraham M and the 
 " Prodigal Son " are in the Duke of Sutherland's 
 collection at Stafford House, and the " Healing of 
 the Paralytic " is supposed to have passed from the 
 Tomline collection at the time of the sale to the 
 United States. Happily for La Caridad the three 
 compositions that remain in their original positions 
 are the u Moses," the "Miracle of the Loaves and 
 Fishes," and the " Charity of St. John of God." 
 
 The weight of critical opinion favours " The 
 Charity of St. John of God " as the finest of the 
 three pictures at La Caridad. The figures are 
 strong and finely drawn, and the dark form of the 
 sick man and the sober grey habit of his bearer are 
 in strong contrast to the luminous yellow draper)' 
 of the angel and the celestial light which fills the 
 canvas with shimmering colour. The " Moses " 
 has its many admirers ; indeed, Stirling-Maxwell 
 holds that, as a composition, " this wonderful 
 picture can scarcely be surpassed " ; but the cold- 
 ness and hardness of the tones, and the imperfect 
 blending of the many tints are conspicuous weak- 
 nesses. The same judicious critic finds the head 
 of the patriarch noble and expressive, and the 
 figure majestic and commanding, but to some the 
 dignity of the figure of Moses is marred by a 
 suggestion of affectation in the pose, and the 
 groupings of the Andalusian Israelites may, 
 by no great stretch of the imagination, have 
 
56 
 
 MURILLO 
 
 been rehearsed by a stage-manager. Wilkie 
 declared that, " Seeing their great reputation, 
 these pictures would at first disappoint you. 
 They are far from the eye, badly lighted, and 
 much sunk in their shadows, and have in con- 
 sequence a grey, negative effect. The choice of 
 the colour in the ' Moses' is poor, and the chief 
 figure wants relief. The great merit of the work 
 lies in the appearance of nature and truth which 
 he has given to the wandering descendants of 
 Israel. " As a matter of fact, the whole conception 
 lacks the dignity and artistic sincerity of his greatest 
 compositions, while the same defects mar the inspira- 
 tion of " The Miracle of the Loaves and Fishes." 
 The weakness of the figure of Christ, the awkward 
 treatment of the two distinct crowds, and the want 
 of a sustained harmony, is in striking contrast with 
 the " St. Elizabeth." 
 
 Most critics are agreed that " The Miracle " is 
 not equal to its twin-picture " Moses," but some 
 judges have praised it without stint, and M. Thore 
 has expressed his admiration of the composition in 
 the following terms : — 
 
 " Si le Christ a nourri cinq mille hommes avec cinq pains 
 d'orge et deux poissons, Murillo a peint cinq mille hommes 
 sur un espace de vingt- six pieds. En vdrite, il n'en manque 
 pas un des cinq mille ; c'est une multitude inouie de femmes 
 et d'enfants, de jeunes gens et de veillards, une rude de tetes 
 et de bras qui se meuvent a l'aise, sans confusion, sans gene, 
 
MURILLO 
 
 57 
 
 sans tumulte. Tous contemplent le Christ au milieu de ses 
 disciples, et le Christ be'nit les pains, et le miracle est ope're ! 
 Magnifique enseignement de charite' que le peintre a mag- 
 nifiquement traduit." 
 
 In the "St. Elizabeth " the figures are simpler, 
 free from affectation of pose, and finely created ; but 
 the attitude of St. Elizabeth is stagey, and betrays 
 a self-consciousness which suggests the camera 
 rather than the faculty of the artist. The execution 
 throughout is particularly fine, and the lighting and 
 colour are extremely good. When this picture was 
 returned to Spain it was detained on some technical 
 pretext at Madrid instead of being restored at 
 once to La Caridad, and, as the result of this 
 organised procrastination, it now hangs in the 
 Academy of San Fernando. 
 
 It is greatly to be deplored that a cycle of 
 pictures such as that which Murillo painted for the 
 Hospital of Charity at Seville should have been 
 broken up and its units distributed. The series, 
 as projected by Mailara out of an abounding love 
 of human kind and the painter, was inspired by 
 the same sympathy with the sorrows and sufferings 
 of the people. The canvases told the story and 
 made their appeal on behalf of 44 our masters and 
 lords the poor." As a series hanging in a palace of 
 charity they fulfilled their mission ; but surrounded 
 by foreign pictures breathing a foreign if not an 
 actively hostile spirit, their lesson is lost. Moreover 
 
58 
 
 MURILLO 
 
 the secondary purpose of art is frustrated by this 
 dispersal, for it is now impossible to compare their 
 relative merits. Cean Bermudez, who among writers 
 is the only one who enjoyed the advantage of 
 seeing this collection entire in the places and lights 
 for which they were painted, awards the palm of 
 artistic excellence to " The Prodigal 99 and " St. 
 Elizabeth/' and we of a later century can only echo 
 the general verdict that " the most faulty is full of 
 beauties that would do honour to any painter." 
 
 The Dublin Review narrates the following facts 
 in connection with this institution of La Cari- 
 dad. Below-stairs are upwards of IOO beds and 
 always 100 patients, while above reside twelve 
 " venerables," or aged infirm priests, in comfortable 
 apartments. In each ward there is an altar where 
 mass is regularly said ; and there is an outer hall 
 opening on the street, with door left unbarred all 
 night, where any beggar or poor wayfarer may find 
 supper, light, and bed. In 1844 the confraternity 
 forwarded, or assisted on their journeys, 165 poor 
 people ; gave ecclesiastical burial to 70, the number 
 of deaths in the house having been 43 ; carried 
 162 to the hospitals, and distributed clothes and 
 alms to others; and 17,398 large loaves of bread, 
 besides abundance of meat, fruits, vegetables, cho- 
 colate, cakes, wines, etc., were consumed in the 
 establishment. 
 When it is remembered that a large percentage 
 
MURILLO 
 
 59 
 
 of the revenue of the hospital was derived from 
 the visitors who came to admire these pictures of 
 Murillo and contributed liberally to the funds of 
 the institution, it will be recognised that the French 
 marshal's work of spoliation was a peculiarly cold- 
 blooded piece of burglary. Indeed, the whole story 
 of the long premeditated picture-stealing campaign 
 of Soult fills one with rage and indignation. 
 Spies preceded his army, disguised as travellers, 
 and furnished with Cean Bermudcz' Dictionary 
 to mark out his prey of plate and pictures. The 
 aged prior of the Convent of Mercy at Seville told 
 Richard Ford that he recognised, amongst Soult's 
 myrmidons one of these conitnis-voyagturs of 
 rapine, to whom he himself shortly before had 
 pointed out the very treasures which they were 
 then about to seize. That a picture, worth the 
 carriage to France, was left to Seville, was no fault 
 of the French general. Hundreds of pictures in- 
 tended for exportation were left muddled together 
 in the saloons of the Alcazar when the army evacu- 
 ated the city. To strip dark churches and convents, 
 it may be said, was often to rescue fine works of 
 art from oblivion, or from decay by monkish 
 neglect. But to despoil Manara's church of its 
 pictures, was, as Stirling-Maxwell protests, to rob 
 not merely Seville of glorious heirlooms, but the 
 poor of the charity of strangers which these pictures 
 attracted to the hospital. He adds witli biting 
 
6o 
 
 MURILLO 
 
 cynicism, " In France, finance ministers have fre- 
 quently proved themselves ' smart men ' on 'Change. 
 Soult enjoys the rarer distinction of having turned 
 his marshal's baton into the hammer of an auctioneer, 
 and the War Office into a warehouse for stolen 
 pictures." 
 
 A few of Murillo's canvases found their way, via 
 Paris, to Holland, and in the Art Union of June, 
 1841, a story is told of an altar-piece by the Master 
 which a society of Flemish friars turned to excel- 
 lent account. A bold Briton came, saw, and 
 conquered this picture for a considerable sum, and, 
 by the desire of the vendors, affixed his seal 
 and signature to the back of the canvas. In due 
 time it followed him to England and became the 
 pride of his collection. But, passing through 
 Belgium some years afterwards, the purchaser 
 turned aside to visit his friends the monks, when 
 he was surprised to find his acquisition, smiling in 
 all its original brightness, on the wall where he 
 has been first smitten with its charms. The truth 
 was that the good fathers always kept under the 
 original canvas an excellent copy, which they sold 
 in the manner above related to any rash collector 
 whom Providence directed to their cloisters. 
 
 While he was still engaged in completing his 
 pictures for the Hospital of Charity, Murillo must 
 have been pondering the yet greater work he was 
 to undertake for the Convent de los Capuchinos at 
 
MURILLO 
 
 61 
 
 the request of his old friends, the Franciscans. It 
 was for the brown-frocked brethren that he had 
 painted his first pictures on his return to Seville in 
 1645, and although he was rewarded by the 
 smallest sum of money that could have been 
 offered, he seems always to have retained a warm 
 regard for his first patrons. The Capuchin convent, 
 built upon the site of the monastery of St. Leander 
 and the church of Sta. Rufina and Sta. Justina, 
 outside the Carmona Gate of the City, was 
 commenced in 1627. The artists, Herrera and 
 Zurbaran who would have been available for its 
 pictorial adornment if the building had been 
 proceeded with at a normal rate of progress, were 
 dead before the chapel was completed in 1670. 
 But a greater than they was at this date at the 
 height of his fame and eager to accept the 
 commission. For six years Murillo laboured in 
 this building, and during three of them, according 
 to the unsupported statement of Mrs. O'Neill 
 in her " Dictionary of Spanish Painters," he never 
 left the convent. During that period — 1674 to 
 1680 — he executed upwards of twenty composi- 
 tions. Nine of these which adorned the retablo 
 of the high altar included the huge picture of 
 the u Virgin granting to St. Francis the Jubilee 
 of the Porciuncula," " Sta. Rufina and Sta. 
 Justina/' "St. John the Baptist in the Desert," 
 " St. Joseph with the Infant Jesus," " St. Leander 
 
62 
 
 MURTLLO 
 
 and St. Bonaventure," the three charming half- 
 length canvases of " St. Anthony of Padua," " St. 
 Felix of Cantalicio ■ ■ and the " Virgin and Child," 
 and the " Holy Kerchief of Sta. Veronica." On the 
 altar, stood a " Crucifixion " painted on a wooden 
 cross. The lateral altars were enriched with the 
 eight celebrated historical subjects: the " Annun- 
 ciation of the Blessed Mary," the " Virgin with the 
 dead Saviour in Her Arms," "St. Anthony of 
 Padua with the Infant Christ," the "Virgin of 
 the Conception," " St. Francis embracing the 
 Crucified Redeemer," the " Nativity of Our Lord," 
 the " Vision of St. Felix," and the " Charity of 
 St. Thomas of Villanueva. In addition to various 
 smaller compositions, the Convent also acquired 
 another u Virgin of the Conception " of rare beauty, 
 the "Guardian Angel," and two studies of the 
 Archangel Michael. What pecuniary award the 
 painter received for these pictures, which raised this 
 otherwise unimportant little church among the 
 greatest artistic treasure-houses in the world, we 
 cannot tell. The Franciscans had little worldly 
 wealth, and beyond their famous library of ecclesi- 
 astical folios and the works with which Murillo 
 enriched them above any other brotherhood in 
 Spain, they were poor indeed. 
 
 The huge canvas of the "Virgin granting to 
 St. Francis the Jubilee of the Porciuncula," with the 
 kneeling figure of the Saint bowing his head 
 
MURILLO 
 
 63 
 
 beneath the shower of red and white roses with 
 which the attendant cherubim of the Saviour and 
 the Virgin bless his pious austerity, has been 
 restored and repainted so often that the outlines of 
 Murillo alone remain, overlaid with modern pig- 
 ments. The gem of the entire series, the beautiful 
 " Charity of St. Thomas of Villanueva," which 
 Murillo was wont to call " his own " picture, 
 afforded in its subject the sharp contrasts that 
 appealed to his national dramatic instinct. The 
 good St. Thomas, beloved of Muriilo as he 
 was by the poor of Seville, stands at the door 
 of his cathedral administering alms. At the feet 
 of the prelate, robed in black and with a white 
 mitre, rests a filthy beggar, while other male and 
 female mendicants are grouped in the foreground. 
 Despite their dirt and their rags, they are posed 
 with a fine sense of the picturesque, and the small 
 urchin who exults over the pieces of money which 
 have fallen to his share, is a typical Murillo beggar 
 boy. The piety and benevolence of St. Thomas 
 were exalted several times by the pencil of 
 Murillo ; one picture of the Saint is in the collec- 
 tion of Lord Ashburton, another hangs in the 
 Louvre, and yet another is included in the Wallace 
 collection ; but his most elaborate and important 
 study of the worthy prelate was the one he painted 
 for his friends, the Franciscans of Seville. 
 
 The patron saints of Seville, Justina and Rufina, 
 
6 4 
 
 MURILLO 
 
 also enlisted the highest powers of the painter. 
 These Saints were the daughters of a potter living 
 in the suburb of Triana where coarse earthenware is 
 still made. During the Roman occupation of Seville 
 they suffered martyrdom for their adherence to 
 the Christian faith, and were canonised and made 
 the guardians of the city. During a terrible storm 
 that wrought great havoc in Seville they are 
 supposed to have saved the Giralda from destruc- 
 tion. In Murillo's composition they stand sur- 
 rounded by their usual pots and palm branches, 
 supporting the fairylike Arabian tower of the 
 Cathedral. The colouring is exquisitely delicate, 
 and the tones — ultramarine blues, peach and pink 
 shades and rich yellows — harmonise with the 
 Seville brown, a rich red brown known as negro de 
 hiteso (dark bone) made of burnt bones of olla. 
 This brown which is still manufactured in Seville, 
 and is, indeed, the distinguishing feature of the 
 Sevillian school, gives an abundant mellowness of 
 colour to this picture, which may also have been 
 tinted, as was Murillo's custom, with liquorice. 
 The composition which is in the Museum of Seville 
 may be compared with the study of the same 
 subject made by Francisco Goya which hangs in 
 the Cathedral. The one is the work of a good 
 churchman and devotee, the other is the expression 
 of a revolutionary. Murillo is said to have taken 
 his wife as the model for his saints. Goya selected 
 
MURILLO 
 
 65 
 
 for his purpose, with bitter cynicism, two well- 
 known majas of Madrid. " I will cause the faithful 
 to worship vice," was his grim and caustic remark. 
 
 The picture of " St. Leander and St. Bona- 
 venture " is remarkable for the somewhat common- 
 place appearance of the saints, and the magnificent 
 arrangement of their white draperies, while the two 
 studies of St. Anthony with the Infant Christ, 
 and the picture of the " Virgin revealing herself 
 to St. Felix," are exceedingly fine pictures. The 
 two Immaculate Conceptions included in the 
 Capuchin series are of unequal merit, and two 
 other studies which command enthusiastic admira- 
 tion, both for the nobility of conception and for the 
 majestic manliness and vigour of the models 
 employed, are the u St. John in the Desert," and 
 the " St. Joseph with the infant Jesus." In the 
 representation of the " Nativity of Our Lord," 
 which has been so highly extolled both by Cean 
 Bermudez and Ponz, the Virgin is perhaps the 
 most beautiful of all Murillo's Madonnas. Her 
 sweet face is alight with the reflected glory of the 
 new-born Christ on her lap, and the ethereal Virgin 
 is in contrast with the figure of St. Joseph and the 
 surrounding shepherds, and finds an affinity in the 
 two exquisite cherubs who hover in dim space 
 above the holy mother. The picture of the 
 Guardian Angel " illustrates the firmly held 
 doctrine preached by St. Isidore that every human 
 
 F 
 
66 
 
 MURILLO 
 
 soul is watched over by a celestial spirit, a dogma 
 established by the warning which Christ addressed 
 to his disciples, " Take heed how ye offend one of 
 these little ones, for I say unto you that in Heaven 
 their angels do always behold the face of my 
 Father." The beauty of the child is enhanced by 
 the transparent texture of his garment, and the 
 commanding figure of the angel is emphasised 
 in the rich yellow and purple of the robe and 
 mantle. 
 
 The legend of " la Virgen de la Servilleta" the 
 "Virgin of the Napkin," as the small picture of the 
 Virgin and infant Saviour, which once adorned the 
 tabernacle of the Capuchin high-altar, is still called 
 in Spain, is not mentioned by either Palomino, 
 Ponz, Cean Bermudez, Cumberland, or any of the 
 leading writers on Spanish art, but it is related in 
 Davies' " Life of Murillo," and is implicitly believed 
 by all good Sevillians. The story, which derives 
 some credibility from the size and shape of the small 
 square canvas, was related to Stirling-Maxwell by 
 the keeper of the museum in Seville, where the 
 picture now hangs, as it is quoted here in his 
 words : — Murillo, whilst employed at the convent, 
 had formed a friendship, it is said, with a lay 
 brother, the cook of the fraternity, who attended to 
 his wants and waited on him with peculiar assiduity. 
 At the conclusion of his labours, this Capuchin of 
 the kitchen begged for some trifling memorial of 
 
MURILLO 
 
 67 
 
 his pencil. The painter was willing to comply but 
 had exhausted his stock of canvas. " Never mind/' 
 said the ready cook, "take this napkin," offering 
 him that which Murillo had used at dinner. The 
 good-natured artist accordingly went to work, and 
 before evening he had converted the piece of coarse 
 linen into a picture compared to which cloth of gold 
 or the finest tissue of the East would be accounted 
 as "filthy dowlas." The Virgin has a face in which 
 thought is happily blended with maidenly inno- 
 cence ; and the Divine infant, with his deep earnest 
 eyes, leans forward in her arms, struggling as it 
 were almost out of the frame, as if to welcome the 
 saintly carpenter home from his daily toil. The 
 picture is coloured with a brilliancy which Murillo 
 never excelled ; it glows with a golden light as if 
 the sun were always shining on the canvas. 
 
 Of all the pictures executed with so much loving 
 care and such a wealth of mature genius, not a 
 solitary souvenir remains in the convent u de los 
 Capuchinos." The dingy, desolated chapel now 
 serves as a parish church, in which the visitor is 
 shown a few monkish portraits that yet moulder in 
 the sacristy and the altar where the masterpieces 
 of Murillo once hung. Before the dissolution of 
 the convents the foolish monks had bartered away 
 their immense " Porciuncula " for some modern 
 daubs for their cloister. During the Peninsular War 
 the pictures were sent to Gibraltar to save them 
 
 F 2 
 
68 
 
 MURILLO 
 
 from the rapacity of Soult, and they were only 
 returned to Seville after peace had been declared 
 in 1 8 14. Seventeen of these canvases now occupy 
 one chamber of the Museum at Seville, including 
 the 14 Sta. Rufinaand Sta. Justina," " St. John in the 
 Desert," and u St. Joseph with the infant Christ," 
 the "Nativity," "Sts. Leander and Bonaventure," 
 the " St. Francis at the foot of the Cross," the two 
 studies of " St. Anthony," the " St. Felix," the " St. 
 Thomas of Villanueva," the two " Conceptions," 
 and the " Virgin of the Napkin." It has been 
 denied that Seville is the only place in which 
 Murillo can be best studied and his genius fully 
 appreciated, and writers have declared that the 
 artist himself would have been content to be judged 
 by his compositions which are now to be seen in 
 the Madrid Gallery. Yet it must be admitted that 
 the full development of his utterance can be nowhere 
 better traced than in the Seville Gallery. Here 
 only can one compare his early "Annunciation," 
 with its directness and effort of simplicity, with the 
 three " Immaculate Conceptions," in which, as one 
 critic has described it, u an idealised Mary melts in 
 ethereal mistiness." 
 
 In or about the year 1670 Murillo, on the 
 authority of Palamino, who himself is somewhat 
 dubious as to the truth of the story, is supposed to 
 have been summoned to Madrid by King Charles 
 II., who had been greatly impressed by a "Virgin 
 
MURILLO 
 
 69 
 
 of the Conception M by Murillo which had been 
 exhibited in the "most ancient, noble and crowned 
 capital " on the feast of Corpus Christi. The story 
 may be devoid of fact, but the issue of the Royal 
 command cannot be dismissed as improbable, since 
 all Andalusia was ringing with the praises of the 
 painter's " Conceptions." and the fame of them 
 must have extended to Madrid. 
 
 Murillo painted no fewer than twenty pictures 
 on the subject of this 4< darling dogma of the 
 Spanish Church," and the unrivalled grace and 
 feeling of his treatment has won for him the title 
 of el pintor de las Concepciones. The worship of 
 the Virgin Mother, though appealing irresistibly 
 to the people of Spain, was not an official article of 
 the Catholic faith until 161 7, when at the earnest 
 instigation of Philip IV. a papal edict was issued 
 declaring the immaculate nature of Mary. No 
 dogma had ever been so readily accepted or so 
 fervently believed in the Peninsula. According to 
 a contemporary writer, 
 
 " Spain flew into a frenzy of joy. Archbishop de Castro 
 performed a magnificent service of Te Deum and thanks- 
 giving in the Cathedral, and amidst the thunder of the organ 
 and the choir, the roar of all the artillery on the walls and river, 
 and the clanging of the bells in all the churches of Seville, 
 swore to maintain and to defend the special doctrine which 
 was held in that See in such particular esteem. No wonder 
 that all the conventual houses vied with each other to obtain 
 from Murillo, the special painter ot purity and loveliness, 
 
MURILLO 
 
 representations of the Madonna exemplifying this great 
 dogma. All the religious painters of the century sought to 
 celebrate this triumph, to which task Murillo bent all the 
 power and passion of his brush." 
 
 The worship of Spain in Murillo's day was, in 
 point of fact, entirely centred in the adoration of 
 the Virgin Mary — the different orders of monks 
 venerated their respective founders and saints, but 
 they were all united in their devotion to the Virgin. 
 The rules for the guidance of painters in their 
 treatment of the Mother of Jesus were strict, but 
 within those limitations, the artist could lavish 
 all the beauty and adoration that his soul could 
 conceive and his brush could transcribe upon the 
 canvas. Every painter in the kingdom was engaged 
 in depicting the worshipped Virgin, but no one 
 approached Murillo in combining the naturalism 
 and mysticism that found its way direct to the 
 heart of the Andalusian religionists. The Italians 
 had portrayed Mary as a great lady in a mansion 
 or a cloister, Murillo showed her in his Annuncia- 
 tions amid humble domestic surroundings. In his 
 Conceptions he assimilates feminine loveliness with 
 virginal character, and by transforming her from 
 an earthly mother to a spiritual being he really 
 threatens the very basis of the biblical teaching. 
 As pictures they are delightful, but they express 
 only the Andalusian comprehension of the Virgin 
 Mother ; and, it must be admitted, reveal an extra- 
 
MURILLO 
 
 7i 
 
 ordinary and strictly local development of Christian 
 orthodoxy. 
 
 It has been said that the rules governing the 
 portrayal of the Virgin were strict, and it is curious 
 and interesting to glance at the directions which 
 Pacheco, " the lawgiver of Sevillian art/' laid down 
 for the treatment of this all-important subject. 
 The idea of the holy "woman clothed with the sun 
 and with the moon under her feet, and having 
 upon her head a crown of twelve stars," is of course 
 derived from the vision in the Apocalypse, but 
 " in this gracefullest of mysteries " it was precisely 
 enjoined that " Our Lady is to be painted in the 
 flower of her age, from twelve to thirteen years 
 old, with sweet grave eyes, a nose and mouth 
 of the most perfect form, rosy cheeks, and the 
 finest streaming hair of golden hue ; in a word, 
 with all the beauty that a pencil can express." 
 Most people will regard the above directions as an 
 answer to John Lomas's interrogatory : 44 What 
 basis of belief has Murillo for representing Mary 
 not as a real woman, but as a creature without 
 weight, floating in an undescribed region of air, 
 filled with infants fledged with insignificant coloured 
 wings ? " 
 
 In these Conceptions, Lomas declares, Murillo 
 shows " as well as can be shown, both his perfections 
 and his shortcomings : his sunshiny luminosity, 
 lacking depth ; his slavery to — not quite mastery 
 
72 
 
 MURILLO 
 
 of — colour ; his pretty conceptions of characters 
 divine and human, which he lacked power either to 
 raise to heaven or to make incarnate." As a 
 criticism of the technical excellence and the limita- 
 tions of the artist's style this judgment can be 
 defended, but Mr. Lomas's pen-picture of a repre- 
 sentative Virgin betrays his imperfect realisation of 
 the religious feeling of Murillo's age and the laws 
 laid down by Pacheco : — 
 
 "Vested in blue and white," in the description of this 
 author, "as she appeared to Sister Beatrix de Silva, the 
 drapery flowing down so that all trace is lost of the limbs 
 below the knees, and folded over the moon, which does not 
 support her, but merely adorns the cloud round the region 
 of her feet (if she has any) about the size of a reaping hook, 
 she lays her hand upon her bosom, and looks up through 
 a glory of thick yellow light, that seems to proceed from 
 herself. Round her, innumerable cherubs, not the mystical 
 winged heads of older painters, but infants quite natural (as 
 is the treatment of the Virgin herself) with lovely carnations 
 on their sturdy limbs. These are the zephyrs of Christian 
 mythology that fill the upper air, fluttering round her, and 
 giving her a presentiment of maternity ; some sitting on the 
 more solid clouds approaching the dark below which belongs 
 to the earth, and many above fading away into the golden 
 mist behind her." 
 
 Turning from this half-contemptuous general 
 description of the composition of the Madonna 
 pictures to the very full instructions of Pacheco, 
 what do we find ? That Our Lady's eyes are to be 
 
MURILLO 
 
 73 
 
 turned to Heaven and her arms are to be meekly 
 folded across her bosom ; that the mantling sun is 
 to be expressed by bright golden light behind the 
 figure ; the pedestal moon is to be a crescent with 
 downward pointing horns ; and the twelve stars above 
 are to be raised on silver rays, forming a diadem 
 like a celestial crown of heraldry. The robe of the 
 virgin covering her feet with decent folds, must be 
 white and her mantle blue, and round her waist 
 must be tied the cord of St. Francis, because in this 
 guise she appeared to the noble nun of Portugal, 
 who, in 1 5 1 1, founded a religious order of the Con- 
 ception at Toledo. Except that Murillo commonly 
 dispenses with the Franciscan cord and the crown 
 of stars and takes the liberty of reversing the horns 
 of the moon, it will be seen that he has precedent 
 for his presentment of the Madonna. As for those 
 sturdy zephyrs of Christian mythology, they are also 
 provided for by Pacheco, who decides that they are 
 to hover above the figure bearing emblematic 
 boughs and flowers. 
 
 To object to Murillo's " Conceptions " on the 
 ground that they follow the prescribed formula is 
 to be unfairly censorious, and it must also be 
 remembered that these Madonnas were in complete 
 accord with the religious training and devout 
 emotionalism of the age. To the seventeenth 
 century mind of Andalusia these greatly beautiful 
 representations of the woman magnified of God 
 
74 
 
 MURILLO 
 
 above all women, appealed more directly and 
 forcibly than the virgins of Giotti — to them, divine 
 transport filled those melting blue eyes, and divinity 
 dwelt in the beauty of his Infant Saviour. To-day, 
 we are inclined to deny the religious inspiration 
 and confine our admiration to the superb execution. 
 Yet M. Charles Blanc has written of Murillo's 
 " Young Christ " :— 
 
 " II a su imprimer au fils de Marie un caractere vraiment 
 sur-human. On croit voir autour de la tete de cet enfant 
 une aure'ole que le peintre n'a point figure*e pourtant ; sa 
 belle tete s'illumine ; son regard ouvert, pe'ne'trant a la fois 
 vif et doux, lance des Eclairs de g£nie, et il parait si grand, 
 meme dans la tranquillity du sommeil, qu'on se sent averti 
 de la presence d'un Dieu : patuit Dens. ' Chez Raphael,' 
 dit un de nos critiques (M. Thore) 4 la Vierge est plus vierge ; 
 chez Murillo, Penfant-Dieu est plus Dieu.' " 
 
 Nor is the present age entirely wanting in men 
 of feeling and artistry to whom Murillo's creations 
 are not without their direct and real message. 
 One of the four great " Conceptions " in the Madrid 
 gallery shows only a part of the figure of the Virgin, 
 with the arms folded over the breast and the half- 
 moon across the waist. " Standing before that 
 picture," wrote Edmondo de Amicis, "my heart 
 softened, and my mind rose to a height which 
 it had never attained before. It was not the 
 enthusiasm of faith ; it was a desire, a limitless 
 aspiration towards faith, a hope which gave me a 
 
MURILLO 
 
 75 
 
 glimpse of a nobler, richer, more beautiful life than 
 I had hitherto led ; it was a new feeling of prayer- 
 fulness, a desire to love, to do good, to suffer for 
 others, to expiate, and ennoble my mind and heart. 
 I have never been so near believing as at that time ; 
 I have never been so good and full of affection, 
 and I fancy that my soul never shone more clearly 
 in my face than then." 
 
 With such confessions of faith as are here 
 embodied in the pronouncements of M. Blanc and 
 Signor de Amicis before us is it possible, in a single 
 sweeping sentence, to entirely wipe out Murillo's 
 mission as a teacher? Yet Mrs. Gallichan declares 
 that his " religious idylls were conceived for Anda- 
 lusia and the artistic result to the world would be 
 the same if these pictures had never been painted," 
 and she supports her verdict with the argument 
 that " there is no element of permanence in Murillo's 
 Conceptions, and his work depends for its charm 
 upon its execution, and not upon its inspiration. 
 The painter s handling is at times excellent, and 
 often we are carried away by the witchery of his 
 colour. But intellectually we remain unsatisfied ; 
 instinctively we realise a want in the artistic ideal 
 of his work." And again the same critic Bays, 
 44 Murillo's pictures are the visible result of Catholic 
 Spain in its sensuous and emotional aspect. His 
 art is not an utterance of his own, but of Catholic 
 individuality. Herein was his limitation. His 
 
7 6 
 
 MURILLO 
 
 pictures typify the Andalusian ideal, but they do 
 not reveal universal life. He depicted a phase from 
 the life around him that was transitory and localised. 
 He peopled his scenes with the common types of 
 Andalusia, yet he surrounded them with an idealism 
 of Catholic convention. In seeking to realise this 
 dual counterfeit of natural life and heavenly ideal, 
 Murillo lost dignity and universal truth. His 
 drawing and his colouring delight the eye, but the 
 thought behind what is portrayed is empty." And 
 so we are led to the conclusion, which we may 
 accept or disclaim as we choose, that as trans- 
 lations of the Catholic faith into the common 
 language of the people, as symbols of the develop- 
 ment of the national religious life, Murillo's pictures 
 are supreme ; that as the pioneer-painter in a new 
 Spanish presentment of sacred scenes, Murillo 
 achieved the greatness of initial accomplishment ; 
 but that he missed " that strict fidelity to universal 
 truth necessary to raise him among the great 
 painters of the world." " He painted pictures," we 
 read, "as they had never before been painted in 
 Spain," and immediately after we are asked to 
 believe that while his discovery, as it affected 
 Andalusia, was great, "for the world it was 
 meaningless." A lame and impotent conclusion. 
 
 Mrs. Gallicher's deductions are greatly interesting 
 and they possess the added charm of sincerity. She 
 has the art of making her case appear very good, 
 
MURILLO 
 
 77 
 
 as indeed it is, until we examine the arguments for 
 the other side. Then we cannot help thinking that 
 if she does not say more than she means, which is 
 always possible in making generalisations, she has 
 judged Murillo by an exalted standard which, if 
 applied to all artists, would rob many, if not most 
 of them, of their universally admitted claims to 
 immortality. There are some aspects of Murillo's 
 art which, if he were to be judged by them alone, 
 would relegate his pretentions to "the Nothing all 
 things end in," and his name would be blotted out 
 of the book of fame. But if some of his Madonnas 
 are sweet even to satiety, and some of his holy 
 children seem designed for an advertisement of 
 somebody's soaps or infant foods, there are many 
 which possess every element of permanence. Would 
 the artistic results to the world have been the same 
 if the " Charity of St. John of God," or "The 
 Guardian Angel," or 41 El Tinoso " or " Del Ta- 
 jarito," or " St. Anthony of Padua " or u The Vision 
 of St. Francis" — to mention no others — had never 
 been painted ? Lomas, by no means a weak ad- 
 mirer of Murillo, has said of the two last-mentioned 
 compositions, " There are here two real living 
 Christs and two real living monks. There is no 
 lack of divinity on the one side, or of humanity 
 upon the other. These are perhaps his best, his 
 most powerful pictures in Seville — not to say in 
 the world." It has been said that a perfect picture 
 
78 
 
 MURILLO 
 
 must combine the design of Rafael, the lighting of 
 Corregio, and the colouring of Titian ; and this 
 unique combination has been traced by some of 
 the most eminent art critics in many of the com- 
 positions of Murillo. 
 
 To say that Murillo's pictures breathed the life 
 around him, and that such life was transitory is not 
 to label him a superfluous and redundant painter. 
 Hogarth, Velasquez, Vandyck present the same 
 inevitable limitations, and no artist who forsakes 
 the unchanging subjects of plastic nature — sky, and 
 land and water — and the primitive emotions of 
 love and hate and despair, shall appeal to the 
 eyes and the emotions of every generation alike. 
 As a painter of sacred scenes he was a pioneer ; he 
 painted pictures not only as they had never been 
 painted before, but as they have never been painted 
 since. There are pictures of Murillo's in Seville 
 and Madrid, in our National Gallery, in the Louvre, 
 and the Hermitage of St. Petersburg, the loss of 
 which would be irreparable to art, and if his name 
 and work were obliterated from the records of 
 Spain, the Peninsula would be shorn of almost 
 a half of its artistic glory. His message for Anda- 
 lusia has been accepted by the whole civilised world ; 
 the meaning and the reality of this passing phase 
 of a national religious development is interpreted 
 more vividly and convincingly in Murillo's canvases 
 than in all the church histories that were ever written. 
 
MURILLO 
 
 79 
 
 All Murillo's Conceptions, Stirling - Maxwell 
 declares, breathe "the same sentiment of purity 
 and express, so far as lies within the compass of 
 the painter's art, that high and perfect nature, 
 1 spotless without and innocent within/ ascribed by 
 the religion of the south to the Mother of the 
 Redeemer. Nurtured in this graceful and attract- 
 ive belief, and, perhaps, kneeling daily before some 
 of these creations in which Murillo has so finely 
 embodied it, well might Sister Ines de la Cruz, the 
 'cloistered swan of Mexico/ exclaim in her pas- 
 sionate poem which was sung in the Cathedral of 
 Puebla de los Angeles, at the feast of the Concep- 
 tion (1689) : — 
 
 " 1 Think'st thou the Saviour's mother was ever aught but 
 bright, 
 
 That darkness e'er polluted the fount of living light ? 
 Her queenly throne in heaven, and her beauty cans't thou 
 see, 
 
 Yet deem our glorious lady, a child of sin like thee ? 1 " 
 
 In the Sala de Murillo in Seville there is a large 
 Conception which was commissioned for the cupola 
 of the Franciscans. As the composition was 
 intended to be hung at a distance from the ground 
 the artist painted it with extraordinary bravura and 
 vigour and with a masterful eye for effect. But 
 when the picture was brought into the convent, and 
 before it was raised to its destined position, the 
 Cathedral authorities saw only the bold crudities of 
 
8o 
 
 MURILLO 
 
 the work and they refused to accept it. Murillo 
 bowed to their decision, but asked as a favour that 
 the work might be adjusted in the cupola that he 
 could judge the work at the distance at which it 
 was intended to be seen. The request was granted, 
 and then the authorities immediately recognised 
 the wonderful effect of the rough execution and 
 begged to be allowed to retain the picture. Murillo 
 demanded double the price that he was to have 
 received for the work, and the fathers paid it rather 
 than surrender the insulted picture. 
 
 After his Conceptions, the most popular of 
 Murillo's pictures in Spain are his Holy Children, 
 yet the greatest popular favourites are not of his 
 best work. His greatest compositions, the strong, 
 simple pictures, are frequently passed by in favour of 
 his sweet-pretty compositions — his often theatrical 
 and ultra-sweet Marys, his attitudinising sacred 
 infants and his posing lambs. Among the latter 
 the " Nino Jesus," the " Baptist with a Lamb " and 
 " Los Ninos de la Concha," the " Children of the 
 Shell," which hang in the Madrid Prado, are the 
 most admired of his works. Charming, they 
 undoubtedly are, as are the " St. John fondling a 
 Lamb " in our National Gallery and the lovely, 
 auburn-haired "Good Shepherd" in Baron Roth- 
 schild's collection, and his frequently repeated 
 studies of the infant Christ and St. John either 
 with or without lambs. But a sweeter and far 
 
MURILLO 
 
 81 
 
 finer representation of youth is to be seen at the 
 Madrid Gallery in " Santa Anna giving a lesson to 
 the young Virgin," in which the natural and grace- 
 ful figure is unmarred by any suggestion of 
 the stagey cherub-child ; or in the " Angel de 
 la Guarda," already referred to in the Sacrista 
 de los Calicos of the Seville Cathedral, in which 
 the tender grace of the tiny child is superbly 
 realised, while the lightness and delicacy of 
 the handling is superb. Lomas declares that 
 this " Guardian Angel" and the 4< St. Anthony" 
 painted for La Caridad are not only far beyond all 
 the rest in value but stand out like giants among 
 the other art treasures of Seville Cathedral. The 
 grave and learned Pacheco tells us that the inspira- 
 tion of Murillo's picture of the 4< Education of the 
 Virgin" was found in a carving in the church of 
 La Magdalena at Seville, and was improved upon 
 by Roclas, who executed for the Convent of Mercy 
 a representation of the domestic scene in which the 
 Madonna, " in a rose-coloured tunic, a blue starry 
 mantle, and an imperial crown," knelt at the knees 
 of her mother and read from the pages of a missal. 
 Pacheco declared against the subject as being 
 unorthodox, because u the Virgin being placed in 
 the Temple in her third year, must have owed her 
 knowledge of letters to the agency of the Holy 
 Spirit." Murillo's conception of the scene, which 
 is now in the Queen of Spain's Gallery at Madrid, 
 
 G 
 
82 
 
 MURILLO 
 
 is strong, simple and impressive, and it has been 
 conjectured that the models for the child and the 
 noble head of the mother, were found in Doiia 
 Beatriz and the young Francisca, the painter's 
 wife and daughter. 
 
 But beautiful and rapturous in expression as 
 these Holy Children of Murillo appear, they are not 
 so well known or so popular outside Spain as those 
 soft-eyed, blooming, artless, picturesque urchins 
 which are to be found in English and continental 
 galleries, and are famous the world over as Murillo's 
 Beggar Boys. In our National Gallery are two 
 of these studies, the u Boy Drinking" and the 
 " Spanish Beggar Boy " ; in the Dulwich Gallery 
 there are two groups of " Peasant Boys " and a 
 "Spanish Flower Girl" ; while yet other examples 
 are in private collections, in the Louvre, and at 
 Munich and St. Petersburg. In Spain these Beggar 
 Boys are rarely to be met with, and there is not a 
 single work of the kind in the public galleries ot 
 either Seville or Madrid. Exquisite as they are as 
 pictures, they have fulfilled themselves in the 
 decorative purpose which they serve so well. 
 Witching and picturesque as the figures may be, 
 they are but posed like models ; they wear their 
 rags like actors, and their very tatters are so 
 arranged as to reveal their finely- moulded shoulders 
 or their finely-painted feet and hands. They are 
 self-conscious, graceful, delightful, and aggressively 
 
MURILLO 
 
 83 
 
 untrue in the sense of the great impersonal truth 
 of life. 
 
 But artificial as these studies indisputably are, 
 and, in some instances, unpleasant in subject, it is 
 surely ungracious and incorrect to conclude that 
 the creator of the Conceptions and the St. Thomases 
 reveals an unrefined mind in occasionally depicting 
 an unpleasing scene in his pictures. William 
 B. Scott, while claiming for Murillo the name of 
 " the greatest painter Spain has produced," qualifies 
 the title with a reservation which most people will 
 regard as unnecessary and untrue. His reference 
 to the "common nature" of Murillo and his 
 i( coarseness of mind," are the phrases referred to : — 
 
 "Compared to him," Mr. Scott writes, "there are three 
 who may be preferred by those who are exclusive or peculiar 
 in taste. . . . These are Zurbaran, whose sympathies were 
 in the cloister ; Ribera, whose power of hand is as great as 
 that of Tintoretto, whose sympathies were cruel ; and 
 Velasquez, who was essentially a portrait painter. But 
 Murillo was wider than either or all of them perhaps, and 
 the beauty of his treatment, and mastery of his technique, 
 has made him, in spite of a commonplace character and 
 coarseness of mind that places him below the greatest of the 
 Italian masters, the representative name in the art of Spain." 
 
 Mr. Scott proceeds to emphasize and " rub in " 
 the vulgarity of Murillo's nature and the coarseness 
 of his mind in a way that is scarcely justifiable. 
 Although the artist goes to beggars and cripples 
 for many of his subjects, he idealises them with a 
 
 G 0 
 
8 4 
 
 MURILLO 
 
 refinement and sense of the beautiful which a 
 vulgar or coarse nature could never effect. Here is 
 a passage which is quoted as illustrative of this 
 critic's contention : — 
 
 " In a country like Spain, Murillo became easily the 
 favourite of the crowd. He was one of themselves, and had 
 all the gifts they valued. Not, like Velasquez, reproducing 
 by choice only the noble and dignified side of the national 
 character, Murillo preferred the vulgar, but had sufficient 
 versatility to change his theme as often as he chose. He, 
 like all the older Spanish painters, knew how to give the 
 blessed fervour of the devotee, or the ecstasy of the glorified 
 monk, but he could also (and this was his own) paint to 
 perfection the rags and the happiness of the gipsy beggar 
 boys, a flower-girl grinning at you with a lapful of flowers, 
 or the precocious sentiment of the Good Shepherd, with 
 the lamb by his side, painted to a miracle. Pious, and 
 profoundly Catholic, he often prayed for long hours in the 
 church of his parish, and did not fail to remark, after 
 vespers, the donnas and damsels lifting their masks to give 
 him a glimpse of their faces. He mixed happily the 
 mundane and the celestial, and found it possible to enjoy 
 them together ; nor was his taste exclusive — the filthy 
 mendicant catching the troublesome vermin is one of his 
 most favourite minor works, and the subject scarcely 
 attracts our attention, the splendour of the colour and 
 chiaroscuro being so complete." 
 
 The author of that disparaging passage should 
 have conceded to the artist that to him the subject 
 was of no more importance than it is to the critic ; 
 Murillo saw the artistic possibilities of the study, 
 
MURILLO 
 
 85 
 
 and he used them in the composition of a master- 
 piece. Mr. Scott speaks of this " El Piojoso " as 
 one of the painter's favourite works, leaving it to be 
 inferred or supposed that Murillo so gloried in the 
 act that he immortalised it in a spirit of personal 
 appreciation. Mrs. Gallichan employs the picture 
 to point a very different moral. Murillo s boys, she 
 explains, are all idealised and made beautiful by 
 the fancy and genius of the artist — so much so that 
 u even the lousy boy in the garret searches for the 
 vermin in a picturesque attitude/' 
 
 In 1656 Murillo had been commissioned by Don 
 Justino Neve to paint the four pictures for the 
 renovated church of Sta. Maria la Blanca, and in 
 1678 the canon, who had been largely instrumental 
 in building a new hospital for superannuated priests 
 in Seville, known as 11 Los Venerables," again 
 employed his friend to execute three of the pictures 
 required for the decoration of the institution. 
 These canvases comprise his " St. Peter Weeping," 
 in which Ribera was imitated and excelled, a 
 mystery of the Immaculate Conception, which Cean 
 Bermudez preferred, for beauty of colouring, to all 
 Murillo's pictures on that subject at Seville, and a 
 " Blessed Virgin with her Divine Babe," which 
 Joseph Townsend {Journey Through Spain in 
 1786 and 1787) considered the most charming of 
 all the works of Murillo. This latter picture, 
 which was hung in the refectory of Los Venerables, 
 
86 
 
 MURILLO 
 
 was " burgled " by Soult, and the canvas dealing 
 with the subject, which is to be seen in the Museum 
 of Cadiz, is described as only an indifferent copy 
 of the original. 
 
 The portrait of Canon Justino Neve, which, after 
 various changes of place and ownership, now belongs 
 to Lord Lansdowne, was painted about this time, 
 and represents the handsome prelate dressed in a 
 black cassock and seated on a red velvet chair. A 
 gold medal is suspended from his neck, and 
 between the leaves of the small breviary he holds, 
 his finger is inserted as a bookmarker. On the 
 stone portal beside him his armorial bearings are 
 sculptured ; a small timepiece is on an adjacent 
 table, and the little spaniel which lies at his feet is 
 so naturally represented that Palomino solemnly 
 records that living dogs have been known to snarl 
 and bark as they approached it. The same 
 authority is responsible for the story that birds 
 have been seen attempting to perch on and peck at 
 the flowers that are painted in Murillo's picture of 
 " St. Anthony of Padua." The portrait of Neve 
 has evidently been the subject of the artist's loving 
 care, and the clear, olive face of the benevolent 
 strenuous priest with the dark intelligent eyes and 
 the delicate beard and moustachios, bespeak at 
 once the scholar and the aristocrat 
 
 Soon after he had completed his work for Los 
 Venerables and the portrait of his friend the Canon, 
 
MURILLO 
 
 87 
 
 Murillo was engaged upon a series of pictures for 
 the repaired high altar of the conventual church of 
 the Augustines. Two of these canvases had for 
 their subjects scenes in the life of the glorious 
 Bishop of Hippo, the tutelar saint of the order. 
 These are now in the Museum of Seville, and a 
 third, still dealing with the good prelate, is to be 
 seen in the Louvre. According to a note in the 
 catalogue of the Spanish Gallery of that institution, 
 the picture is derived from the story of the inter- 
 view which Augustine had with a child on the 
 seashore. The youngster was discovered intent 
 upon the task of filling a hole in the sand with 
 water conveyed from the sea in a shell, and when 
 questioned as to his purpose he explained that it 
 was his intention to remove into the hole he had 
 made all the water of the ocean. M But," declared 
 the divine, " the task is impossible," to which the 
 small doubter replied, 14 Not more impossible than 
 for you to explain the mystery of the Holy Trinity, 
 upon which you are at this moment meditating." 
 In this picture the figure of Augustine is too short, 
 but the head is dignified and admirably painted. 
 For the Augustine Convent Murillo also executed 
 two compositions illustrative of scenes in the 
 benevolent life of St. Thomas of Villanueva. One 
 of these is the one referred to as being in the 
 possession of Lord Ashburton, and the other is the 
 supreme work of art, the "Charity of St Thomas 
 
88 
 
 MURILLO 
 
 of Villanueva," which is regarded by many as the 
 pearl of the collection in the Museum of Seville. 
 
 Before the French occupation, the Cathedral of 
 Seville contained two Murillos which are not now 
 to be seen there. On Soult's arrival at Seville, the 
 superb " Birth of the Virgin " and " Repose in 
 Egypt " were concealed by the Chapter, but the 
 Marshal was informed of their existence and he 
 notified the authorities that he 44 would be pleased to 
 accept them." He further hinted at an alternative 
 method of procuring them : Richard Ford relates 
 that when Soult was showing a guest his picture 
 gallery in Paris, he stopped before a Murillo and 
 remarked, " I very much value that, as it saved the 
 lives of two estimable persons." An aide-de-camp 
 whispered to the Marshal's guest, " He threatened 
 to have both shot on the spot, unless they gave 
 up the picture." The " Birth of the Virgin," which 
 has already been referred to, was painted in 
 1655, and it was acquired for the Louvre from the 
 Duke of Dalmatia, the son of Marshal Soult, in 
 1858. The picture was then valued at 150,000 
 francs. The " Flight into Egypt " is one of the 
 score of Murillo's compositions that hang in the 
 public gallery at St. Petersburg. 
 
 In 1682 Murillo was sixty-five years of age ; he 
 was possessed of a sufficiency of this world's goods, 
 and a repute second to that of no painter in Spain, 
 while an almost passionate love of Seville was one 
 
MURILLO 
 
 89 
 
 of his strongest characteristics. It must, therefore, 
 have been his sympathy with and affection for his 
 admiring friends, the Franciscans, and from neither 
 pecuniary motives nor ambition to add to his fame, 
 that induced him to accept an offer to visit Cadiz 
 and paint five pictures for the church of the 
 Capuchin Friars. The principal composition, repre- 
 senting the espousals of St. Catherine, was to adorn 
 the altar, and he was engaged upon it when he met 
 with the accident which caused his death. He 
 had almost completed the dominant figures of the 
 Virgin, the infant Jesus, and the mystical bride, 
 and was mounting a scaffolding to reach the upper 
 part of his canvas when he stumbled so violently 
 as to cause a rupture in the intestines. Palomino 
 tells us that the natural modesty of the master 
 deterred him from revealing the nature of the 
 injury, and his reticence was attended by fatal 
 results. He was brought home to Seville, where 
 he grew rapidly worse. His notary, Juan Antonio 
 Guerrero, received instructions for drawing up his 
 will, but at six o'clock on the evening of the same 
 day, the 3rd of April, 1682, and before he could 
 append his signature to the deed, he expired. His 
 friend and patron, Justino Neve, held him in his 
 arms when the end came, and beside his death- 
 bed was his youthful second son, Caspar Esteban 
 Murillo, and his pupil, Pedro Nunez de Villavicencio. 
 During the long days of his painful last illness 
 
9° 
 
 MURILLO 
 
 Murillo had himself carried into his parish church 
 of Santa Cruz where before Pedro Campana's 
 famous picture of the " Descent from the Cross" 
 which hung over the altar, he would perform his 
 devotions. This was his favourite picture, and it is 
 related by Ponz, that when asked, one day, why he 
 gazed upon it so long and so expectantly, he 
 replied, " I am waiting till those men have brought 
 down the body of Our Blessed Lord from the 
 Cross." It was his own express wish that his body 
 should be laid beneath this picture, and thither it 
 was conveyed on the day after his decease. Joachim 
 Sandrert says that his funeral was celebrated with 
 great pomp, the bier being borne by two marquesses 
 and four knights, attended by a great concourse of 
 people of all ranks who admired and esteemed the 
 great painter. 
 
 Dona Beatriz de Cabrera, Murillo's wife, had 
 predeceased her illustrious husband, but at the 
 time of his death his two sons, a daughter, and his 
 sister were still alive. His daughter, Francisca, 
 had become a Dominican nun in the fine convent 
 of the Mother of God in 1676, when she relin- 
 quished her claim to inherit from her father. His 
 eldest son, Gabriel Esteban, who was in the West 
 Indies at the time of Murillo's death, is said to have 
 obtained a benefice worth 3000 ducats, but Palomino 
 does not say when he took orders, or where his 
 preferment was situated. The younger son, Gaspar 
 
MURILLO 
 
 9* 
 
 Esteban, obtained a benefice at Carmona, and in 
 1685, before he was fourteen years old, he was made 
 a canon of Seville Cathedral. This speedy pro- 
 motion was due to the influence of his uncle, Don 
 Joseph de Veitia Linage, who had married Murillo's 
 sister Teresa, or as Palomino styles her, Tomaso 
 Josepho. Don Joseph, who was an hidalgo of 
 Burgos, a knight of Santiago, and a judge of the 
 royal tribunal of the colonies, was a man of varied 
 attainments, who, after his marriage, was summoned 
 to Madrid as Secretary of the Council for the Affairs 
 of New Spain, and subsequently succeeded Eguya 
 as Chief Secretary of State in 1682. His protege, 
 young Murillo, appears to have distinguished 
 himself little as a dignitary of the Church, but as 
 a painter he became a tolerable imitator of his 
 father's style, and died at Seville on the 2nd of 
 May, 1709. 
 
 The fatal altar-piece for the Capuchin Church at 
 Cadiz was completed by Meneses Osorio, who 
 added the glory and the hovering angels, may still 
 be seen over the high altar in the chapel of the 
 convent, now an hospital, at Cadiz. Of the sum of 
 900 crowns which Murillo was to have been paid 
 for the five pictures, he had already received 350 
 crowns. This we read in his will, from which it is 
 evident that he did not die a rich man, although for 
 forty years of his life he had received good prices 
 for his pictures. He left only one hundred reals in 
 
9 2 
 
 MURILLO 
 
 money in addition to seventy crowns which were 
 found in a desk, says Palomino, but his will further 
 informs us that he died possessed of several houses 
 in the parish of La Magdalena, besides his wife's 
 olive farm at Pilas, with money, plate and furniture, 
 and many finished and unfinished pictures. This 
 document proclaims his adherence to the faith of 
 the Roman Catholic Church, orders the disposal of 
 his body, and provides for four hundred masses to 
 be said for the repose of his soul — one-fourth in the 
 Church of Sta. Cruz, one-fourth in the Convent 
 Church of Mercy, and the remainder at any church 
 selected by his executors, the Canon Neve and 
 Nunez de Villavicencio. 
 
 In these pages there will, it is hoped, be found 
 an instinctive, unconscious testimony to the simple 
 nobility of the character of Murillo — a tribute that 
 is paid to the Master by all students of his work. 
 His pictures are indeed the true index of the 
 painter's nature ; in them he has imbedded a large 
 part of himself. He selected the words "Vive 
 Moriturus " for his admonitory motto, and his choice 
 was justified by the record of his life. As a craftsman 
 he could be strong with the strongest, but without 
 the brutality of strength ; his fervour and purity is 
 reflected from the eyes of his Children, his Saints 
 and his Madonnas. His career is a story of " per- 
 sisting toil, sincere faith, loving friendship and 
 large-hearted kindness." An Andalusian to the 
 
MURILLO 
 
 93 
 
 core of his heart he was free from the Ancialusian 
 vice of boastfulness, and even at the height of his 
 great renown his humility was unexampled. He 
 rejoiced in the fine work of his fellow artists ; he 
 was too sincere in his devotion to art, as Valdes 
 Leal was too arrogant, to admit of rivalry. Cean 
 Bermudez relates of Murillo that his scholars in all 
 things found him the opposite of the testy Herrera ; 
 a gentle and painstaking master, and in after life a 
 generous and fatherly friend. The prayers and 
 tears of the populace that loved him followed his 
 body to the grave ; his intimates lamented his 
 death as if they had been his children. It has 
 been deplored that Seville has erected no monu- 
 ment to her great son, and neither in stone nor 
 marble is his memory perpetuated in the city of 
 his birth and labours. But his works are the noblest 
 monuments of his fame : the record of his life is 
 a memory that will last while Spain endures. 
 
List of IVorks of Murillo, with a short 
 description of the paintings, and an 
 indication of where the originals are 
 preserved. 
 
 Order 
 
 of 
 Plates 
 repro- 
 duced. 
 
 
 
 
 > u 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Galler 
 numbe 
 
 i 
 
 The Holy Family . . 
 
 The little bird. The Infant Deity, 
 leaning upon the knee of his 
 palatine father, playfully holds a 
 goldfinch from the reach of a 
 little woolly dog. The Virgin sus- 
 pends her task at the spindle to 
 watch the innocent play. Figures 
 life-size and entire. First style 
 of Murillo. Collection of Isabel 
 Farnese. Palace of San Ilde- 
 fonso. Canvas, 4 ft. 8 in. by 
 5 ft. ioi in. 
 
 Prado, 
 Madrid, 
 
 854 
 
 2 
 
 St. Antony with the 
 Infant Saviour seated 
 on an open folio, which 
 the Saint appears to 
 
 ildVC UCCU i C*.t*-Lli.i£. 
 
 Some cherubs hover in glory above. 
 From the Capuchin Convent. 
 Life-size. 
 
 Seville 
 Museum. 
 
 
 3 
 
 La Porciuncula : The 
 Apparition of St. 
 Francis. 
 
 The saint, kneeling on the step of 
 an altar, raises his eyes to the 
 celestial apparition which repre- 
 sents Jesus with the Cross and 
 his saint mother surrounded by 
 angels, in a field of light. Figures 
 small life-size. In the so-called 
 calid style. Canvas, 6 ft. 8£ in. 
 by 4 ft. 9 in. 
 
 Prado, 
 Madrid. 
 
 861 
 
 4 
 
 Our Lady and St. 
 Elizabeth with Infants 
 Saviour and St. John. 
 
 The Eternal Father and the Holy 
 Spirit in the clouds above. There 
 is a good French lithograph of it, 
 in which it is called "LaViergede 
 Seville." This carefully painted 
 picture, from its want of mellow- 
 ness of tone and boldness of touch, 
 seems to be a copy executed by a 
 foreigner from a work of Murillo. 
 2 in. 40 c. high, 1 m. 89 c. wide. 
 
 Louvre, 
 Paris. 
 
 17*3 
 
MURILLO 
 
 95 
 
 Order 
 
 of 
 Plates 
 repro- 
 duced. 
 
 Title. 
 
 Desci iption. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 5 
 
 Our Lady and St. 
 Elizabeth with Infants 
 Saviour and St. John. 
 
 Detail 
 
 Louvre, 
 Paris. 
 
 
 6 
 
 The Child Jesus as 
 Shepherd. 
 
 In his right hand he holds the 
 crook, while his left arm rests 
 upon a lamb. This picture be- 
 longs to Murillo's better period. 
 Collection of Isabel Farnese. 
 Palace of San Ildefonso. Canvas, 
 4 ft. by 3 ft. 2t in. 
 
 Prado, 
 Madrid. 
 
 804 
 
 7 
 
 Our Lady of the Imma- 
 culate Conception. 
 
 Upright in the air, her feet resting 
 on a crescent, the Virgin, dressed 
 in a white robe and a blue floating 
 cloak, turn> in three-quarters pro- 
 file to the left. On the right, 
 three angels carry a streamer, 
 with the inscription: "In prin- 
 cipio dilexit earn": on the left, 
 six figures in adoration. 1*72 m. 
 high, 2*85 m. broad. G. Life- 
 size. Engraved by Filhol. Bought 
 in 1818 for 6000 frs. 
 
 Louvre, 
 Paris. 
 
 1708 
 
 8 
 
 If; .1 
 
 The Annunciation . . 
 
 Mary is kneeling before a small 
 table, in prayer. Gabriel, also 
 kneeling, delivers his mess ige, 
 indicating the Holy Spirit, which 
 appears in the form of a dove. 
 I his belongs to Munllo's better 
 period Acquired in Seville in 
 1729 for the Palace of San Ilde- 
 fonso by Isabel Farnese. Canvas, 
 4 ft. | in. by 3 ft. 4 in. 
 
 Prado, 
 
 . > 1 . u . I . u . 
 
 867 
 
 9 
 
 Jacob's Dream . 
 
 Formerly in the collection of the 
 Marquess of Santiago at Madrid. 
 8 ft. high. 11 ft. 5 in. wide. 
 
 St. Peters- 
 burg. 
 
 
 ,o 
 1 1 
 
 Assumption of the 
 Virgin. 
 
 St. Thomas of Villa- 
 nueva giving alms at 
 the door of his Cathe- 
 dral. 
 
 
 Wallace, 
 London. 
 
 Northbrook, 
 England. 
 
 
 12 
 
 Our Lady with the 
 Infant Saviour. 
 
 Detail 
 
 Florence, 
 Pitti Palace. 
 
 
9 6 
 
 MURILLO 
 
 Order 
 
 of 
 Plates 
 repro- 
 duced. 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 
 Our Lady with the 
 Infant Saviour. 
 
 Seated on her knees near the 
 corner of a wall. Full-length, 
 life-size. 
 
 Rome, Cor- 
 sini Palace. 
 
 
 1 4 
 15 
 
 Girl counting money . 
 
 Two boys throwing 
 dice. 
 
 Sitting on a stone paying for fruit 
 out of a boy's basket. Engraved, 
 in mezzotint, by Pichler, and in a 
 G. L. Full-length figures, life- 
 size. 4 ft. 7 in. high, 3 ft. si in- 
 wide. 
 
 A third with a dog stands by 
 eating bread. G. L. Full-length 
 figures, life-size. 4 ft. 6 in. high, 
 3 it. 4 in. wide. 
 
 Munich. 
 Munich. 
 
 
 16 
 
 The Children, Jesus and 
 St. John. 
 
 Known by the name of Los Ninos 
 de la Concha. The Infant Pre- 
 cursor drinks from a shell held 
 in the hand of the Child Jesus, 
 while the lamb raises his head to 
 watch them. Figures entire and 
 life-size. This picture is one of 
 Murillo's last or vaporous style. 
 Collection of Isabel Farnese, 
 Palace of San Ildefonso. Canvas, 
 3 ft. 4* in. by 4 ft. 
 
 Prado, 
 Madrid. 
 
 860 
 
 17 
 
 Rebecca' and Eliarar . 
 
 Genesis xxiv. First transition 
 style of Murillo. Painted at 
 Seville, and carried to Madrid 
 by Philip V. Canvas, 3 ft. 5I in. 
 by 4 ft. ioi in. 
 
 Prado, 
 Madrid. 
 
 855 
 
 18 
 
 The Child St. John . 
 
 Gazing fixedly at the heavens with 
 one hand on his breast, and the 
 other resting on his lamb, holding 
 the ribbon of the Agnus Dei. 
 This belongs to Murillo's better 
 period. Collection of Charles III. 
 New Palace. Canvas, 3 ft. 11 in. 
 by 3 ft. 2| in. 
 
 Prado, 
 Madrid. 
 
 865 
 
 19 
 
 St. John the Baptist . 
 
 As a child, with a Cross of Reed 
 in his hand, and a lamb by his 
 side ; landscape background. 
 Full-length, life-size. 4 ft. 11 in. 
 high, 3 ft. 5 in. wide. 
 
 Vienna. 
 
 
 20 
 
 
 
 National 
 Gallery, 
 London. 
 
 

 
 MURILLO 
 
 
 97 
 
 Order 
 
 of 
 Plates 
 repro- 
 duced. 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 21 
 
 The Madonna of the 
 Rosary. 
 
 With the Infant Saviour in her 
 lap, enthroned on clouds, and 
 supported by four cherubs. En- 
 graved in mezzotint by Say ; 
 without the angels by T. Somer- 
 ville and R. Graves, and finely 
 engraved at full-length by George 
 Smith. Figures life-size. 
 
 Dulwich, 
 England. 
 
 
 22 
 
 Girl 
 
 With a white mantilla. Life-size . 
 
 Dorchester 
 House, 
 London. 
 
 
 23 
 
 St. Anthony of Padua . 
 
 Kneeling with the Infant Saviour 
 in his arms ; two cherubs with 
 book and lilies standing at his 
 side and five hovering in glory 
 above. Perhaps the picture men- 
 tioned by Cean Bermudez as 
 belonging to the Convent of* Scin 
 Pedro Alcantara at Seville, of 
 which Don Julian Williams pos- 
 sessed a small sketch or study. 
 Life-size. 5 ft. 4 in. high, 6 ft. 
 Si in. wide. 
 
 Berlin. 
 
 
 24 
 
 A Mystic Subject . . 
 
 Alluding to the sweetness and 
 suavity with which St. Bernard 
 wrote praises of the Virgin. The 
 Saint is represented writing in his 
 cell, while the Virgin, with the 
 
 IuhmI Tmciic 0 r*rw*i rc tr\ Kim 
 1111. uii jcoiidy "Hr^ *■ J illlll 
 
 upon a cloud. Figures life-size. 
 This belongs to Murillo's better 
 
 L/CI \^LU ICL. liLU 1 vl ± 11 111 LI It,, 
 
 Palace of San Ildefonso. Canvas, 
 10 ft. 1 J in. by 8 ft. x in. 
 
 Prado. 
 Madrid. 
 
 868 
 
 25 
 
 Our Lady of the Rosary 
 
 Seated with the Infant Saviour on 
 her knee. 
 
 N. B. 
 
 
 26 
 
 St. Joseph • 
 
 Holding the Infant Saviour in his 
 arms. 
 
 
 
 27 
 
 St. Anthony of Padua . 
 
 Kneeling at his prayers, is visited 
 by the Infant Saviour. Figures 
 greater than life-size. 
 
 oevuie 
 Cathedral. 
 
 
 28 
 
 The Marriage of St. 
 Catherine. 
 
 The last work of Murillo. 
 Figures life-size. 
 
 Cadiz 
 Hospital. 
 
 
 H 
 
9 8 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 u 
 
 u <u 
 
 <L> ^ 
 
 13 S 
 
 St. Thomas of Villa- 
 nueva. 
 
 St. Joseph 
 
 The Flight of the Holy 
 Family into Egypt. 
 
 St. Joseph 
 
 Vision of St. Anthony . 
 
 Adoration of the Shep- 
 herds. 
 
 Jacob blessed by his 
 father Isaac, who mis- 
 takes him for Esau. 
 
 The Flight of the Holy 
 Family into Egypt. 
 
 St. Bonaventure and St. 
 Leander in white robes. 
 
 St. Alphonsus . . . 
 
 Giving alms at the door of his 
 Cathedral. Formerly in the 
 Capuchin Convent. Life-size. 
 10 ft. 5 -in . high, 6 ft. 9 in. 
 wide. 
 
 Holding in his arms the Infant 
 Saviour, who has a cluster of 
 lilies in his hand. Half-length. 
 
 2 ft. 9 in. high, 3 ft. 2 in. wide. 
 Our Lady with the Infant Saviour 
 
 in her arms, rides upon an ass, 
 which is led by St. Joseph. Two 
 cherubs hover overhead. En- 
 graved by Spilsbury. Hough. 
 
 3 ft. 2 in. high, 2 ft. wide. 
 Leading the Infant Saviour by the 
 
 hand, two cherubs hovering 
 about their heads. Coes. 2 ft. 
 
 4 in. high, 1 ft. 9 in. wide. 
 
 The aged patriarch is sitting in 
 his bed and Rebecca is standing 
 near ; all seen through an open 
 doorway. Outside, Esau comes 
 back from hunting, followed by 
 his hounds. Formerly in the 
 collection of the Marquess of 
 Santiago at Madrid. 8 ft. high, 
 11 ft. 5 in. wide. 
 
 Our Lady attended by two cherubs 
 watches the sleeping Saviour ; 
 St. Joseph standing behind. En- 
 graved in the Description de 
 l'Hermitage. Figures life-size. 
 4 ft. 5 in. high, 5 ft. 8 in. wide. 
 
 One of them holding the model of 
 a church ; a cherub holds the 
 mitre of the second. Formerly 
 in the Capuchin Convent. Life- 
 size. 
 
 Receiving the chasuble from the 
 hands of the Virgin. Figures 
 full-length and life size. This 
 belongs to Murillo's better period. 
 Collection of Philip V., Palace of 
 San Ildefonso. Canvas, 10 ft. 
 i in. by 8 ft. £ in. 
 
 Seville 
 Museum. 
 
 St. Peters- 
 burg. 
 
 St. Peters- 
 burg. 
 
 St. Peters- 
 burg. 
 
 St, Peters- 
 burg. 
 
 St. Peters- 
 burg. 
 
 St. Peters- 
 burg. 
 
 Seville 
 Museum. 
 
 Prado, 
 Madrid. 
 
 869 
 
MURILLO 
 
 99 
 
 Order 
 
 of 
 Plates 
 repro- 
 duced. 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 39 
 
 Allegorical representa- 
 tion of the well-known 
 dilemma of St. Augus- 
 tin. 
 
 "Placed in the middle, I know 
 not whither to turn." The holy 
 priest, kneeling on the steps of 
 an altar, fluctuates between the 
 images of the Virgin and Christ. 
 Figures life-size. In the so- 
 called calid style. Collection of 
 Charles III., New Palace of 
 Madrid. Canvas, 8 ft. iof in. by 
 6 ft. 4 in. 
 
 Prado, 
 Madrid. 
 
 860 
 
 40 
 
 St.Justa and St. Rufina, 
 patron Saints of Seville. 
 
 Holding between them the Giralda 
 of the Cathedral. From the 
 Capuchin Convent Life - size. 
 7 ft. 6 in. high, 6 ft. 3 in. 
 wide. 
 
 Seville 
 Museum. 
 
 
 4i 
 
 42 
 43 
 
 44 
 
 Charity of St. Thomas 
 
 St. Anthony of Padua 
 with the Infant Christ. 
 
 The Martyrdom of the 
 Apostle St. Andrew at 
 Patras. 
 
 The Annunciation of 
 the Virgin. 
 
 Detail 
 
 The Martyr, on his X-shaped cross 
 and bathed in glory, occupies 
 the centre of the picture ; groups 
 of men and women and two 
 mounted troopers, one holding a 
 red flag, cherubs with the palms 
 and crown above. 4 ft. 5$ in. 
 high, 5 ft. 9! in. wide. 
 
 The angel Gabriel on bended knee, 
 delivers the message to the kneel- 
 ing Virgin. Cherubs and the 
 mystic dove hovering overhead. 
 Figures life-size. Second style 
 ofMurillo. Collection of Charles 
 III. Canvas, 5 ft. ni in. high, 7 ft. 
 3I in. wide. 
 
 Wallace, 
 London. 
 Berlin. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 881 
 856 
 
 45 
 
 St. Elizabeth of Hun- 
 gary, Duchess of 
 Thuringia, tending the 
 sick in her hospital. 
 
 Formerly in the Hospital of 
 Charity at Seville, whence Mar- 
 shal Soult carried it to the Im- 
 perial Louvre. When restored 
 to Spain in 1814, with many 
 other pictures, it was detained 
 at Madrid by the Government as 
 a hostage for the expenses of the 
 transport from Paris, which it 
 appears the Brotherhood either 
 could not or would not pay. 
 C. L. and F. L. Figures life- 
 size. 1 
 
 St. Ferdi- 
 nand, 
 Madrid. 
 
 
IOO 
 
 MURILLO 
 
 Order 
 
 of 
 Plates 
 repro- 
 duced. 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 46 
 
 Two boys seated on the 
 ground. 
 
 One eating grapes and the other a 
 water melon. G. L. Full-length, 
 life-size. 4 ft. 6 in. high, 3 ft. 
 4 in. wide. 
 
 Munich. 
 
 
 47 
 48 
 
 Three ragged boys . 
 
 One of them a negro, who appears 
 to be begging for a share of a 
 cake in the hands of one of the 
 others. Figures full-length, life- 
 size. 
 
 Dulwich, 
 England. 
 
 Dresden. 
 
 
 49 
 
 \_sllIlbL UM LUC V^IUoJi ■ 
 
 (JU.IHJ. W111L.11 oLcUILl V_/U1 JLictUyj 
 
 St. Mary Magdalene, and St. 
 John. Hough. Engraved by 
 Spilsbury. 3 ft. 1 in. high, 2 ft. 
 2 in. wide. 
 
 Ot. JTCLCIo- 
 
 burg. 
 
 
 50 
 
 St. Felix of Cantalisi . 
 
 Restoring to Our Lady the Infant 
 
 OaVlUUl j WilUlll oXIC UcxU. |JJctL.CLl 111 
 
 his arms. From the Capuchin 
 Convent. Figures life-size. 
 
 Seville 
 
 lVTll CP*11tYI 
 IYJl UoC LW11. 
 
 
 5i 
 
 Adoration of the Shep- 
 herds of Bethlehem. 
 
 Figures life-size. 10 ft. 6 in. high, 
 6 ft. 9 in. wide. 
 
 Seville. 
 
 
 52 
 
 Our Lord's miracle of 
 the loaves and fishes. 
 
 Figures life-size. About 9 ft. 
 high, 21 ft. wide. 
 
 Seville 
 Hospital. 
 
 
 53 
 
 Moses striking the rock 
 in Horeb. 
 
 Engraved by R. Estave, and on a 
 small scale and in part (Moses 
 and Aaron and the figures to 
 their left), by Blanchard at Paris. 
 Figures life-size. About 9 ft. high, 
 21 ft. wide. 
 
 Seville 
 Hospital. 
 
 
 54 
 
 St. Isidore, seated . 
 
 A portrait of the Licentiate, Juan 
 Lopez Talaban. Full-length, 
 life-size. 
 
 Seville 
 Cathedral. 
 
 
 55 
 
 St. Leander, seated 
 
 A portrait of Alonso de Herrara, 
 Apuntador del Coro to the Cathe- 
 dral. Full-length, life-size. 
 
 Seville 
 Cathedral. 
 Sacristy. 
 
 
 56 
 
 Our Lord on the Cross. 
 
 
 Czernin. 
 
 
 57 
 
 
 
 Northbrook, 
 England. 
 
 
MURILLO 
 
 IOI 
 
 Order 
 
 of 
 Plates 
 repro- 
 duced. 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 58 
 
 The Cookery of the 
 Angels. 
 
 A Franciscan kneeling in the air, 
 being overtaken by a holy rapture 
 when at work in the Convent kit- 
 chen. His functions as cook mean- 
 while being carried on by angels. 
 A composition of twelve figures. 
 Painted for the small cloister of 
 the Franciscan Convent, whence 
 it was stolen by Marshal Soult. 
 Figures somewhat less than life- 
 size. About 6 ft. high, 10 ft. wide. 
 
 Louvre, 
 Paris. 
 
 1716 
 
 59 
 
 60 
 
 61 
 
 The Guardian Angel . 
 
 Our Lord baptised by 
 St. John Baptist. 
 
 This seems to be the original of 
 the poor engraving by Matias de 
 Arteaga, 1698. Figures about life- 
 size. 
 
 Detail 
 
 The mother is seated while the 
 gracious child stands by her side. 
 Murillo painted this picture a 
 few years before his death and 
 after 1674. Collection of Isabel 
 Farnese, Palace of San lldefonso. 
 Canvas, 7 ft. ii in. by 5 ft. 4 in. 
 
 National 
 Gallery, 
 London. 
 Seville 
 Cathedral. 
 
 Seville 
 Cathedral. 
 
 
 62 
 
 63 
 
 A Mystic Subject . . 
 
 St. Anne instructing the 
 Virgin. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 872 
 
 64 
 65 
 
 66 
 67 
 
 68 
 6 9 
 70 
 
 1 
 
 Melon eaters . . 
 Spanish Flower Girl . 
 
 Vision ot St. Francis . 
 St. Thomas of Villa- 
 
 nueva healing a lame 
 
 man. 
 
 Our Lord as a child 
 asleep. 
 
 Our Lord as a child 
 asleep. 
 
 Full-length figures, life-size. 4 ft. 
 i{ in. by 2 ft. 6 in. 
 
 Formerly in the cabinet of M. 
 Randon de Boissy, whence it 
 was sold for 900 louis to M. de 
 Calonne, at whose sale M. Desen- 
 fans purchased it for ^640. The 
 canvas being too small, appears 
 to have been pieced. Knee-piece 
 life -size. 
 
 Munich. 
 
 Dulwich, 
 England. 
 
 Genoa. 
 Munich. 
 
 Munich. 
 
 Gaston 
 Lindon. 
 
 
102 
 
 
 MURILLO 
 
 
 
 Order 
 
 of 
 Flates 
 repro- 
 duced. 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 7i 
 
 72 
 73 
 
 Our Lady of the Rosary 
 with the Infant Saviour 
 in her lap. 
 
 The Annunciation of 
 
 Our Lady. 
 Mystic Marriage of St. 
 
 Catherine. 
 
 The Virgin is sitting in three- 
 quarters to the right, dressed in 
 a pink robe, with a yellow-lined 
 blue cloak and a striped white 
 veil. She holds in her lap the 
 Child, who plays with a string of 
 beads. i"66 m. high, 1*25 m. 
 broad. C. Life-size. Collection 
 of Louis XVI. 
 
 Cherubs hovering above. Small 
 full-length figures. 
 
 Detail 
 
 Louvre, 
 Paris. 
 
 Amsterdam. 
 
 Rome 
 Vatican. 
 
 1712 
 
 74 
 
 75 
 
 76 
 
 The Holy Family . . 
 The Holy Family . . 
 
 St. Joseph stands holding in his 
 arms the Infant Saviour, who 
 leans towards his Mother j she 
 stretches out her arms to him in 
 return. 9 in. high, 7 in. wide. 
 
 Doubtful. Figures about J the 
 size of life. 
 
 Copy 
 
 St. Peters- 
 burg. 
 
 Chatsworth, 
 England. 
 St. Peters- 
 burg. 
 
 
 77 
 
 St. John with lamb 
 
 Formerly in the Lassay, Presle, 
 and Robit collections at Paris. 
 Bought from the latter by the 
 late Sir Simon Clark, to whom it 
 was valued, with its companion, 
 " The Good Shepherd," at 4,000 
 guineas, and purchased at the 
 sale of his pictures in 1840 for 
 ,£2,100. Full-length, life-size. 
 5 ft. 5 in. high, 3 ft. 7 in. wide. 
 
 National 
 Gallery, 
 London. 
 
 
 78 
 79 
 
 The Apostle St. Tames 
 Ecce Homo .... 
 
 In the so-called calid style. Col- 
 lection of Charles III., 4 ft. 
 4 in. by 3 ft. 5I in. 
 
 Our Lord crowned with thorns. 
 Life-sized bust. Collection of 
 Charles III., 1 ft. 8£ in. by 1 ft. 
 4 in. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid 
 
 863 
 895 
 
 80 
 
 The Virgin of the Rosary 
 
 The Virgin, seated on a stone 
 socle, is embracing her divine 
 Infant. Between the two is seen 
 a rosary, which gives the name to 
 the picture. Figures full-length, 
 life-size. In the so-called calid 
 style. Collection of Charles III., 
 4 ft. 3I in. by 3 ft. 7 in. 
 
 Prado, 
 Madrid. 
 
 870 
 
MURILLO 103 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 The Holy Family 
 
 St. Joachim, and the 
 Virgin as a Child . . 
 
 St. Joseph and the In- 
 fant Saviour standing. 
 The Conception . 
 
 The Conception . 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Assumption of the 
 Virgin. 
 
 The Conception . . . 
 
 The Saviour as a child standing 
 between Our Lady and St. Joseph, 
 and the Holy Ghost descending 
 upon them from the Eternal 
 Father, who appears in the clouds 
 above them. One of Murillo's 
 latest works and painted for the 
 Marquess of Pedroso at Cadiz. 
 It was valued, says Cean Ber- 
 mudez, in 1708, amongst the 
 effects of the family, at 800 pesos 
 of 15 reals, or 600 crowns. 
 Brought to England after the 
 War of Independence it was pur- 
 chased, together with Rubens' 
 " Brazen Serpent," No. 50, in 
 1837, for ^7,350. Praisea by 
 Palomino, torn iii. p. 625. Figures 
 life-size. 9 ft. 6 in. by 6 ft. 10 in. 
 
 Formerly in the Capuchin Convent. 
 Full-length, life-size. 
 
 Four beautiful infant angels adorn 
 the throne of the Immaculate, 
 and symbolise her various attri- 
 butes by roses, palm, olive, etc. 
 Figure life-size. In the so-called 
 vaporous style. Collection of 
 Isabel Farnese, Palace of San 
 Ildefonso. 6 ft. 8± in. by 4 ft. 8 in. 
 
 Five beautiful angels support the 
 Immaculate Virgin ; two of them 
 have symbolic branches of palm, 
 roses, olive, etc. In the vaporous 
 style. Came from the Palace of 
 Aranjuez in 1816. 7 ft. 2f in. by 
 3 ft. 10 in. 
 
 Detail 
 
 With angels. In Murillo's better 
 style. Collection of Isabel Far- 
 nese, Palace of San Ildefonso. 
 3 ft. 1 1 in. by 2 ft. 1 in. 
 
 National 
 Gallery, 
 London. 
 
 Valladolid. 
 Seville. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 Prado, 
 Madrid. 
 Seville. 
 
 Prado. 
 Madrid. 
 
104 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 St. Peter Nolasque 
 kneeling before Our 
 Lady of Mercy. 
 
 Our Lady of the Im- 
 maculate Conception. 
 
 The Ascension of Our 
 Lord. 
 
 St. John the Baptist in 
 the desert leaning 
 against a rock. 
 
 Ecce Homo 
 
 Supported by and attended by 
 thirty cherubs. Painted in 1678 
 for the Church of Los Venerables 
 at Seville, whence it was stolen 
 by Marshal Soult. Engraved at 
 Paris by Cousin. About 10 ft. 
 high, 6 ft. wide. 
 
 The Eternal Father is seen in the 
 clouds above, and the head of the 
 dragon beneath the feet of the 
 Virgin. Formerly in the Church 
 of the Capuchins. Life-size. 
 
 Detail of No. 88 ... 
 
 Painted for the Chapel of La 
 Espiracion, in the Convent of 
 Mercy (now the Museum) at 
 Seville, and mentioned with 
 praise by Cean Bermudez. Stolen 
 by Marshal Soult, probably for 
 the Louvre. After its restoration 
 in 1814 it was detained in Madrid 
 by the Government, till the ex- 
 penses of carriage should be re- 
 paid by the Friars, who did not, 
 however, find it convenient to 
 redeem it. Figures life-size. 
 
 At his feet a sheep. Formerly in 
 the Capuchin Convent. Full- 
 length, life-size. 
 
 Louvre, 
 Paris. 
 
 St. Peters- 
 burg. 
 Northbrook, 
 England. 
 St. Peters- 
 burg. 
 Prado, 
 Madrid. 
 Seville. 
 
 Seville 
 Museum. 
 
 Church of the 
 Capuchins 
 at Cadiz. 
 
 Seville 
 Museum. 
 
 Seville 
 Museum. 
 
 Prado, 
 Madrid. 
 St. 
 Ferdinand 
 Academy, 
 Madrid. 
 
 I 
 
 Seville 
 Museum. 
 
 Cadiz. 
 Provincial 
 Museum. 
 
MURILLO 
 
 105 
 
 Order 
 
 of 
 Plates 
 repro- 
 duced. 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 105 
 
 St. Francis of Assisi 
 supporting the body of 
 Our Lord nailed by 
 the left hand to the 
 Cross. 
 
 Above in the clouds, are two 
 cherubs. Formerly in the Con- 
 vent of Capuchins. Life-size. 
 
 Seville 
 Museum. 
 
 
 106 
 
 Our Lady and the 
 Infant Savour. 
 
 Known as u La Virgen de la Ser- 
 villeta." Formerly in the Capu- 
 chin Convent at Seville. En- 
 graved by Bias Ainettler. Bust, 
 life-size, 2 ft. 8 in. high, 2 ft. 7 in. 
 wide. 
 
 Seville 
 Museum. 
 
 
 107 
 108 
 
 Head of Christ . 
 
 The Adoration of the 
 Shepherds. 
 
 Part of the Holy Family Picture . 
 
 Figures life-size, second style of 
 Murillo. Collection of Charles 
 III. Canvas, 6ft. 1 in. by 7 ft. sin. 
 
 National 
 Gallery, 
 London. 
 Prado, 
 Madrid. 
 
 859 
 
 109 
 110 
 
 Marriage of the Virgin 
 
 Our Lady with the 
 Infant Saviour stand- 
 on her knee. 
 
 Life-size ..... 
 
 Wallace, 
 London. 
 The Higue. 
 
 270 
 
 in 
 
 112 
 "3 
 
 114 
 
 116 
 117 
 
 Our Lady of the Girdle 
 
 The Deposition from 
 
 the Cross. 
 Christ Crucified . 
 
 Deposition from the 
 Cross. 
 
 St. Anthony with the 
 Infant Saviour, who 
 stands on an open folio 
 which the Saint has 
 been reading. 
 
 The Virgin with the 
 Infant Jesus in her 
 lap. 
 
 St. Felix of Cantalisi 
 and the Infant Jesus. 
 
 An Angel holding His hands. 
 
 Background, mountainous land- 
 scape. In the vaporous style, 
 Brought from the Palace of Aran- 
 jeux in 1816. Canvas, 5 ft. xii 
 in. by 3 ft. 5! in. 
 
 An Angel holding His hands . . 
 
 From the Capuchin Convent. 
 Life-size. 
 
 Figures life-size and full-length. 
 In the so-called calid style. Can- 
 vas, 4 ft. io£ in. by 3 ft. a in. 
 
 Known as " San Felix de las arru- 
 gas," of the wrinkles, from the 
 force with which his wrinkled 
 hand is painted. From the Ca- 
 puchin Convent. Life-size. 
 
 San Telmo, 
 Seville. 
 
 Prado, 
 Madrid. 
 
 Seville 
 Museum. 
 
 Seville 
 Museum. 
 
 Prado, 
 Madrid. 
 
 Seville 
 Museum. 
 
 874 
 
 862 
 
io6 
 
 
 MURILLO 
 
 
 
 Order 
 
 of 
 Plates 
 repro- 
 duced. 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 og 
 
 118 
 
 The Penitent Magdalen 
 
 The beautiful sinner is seen in her 
 cave with an open book in her 
 hand. _ Final transition style. 
 Collection of Isabel Farnese, 
 Palace of San Ildefonso. Can- 
 vas 4 ft. n£ in. by 3 ft. n£ in. 
 
 Prado, 
 Madrid. 
 
 857 
 
 119 
 
 St. Ferdinand . . . 
 
 Crowned and robed, with a sword 
 in his right hand and a globe in 
 his left. Bust, life-size. 
 
 Seville 
 Cathedral 
 Library. 
 
 
 120 
 
 Father Cabanillas, a 
 bare-footed friar. 
 
 Bust, life-size. 2 ft. 8| in. high, 
 2 ft. 8£ in. wide. 
 
 Prado, 
 Madrid. 
 
 897 
 
 121 
 
 The Virgin of Sorrows . 
 
 Life-sized bust. Canvas, 1 ft. 8£ in. 
 by 1 ft. 4 in. 
 
 Prado, 
 Madrid. 
 
 896 
 
 122 
 
 Peasant Boy looking 
 out of a window. 
 
 Formerly in the collection of the 
 Marquis of Lansdowne. Pre- 
 sented to the nation by N. 
 Zachary, Esq. Engraved by 
 Rogers and Humphreys. Bust 
 life-sized. ^ 1 ft. 9 in. high, 
 1 ft. 3 in. wide. 
 
 National 
 Gallery, 
 London. 
 
 
 123 
 
 A Laughing Boy 
 crowned with ivy 
 leaves, and with a pipe 
 in his hand. 
 
 Formerly in the collections of M. 
 Lebrun and Sir Thomas Baring, 
 on panel. Bust, life-size. 1 ft. 
 9 in. high, 1 ft. 6 in. wide. 
 
 Northbrook, 
 England. 
 
 
 124 
 
 Ragged Boy, sitting on 
 the ground, hunting 
 for vermin on his own 
 person. 
 
 Engraved by Masson. 1 m. 34 c. 
 high, 1 m. 9 c. wide. 
 
 Louvre, 
 Paris. 
 
 1717 
 
 125 
 
 Two Ragged Boys . 
 
 One standing munching bread, and 
 the other seated and apparently 
 inviting him to play at chuck- 
 farthing. Engraved in mezzotint 
 by Say. Figures full-length, life- 
 size. 
 
 Half figure life-size. Collection oi 
 Isabel Farnese, Palace of San 
 Ildefonso. Canvas, 4 ft. by 5 ft. 
 4± in. 
 
 Dulwich, 
 England. 
 
 284 
 
 126 
 
 The Magdalen in her 
 Cave. 
 
 Prado, 
 Madrid. 
 
 901 
 
 127 
 
 Our Lady looking up to 
 Heaven, with the In- 
 fant Saviour in her lap. 
 
 
 Dresden. 
 King of 
 Saxony. 
 
 Roy. Gal. 
 
 P. ii. 539- 
 
 
MURILLO 
 
 107 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 The Dream of the 
 Roman Senator and his 
 wife, which produced 
 the Church of St. Mag- 
 giore at Rome. 
 
 The Roman Senator and 
 his wife telling their 
 dream to Pope Libe- 
 rals. 
 
 St. Augustine in black 
 robe, kneeling, pre- 
 sents a flaming heart 
 transfixed with an 
 arrow to the Infant 
 Saviour, seated on the 
 knee of Our Lady. 
 
 The Annunciation of 
 Our Lady. 
 
 St. Dorothy .... 
 
 The Conception 
 
 The Eternal Father . 
 The Infant Jesus asleep 
 upon the Cross. 
 
 Formerly in the Church of St. 
 Marie la Blanc at Seville. En- 
 graved in outline by Mme. Soyer, 
 in Huard's "Vie complete des 
 Peintres Espagnols" ; part ii 
 Figures life-size. 
 
 Companion piece of the above, 
 and painted for the same Church. 
 Figures life-size. 
 
 Life-size on panel 
 
 Life-size 
 
 Background a gloria with three 
 heads of seraphim at each side. 
 Half figure life-size. This belongs 
 to Munllo's better period. Collec- 
 tion of Isabel of Farnese, Palace 
 of San Ildefonso. Canvas, 2 ft. 
 nt in. by 2 ft. 2 in. 
 
 From the Church of the Capuchins. 
 
 Calid style. Collection of Charles 
 III., Canvas, 2 ft. by 2 ft. ioi in. 
 
 Lady with the Infant 
 Saviour in her lap. 
 
 St. Ferdinand, King of 
 Spain. 
 
 St. John of God sinking 
 under the weight of a 
 sick man, and assisted 
 by an Angel. 
 
 Detail . 
 
 An early picture. Life-size . 
 
 Represented kneeling in prayer, 
 whilst two angels part the cur- 
 tains, revealing the splendour of 
 the Heavens. In the better style 
 of Murillo. Canvas, 1 ft. in. 
 by 1 ft. 2I in. 
 
 Madrid. 
 Academy of 
 St. Ferd. 
 
 Madrid. 
 Academy of 
 St. Ferd. 
 
 Seville 
 Museum. 
 
 Seville 
 Museum. 
 
 Seville 
 Cathedral. 
 
 Prado, 
 
 Madrid. 
 
 Cadiz. 
 Prado, 
 Madrid. 
 
 Madrid. 
 Roy. Acad, 
 of St. Ferd. 
 
 Gallery of 
 
 the Vati- 
 can, Rome. 
 Seville 
 
 Museum. 
 
 Prado, 
 Madrid. 
 
 Seville 
 Hosp. La 
 Candad. 
 
io8 MURILLO 
 
 Title. 
 
 Martyrdom of St. Peter 
 the Dominican ; kneel- 
 ing at his prayers, he 
 is killed by two as- 
 sassins. 
 
 Boy with a basket and 
 a dog. 
 
 Girl in a green and red 
 dress, with a basket of 
 fruit, wiping her face 
 with a corner of the 
 handkerchief which 
 covers her head. 
 
 Old woman picking ver- 
 min from the head of a 
 boy, supporting his 
 head on her lap, while 
 he feeds his dog with 
 a crust. 
 
 Celestina and her 
 daughter. 
 
 St. Peter delivered from 
 prison by an Angel. 
 
 St. James distributing 
 soup to the poor. 
 
 Portrait of his wife, 
 Dona Beatrix de Cob- 
 rera y Sotomayor. 
 
 The^ Galligan of the 
 Coin. 
 
 The Virgin, with the 
 Infant Jesus in her lap. 
 
 Our Lady seated, with 
 the Infant Saviour in 
 her lap. 
 
 The Nativity of Our 
 Lady. 
 
 Death of St. Clara 
 
 St. Francis in ecstasy . 
 
 St. Francis de Paula 
 kneeling at prayer. 
 
 Description. 
 
 This is probably the picture which 
 Godoy carried off from the 
 Church of the Inquisition at 
 Seville, leaving in its place a copy 
 by Joaquin Cortes. 
 
 Half-length. 2 ft. 5 in. high, 
 1 ft. 4 in. wide. 
 
 Engraved by Weisbrod. 2 ft. 6 in. 
 high, 1 ft. 11 in. wide. 
 
 Etched by Houber and Weiss ; 
 engraved in mezzotint by Pichler. 
 Full-length figures. Life-size. 
 4 ft. 5 in. high, 3 ft. 4 in. wide. 
 
 Extended bust ; life-size. Canvas, 
 2 ft. by 1 ft. 4I in. 
 
 In the so-called calid style. 
 
 An early picture. Life-size. 
 
 Painted for the Cathedral of 
 Seville, whence it was stolen by 
 Marshal Soult. This is the 
 picture to which Col. Gurwood's 
 anecdote relates 
 
 Life-size 
 
 Gallery. 
 
 St. Peters- 
 burg. 
 
 St. Peters- 
 burg. 
 Herm. 
 No. 1. 
 
 St. Peters- 
 burg. 
 Herm. 
 No. 10. 
 
 Munich. 
 Roy. Pin. 
 No. 382. 
 
 St. Peters- 
 burg. 
 
 St. Peters- 
 burg. 
 
 St. Ferdi- 
 nand. 
 
 Prado, 
 Madrid. 
 
 Seville 
 Museum. 
 
 Louvre, 
 Paris. 
 
 Dresden. 
 St. 
 
 Ferdinand. 
 
 Cadiz 
 Hospital. 
 
MURILLO 
 
 109 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 o a 
 
 St. Jerome, with arms 
 crossed, kneeling in his 
 cave before a crucifix, 
 meditates upon the suf- 
 fering of Christ. 
 
 The Conversion of St. 
 Paul. 
 
 St. Anne instructing the 
 
 Virgin. 
 Jesus Christ Crucified . 
 
 The Prodigal Son . 
 The Prodigal Son 
 The Prodigal Son 
 
 The Prodigal Son 
 
 The Head of St. John 
 
 the Baptist on a golden 
 
 platter. 
 The Head of St. Paul 
 
 the Apostle on a 
 
 pedestal. 
 St. Jerome, reading . 
 
 St. Francis of Paula . 
 
 St. Francis of Paula. 
 
 Figure entire ; life-size. Calido style of 
 Murillo. Canvas, 6 ft. 1 in. by 4 ft. 
 3I in. 
 
 Saul, thrown trom his horse and smitten 
 with sudden blindness, raises his face and 
 hand to the heavens, from whence come 
 the words, ** Why persecutest thou me ? " 
 In the midst of the splendour Jesus 
 appears with the Cross. In Murillo's 
 better style. Canvas, 4 ft. 1 in. by 
 5 ft. 5 \ in- 
 
 Sketch, with variation for picture No. 872. 
 Canvas, 1 ft. 6i in. by gi in. 
 
 In Murillo's third style. Collection of 
 Isabel Farnese, Palace of San Ildefonso. 
 Canvas, 2 ft. 3+ in. by 1 ft. 9 in. 
 
 Receiving his portion in sacks of money 
 from his father. St. Luke xv. 12. 
 Canvas, ioi in. by 13 in. 
 
 Departing from his home. St. Luke xv. 
 13. Companion to No. 882. Canvas, 
 io| in. by 13 in. 
 
 St. Luke xv. 13. The youth is drinking 
 at a table with two courtesans, while 
 another youth plays on a guitar. Com- 
 panion to preceding two. Canvas, ioi in. 
 by 13 ins. 
 
 St. Luke xv. 15-20. Alone in the wilder- 
 ness, with the swine, the youth kneels, 
 and with eyes raised to heaven, prays 
 for mercy. Companion to preceding 
 three. Canvas, io± in. by 13 in. 
 
 In Murillo's third style. Canvas, 1 ft. 
 7± in. by 2 ft. 6 in. 
 
 Companion to No. 887. In the third 
 style of Murillo. Canvas, 1 ft. 7$ in. by 
 
 2 ft. 6 in. 
 
 This belongs to Murillo's second period. 
 Collection of Isabel Farnese, Palace of 
 San Ildefonso. Canvas, 4 ft. x in. by 
 
 3 ft. 6| in. 
 
 Leaning on his staft and observing the 
 heavens. In Murillo's second style. 
 Collection of Charles III. Canvas, 
 3 ft. 4i in. by 3 ft. 3 in. 
 
 Kneeling in the field and directing his 
 gaze to the heavens. Came from the 
 Palace of San Aranjuez in 1815. Canvas, 
 3 ft. 7* in. by 2 ft. 8i in. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
IIO 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 An old Woman, spinning 
 St. Francis of Paula. • 
 
 Mountainous Landscape, 
 
 with river. 
 Landscape, with a river 
 
 and a boat. 
 
 The Cook . 
 
 The Head of St. John 
 the Baptist upon the 
 charger which was pre- 
 sented to Herodias. 
 
 The Head of St. Paul 
 upon the sword. 
 
 Jesus Christ in the Gar- 
 den of Olives. 
 
 Christ at the Column 
 
 Portrait of the Poet Que- 
 vedo (1580-1645). 
 
 Portrait of the Duke of 
 Ossuna (1579-1624). 
 
 Extended bust ; life-size. Collection of 
 Isabel Farnese, Palace of San Ildefonso. 
 Canvas 2 ft. by 1 ft. 7! in. 
 
 Life-sized bust. Canvas, 2 ft. 3 in. by 
 1 ft. 7^ in. 
 
 Canvas, 3 ft. 1 in. by 4 ft. 
 
 Companion to the preceding picture. 
 Canvas, 3 ft. 1 in. by 4 ft. 
 
 Amusing herself in watching a little dog, 
 while she plucks a fowl, on the kitchen 
 floor. Life-size. Collection of Isabel Far- 
 nese, Palace of San Ildefonso. Canvas, 
 4 ft. by 5 ft. 4* in. (School of Murillo.) 
 
 Life-size. Canvas, 1 ft. q£ in. by 2 ft. 4* 
 in. (School of Murillo.) 
 
 Life-size. Companion to No. 902. Canvas, 
 1 ft. 9^ in. by 2 ft. 4i in. 
 
 In the middle, Christ, on his knees, looks 
 to the left, at an angel who holds out to 
 him a cross and a chalice ; in the middle 
 distance, on the right, the Apostles, 
 asleep. 0*36 m. h., 0*28 m. br. Marble. 
 Fig. 0*28 m. Engr. by Filhol and Lan- 
 don. 
 
 Tied up to a column, Christ turns to the 
 left and looks at St. Peter, who bows 
 before him. 0*56 m. h., 0*28 m. br. 
 Marble. Fig. 0*25 m. Engr. by Landon. 
 Bought, at the same time as the number 
 before, at the sale of Count de Vaudreuil, 
 by Louis XIV. 
 
 In three-quarters profile, to the right, with 
 spectacles on his nose. Black garment, 
 with a white band. A landscape in the 
 background. Diam. 0*29 m. G., round- 
 shaped. Breast-piece. 
 
 Half-figure, in three-quarters profile, to 
 the left. His fair hair flows on his black 
 garment ; round his neck, the Golden 
 Fleece ; on his side, a sword. Landscape 
 in the background. Diam. 0*29 m. G., 
 round-shaped. If the designation is 
 correct, the portrait is not from life, as 
 the painter was only six years old when 
 the Duke of Ossuna died. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Prado, 
 Madrid. 
 
 Louvre, 
 Paris. 
 
 Louvre, 
 Paris. 
 
 Louvre, 
 Paris. 
 
 Louvre, 
 Paris. 
 
MURILLO 
 
 in 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 Abraham receh ing the 
 three Angels. 
 
 Abraham about to sacri- 
 fice his son Isaac, and 
 prevented by an Angel. 
 
 Isaac blessing Jacob 
 
 Chap. XII. p. 1028. Formerly in the 
 Hospital of Charity at Seville, whence it 
 was stolen by Marshal Soult. Figures, 
 life-size. 7 ft. 9 in. high, 8 ft. 6 in. wide. 
 
 The ram, caught in the thicket, being 
 seen in the background. Figures, half- 
 life-size. 
 
 The left side of the picture is occupied by 
 a white cottage with a dilapidated roof, 
 up the side of which are creepers, &c. 
 This side of the cottage is in deep 
 shadow. Through a large opening in 
 the cottage-wall, left, is seen a room, in 
 the centre of which is a bed with a green 
 coverlet and a reddish canopy, on which 
 is Isaac in a sitting position, with his 
 body inclined to the right. His hair 
 and beard are white, and he wears a 
 white cloth round his head. He wears 
 a greyish shirt, and with his right hand 
 is in the act of blessing Jacob, who 
 kneels on his right knee before him. 
 The latter wears a light green sleeveless 
 jacket and buff trousers, which are torn, 
 showing the left leg. By his side, left, 
 stands his mother Rebecca, in a long 
 loose robe and with her hair down her 
 back, and her right hand extended to- 
 wards ner son. Through an opening at 
 the far end of the room another chamber 
 is seen, in which the back of a white 
 figure is visible, with a fire burning 
 beyond. A girl, right centre, in a long, 
 thin, white garment, open round the 
 neck, and with short sleeves, is approach- 
 ing the entrance to the cottage from the 
 right. Her hair is light and dishevelled ; 
 she is leaning forward as if to listen. 
 Her right hand is raised to her waist, 
 and in her left hand she carries a basket 
 with a white cloth in it. She wears 
 bracelets on both wrists, and her feet are 
 bare. Behind her, at the end of the 
 cottage, is a rustic gate. On the farther 
 side of a ravine, right, on the summit of 
 a hill, is a lofty ruin in the middle dis- 
 tance. There is a range of mountains 
 
 London. 
 Duke of 
 Sutherland, 
 Stafford 
 House. 
 No. 49. 
 Paris. 
 Ml. D. 
 de Dalmatie, 
 R. de 
 l'Univer- 
 
 site. 
 Duke of 
 Wellington, 
 Apsley 
 House, 
 London. 
 
 253 
 
112 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. | 
 
 • 
 
 Portrait of a Gentleman. 
 
 beyond a plain in the far distance. 
 Three white pigeons are flying past the 
 side of the cottage. The sky is blue 
 and hazy. Although this picture (cap- 
 tured at Vittoria) is attributed to 
 Murillo in the ' Wellington Heirloom 
 Catalogue,' it is more likely to be one 
 (No. 995) of the three pictures of the 
 same subject by Giordano mentioned in 
 the MS. Inventory of the Royal 
 Spanish Collections, &c, 1772, none of 
 which are at present in the Madrid Col- 
 lection. It agrees with it in subject and 
 dimensions. The picture, No. 995, is 
 entered in the Inventory above-men- 
 tioned as then hanging in the Princess's 
 ante-chamber in the Royal Palace, 
 Madrid. Captured at Vittoria, 1813. 
 Canvas, 35^ in. by 6oi in. Genesis 
 xxvii. 15. 
 
 Canvas 47 in. by 38^ in. Three-quarters 
 length. Life-size, facing front, and 
 about thirty years of age. He has dark 
 hair, low on the forehead and reaching 
 to the shoulders, well defined eyebrows, 
 large brown eyes, spare moustache and 
 good mouth. Complexion sallow. He 
 wears a sleeved waistcoat (chupa) of 
 yellow brocaded silk, and a black cloth 
 doublet (jubon), partially unbuttoned to 
 show the chupa. The sleeves of the 
 doublet are tight at the wrists, and are 
 slashed open upwards on the inner sides 
 to show the tight yellow sleeves, with 
 deep lace-edred cuffs beneath. He has 
 a plain lawn wJ.loon collar over a stiff 
 band or low golilla. The sleeveless 
 surcoat (ropilla) is black, with a black 
 brocade turned-back lining. His right 
 hand is slightly raised, with the fore- 
 finger extended. His left hand hangs 
 down by his side, back to the front. 
 Background dark. Details of dress, 
 especially with regard to manner of 
 wearing the hair and the size ot the 
 sleeves, indicate that this picture was 
 painted after 1650 ; probably about five 
 years later. 
 
 In a letter to the first Duke of Wellington, 
 dated 17, Somerset Street, 10th August, 
 1838, Mrs. Hicks, after expressing 
 pleasure at the purchase by the Duke 
 
 Apsley 
 House, 
 London. 
 
 189 
 
MURILLO 
 
 ii3 
 
 Title. 
 
 Description. 
 
 rt § 
 
 O c 
 
 Head of the Virgin 
 
 Portrait of a Spanish 
 Gentleman. 
 
 of her " Murillo Portrait," states that 
 it came to her from the collection of 
 Lord Cremorne, her great-uncle, who 
 died 1813, and that he had purchased 
 it from a reduced Spanish gentleman. 
 She does not know the date of purchase, 
 but believes she saw it in Lord Cremorne's 
 collection for some years prior to 1800. 
 
 The Lord Cremorne above referred to 
 was a collector, and left to his widow, 
 who survived him about ten years, his 
 villa, " Chelsea Farm " (which after- 
 wards became Cremorne Gardens), and 
 all it contained, including! many pictures. 
 As Mrs. Hicks is known to have been 
 on very intimate terms with Lord and 
 Lady Cremorne, it is probable that she 
 inherited this picture from the latter. 
 Bought by Messrs. Yates and Son for 
 the first Duke of Wellington, 1838, for 
 ^126. Exhibited — British Institution, 
 1837, when it was called " A Portrait of 
 a Spanish Gentleman.'* 
 
 Canvas, oval. 18 in. by 13 in. Head and 
 shoulders, three-quarters to the right. 
 She wears a grey drapery (which falls to 
 her right shoulder and crosses her chest) 
 over her brown hair. Her forehead is 
 broad. Her eyebrows are dark and 
 straight. Her eyes are dark, and she is 
 weeping. Her nose is straight and fine. 
 Her mouth is small and well-formed. 
 Her chin is fine. Complexion pale. She 
 wears a lilac robe with a blue drapery 
 over her right shoulder. Background 1 
 dark. Captured at Vittoria, 1813. 
 
 Canvas 20 in. by j6± in. Bust. Life-size. 
 Body and head inclined to the right. 
 His hair is brown and scanty, the little 
 that is visible being seen on the sides 
 over the ears. His head is massive. 
 The eyebrows are short and somewhat 
 bushy. The upper eyelids are deep, and 
 the eyes large, very dark and piercing ; 
 they are turned to the front. His nose 
 is straight, and he has a short coarse 
 moustache tinged with grey. His 
 mouth is small and straight, with full 
 lower lip. There is a small tuft of hair 
 tinged with grey on his chin. The face 
 is broad and massive. Complexion fair. 
 He wears a grey coat fastened in front 
 
 Apsley 
 House, 
 London. 
 
 105 
 
 Apsley 
 House, 
 London. 
 
 116 
 
114 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 = 1 
 
 Portrait of himself • 
 
 St. Anthony of Padua 
 
 St. Catherine . 
 
 by a single row of small silver buttons, 
 over which is a grey cloak with a thin 
 white bolder. Round his neck is a 
 white linen collar, fastened in front with 
 a white ribbon and tassels. Background 
 dark. 332 or 339 is painted in white at 
 the bottom of the canvas centre, but is 
 scarcely visible. Captured at Vittoria, 
 1813. 
 
 The bust of an elderly man, in an oval 
 frame (painted) of stone, facing front, 
 with body turned slightly to the right. 
 His complexion is fair, forehead high and 
 countenance open. His dark hair, parted 
 a little to his right, and inclining to grey, 
 falls to his shoulders. His eyebrows 
 are arched and well defined, and his eyes 
 large and dark. His lips are full, and 
 he has a very slight grey moustache. 
 He wears a black doublet, with deep, 
 soft linen collar, edged with fine lace. 
 His right hand rests on the lower portion 
 of the stone frame. Background da'-k. 
 "406" is painted in white in the left 
 lower corner. Captured at Vittoria, 1813. 
 14 in. by 11 in. 
 
 26-j- in. by 17! in. Bust life-size. The body 
 is inclined right with face looking up- 
 wards. The hair is white and dishevelled. 
 The eyebrows are white. The eyes are 
 dark and upturned in prayer. The nose 
 is aquiline. The cheek bones are high 
 and the lips are slightly parted. The 
 moustache, whiskers, and beard are 
 white. His face is weather-beaten and 
 wrinkled. Complexion somewhat ruddy. 
 He wears a hooded brown habit, and his 
 right hand is raised to his chest. Back- 
 ground dark, except in the right top 
 corner, where a tau cross (the emblem 
 of St. Anthony) is seen. Captured at 
 Vittoria, 1813. 
 
 2i| in. by i8£ in. Bust, nearly life-size, 
 of St. Catherine, with body and face 
 inclined to the left, and the latter slightly 
 upwards. She wears a crimson bodice, 
 with a transparent gauzy material round 
 her shoulder. Over her left shoulder is 
 a heavy yellow mantle. Her hair is 
 brown and parted in the centre. In it 
 she wears a pink rose on the left side, 
 and towards the back a small gold- 
 
 Duke of 
 Wellington, 
 Apsley 
 House. 
 
 106 
 
 Duke of 
 Wellington, 
 Apsley 
 House. 
 
 Duke of 
 Wellington, 
 Apsley 
 House. 
 
MURILLO 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 St. Francis of Assisi 
 receiving the Stigmata. 
 
 celestial crown. A piece of white 
 material hangs from the back of her 
 head. Her complexion is fair and pale. 
 Her eyes are brown and large, and 
 turned upwards in prayer. Her eye- 
 brows are dark, thin, low, and well 
 defined. Her nose is straight, and 
 beneath a long upper lip is a small, well- 
 shaped mouth with lips slightly parted. 
 Her neck is bare and white. From 
 beneath the right sleeve of her gown is 
 seen the sleeve of a white linen under- 
 garment. Her right hand is raised to 
 her chest, and in her left she holds a 
 palm, the emblem of her martyrdom, 
 while the steel hilt of a sword, the 
 emblem of the manner of her death, rests 
 against her body above the waist. Back- 
 ground dark. Captured at Vittoria, 1813. 
 2i| in. by 18 in. The right centre of the 
 picture is occupied by the figure of 
 St. Francis Assisi habited in the brown- 
 hooded garment of the Franciscan Order. 
 He is kneeling on a rocky eminence over 
 a ravine, with his body turned to the 
 left. Above his head is a halo. His 
 face is pale and expressive of anguish 
 and prayer. His hair is scanty and 
 dark, and he has a dark moustache and 
 beard. His ears are large and pro- 
 minent. His eyes are uplifted. His 
 hands, bearing the marks of the stigmata, 
 are outstretched. Behind him is a tree. 
 In a cleft in the clouds, left, an angel 
 with outspread wings descends towards 
 him in a flood of light. Background 
 dark and vague. M 637 " is painted in 
 white in the left-hand corner. A white 
 fleur-de-lis is painted in the right lower 
 corner ; this mark is found on pictures of 
 the Royal Spanish Collections acquired 
 during and after the reign of Philip V. 
 
 X 1117% JJn LU.Cj U1C, C1UI C, IUIIIICU [ *-* - L 
 
 one of the Royal Collections in Spain — 
 most probably that of the Palace of San 
 Ildefonso. Ponz mentions a St. Francis 
 with an angel " in the style of Murillo " 
 as being in the Princess's Reception 
 Room in that palace. As this picture 
 has disappeared from the Royal Spanish 
 Collection, it is probably the picture 
 described above, with which it agrees in 
 
 Duke of 
 Wellington, 
 Apsley 
 House. 
 
 68 
 
 I 2 
 
n6 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Gallery 
 number. 
 
 Old Woman eating Por- 
 ridge. (La Vieja.) 
 
 dimensions as well as in subject. Cap- 
 tured at Vittoria 1813. Between Nos. 
 1734 and 1760. 
 55f in. by 41^ in. In the foreground, right, 
 is an old woman, sitting in front of a low 
 wall at the foot of a precipitous rock 
 which rises abruptly behind her, right. 
 Her hair is nearly white, and a white 
 cloth covers her head. Her forehead is 
 square, her nose aquiline, and her chin 
 protruding. The face is emaciated. Com- 
 plexion sallow. Her bodice is tattered, 
 and the right sleeve of her shift is seen 
 through it. Her left shoulder is covered 
 by a blue material. Her skirt is russet- 
 red. Her left hand grasps a metal dish 
 of porridge, and in her right hand is a 
 wooden spoon. She has evidently been 
 surprised eating, as her head is thrown 
 back towards a broad-faced boy with 
 dishevelled brown hair, who is leaning 
 over the wall behind her, left. He has 
 a grin on his face, and his lips are 
 parted, showing his teeth. Complexion 
 dark. He wears a loose grey garment 
 over a white shirt, open at the neck. 
 His left hand hangs over the wall be- 
 hind the woman's shoulder. His right 
 elbow rests on the wall, and with the 
 hand of the same arm he points towards 
 her. Immediately beneath him, left, on 
 this side of the wall, sits a small brown 
 and white dog, with eyes riveted on the 
 porridge. In front of it are an over- 
 turned basket containing a white cloth, 
 and a white pitcher. There is a glimpse 
 of distant indistinct landscape between 
 the two figures. Figures nearly life- 
 size. The sky is cloudy. Bought by 
 the first Duke of Wellington, in 1847, 
 for ^250, from a dealer who purchased 
 the picture at Mr. Anderson's sale 
 (Christie and Manson, 1847, lot 16) for 
 ^202 ios. There is another painting of 
 the same subject, formerly at Dudley 
 House, but now in the possession of 
 Heir Adolf von Carstanjen, Berlin, 
 which is said by some to be the original 
 work. This painting was purchased by 
 the late Earl of Dudley at the Sala- 
 manca sale in Paris, in 1867, for 85,000 
 fr., and in the catalogue it was stated to 
 
 Duke of 
 Wellington, 
 Apsley 
 House. 
 
 222 
 
MURILLO 
 
 117 
 
 Title. 
 
 Description. 
 
 The Meeting of Jacob 
 and Rachel. 
 
 Jacob placing the pilled 
 rods in the water- 
 troughs of Laban's 
 cattle. 
 
 Laban seeking for his 
 gods in the tents of 
 Jacob and Rachel. 
 
 Joseph interpreting the 
 dreams of his father 
 and brethren. 
 
 Joseph and his Brethren 
 
 Moses striking the Rock 
 
 Job and his Wife . . . 
 
 Ruth and Naomi depart- 
 ing from Moab. 
 
 Tobit burying the 
 Strangled Man. 
 
 be from the Gallery of Don Sebastian 
 Martinez. It would seem that Stirling 
 came too hastily to the conclusion that 
 the Leyra and Martinez pictures were 
 one and the same, and that on the con- 
 trary they were two distinct works, the 
 former being at Apsley House, and the 
 latter the one bought by Lord Dudley 
 at the Salamanca sale, and now in 
 Berlin. 
 
 Background, a pastoral landscape . 
 
 Very doubtful. Figures life-size. 1 m. 
 68 c. high, 2 m. 26 c. wide. 
 
 Formerly in the collection of the Marquess 
 of Santiago at Madrid, and brought to 
 England during the War of Indepen- 
 dence, when it was purchased by the 
 late Marquess of Westminster, says 
 Mr. Buchanan, at the price of ^1,200, 
 and three pictures, two of them by Claude 
 Lorraine, and one by N. Poussin. 
 " Memoirs," vol. ii. p. 221. A large 
 landscape, with many figures. 8 ft. high, 
 10 ft. 1 in. wide. 
 
 1 m. 15 c. high, 1 m. 50 c. . . . 
 
 Offered for sale at Messrs. Christie and 
 Manson's in 1846, and bought in at 
 ^1,300. 
 
 A replica of the picture at Seville Hos- 
 pital. It is much praised by M. Thore, 
 Revue de Paris, torn xxi. p. 50. 
 
 The patriarch holds in his hand the 
 abrasive potsherd ; in the background 
 are the ruins of his house. About 2 ft. 
 high, 4 ft. wide. 
 
 Orpah in the background returning to the 
 city. Figures full-length, and somewhat 
 less than life. 5 ft. 10 in. by 6 ft. 11 in. 
 
 Tobit iii. 3-9. A sketch on the top of the 
 tabla de difuntos, or the tablet whereon 
 the names of the dead who are to be 
 prayed for are inscribed. 7 in. high, 
 1 ft. 7 in. wide. 
 
 Dulwich 
 College. 
 
 Paris. 
 Louvre. 
 
 D. of West- 
 
 minster, 
 Grosvenor 
 House. 
 
 Paris. Lou. 
 0. Gal. 
 
 J. Cave, 
 Bristol. 
 
 Paris. 
 Ml. D. de 
 Dalmatie, 
 
 R. de 
 1' University. 
 Jose* 
 Madrazo, 
 Madrid. 
 
 E. of 
 Radnor, 
 Longford 
 Castle, 
 Wilts. 
 Seville 
 Hospital, 
 Chapter- 
 room. 
 
n8 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Souls in Purgatory 
 
 An Angel appearing to a 
 Bishop at his prayers. 
 
 Cherubs scattering 
 flowers. 
 
 Two Cherubs hovering 
 in the air. 
 
 Two Angels adoring the 
 Mystical Lamb, which 
 lies sleeping on a cross. 
 
 Angel with a Cardinal's 
 cap. 
 
 Our Lady of Sorrows and 
 St. John the Evangelist. 
 
 Our Lady and Angels 
 
 Our Lady . 
 
 The Queen of Heaven 
 
 With a cherub hovering above them with 
 a red rosary. In the background two 
 men in black, seated at a table, on which 
 stands a cross. 7 in. by 1 ft. 5 in. 
 
 The latter half-length. Life-size. 6 ft. 
 6 in. high by 4 ft. 7 in. wide. 
 
 About 8 ft. high, 9 ft. wide 
 
 Doubtful 
 
 A small sketch 
 
 2 ft. 10 in. by 2 ft. 8 in. 
 
 As if standing at the foot of the Cross. 
 Perhaps this may be the picture men- 
 tioned by Cean Bermudez as existing in 
 the Church of Sta. Maria la Blanca at 
 Seville, for it is not clear whether he 
 meant to imply that the Virgin and the 
 saint were on the same canvas, or formed 
 two separate pictures. Figures, bust, 
 life-size. 2 ft. 8 in. by 2 ft. 7 in. 
 
 Kneeling. A small full-length figure 
 
 Doubtful. 86 c. by 81 c. 
 
 Seville 
 Hospital, 
 Chapter- 
 
 Munich. 
 
 D. of 
 Leuchten- 
 burg. 
 
 D. of 
 Bedford, 
 Woburn 
 Abbey, 
 Bedford- 
 shire. 
 Jose 
 Madrazo, 
 Madrid. 
 
 Seville. 
 Juan 
 Govantes, 
 Calle de 
 A. B. C. 
 G. Bankes, 
 M.P., 
 Kingston 
 
 Hall, 
 Dorset. 
 Seville. 
 J. M. 
 Escazena. 
 
 Rome. 
 D. di 
 Braschi, 
 Braschi 
 Palace. 
 M. of 
 Lansdowne, 
 Lansdowne 
 House. 
 
 Louvre Sp. 
 G., No. 160. 
 Paris. 
 
MURILLO 
 
 119 
 
 Title. 
 
 Our Lady and the Infant 
 Sav.our. 
 
 Our Lady and the Infant 
 Saviour. 
 
 Our Lady, with the In- 
 fant Saviour at the 
 breast. 
 
 Our Lady, with the In- 
 fant Saviour in her lap, 
 and the Infant St. 
 John by her side, the 
 latter holding in his 
 right hand a goldfinch. 
 
 Our Lady, with the In- 
 fant Saviour and St. 
 John. 
 
 Our Lady, with the In- 
 fant Saviour on her 
 knee. 
 
 The Dream of St. 
 Joseph. 
 
 Description. 
 
 The Infant holds an apple in his hand, 
 whence the picture was known in Spain 
 as " La Virgen de la Manzana." Pur- 
 chased from Don Julian Williams at 
 Seville. Full-length. Life-size. 5 ft. 5 in. 
 by 3 ft. 6i in. 
 
 The Infant is giving bread to an old man 
 
 Unfinished. This picture, which is im- 
 properly described as "The Nativity of 
 Our Lord M in the cataloguej may pos- 
 sibly be the picture mentioned in Murillo's 
 will as ordered by a weaver of Seville, 
 who had paid nine yards of satin, on 
 account, towards the price. 73 c. high, 
 60 c. wide. 
 
 Our Lord is wrapped in a white cloth, 
 with a green and red border and a fringe, 
 like the Moorish stuff, still woven by the 
 peasants in the Serrania del Condado de 
 Niebla, and hence called serrana. Pur- 
 chased in 1838 from the nuns of La 
 Madre de Dios, at Seville, the Convent 
 in which Murillo's daughter took the 
 veil. Figures life-size, 5 ft. 4 in. by 
 3 ft. 8 in. 
 
 About 1 ft. 6 in. high, 1 ft. 1 in. wide 
 
 Seated, and adored by saints. A com- 
 position of seven figures. The Virgin 
 receives from a kneeling boy, in the 
 Franciscan habit, two white roses ; and 
 behind her stand four angels, in white 
 robes, with palms. Besides these there 
 are four cherubs in the clouds above. In 
 the background a crowd of people gather 
 round a preaching friar; and beyond 
 them is a street, with a church tower. 
 Figures life-size. 
 
 Who lies asleep on a bank, whilst an 
 angel bends over him, whispering in his 
 ear. About 2 ft. high, 4 ft. wide. 
 
 Sir W. 
 Eden, Bart., 
 Windlestone 
 Hall, 
 
 Durham. 
 
 Vienna. 
 
 Prince 
 Esterhazy,' 
 Esterhazy 
 
 Palace. 
 
 Louvre Sp. 
 G., Paris. 
 
 Seville. 
 J. M. 
 Escazena. 
 
 Lord 
 Ashburton, 
 Piccadilly. 
 
 Duke of 
 Rutland, 
 Belvoir 
 Castle, 
 Leicester- 
 shire. 
 
 Madrid. 
 
 Jose 
 Madrazo. 
 
120 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Gallery. I.S-9 
 
 ■a s 
 
 The Flight of the Holy 
 Family into Egypt. 
 
 The Flight into Egypt . 
 
 The Holy Family 
 
 The Holy Family and 
 the Infant St. John 
 grouped under a tree. 
 
 The Holy Family 
 
 The Holy Family 
 
 Three small studies 
 in one frame : — 
 
 The Nativity of our 
 Lord. 
 
 St. John Baptist, with a 
 lamb. 
 
 St. John Baptist, with a 
 lamb. 
 
 St. John the Baptist 
 questioned by the 
 Jews. 
 
 4 ft. i\ in. by 5 ft. 4^ in. 
 
 Our Lady is seated on a stone, watching 
 the Infant Saviour, who is asleep at her 
 side; St. Joseph stands behind, holding 
 an ass by the bridle ; two cherubs stand 
 by the Virgin's knees ; and alforjas, or 
 saddle-bags, and a bottle, lie on the 
 ground. 4 ft. 2 in. by 5 ft. 7 in. 
 
 A highly finished sketch of the picture in 
 the National Gallery. Purchased from 
 Don Francisco de la Barrera Enguidanos, 
 and since sold to some English collector 
 by Mr. Williams. 
 
 A lamb lying at their side ; in the back- 
 ground a tower and pleasant landscape. 
 
 Our Lady, with the Infant Saviour in her 
 lap, and St. Joseph standing near, is 
 adored by a kneeling prelate. A grey- 
 hound lies asleep beneath a low arch. 
 Small full-length figures. 1 ft. 9 in. by 
 1 ft. 4 in. 
 
 Our Lady holding up the delicate drapery 
 which covers the sleeping Infant Saviour ; 
 shows him to the young St. John Baptist. 
 Somewhat less than life. Circular, 3 ft. 
 9 in. diameter. 
 
 Each about 7 in. high, 5 in. wide. 
 
 The Baptist, in a Roman tunic and a red 
 mantle, and holding a reed cross in his 
 left hand, stands conversing with three 
 men, one of them wearing spectacles. It 
 probably represents the passage of his 
 history recorded in St. Luke x. 10-14, or 
 St. John i. 19-22. A lamb lies in the 
 
 Scotland. 
 Earl of 
 
 Wemyss, 
 Gosford 
 House, 
 East 
 
 Lothian. 
 
 W. Miles, 
 M.P., 
 Leigh 
 Court, 
 
 Somerset- 
 shire. 
 
 Seville. 
 Julian 
 Williams, 
 Brit. 
 Consul. 
 D. of Rut- 
 land, Bel- 
 voir Castle, 
 Leicester- 
 shire. 
 Ld. Heytes- 
 bury, Hey- 
 tesbury 
 House, 
 Wilts. 
 
 Ld. Heytes- 
 bury, Hey- 
 tesbury 
 House, 
 Wilts. 
 
 D. of 
 Sutherland, 
 Stafford 
 House. 
 
 Thos. Pur- 
 vis, Q.C., 
 
 2, Stone 
 Buildings, 
 
 Lincoln's 
 Inn. 
 
/ 
 
 MURILLO 
 
 121 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Head of St. John Bap- 
 tist. in a charger. 
 
 Head of St. John Bap- 
 tist in a charger. 
 
 Head of St. John Bap- 
 tist in a charger. 
 
 Adoration of the Wise 
 Men. 
 
 Our Lord, as a Child, 
 lying asleep, with his 
 head pillowed on a 
 skull. 
 
 Our Lord, as a Child, 
 standing on a globe. 
 
 Our Lord, as a Child, 
 with his left hand rest- 
 ing on a globe. 
 
 Our Lord, as a Child, 
 seated on clouds, with 
 a Cross in his hand, 
 and attended by three 
 cherubs. 
 
 Our Lord in his Youth . 
 
 Our Lord, in his Child- 
 hood, as the Good 
 Shepherd. 
 
 foreground of the picture, and at the top 
 of the canvas are two small figures of an 
 angel and a winged lion, over which 
 are two scrolls, with the inscription, 
 " Inter Natos Non Surrexit Major," and 
 " Vox Clamantis In Deserto Parate Viam 
 Domino." Formerly in the nunnery of 
 St. Leandro, at Seville, and purchased 
 from the nuns by Mr. Nathan Wetherall, 
 an English merchant of that city, by 
 whom it was sold to Mr. Purvis. 8 ft. 
 6 in. by 5 ft. 7 in. 
 
 1 ft. 9! in. by 2 ft. 9 in. 
 
 2 ft. high, 2 ft. 5 in. wide 
 
 A composition of eleven principal figures, 
 of life-size. 
 
 Life-size, on a panel .... 
 
 Said to have been transferred from fresco 
 to canvas. Full-length, life-size . 
 
 Formerly in the collection of Henry 
 Hope, Esq. 3 ft. 2 in. by 2 ft. 4! in. 
 
 A sketch of his head • 
 
 C. L. and F. L. 4 ft. 5 in. by 3 ft. 7* in. 
 
 E. of 
 Clarendon. 
 :, Grosvenor 
 
 Cres. 
 Madrid. 
 Roy. Mus. 
 
 W. Miles, 
 M.P., Leigh 
 Court, 
 Somerset- 
 shire. 
 
 D. of 
 Rutland, 
 
 Bel voir 
 Castle, Lei- 
 cestershire. 
 
 E. of 
 Clarendon, 
 ti Grosvenor 
 
 Cres. 
 
 Seville 
 Hospital. 
 
 M. or 
 
 Lansdowne, 
 Bowood, 
 Wilts. 
 George 
 Vivian, 
 Claverton 
 
 Manor, 
 Somerset. 
 
 Seville 
 Cathedral. 
 Roy. Mus., 
 
 Madrid. 
 
122 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Our Lord, the Good 
 Shepherd, as a Child. 
 
 Our Lord, the Good 
 Shepherd, as a Child. 
 
 Our Lord, the Good 
 Shepherd, as a Child. 
 
 Our Lord and St. John 
 Baptist standing on the 
 banks of the Jordan. 
 
 Our Lord baptized 
 St. John Baptist. 
 
 by 
 
 Our Lord and the Blessed 
 Virgin at the Marriage 
 at Cana in Galilee. 
 
 Our Lord's Miracle of 
 the Loaves and Fishes. 
 
 Our Lord's Miracle of 
 the Loaves and Fishes. 
 
 Apostle, with lad with 
 two fishes. 
 
 Formerly in the Lassay, Presle, and 
 Robit collections at Paris, and bought 
 from the last by the late Sir Simon 
 Clarke, by whose son it was sold, in 
 1840, for ,£3,900. There is an engraving 
 by Major, 1772, which may perhaps 
 have been . executed from this or the 
 following picture. 5 ft. 5 ft. in. high, 
 3 ft. 7 in. wide. 
 
 A replica of the above. 5 ft. 4 in. high, 
 3 ft. 8 in. wide. 
 
 With three sheep. Life-size, on panel. 
 2 ft. 3 in. high, 1 ft. 4 in. wide. 
 
 Bought froni Don Antonio Bravo, who 
 purchased it from the nuns of San 
 Leandro at Seville. Figures life-size. 
 2 m. 68 c. high, 1 m. 80 c. wide. 
 
 Purchased by Mr. Nathan Wetherall, an 
 English merchant, from the nuns of 
 S. Leandro at Seville, during the War 
 of Independence. 8 ft. 6 in. by 5 ft. 
 7 in. 
 
 Formerly in the collection of Citizen 
 Robit at Paris, from which it was 
 bought by Geo. Hibbert, Esq., M.P. It 
 was valued to him at 1,200 guineas, and 
 was sold at his sale for 870 guineas. 
 5 ft. 6 in. by 7 ft. 2 in. 
 
 A replica of the picture in Seville 
 Hospital. Highly praised by M. Thore, 
 Revue de Paris. 
 
 A small carefully painted sketch of the 
 above. 1 ft. 1 in. by 2 ft. 6 in. 
 
 Sketch of two of the figures in the above 
 picture at Seville. 1 ft. 4 in. by 1 ft. 
 1 in. 
 
 B. de 
 Rothschild, 
 
 Gunners- 
 bury House, 
 Middlesex. 
 
 Scotland. 
 
 E. of 
 Wemyss, 
 Gosford 
 House, 
 
 East 
 Lothian. 
 Munich. 
 
 D. of 
 Leuchten- 
 
 berg. 
 Lo. Sp. G., 
 Paris. 
 
 Wm. W. 
 Burdon, 
 Hartford 
 House, 
 Durham. 
 
 M. of 
 Ailesbury, 
 Tottenham 
 Park, Wilts. 
 
 Paris. Ml. 
 
 D. de 
 Dalmatie, 
 
 R. de 
 l'Universite. 
 H. A. J. 
 Munro, 
 113, Park 
 
 Street, 
 London. 
 T. Purvis, 
 
 Q.C., 
 2, Stone 
 Buildings, 
 Lincoln's 
 
 'Inn. 
 
MURILLO 
 
 123 
 
 Title. 
 
 Description. 
 
 Our Lord healing the 
 Paralytic at the Pool 
 of Bethesda. 
 
 The Last Supper of Our 
 Lord. 
 
 Our Lord at the column 
 of scourging. 
 
 Our Lord after the 
 scourging. 
 
 Our Lord after the 
 scourging. 
 
 Our Lord crowned with 
 thorns, and in a brown 
 robe. 
 
 Our Lord holding the 
 Cross. 
 
 Our Lord's Counte- 
 nance. 
 
 Our Lord crucified be- 
 tween the two Thieves. 
 
 Our Lord on the Cross. 
 
 Deposition from the 
 Cross. 
 
 The Return of the Prodi- 
 gal Son to his fathers 
 house. 
 
 The Prodigal Son . 
 
 Formerly in the Hospital of Charity at 
 Seville, whence it was looted by Marshal 
 Soult. Figures life-size. 
 
 An early picture. Figures life-size 
 
 St. Peter kneeling at his feet. 33 c. high, 
 31 c. wide. 
 
 1 m. 35 c. by 1 m. 46 c 
 
 In the background St. Peter weeping 
 
 Purchased from Marshal Sebastiani in 
 1815. Bust. Life-size. About 2 ft. xo in. 
 in height, 2 ft. wide. 
 
 Bought from Don Julian Williams, by 
 whom it was purchased from Don Ant. 
 Bravo. 1 m. 6 c. by 78 c. 
 
 As impressed on the miraculous kerchief 
 of Sta. Veronica. A fine specimen of 
 Murillo's second manner. Purchased 
 by Richard Ford, Esq., from Don 
 Julian Williams. An oval picture. Face 
 life-size. 
 
 St. Mary Magdalene embracing his feet, 
 and many figures grouped around the 
 Cross. About 5 ft. high, 4 ft. wide. 
 
 On a small cross of panel. Purchased 
 from Don Salvador Gutierrez, a painter 
 at Seville in 1845, and said to have 
 belonged to the Church of the Capu- 
 chins. 1 ft. 6| in. high, n± in. wide. 
 
 Our Lady, the Maries, and disciples 
 grouped around the dead body of Our 
 Lord. Formerly in the Capuchin Con- 
 vent. Figures life-size. 
 
 Formerly at the Hospital of Charity at 
 Seville, whence it was looted by Soult. 
 Figures full-length and life-size. 7 ft. 9 in. 
 by 8 ft. 6 in. 
 
 57 c. high, 1 m. 3 c. wide 
 
 George 
 Tomline, 
 z. Carlton 
 Ho. Ter. 
 
 Seville. 
 Church of 
 Sta Maria 
 la Blanca. 
 Louvre Sp. 
 G., No. 1 128, 
 
 Paris. 
 Louvre Sp., 
 G., No. 113, 
 Paris. 
 Seville 
 Cathedral. 
 
 Lord Ash- 
 burton, 
 Piccadilly, 
 
 London. 
 Louvre Sp. 
 G., No. 161, 
 Paris. 
 
 S. Jones 
 Lloyd, 
 Wickham 
 Park, 
 Surrey. 
 
 Madrid. 
 
 Jose 
 Madrazo. 
 
 William 
 Stirling 
 Keir, 
 Perthshire. 
 
 Seville Pub. 
 Museum. 
 
 Duke of 
 Sutherland, 
 Stafford 
 House. 
 
 Louvre Sp. 
 IG., No. 178. 
 
124 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 The Prodigal Son, re- 
 ceiving his patrimony, 
 leaving home, spending 
 his substance with har- 
 lots, and keeping swine. 
 
 The Rich Man and 
 Lazarus. 
 
 St. Peter delivered from 
 prison by an Angel. 
 
 St. Peter 
 
 St. Peter repenting 
 
 The Head of St. Paul . 
 St. James the Apostle . 
 
 The Martyrdom of St. 
 Andrew. 
 
 St. John writing the 
 Apocalypse. 
 
 St. Athanasius . . . 
 
 St. Jerome .... 
 
 St. Jerome in the Desert 
 St. Jerome .... 
 
 Four sketches. Purchased from Don 
 Juliani Williams. Each 27 c. high, 37 c. 
 wide. 
 
 A study for a large picture 
 
 Sketch from the picture in Paris. 1 ft. by 
 1 ft. 
 
 Head. 78 c. by 60 c. . 
 
 1 m. 65 c. by 1 m. 11 c. 
 
 1 ft. 9§ in. by 2 ft. 9 in. . 
 
 In a crimson mantle, and with the pil- 
 grim's scallop and staff, and holding in 
 his left hand a book. Engraved by 
 J. A. Salvador Carmona, and in the 
 C. L. 4 ft. 9^ in. high, 3 ft. 10 in. wide. 
 
 Apparently a sketch or a small repetition 
 of the picture in Madrid. 4 ft. 3 in. by 
 5 ft. 6 in. 
 
 From the collection of M. Robit at Paris 
 this picture passed into the hands of Mr. 
 Bryan, who sold it for 500 guineas to 
 Henry Hope, Esq., from whom it was 
 purchased by the late Mr. Miles. 5 ft. 
 9 in. by 3 ft. 11 in. 
 
 A head ....... 
 
 In purple drapery, and reading a book 
 in the desert. 4 ft. 54- in. high, 3 ft. 11 in. 
 wide. 
 
 Full-length. 6 ft. 8£ in. high, 4 ft. 9 in. 
 wide. 
 
 Louvre Sp. 
 G., Nos. 116 . 
 117, 118, 119. 
 
 E. of 
 Ellesmere, 
 18, Belgrave 
 Square. 
 H. A. J, 
 Munro, 
 113, Park St. 
 
 London. 
 Louvre S p. 
 G.,No. 165. 
 
 Paris. 
 Louvre Sp., 
 G., No ; 164. 
 
 Paris. 
 Roy. Mus., 
 
 Madrid. 
 Roy. Mus., 
 Madrid. 
 
 W. Miles, 
 M.P., 
 Leigh Court, 
 Somerset, 
 No. 11. 
 W. Miles, 
 M.P., 
 Leigh Court, 
 Somerset, 
 No. 47. 
 
 E. of Claren- 
 don, 1, Gros- 
 venor Cres. 
 Mus. Seville. 
 No. 186. 
 
 Mus. Seville; 
 No. 550. 
 Ml. D. de 
 Dalmatie, 
 Paris. 
 
MURILLO 
 
 125 
 
 Title. 
 
 St. Augustine, with a 
 child, on the sea-shore. 
 
 St. Augustine, kneeling 
 at prayers. 
 
 St. Augustine, writing . 
 St. Augustine, writing . 
 
 St. Augustine, receiving 
 alms from Our Lord. 
 
 St. Augustine, washing 
 the feet of a pilgrim, 
 in whom he discovers 
 Our Lord by the stig- 
 mata. 
 
 St. Justa. 
 St. Rufina. 
 St. Ferdinand. 
 St. Leander. 
 St. Laureano. 
 St. Hermenegild. 
 St. Isidoie. 
 St. Pius. 
 
 St. Gil, standing in the 
 air in an ecstasy, in 
 the presence of Pope 
 Gregory II. 
 
 Description. 
 
 1 m. 80 c. high, 
 
 Full-length, life-size. 
 1 m. 35 c. wide. 
 
 Behind him a violet curtain and a mitre 
 and crosier ; near the top of the canvas, 
 a flaming heart, surrounded by the 
 words, Inquietum Est Cor Meum 
 Donee Inveniat Ad Te " ; some vellum- 
 bound folios lie on the ground. Pur- 
 chased from Marshal Soult, by whom 
 it was stolen from the convent of the 
 Augustin Friars at Seville. Engraved, 
 on a small scale, at Paris, for an edition 
 of the works of Bossuet. Full-length, 
 life-size. 
 
 Life-size. ...... 
 
 Half-length, life-size .... 
 
 58 c. by 70 c. . 
 
 Bought from Don Julian Williams, who 
 obtained it from the nunnery of St. 
 Leandro at Seville. This fine specimen 
 of Murillo's second style is by an error, 
 very unusual in a French catalogue, 
 ascribed only to the school of Murillo. 
 a m. 50 c. high, 1 m. 70 c. wide. 
 
 Busts ; life-size ; in oval frames 
 
 A composition of five figures, painted for 
 the small cloister of the Franciscan con- 
 vent at Seville, whence it was "removed" 
 by Marshal Soult, from whose hands 
 it passed into the collection of M. 
 Aguado, Marquess de las Marismas, 
 at Paris, where it was engraved, with 
 others of his pictures, by Tavernier. 
 Figures about half life-size. 5 ft. 1 in. 
 by 5 ft. 10 in. 
 
 Louvre Sp. 
 G., No. 169, 
 Paris. 
 George 
 Tomline, 
 1, Carlton 
 Ho. Ter., 
 London. 
 
 Seville 
 Museum. 
 
 Juan 
 Govantes, 
 Calle de 
 A. B. C. 
 Louvre Sp. 
 G., No. 112, 
 
 Paris. 
 Louvre Sp. 
 G., No. 135. 
 Paris. 
 
 Seville 
 Cath. 
 Chapter- 
 
 Win. 
 Buchanan, 
 46A, Pall 
 
 Mall, 
 London. 
 
126 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Head of a Monk . 
 
 St. Bonaventure, writing 
 his Memoirs after 
 death. 
 
 St. Florian 
 
 St. Peter the Dominican, 
 kneeling at an altar. 
 
 St. Ferdinand 
 
 St. Francis of Assisi 
 praying, and receiving 
 the Stigmata of Our 
 Lord's wounds. 
 
 St. Francis de Paula, 
 with his hands clasped. 
 
 St. Francis de Paula 
 
 St. Francis de Paula 
 
 St. Francis de Paula 
 
 St. Francis de Paula, 
 kneeling at prayer. 
 
 St. Francis de Paula and 
 two other holy men at 
 sea on a cloak. 
 
 A study for the companion of St. Gil, who 
 stands immediately behind him in the 
 above picture, i ft. 5 in. by 1 ft. 
 
 Dying, it is said, before the work was 
 finished, he was permitted to return to 
 the world for three days to complete it. 
 Purchased from Don A. Bravo of Seville. 
 Very doubtful. 1 m. 32 c. high, 1 m. 
 8 c. wide. 
 
 In a deacon's dress, resting his right 
 hand on a millstone attached to his neck 
 by a cord, and his left on an X-shaped 
 cross ; and beside him are St. Dominic 
 and St. Peter the Dominican ; in the 
 background, through a grated window, 
 his martyrdom, drowning in the sea, is 
 represented. Figures life-size. 8 ft. 6 in. 
 by 5 ft. 9 in. 
 
 His head is about to be cut off by two 
 ruffians. Above, an angel and three 
 cherubs wait to receive his soul. 6 ft. 
 10 in. by 4 ft. 10 in. 
 
 Bust. Painted on a medallion, and sup- 
 ported by cherubs. 
 
 The finest picture in Cadiz, and in 
 Murillo's best manner. Life-size. 
 
 Bust. Life-size. 2 ft. 6 in. by 1 ft. 9^ in. 
 
 In his linen robes, leaning on a stick, and 
 pointing with his right hand to heaven, 
 which opening, discovers a glory, with 
 the word " Charitas " inscribed. Half- 
 length, life-size. 3 ft. 9 in. by 3 ft. 7 in. 
 
 Leaning on his staff, and kneeling on a 
 stone, as if in contemplation. 4 ft. 
 by 3 ft. 
 
 Full-length, life-size .... 
 
 Life-size. 
 
 After the expulsion of the French from 
 Seville, this picture was hung over the 
 principal altar in the conventual church 
 of San Francisca de Paula. Purchased 
 from Don Julian Williams. Doubtful. 
 Figures life-size. 2 m. by 2 m. 70 c. 
 
 J. M. 
 
 Escazena, 
 
 Seville. 
 Louvre Sp. 
 G., No. 172, 
 Paris. 
 
 St. Peters- 
 burg. 
 
 T. Purvis, 
 
 Q.c, 
 
 2, Stone 
 Buildings, 
 
 Lincoln's 
 Inn. 
 
 Madrid, 
 Nat. Mus. 
 
 Cadiz 
 Hospital. 
 
 Roy. Mus., 
 No. 323, 
 Madrid. 
 
 Roy. Mus., 
 No. 173, 
 Madrid. 
 
 Roy. Mus., 
 No. 174, 
 Madrid. 
 Madrid, 
 Nat. Mus. 
 
 Cadiz 
 Hospital. 
 Louvre Sp. 
 G., No. 121, 
 Paris. 
 
MURILLO 
 
 127 
 
 Title. 
 
 A Franciscan Friar, with 
 a ragged youth kneel- 
 ing before him, and 
 clinging to the icord 
 round the friar's waist. 
 
 A Franciscan praying 
 over the dead body of 
 a Grey Friar. 
 
 St. Anthony of Padua 
 (erroneously called in 
 the catalogue St. Fran- 
 cis of Assisi) receiving 
 the Infant Saviour in 
 his arms. 
 
 St. Anthony of Padua 
 (erroneously called in 
 the catalogue St. Fran- 
 cis of Assisi) caressing 
 the Infant Saviour. 
 
 St. John de la Cruz in 
 the white robes of a 
 Carmelite. 
 
 St. Thomas of Villa- 
 nueva, the Almoner, 
 Archbishop of Valen- 
 cia, as a boy, dividing 
 his clothes between 
 four ragged urchins. 
 
 St. Thomas of Villa- 
 nueva dividing his 
 clothes among some 
 beggar boys. 
 
 St. Thomas of Villa- 
 nueva giving his gar- 
 ments to the poor. 
 
 Description. 
 
 Painted for the small cloister of the 
 Franciscan convent at Seville, whence 
 it was stolen by Marshal Soult. Figures 
 full-length, somewhat less than life-size. 
 About 8 ft. high, 7 ft. wide. 
 
 Formerly in the small cloister of the 
 Franciscan convent at Seville, and the 
 only one not stolen by Soult. Figures 
 life-size. 
 
 27 c. high, 19 c. wide , 
 
 About 1 ft. 3 in. high, 1 ft. wide 
 
 Clasping to his breast a wooden cross, and 
 kneeling at an altar, on which is a cruci- 
 fix and some lilies ; over his head a flood 
 of glory, in which appear the heads of 
 cherubs ; four vellum folios, lettered 
 "Subida de Mo. (nte) Car. (melo). 
 u Escura Noche," " Cantico del Alma," 
 and " Llama de Amor," lie on the 
 ground. Formerly, says the King of 
 Holland's private catalogue, in a con- 
 vent at Zaragoza, and supposed to be 
 the portrait of the devout benefactor, by 
 whom it was presented to the brother- 
 hood. Full-length ; life-size. 
 
 Building in the background, and figures, 
 amongst which is a white horse stand- 
 ing at a door. Formerly in the collec- 
 tion of Don Manuel Godoy, ex-Prince of 
 the Peace, who presented it (?) to Mar- 
 shal Sabastiani, from whom it was pur- 
 chased in 1 8 15. Figures life-size. 7 ft. 
 1 in. by 4 ft. 9 in. 
 
 A sketch for the above picture. Pur- 
 chased at Seville from Don Julian Wil- 
 liams, who picked it up for half a dollar 
 in the Feria. About 2 ft. high, 1 ft. 
 3 in. wide. 
 
 A sketch. 27 c. by 36 c. . . . 
 
 Ml. D. de 
 Dalmatie, 
 R. de l'Uni- 
 versite, 
 Paris. 
 
 Richard 
 
 Ford, 
 Hevitre, 
 Devon. 
 Louvre Sp. 
 G., No. 167, 
 Paris. 
 
 D. of 
 Sutherland, 
 Stafford 
 House. 
 
 The Hague, 
 Roy. Pal. 
 
 Ld. Ash- 
 burton, 82, 
 Piccadilly. 
 
 Ld. Ash- 
 burton, 
 The Grange, 
 Hants. 
 
 Louvre Sp. 
 G., No. 120, 
 Paris. 
 
128 
 
 MURILLO 
 
 Title. 
 
 The Apotheosis of 
 Philip II., King of 
 Spain. 
 
 St. Diego de Alcala 
 kneeling, in the act of 
 blessing a copper pot 
 of broth. 
 
 St. Diego de Alcala 
 (erroneously called in 
 the Catalogue, St. 
 Francis of Assisi) bear- 
 ing the Cross. 
 
 St. Diego of Alcala . 
 
 St. Catherine . 
 
 St. Catherine . 
 
 St. Justa, with pot and 
 palm-branch. 
 
 St. Rufina, with pot and 
 palm-branch. 
 
 St. Rosa of Lima and the 
 Infant Saviour. 
 
 St. Rosa of Lima kneel- 
 ing with the Infant 
 Saviour. 
 
 Description. 
 
 (So called by M. Thore.) A composition 
 of six male figures, gazing at the ball of 
 fire in which the soul of that monarch is 
 supposed to be ascending to heaven. 
 Formerly in the small cloister of the 
 Franciscan convent at Seville, whence it 
 was stolen by Marshal Soult. About 
 8 ft. high, 7 ft. wide. 
 
 Formerly in the small cloister of the 
 Franciscan convent at Seville, pillaged 
 by Marshal Soult. A composition of 
 many figures somewhat less than life- 
 size. About 8 ft. high, 7 ft. wide. 
 
 Doubtful. 1 m. 75 c. high, 1 m. 7 c. 
 wide. 
 
 Very doubtful. 1 m. high, 78 c. wide 
 1 m. 60 c. by 1 m. 12 c. . 
 
 Stolen by Marshal Soult from the Church 
 of St. Catherine at Seville. Small half- 
 length figure. 
 
 Bust, life-size 
 
 Bust, life-size 
 
 This picture, on which is inscribed the 
 name of Murillo, was formerly in the 
 collection of the Marquess of Diegma at 
 Granada. A picture on the same subject, 
 but differently treated, was formerly in 
 the Royal Palace at Madrid, and was 
 engraved by Bias Amettler. Figures 
 life-size. 5 ft. 8 in. by 4 ft. 4 in. 
 
 Inscribed with Murillo's name. Purchased 
 at Cadiz about 1 83 1 . Figures full-length, 
 life-size. 
 
 Two Nuns, in black and 
 white drapery. 
 
 One of them kneeling. Life-size 
 
 Ml. D. de 
 Dalmatie, 
 
 R. de 
 rUniver- 
 sitie, Paris. 
 Louvre Sp. 
 G., No. 168, 
 Paris. 
 
 Louvre Sp. 
 G.,No. 177, 
 
 Paris. 
 Louvre Sp. 
 G., No. 174, 
 
 Paris. 
 Ml. D. de 
 Dalmatie, 
 
 R. de 
 l'Univer- 
 site, Paris. 
 
 D. of 
 Sutherland, 
 Stafford 
 House. 
 D. of 
 Sutherland, 
 Stafford 
 House. 
 
 Geo. 
 Bankes, 
 M.P., 
 Kingston 
 
 Hall, 
 Dorset. 
 
 The late 
 Sir John 
 Bracken- 
 bury, 
 London. 
 Madrid, 
 
 Jose 
 Madrazo. 
 
MURILLO 
 
 129 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 Young Man playing on a 
 harp. 
 
 Two Boys eating fruit . 
 
 Two Boys eating fruit . 
 
 Four Boys, two of them 
 playing cards, at the 
 door of a hut. 
 
 Boy, herding cattle and 
 ridding himself of ver- 
 
 Boy, in a red dress, hold- 
 ing a dog by the ear, 
 hunts for vermin in the 
 body of the beast, 
 greatly to its dissatis- 
 faction. 
 
 Boy eating a pie . 
 
 Beggars regaling . 
 
 Two Beggar Boys 
 
 Four Boys eating fruit . 
 Boys with a basket 
 
 Boy with a glass of wine 
 
 Diogenes throwing away 
 his cup. 
 
 Very doubtful. 43 c. high, 57 c. wide 
 
 A repetition of " The Melon Eaters," at 
 Munich. 4 ft. 5 in. by 4 ft. 8 in. 
 
 A repetition of the above picture. 5 ft. 4 in. 
 by 4 ft. 4 in. 
 
 G. L. Figures life-size. 3 ft. 7 in. 2 lines 
 high, 2 ft. lit in. wide. 
 
 4 ft. 6 in. by 3 ft. 3 in. 
 
 2 ft. high, 1 ft. 7 in. wide 
 
 By his side a basket of fruit, and a dog 
 snuffing at the meat on its passage to its 
 master s mouth. Small. 
 
 Figures half-length. Life-size 
 
 Louvre Sp. 
 G., No. 179. 
 Scotland. 
 
 John 
 Balfour, 
 Balbirnie, 
 Fife. 
 Geo. 
 Bankes, 
 M.P., 
 Kingston 
 
 Hall, 
 Dorset. 
 Munich. 
 Roy. Pin. 
 No. 383. 
 
 E. of 
 Lonsdale, 
 Lowther 
 Castle, 
 Westmore- 
 land. 
 St. Peters- 
 burg, 
 Herm. 
 No. 106. 
 
 E. of Elgin, 
 
 Broom 
 Hall, Fife, 
 Scotland. 
 M. of Exeter, 
 Burghley 
 
 House, 
 Northamp- 
 tonshire. 
 D. of Marl- 
 borough, 
 Blenheim, 
 
 Oxford. 
 Ml. D. de 
 Dalmatie. 
 Stockholm, 
 Roy. Mus. 
 No. 261. 
 Stockholm, 
 Roy. Mus. 
 No. 262. 
 M. of 
 Exeter, 
 Burghley 
 House. 
 
 K 
 
130 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 Gallery. 
 
 A Peasant dancing. 
 Man with a spade. 
 Beggar Boy. 
 
 A Herd-Boy 
 A Shepherd 
 
 Old Woman spinning 
 
 with a distaff. 
 Old Woman with a 
 
 distaff. 
 
 Gipsy Girl .... 
 
 Girl paying a boy for 
 fruit. 
 
 Girl with fruit. 
 
 Bust. Life-size. 2 ft. 2± in. by 1 ft. 10 in. 
 
 Doubtful. Three-quarter-length. Life- 
 size. 
 
 Bust. Life-size. 2 ft. 3 in. by 1 ft. 6| in. 
 A repetition of the picture at Munich 
 
 Bust. Life-size . . . . . 
 
 Girl. 
 
 Female Figure 
 
 A Bacchante, crowned 
 with grapes and vine- 
 leaves. 
 
 A Cupid, peeping from 
 behind a red curtain. 
 
 A Cupid, standing with 
 his back half turned. 
 
 A square basket contain- 
 ing pomegranates and 
 grapes, placed on a 
 table, on which lie 
 two broken pomegran- 
 ates and a_ roll on a 
 folded napkin. 
 
 Half-length . 
 
 A head. Life-size 
 
 Purchased for ten gns. at the sale of Sir 
 J. M. Brackenbury's pictures, at Messrs. 
 Christie & Manson's, May 26th, 1848. 
 2 ft. i£ in. by 2 ft. in. 
 
 ! Prince 
 Esterhazy, 
 Esterhazy 
 Palace, 
 Vienna. 
 The Hague, 
 Roy. Mus. 
 Manfrim 
 Palace, 
 Venice. 
 Madrid. 
 Roy. Mus. 
 Milan Acad, 
 of Arts, Pin., 
 of Brera. 
 Madrid. 
 Roy. Mus., 
 
 No. 313. 
 J.D.Gordon, 
 Brit. Vice- 
 Consul, 
 Xeres de la 
 Frontea. 
 D. of 
 Sutherland, 
 Stafford 
 
 Ho. 
 Prince 
 Esterhazy, 
 Esterhazy 
 Palace, 
 Vienna. 
 P. Doria 
 Pamphili, 
 Doria 
 Palace, 
 Rome. 
 William 
 Wells, Red- 
 leaf, Kent. 
 
 Julian 
 Williams, 
 Brit. Con., 
 Sevilla. 
 Julian 
 Williams, 
 Brit. Con., 
 
 Sevilla. 
 W. Stirling, 
 
 Keir, 
 Perthshire, 
 Scotland. 
 
MURILLO 
 
 131 
 
 Title. 
 
 Description. 
 
 Landscape 
 
 Landscape 
 Landscape . . 
 
 Rocky Landscape 
 
 Landscape, with a ruined 
 castle on a wooded 
 hill 
 
 Don Justino Neve y 
 Yevenes, Canon of 
 Seville. 
 
 A Gentleman dressed in 
 black, with a small 
 white collar, and stand- 
 ing near a table, on 
 which he places a 
 paper. 
 
 Don Andres de Andrade, 
 " Pertigero " or Verger 
 of the Cathedral of 
 Seville, with a white 
 dog. 
 
 Don Andres de Andrade, 
 with a white dog. 
 
 Don Miguel Manara 
 Vicentelo de Leco, 
 Knight of Calatrava, 
 restorer of the Hos- 
 pital of Charity at 
 Seville. 
 
 A lake amongst rugged hills, with some 
 buildings on its banks. 3 ft. 5 in. by 
 4 ft. 5 in. 
 
 Rocky banks of a river, and figures. 
 
 3 ft. 5 in. by 4 ft. 5 in. 
 Very doubtful. 1 m. 8 c. high, 1 m. 87 c. 
 
 wide. 
 
 At Mr. Higginson's sale, 6th June, 1846, 
 bought in for ,£157 ioj. 
 
 In the foreground a goat-herd and goats, 
 and two hunters with their dogs. 4 ft. 
 4 in. by 3 ft. 9 in. 
 
 Seated. Formerly in the Hospital de los 
 Venerables at Seville, and afterwards 
 sold in 1804 at M. de la Hunte's sale to 
 Geo. Watson Taylor, Esq., M.P., for 
 1,000 guineas, and again sold, at the 
 sale of that gentleman's effects at Erie- 
 stoke, Wilts, in July, 1832, for 840 
 guineas. Full-length, life-size. 
 
 Called the brother of Murillo ; perhaps his 
 brother-in-law, Don J. de Veitia Linage. 
 Half-length. 3 ft. 7 in. high, 2 ft. 9 in. 
 wide. 
 
 Bought from Sir John Brackenbury, 
 English Consul at Cadiz, who purchased 
 it from Don Antonio Bravo at Seville. 
 Full-length, life-size. 1 m. 98 c. high, 
 1 m. 16 c. wide. 
 
 Repetition of the above, but much the 
 better of the two. On pedestal of pillar 
 behind are the words, "D. Andres de 
 Andrade y la Cal. " Full-length, life-size. 
 
 Purchased, about 1828, from the widow of 
 the Marquess of Loreto, by Don Julian 
 Williams. In the catalogue the name is 
 misspelt, and the picture placed amongst 
 the works of unknown masters, the more 
 usual practice of Louvre catalogue- 
 makers being to ascribe the works of 
 these artists to Murillo. A head, painted 
 within an oval border, inscribed with the 
 good man's name and a date. Life-size. 
 55 c. high, 41 c. wide. 
 
 Madrid. 
 Roy. Mus. 
 
 Madrid. 
 Roy. Mus. 
 Louvre Sp. 
 G., No. 181, 
 Paris. 
 E. Higgin- 
 
 son, 
 Salemarshe, 
 Hereford- 
 shire. 
 St. Peters- 
 burg. 
 Herm. 
 No. 59. 
 M. of Lans- 
 downe, 
 Bowood, 
 Wilts. 
 
 St. Peters- 
 burg. 
 Herm. 
 No. 77. 
 
 Louvre Sp. 
 G., No. 182, 
 Paris. 
 
 Sir A. 
 Aston, 
 G.C.B., 
 Aston Hall, 
 Cheshire. 
 Louvre Sp. 
 G., No. 215 
 Paris. 
 
 K 2 
 
132 
 
 MURILLO 
 
 Title. 
 
 Description. 
 
 II 
 
 A Knight of Santiago 
 
 A Cardinal, seated in an 
 arm-chair, in white 
 robes, with scarlet 
 cape, and with scarlet 
 cap in his right hand. 
 
 A Gentleman .... 
 
 Father Hortensio Villa- 
 vizinas, in a black and 
 white habit. 
 
 Murillo, in his youth 
 
 Murillo 
 
 A Lady, with long 
 auburn hair, a loose 
 white robe, and violet 
 mantle. 
 
 An old Woman, seated . 
 
 The Maid-servant of 
 Murillo. 
 
 Mother Francisca Doro- 
 tea de Villalda, Abbess 
 of the Dominican Con- 
 vent of Nuestra Senora 
 de los Reyes at Seville. 
 
 Painted within an elaborate border of 
 marble. Bust. Life-size. 
 
 Half-length. Life-size. 
 3 ft. | in. wide. 
 
 3 ft. 9* in. high, 
 
 Bust. Life-size, 
 border. 
 
 Bust. Life-size 
 
 Painted within an oval 
 
 Formerly in the collection of Don Bernado 
 Iriarte at Madrid, and at the death of 
 that gentleman purchased by Don Fran- 
 cisco de la Barrera Enguidanos, at whose 
 death it became the property of Don 
 Julian Williams, from whom it was 
 bought for ;£i,ooo. i m. 8 c. high, 
 76 c. wide. 
 
 Bought from the Count de Maule at Cadiz. 
 Bust. Life-size. 79 c. high, 65 c. wide. 
 
 Formerly in the possession of Lucien 
 Buonaparte, and engraved, in outline, 
 in the work in his gallery, and after- 
 wards purchased by Edward Gray, Esq. 
 " Buchanan's Memoirs," vol. ii. p. 282. 
 Half-length, life-size. 
 
 Called the mother of Murillo, but appa- 
 rently on slender evidence. It bears the 
 date 1673. Doubtful. Knee-piece. 97 c. 
 high, 71 c. wide. 
 
 A middle-aged woman with a pestle and 
 mortar. Doubtful. Knee-piece. 73 c. 
 high* 57 c. wide. 
 
 A head 
 
 Col. H. 
 Baillie, 
 M.P., 
 34, Morti- 
 mer St., 
 Cavendish 
 Sq., Ldn. 
 
 Berlin. 
 Roy. Mus. 
 
 P. i., 
 No. 403c. 
 
 Duke of 
 Sutherland, 
 Stafford 
 House. 
 Juan 
 Govantes, 
 Calle de 
 A. B. C. 
 No. 17, 
 Seville. 
 Louvre Sp. 
 G., No. 183, 
 Paris. 
 
 Louvre Sp. 
 G., No. 123 
 
 Paris. 
 R. Sander- 
 son, M.P., 
 48, Belgrave 
 Sq. 
 
 Louvre Sp. 
 G., No. 122, 
 Paris. 
 
 Louvre Sp. 
 G., No. 180, 
 Paris. 
 Seville 
 Cathedral. 
 Sac. of the 
 Chalices. 
 
ST. ANTHONY WITH THE INFANT SAVIOUR. 
 
 Seville Museum. 
 
LA PORCIUNCULA. 
 
 The apparition of St. Francis. 
 
 Pkado, Madrid. 
 
R LADY AND ST. ELIZABETH, WITH INFANTS SAVIOUR AND 
 ST. JOHN BAPTIST, THE ETERNAL FATHER AND 
 THE HOLY SPIRIT IN THE CLOUDS ABOVE. 
 
 Louvre, Paris. 
 
DETAIL OF THE FOREGOING PICTURE. 
 
 Louvre, Paris. 
 
THE CHILD JESUS AS SHEPHERD. 
 
 Prado, Madrid. 
 
THE ANNUNCIATION. 
 
 Prado, Madrid. 
 
ASSUMPTION OF THE VIRGIN. 
 
 Wallace Collection, London. 
 
ST. THOMAS OF VILLANUEVA GIVING ALMS AT THE 
 DOOR OF HIS CATHEDRAL. 
 
 North bnook Collection, England. 
 
OUR LADY WITH THE INFANT SAVIOUR. 
 
 (Detail.) 
 
 Pitti Palace, Florence. 
 
OUR LADY WITH THE INFANT SAVIOUR. 
 
 Corsini Palace, Rome. 
 
GIRL BUYING FRUIT FROM A BOY. 
 
 King of Bavaria's Collection, Munich. 
 
BOYS THROWING DICE. 
 King of Bavaria's Collection, Mi nich. 
 
THE CHILD ST. JOHN. 
 
 Prado, Madrid. 
 
ST. JOHN THE BAPTIST AS A CHILD. 
 
 Vienna Gallery. 
 
BOY DRINKING. 
 
 National Gallery, London. 
 
THE MADONNA OF THE ROSARY. 
 
 Dulwich Gallery, England. 
 
GIRL WITH A WHITE 
 
 Dorchester House, 
 
 MANTILLA. 
 
 London. 
 
A MYSTIC SUBJECT. 
 
 uding to the sweetness and suavity with which St. Bernard wrote praises 
 of the Virgin. 
 
 Prado, Madrid. 
 
OUR LADY OF THE ROSARY, WITH THE INFANT SAVIOUR 
 ON HER KNEES. 
 
 NOKTH BROOK COLLECTION, ENGLAND, 
 
JOSEPH HOLDING THE INFANT SAVIOUR IN HIS ARMS. 
 
 San Telmo, Seville. 
 
ST ANTHONY OF PADUA IS VISITED BY THE INFANT SAVIOUR 
 WHILE KNEELING AT HIS PRAYERS. 
 
 Seville Cathedral. 
 
T4HE MARRIAGE OF ST. CATHERINE. 
 
 (The last work of Murillo.) 
 
 Cadiz. 
 
ST. THOMAS OF VILLANUEVA GIVING ALMS AT THE DOOR OF THE 
 CATHEDRAL. 
 
 Seville Museum. 
 
ST. JOSEPH HOLDING THE INFANT SAVIOUR IN HIS ARMS. 
 
 St. Petersburg. 
 
THE FLIGHT OF THE HOLY FAMILY INTO EGYPT. 
 
 St. Petersburg. 
 
ST. JOSEPH LEADING THE INFANT SAVIOUR BY THE HAND. 
 
 St. Petersburg. 
 
VISION OF ST. ANTHONY 
 
 St. Petersburg. 
 
ADORATION OF THE SHEPHERDS. 
 
ST. BONAVENTURE AND ST. LEANDER 
 
 Seville Museum. 
 
ST. ALPHONSUS RECEIVING THE CHASUBLE FROM THE HANDS OF 
 THE VIRGIN. 
 
 Prado, Madrid. 
 
ALLEGORICAL REPRESENTATION OF THE WELL-KNOWN DILEMMA 
 OF ST. AUGUSTINE: "l KNOW NOT WHITHER TO TURN.'' 
 
 Madrid. 
 
ST. JUSTA AND ST. RUFINA, PATRON SAINTS OF SEVILLE, HOLDING 
 BETWEEN THEM THE GIRALDA TOWER. 
 Seville Museum. 
 
CHARITY OF ST. THOMAS. 
 
 Wallace Collection, London*. 
 
ANTHONY OF PADUA WITH THE INFANT CHRIST 
 
 (Detail.) 
 Berlin. 
 
z 
 o 
 
ST. ELIZABETH OF HUNGARY. DUCHESS OF THURINGIA, TENDING. 
 THE SICK IN HER HOSPITAL. 
 
 Madrid. 
 
BOYS EATING FRUIT. 
 
 King of Bavaria's Collection, Munich. 
 
ST. RODRIG. 
 
 Dresden. 
 
CHRIST ON THE CROSS. 
 
 St. Peteksbi r<;. 
 
ST. ANNE 'INSTRUCTINGi'THE VIRGIN. 
 
 JPkado, Madrid. 
 
ADORATION OF THE SHEPHERDS OF BETHLEHEM- 
 
 Seville Museum. 
 
ST. ISIDORE. 
 
 Seville Cathedral. 
 
ST. LEANDER. 
 Seville Cathedral. 
 
OUR 
 
 LORD ON THE CROSS- 
 
 CZERNIN. 
 
THE HOLY FAMILY. 
 
 North urook Collection, England. 
 
I- z 
 < o 
 
 s § 
 
 < CO 
 h » J 
 
 o Z < 
 
 o 
 
 CD I— LU 
 
 z O I 
 
 m Z h 
 
 z h 
 
 z O 
 
 O 
 
 z 
 
ST. FELIX OF CANTALISI RESTORING TO OUR LADY THE INFANT 
 SAVIOUR. WHOM SHE HAD PLACED IN HIS ARMS. 
 Seville Museum 
 
THE GUARDIAN ANGEL. 
 
 Seville Cathedral. 
 
OUR LORD BAPTISED BY ST. JOHN BAPTIST. 
 Seville Cathedral. 
 
Prado, Madrid 
 
BOYS EATING MELON. 
 
 Munich. 
 
SPANISH FLOWER GIRL. 
 Di/LwiCH Gallery, England. 
 
VISION OF ST. FRANCIS. 
 
 Palazzo Bianco, Genoa. 
 
ST. THOMAS OF VILLANUEVA HEALING A LAME MAN. 
 
 Munich. 
 
OUR LADY OF SORROWS. 
 
 Gaston Lindon. 
 
OUR LADY OF THE ROSARY, WITH THE INFANT SAVIOUR IN 
 HER LAP. 
 
 Louvre, Paris. 
 
THE 
 
 ANNUNCIATION OF 
 
 Amsterdam. 
 
 OUR LADY. 
 
THE HOLY FAMILY. 
 
 St. Petersburg. 
 
THE HOLY FAMILY. 
 
 [Doubtful.) 
 
 Chatswokth, England. 
 
ST. JOHN. 
 
 (Copy.) 
 
 St. Petersburg. 
 
ST. JOHN WITH LAMB. 
 
 National Gallery London. 
 
E APOSTLE JAMES. 
 Prado, Madrid. 
 
ECCE HOMO. 
 Pkado, Madrid. 
 
THE VIRGIN OF THE ROSARY. 
 Praeo, Madrid. 
 
THE HOLY FAMILY. 
 
 National Gallery, London. 
 
ST. JOACHIM AND THE VIRGIN AS A CHILD. 
 
 Valladolid, Spain. 
 
ST. JOSEPH AND THE INFANT SAVIOUR STANDING. 
 
 Seville Museum. 
 
THE CONCEPTION. 
 
 Prado, Madrid. 
 
OUR LADY 
 
 OF THE IMMACULATE CONCEPTION. 
 
 Peado, Madrid. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 Pkado, Madrid. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 
 Seville Museum. 
 
ASSUMPTION OF THE VIRGIN. 
 
THE CONCEPTION. 
 
 Prado, Madrid. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 
 Louvre, Paris. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 
 St. Petersburg. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 
 North prook Collection, England. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 
 St. Petersburg. 
 
OUR LADY OF THE IMMACULATE CONCEPTION 
 
 Prado, Madrid. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 
 Seville Museum. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 
 Seville Museum. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 
 Church of the " Capuchinos/' Cadiz. 
 
OUR LADY OF THE IMMACULATE CONCEPTION. 
 
 Seville Mi'sei'm. 
 
ST. PETER NOLASQUE KNEELING BEFORE OUR LADY OF MERCY. 
 
 Seville Museum. 
 
THE ASCENSION OF OUR LORD. 
 
 Madrid. 
 
ST. JOHN THE BAPTIST IN THE DESERT LEANING 
 AGAINST A ROCK. 
 
 Seville Museum. 
 
ECCE HOMO. 
 
 Cadiz. 
 
ST. FRANCIS OF ASSISI SUPPORTING THE BODY OF OUR LORD 
 NAILED BY THE LEFT HAND TO THE CROSS. 
 
 Seville Museum. 
 
OUR LADY AND THE INFANT SAVIOUR, KNOWN AS " LA VIRGEN 
 DE LA SERVILLETA.'' 
 
 Seville Museum. 
 
HEAD OF CHRIST. 
 Part of the Holy Family Picture. 
 National Gallery, London. 
 
marriage of virgin. 
 
 Wallace Collection, London. 
 
OUR LADY WITH THE INFANT SAVIOUR STANDING ON HER KNEE. 
 
 The Hague. 
 
OUR LADY OF THE GIRDLE. 
 San Telmo, Seville. 
 
CHRIST CRUCIFIED. 
 PKADOj Madrid. 
 
2 
 o 
 
 o 
 h 
 
ST. ANTHONY WITH THE INFANT SAVIOUR. 
 
 Seville Museum. 
 
THE VIRGIN WITH THE INFANT JESUS IN HER LAP. 
 Prado, Madrid. 
 
FELIX OF CANTALISI AND THE INFANT JESUS, KNOWN AS 
 "SAN FELIX DE LAS ARRUGAS.'" 
 
 Seville Museum. 
 
THE PENITENT MAGDALEN 
 
 Prado, Madrid. 
 
ST. FERDINAND. CROWNED AND ROBED. 
 
 Seville Cathedral. 
 
FATHER CABANILLAS. 
 
 Madrid. 
 
THE VIRGIN OF SORROWS 
 
 Prado, Madrid. 
 
PEASANT BOY LOOKING OUT OF A WINDOW. 
 
 National Gallery, London. 
 
A LAUGHING BOY, CROWNED WITH IVY LEAVES 
 
 North brook Collection, England. 
 
RAGGED BOY. 
 
 Louvre, Paris. 
 
TWO RAGGED BOYS. 
 
 Dt-LwiCH Gallery, England. 
 
THE 
 
 MAGDALEN IN HER 
 
 Prado, Madrid. 
 
 CAVE. 
 
OUR LADY LOOKING UP TO HEAVEN, WITH THE INFANT SAVIOUR 
 IN HER LAP. 
 
 King of Saxony's Collection, Dresden. 
 
ST. AUGUSTINE, IN BLACK ROBES, KNEELING, 
 PRESENTS A FLAMING HEART, TRANSFIXED 
 WITH AN ARROW, TO THE INFANT SAVIOUR' 
 SEATED ON THE KNEE OF OUR LADY. 
 
 Seville Museum. 
 
THE ^ANNUNCIATION OF OUR LADY. 
 
 Seville. 
 
ST. DOROTHY. 
 
 Seville Cathedral. 
 
THE CONCEPTION 
 
 PRAto, Madrid. 
 
Royal Academy of St Ferdinand, Madrid. 
 
(Detail/ 
 Vatican, Rome. 
 
OUR LADY WITH THE INFANT SAVIOUR IN' HER ARMS. 
 
 (An earl}'' picture.) 
 
 Seville Museum. 
 
ST. FERDINAND. KING OF SPAIN. REPRESENTED KNEELING 
 IN PRAYER. WHILE TWO ANGELS PART THE CURTAINS. 
 REVEALING THE SPLENDOUR OF THE HEAVENS. 
 Prado, Madrid. 
 
ST. JOHN OF GOD, SINKING UNDER THE WEIGHT OF A SICK 
 MAN AND ASSISTED BY AN ANGEL/ 
 
 Seville. 
 
MARTYRDOM OF ST. PETER THE DOMINICAN. KNEELING 
 PRAYERS, HE IS KILLED BY TWO ASSASSINS. 
 
 St. Petersburg. 
 
BOY WITH A BASKET AND 'A DOG. 
 
 St. Petersburg, 
 
GIRL WITH A BASKET OF FRUIT. 
 
 St. Petersburg. 
 
OLD WOMAN AND BOY. 
 
 Munich. 
 
ST. PETER DELIVERED FROM PRISON BY AN ANGEL. 
 
 St. Petersburg. 
 
ST. JAMES DISTRIBUTING SOUP TO THE POOR. 
 
 Madrid. 
 
PORTRAIT OF HIS WIFE, DONA BEATRIZ DE CABRERA Y SOTOMAYOR- 
 
THE G4LLICAN OF THE CCIN 
 iEvtended Bust.) 
 
 Prado, Madrid. 
 
THE VIRGIN WITH THE INFANT JESUS IN HER LAP. 
 
OUR LADY SEATED, WITH THE INFANT SAVIOUR IN HER LAP. 
 (An Early Picture.) 
 
 Seville Museum. 
 
ST. FRANCIS IN ECSTASY 
 Madrid. 
 
MURILLO. 
 
BY THE SAME AUTHOR. 
 
 "IMPRESSIONS OF SPAIN." 
 
 With Portraits, Maps, and over 300 Illustrations. 
 Size, Svo. (8£ X 6). 368//. Price \os. 6d. net. 
 
 "THE ALHAMBRA." 
 
 A New and Exhaustive Work on the Alhambra. 
 With 80 Coloured Plates and 266 Black and White Illustrations. 
 Size, 10 X 7^. 600 pp. Price £2 is. net. 
 
 "MOORISH REMAINS IN SPAIN." 
 
 Being a brief record of the Arabian conquest of the Peninsula, with a particular 
 account of the Mohammedan architecture and decoration in Cordova, Seville, 
 and Toledo. 
 
 Size, crown qto. (75 X 10). Price £2 2s. net. 
 
 " MURILLO " 
 
 Being a Biography and appreciation of the great Spanish Painter, Illustrated by 
 over 150 reproductions of his most famous works. 
 Size , 7 X 4|. Price y. 6d. 
 
 "LIFE OF CERVANTES." 
 
 A New Life of Cervantes, to commemorate the Tercentenary of the Publication 
 of 11 Don Quixote." Illustrated. 
 Size, croivn 8vo. 150 pp. Price 3*. 6d. net. 
 
 "ALFONSO XIII. IN ENGLAND." 
 
 Being a reprint of the official record of the recent visit of His Spanish Majesty 
 as a guest of Edward VII., together with an intimate narrative description of 
 the Royal Visit, with numerous Illustrations. 
 Size, IO X jh. 
 
 "THE DISCOVERY OF AUSTRALIA" 
 
 An Account of the gradual process of Australian Discovery from the days of the 
 early Spanish and Portuguese Navigators to the death of 
 Captain Cook in 1779. 
 With 62 Maps and Illustrations. 
 5m*i 10 X 7. 200 pp. Price £1 is. 
 
 "THE EXPLORATION OF AUSTRALIA." 
 
 A Record of Australian Exploration from the Occupation by the British to the 
 despatch of the Calvert Scientific Exploring Expedition in 1896. 
 In Two Volumes. Illustrated with Maps and numerous Portraits. 
 Size, 11 X 9. 622 pp. Price £2 2s. 
 
 1 
 
MOORISH REMAINS 
 IN SPAIN 
 
 BEING A BRIEF RECORD OF THE ARABIAN 
 CONQUEST AND OCCUPATION OF THE 
 PENINSULA WITH A PARTICULAR ACCOUNT 
 OF THE MOHAMMEDAN ARCHITECTURE 
 AND DECORATION IN THE CITIES OF 
 CORDOVA, SEVILLE, & TOLEDO, BY ALBERT 
 F. CALVERT, WITH MANY COLOURED PLATES 
 AND OVER 400 BLACK AND WHITE ILLUS- 
 TRATIONS, DIAGRAMS, ETC. DEDICATED BY 
 PERMISSION TO H.M. KING ALFONSO XIII. 
 
 Crown 4to. (7i x 10 ins.) Price £2 2s. net. 
 
 PUBLISHER'S NOTE. 
 
 THE wonderful and irreproducible monuments of the lost art of the Moors, 
 which are gradually disappearing from the four great capitals of 
 Mohammedan Spain, have been made the subject of many books, some 
 inadequate and unsatisfactory, others so rare and expensive as to be 
 practically inaccessible to the general public. 
 
 The author of this volume was inspired to undertake the work by the sur- 
 passing loveliness of the Moorish monuments of Granada, Cordova, Seville, and 
 Toledo, and by his disappointment in the discovery that no such thing as an even 
 fairly adequate illustrated souvenir of them was obtainable. Keenly conscious of 
 the want in his own experience, he essayed to supply it, and the result was, in 
 the first place, a book upon the Alhambra, that was acclaimed with enthusiasm 
 alike by critics, collectors, artists, architects, and archaeologists. His desire was 
 to produce such a pictorial memento of " this glorious sanctuary of Spain," as 
 he had sought for in vain after his first visit to Granada, and his success has been 
 acknowledged in the admission of a well-known reviewer that the book " exercises 
 on the reader something of the fascination which inspired its production," and 
 " conveys much of the subtle and enduring beauty of the place." " It may be 
 doubted," another writer has declared, "If Irving, or any other visitor, would 
 perceive half as much of the beauty of the Alhambra." 
 
 The publication of The Alhambra was accorded by the Press a reception 
 tvhich was remarkable for its tone of generous appreciation. In England it was 
 welcomed as " a fitting memorial of one of the greatest of human achievements 
 • • . . perfect in description, and equally perfect in artistic illustration." In 
 Spain, the author was acknowledged to have produced a book that has 1 ' surpassed 
 all those which have up to the present appeared in our country and abroad," and 
 to have "done worthily that which we should have done years ago." The Duke 
 of Mandas, the late Spanish Ambassador in London, in a letter to the author, 
 declared that ' ' the text is even more beautiful than the illustrations " ; the King's 
 Chamberlain, the Duke of Sotomayor, wrote in warm terms of "your interesting 
 and beautiful work on the Alhambra," and His Majesty Alfonso XIII., in 
 accepting a copy of the work, expressed his " heartfelt thanks and appreciation." 
 
 In subsequent and prolonged visits to Spain, Mr. Calvert realised that while 
 the Alhambra has rightly been accepted as the last word on Moorish Art in 
 
Spain, it cannot be regarded as the solitary monument of the splendour and 
 might with which the Arabs stamped their virile and artistic personality upon 
 Andalus. The Arabian sense of the beautiful put its seal upon Cordova, and made 
 the city its own ; it blended with the joyous spirit of Seville ; it forced its impress 
 upon the frowning forehead of majestic Toledo. In these three cities Mr. Calvert 
 found the supplement of the art wonders that he had described in The Alhambra, 
 and encouraged by the reception accorded to that work in Spain and America, 
 as well as in this country, and by the gracious permission of King Alfonso XIII. 
 to inscribe the work to His Majesty, he undertook to produce the result of his 
 further researches in this volume on Moorish Remains in Spain. 
 
 For the historical data, and some of the descriptions contained in this book, 
 Mr. Calvert has levied tribute on a large number of authors. Don Pascual de 
 Gayangos, the renowned trans'ator of Al-Makkari ; the Handbook and the 
 Gatherings oi Richard Ford ; William Stirling-Maxwell's Don John of Austria; 
 The History of the Conquest of Spain, by Henry Coppee ; Washington Irving's 
 Conquest of Granada ; Miss Charlotte Yonge's Christians and Moors in Spain ; 
 Stanley Lane-Poole's The Moots in Spain; the writings of Dr. R. Dozy, of 
 Leipsic ; Muhammed Hayat Khan's Rise and Fall of the Muslim Empire in 
 Spain; Hannah Lynch's Toledo; Walter M. Gallichan's Seville; The Latin- 
 Byzantine Monuments of Cordova ; Monumentos A rquitectonicos de Espafla ; 
 Pedro de Madrazo's Sevilla — these, and many less important writers on Spain, 
 have been consulted. 
 
 In the scheme of this work the author has made the letter-press subservient 
 to the illustrations. From the nature of Arabian art, and the characteristic 
 minuteness of the details of which Morisco decoration is composed, lengthy des- 
 criptions of architecture, unaccompanied by illustrations, become not only tedious 
 but positively confusing to the reader, while, on the other hand, a sufficiency of 
 illustrations renders exhaustive descriptions superfluous. Inadequate and mis- 
 leading as photography and even colour process blocks must prove in conveying 
 a sense of beauty, which is almost untranslatable, it is in these reproductions that 
 the Art of the Moors will be best understood. Mr. Calvert's task, with regard 
 to the illustrations, was entirely confined to that of selection and exclusion, for 
 when his design became known in Spain, he was inundated with offers of pictures 
 of every description. Artists placed their studios at his disposal ; collectors 
 begged him to regard their galleries as his own ; and students directed his atten- 
 tion to little known publications on the subject. The best illustrations in the 
 Monumentos A rquitectonicos de Espafla, and the rare publications of Girault de 
 Prangey, and J. Bourgoin, have been reproduced here for the first time : and 
 while photographers have been employed in Cordova, Granada, and Seville to 
 obtain new views of the various Moslem monuments existing in those cities, 
 libraries and museums have been explored for old prints and pictures illustrative 
 of the same subjects at a previous period of their history. Neither time, labour, 
 nor expense has been spared to make the volume complete and representative, and 
 in this respect it has a distinct technical value to artists, designers, and decorators, 
 apart from its purely artistic beauty. A series of 200 designs, produced to illus- 
 trate the composition and development of various schemes of Arabian ornament 
 will be found of special interest to students of Moorish art. 
 
 It is in this unique collection of illustrations, rather than in the written word, 
 that the author has striven to do justice to his subject. In his preface he admits 
 that " neither by camera, nor brush, nor by the pen can one reflect with any 
 fidelity the effects obtained by the Moorishi Masters of the Middle Ages. In their 
 art is to be found a sense of the mysterious that appeals to one like the glint of 
 moonlight on running water ; an intangible spirit of joyousness that one catches 
 from the dancing shadows of leaves upon a sun-swept lawn ; and an elusive key 
 to its beauty which is lost in the bewildering maze of traceries, and the inex- 
 tricable network of design. The form, if not the fantasy, of these fairy-like, 
 fascinating decorations, may, however, be reproduced, and this I have en- 
 deavoured to do." 
 
 These illustrations are reproduced by the latest and best methods ; and the 
 volume, which is handsomely printed and-bound, makes its appeal, both as a work 
 of art and as an exhaustive record of an art that is dead. 
 
 3 
 
THE ALHAMBRA 
 
 OF GRANADA, BEING A BRIEF HISTORY OF 
 THE MOSLEM RULE IN SPAIN FROM THE 
 REIGN OF MOHAMMED THE FIRST TO THE 
 FINAL EXPULSION OF THE MOORS, TOGETHER 
 WITH A PARTICULAR ACCOUNT OF THE 
 CONSTRUCTION, THE ARCHITECTURE AND 
 THE DECORATION OF THE MOORISH 
 PALACE, BY ALBERT F. CALVERT, WITH 80 
 COLOURED PLATES AND NEARLY 300 BLACK 
 AND WHITE ILLUSTRATIONS (NEW EDITION) 
 
 Size 10 x 7|. Price £2 2s. net. 
 
 PUBLISHER'S NOTE. 
 
 THE first edition of this handsome work having been exhausted within a 
 few months of its publication, it has been found necessary to reprint it in 
 response to the continuous demands for copies from Spain and America, 
 as well as from the collectors of Great Britain. The author was 
 inspired to undertake the work by the surpassing loveliness of the Alhambra, and 
 by his disappointment in the discovery that no such thing as an even moderately 
 adequate illustrated souvenir of "this glorious sanctuary of Spain " was obtain- 
 able. Keenly conscious of the want himself, he essayed to supply it, and the 
 result is a volume that has been acclaimed with enthusiasm alike by critics, 
 artists, architects and archaeologists. His ambition was to produce such a 
 souvenir of the Red Palace as he had desired to obtain after his visit to Granada, 
 and the achievement of his purpose has been acknowledged in the assertion of a 
 well-known reviewer that the book "exercises on the reader something of the 
 ascination which inspired its production, and conveys much of the subtle and 
 enduring beauty of the place." 
 
 The publication of The Alhambra was accorded a reception by the Press 
 which was remarkable for its tone of unanimous and cordial appreciation. It has 
 been variously described as "this standard work upon a standard subject " ; 
 " among the most important art works that has been published during recent 
 years " ; " the most complete record of this wonder of architecture which has 
 ever been contemplated, much less attempted " ; " one of the most magnificent 
 books ever issued by the English Press" ; "a fitting memorial of one of the 
 greatest of human achievements" ; " perfect in description and equally perfect in 
 artistic illustration " ; and " one of the most sumptuous of modern tomes." " In 
 
 4 
 
this book," one writer declared, " Mr. Calvert has not only done signal service in 
 the cause of archaeology, but has placed British architecture under a deep 
 obligation." 
 
 The author's "conscientious industry and literary thoroughness in the 
 exhaustive treatment of an elaborate and worthy theme," have been commended 
 as " contributing as much as anything to bringing home to men's minds the 
 greatness of the Moors and the crowning civilisation of their rule ; " and " it may 
 be doubted," another writer has declared, u if Irving or any other visitor would 
 perceive half as much of the beauty of the Alhambra." The Duke of Mandas, 
 the late Spanish Ambassador in London, who was entrusted by Alfonso XII. 
 with the restoration of Granada, in a letter to the author said : " The text is even 
 more beautiful than the illustrations. . . I spent twenty-seven months very 
 near the Palace of the Arab Kings, and I am reading, eagerly and reflectively, 
 all that you, with so much erudition, have written concerning it." The King's 
 Chamberlain, the Duke of Sotomayor, wrote in warm terms of 11 your interesting 
 and beautiful work on the Alhambra"; and His Majesty, Alfonso XIII., in 
 accepting a copy of the work, expressed his "heartfelt thanks and appre- 
 ciation." 
 
 In Spain the publication was welcomed with equally gratifying cordiality. 
 El Graduador, in acknowledging the "good service rendered to our nation " by 
 the issue of The Alliambra, said : " We had previously read all the books 
 dealing with the sumptuous edifice at Granada, but in all truth we must say that 
 Mr. Calvert has, in many ways, surpassed those which up to the present have 
 appeared in our country and abroad." The Diario dc Barcelona, in a lengthy 
 notice in which the writer "cannot praise the book sufficiently," declares " Mr. 
 Calvert has come and done worthily that which we should have done years ago." 
 Mr. Calvert's task, with regard to the illustrations, was entirely confined to that 
 of selection and exclusion, for when his design became known in Spain, he was 
 inundated with offers of pictures of every description. Artists placed their 
 studios at his disposal ; collectors begged him to regard their galleries as his 
 own ; and students directed his attention to little known publications on the 
 subject. The best illustrations in the publications of Girault de Prangey, J. 
 Bourgoin, John F. Lewis, and of James C. Murphy, who spent seven years in 
 the study of the artistic marvels of the Alhambra, are reproduced here for the 
 first time, together with the beautiful plates of Owen Jones, who disposed of a 
 Welsh inheritance in order to produce his great works on the Plans, Elevations, 
 Sections, and details of the Alhambra, and his Grammar of Ornament, which 
 has been described as " beautiful enough to be the horn-book of the angels." 
 
 In his preface to the first edition, Mr. Calvert wrote: " The Alhambra may 
 be likened to an exquisite opera which can only be appreciated to the full when 
 one is under the spell of its magic influence. But as the witchery of an inspired 
 score can be recalled by the sound of an air whistled in the street, so — it is my 
 hope — the pale ghost of the Moorish fairy-land may live again in the memories of 
 travellers through the medium of this pictorial epitome. It was with this end in 
 view that the author devoted himself to his task, and it has been admitted that 
 by the aid of black and white and colours he has achieved his ambition in the 
 production of a tangible remembrancer of the delights of this Granadian paradise, 
 
 " Where glory rests 'tween laurels, 
 A torch to give thee light." 
 
 5 
 
ARCHITECTURAL 
 
 MONUMENTS 
 
 OF SPAIN 
 
 BEING AN EXHAUSTIVE ILLUSTRATED RE- 
 CORD OF THE HISTORICAL AND ARTISTIC 
 REMAINS OF THE PENINSULA FROM THE TIME 
 OF THE ROMAN OCCUPATION TO THE PRE- 
 SENT DAY, EDITED BY ALBERT F. CALVERT 
 AND PUBLISHED BY THE AUTHORITY OF THE 
 SPANISH MINISTRY OF PUBLIC INSTRUCTION, 
 IN A SERIES OF VOLS. EACH CONTAINING 
 NUMEROUS SPECIALLY PREPARED COLOURED 
 AND PROCESS PLATES AND BLACK AND 
 WHITE ILLUSTRATIONS 0000 
 
 Size 17 \ ins. x 13 ins. Price £$ $s. per Vol. 
 Vol. I.— Toledo. 
 
 PUBLISHER'S NOTE. 
 
 THE compilation of this series of books, which will form the handsomest 
 and most compendious record of a nation's architecture that has ever 
 been published, is the outcome of a national and patriotic desire to make 
 known the architectural treasures of Spain's glorious past, and of an 
 ambition to carry on and complete the unfinished work, which, under the 
 patronage of the Government, engaged many of the leading artists and archaeo- 
 logists of the Peninsula from 1850 to 1881. Yet in all those years only eighty- 
 nine parts were issued, at a cost to subscribers amounting to over ;£ioo per set, 
 and in the following year the publication was abandoned. 
 
 The idea was first conceived in that memorable Central Commission on 
 Monuments which was created by the first Marquis of Pidal, then Minister of 
 the Interior, on the 13th June, 1844. The proposal that was then originated, to 
 publish a complete descriptive and pictorial record of those art treasures of which 
 Spain is a museum of unequalled richness, was adopted and organised by the 
 State, and in 1859, under the title of Monumentos Arquitectonicos de Espafta, 
 the publication was commenced of a work, the splendour of which has never been 
 surpassed. The special commission which was entrusted with its direction and 
 issue consisted of three architects — Don Anibal Alvarez, Director of the High 
 
 6 
 
School of Architecture, Don Francisco Jarefio de Alvarcon, and Don Jeronimo 
 de la Gandara, and of three such well-known archaeologists as Don Pedro de 
 Madrazo, Don Jose Amador de los Rios and Don Manuel de Assas y Ereno. 
 
 This commission announced as its high object "the perpetuation, by means 
 of a graphic and descriptive publication, of the venerable remains of Spanish monu- 
 mental art " and to make it an analytical work, dealing with the monuments of 
 "all ages, all styles, and all parts of the Peninsula, entering into the region of 
 investigation." The intention was to faithfully make known the chief of these 
 monuments by presenting plans, general views, sections, etc., with particulars as 
 to height and principal dimensions and statements of facts as to the parts which 
 are of primitive construction, and those which are the result of later modification 
 and restoration ; by reproducing the most interesting objects in the way of mural 
 paintings, windows, mosaics, retablos, altars, choir stalls, reliquaries, lecterns, 
 sacred vases, etc. ; and by shedding over the illustrations the light of history 
 and tradition, facts gathered from unpublished documents stored in the archives, 
 and the results of a careful examination of legends and fables. These different 
 monographs were to be classified according to the divisions of art, time, place, 
 purpose and style, and by this classification reveal the development and vicissi- 
 tudes of Spanish architecture from the Heroic Ages down to Modern Times. 
 
 On the 30th June, 1870, the responsibility of producing the work was trans- 
 ferred to a New Commission appointed by the San Fernando Academy of Fine 
 Arts, and on the 12th May, 1872, the Academy assumed independent control of 
 the publication under a Royal decree of Authorisation, which was formally 
 granted on the nth May, 1875. Don Jose" Gil Dorregaray, its new editor, 
 carried on the publication with great vigour and intelligence under the supervision 
 of the Academy of Fine Arts for six years, when, owing to various causes, the 
 series was suspended after the eighty-ninth number had been issued. On nth 
 July, 1882, Senor Dorregaray died, and the work was definitely abandoned. 
 
 Despite the regrettable collapse of the interprise, the immense success 
 achieved, and the prestige gained by the publication of Monumentos Arquitec- 
 tonicos de Esfiatta, its importance from both an artistic and a national point of 
 view, and the obligation of completing a work that had been carried on at so great 
 a sacrifice of effort and money, has been the inspiration of the present Spanish 
 edition produced under the same title, independent of State aid, and dependent 
 wholly upon the interest of the subject and the artistic, architectural and 
 archaeological merits of the volumes. 
 
 For the purpose of the new edition, the original plan of general classification 
 has been adopted, and some of the monographs included in the old publication 
 will be reproduced. The Spanish edition, the text of which will be published in 
 Spanish and French, will be under the general direction of Senor Rodrigo Amador 
 de los Rios, of the Royal Academy of San Fernando, and sub-chief of the National 
 Archaeological Museum, who will have the assistance of a large number of the 
 most eminent artists and art experts in Spain, including Senors Enrique Serrano 
 Eatigati, General Secretary of the Royal Academy ; Senors Jose* Gastoso, Jose* 
 Villamil y Castro, Manuel Perez Villamil, Jose* Romon Melida y Alinari, Elias 
 Tormo y Monzd, Manuel Gomez Moreno, Rafael Domenech Gallissa, Ricardo 
 Velasquez y Bosco, Adolfo Fernandez Casanova, Enrique Maria Repulles y 
 Vargas, Juan Bautista Lezaro, Vincente Lemperez y Romea, Luis Domenech 
 y Montaner, and Jose* Puig y Cadafalch ; while among the artists and engravers 
 who have been entrusted with the preparation and productions of the plates are 
 included such well-known names as those of Senors Manuel Alcazar, Eugenio 
 Lemus, Tomas Campuzano, Carlos Verger, Leandro Oroz, Jose* Gisbert, and 
 Joaquin Gonzalez. 
 
 The rights of reproducing this work in England in any form having been 
 secured, it has been decided to present the whole of the illustrations in the English 
 edition with a text specially prepared by Mr. Albert F. Calvert. This series of 
 volumes will be produced in the latest style, and the complete work will be one 
 which should be in every public and important private library in the country. 
 
 7 
 
IMPRESSIONS 
 OF SPAIN 
 
 BY ALBERT F. CALVERT, WITH PORTRAITS, 
 MAPS, AND OVER 300 ILLUSTRATIONS 0 
 
 Size— 8vo., 8i X 6. 368 pp. Price 10/6 net. 
 
 EXTRACTS FROM OPINIONS OF THE PRESS. 
 
 " Ei Yanguardi " (Barcelona). 
 
 " Mr. Albert F. Calvert, distin- 
 guished English traveller and author, has 
 published in London a magnificent volume, 
 under the heading of Impressions of Spain, 
 and in which he has described with an 
 impartial and, at the same time, gallant 
 spirit, which we are pleased to recognise, 
 the impressions suggested to him by the 
 study of our country. 
 
 " It is, in fact, of the best which has been 
 published abroad concerning Spain." 
 
 4th December, 1903. 
 «« La Publicidad " (Madrid). 
 
 " The whole of Spain will assuredly be 
 grateful to the said author for the publica- 
 tion of this, which, among other pleasing 
 characteristics is the work of a lover of 
 Spain, a fervent friend, and enthusiastic 
 admirer of our beloved country." 
 
 18th December, 1903. 
 ** El Diario Espanol " (Barcelona). 
 
 "It is, indeed, an exquisitely tasteful 
 album, a recapitulation of the impressions 
 received in Spain by a traveller as discreet 
 as he is minute in detail." 
 
 18th December, 1903. 
 •• El Oraduador " (Alicante). 
 
 " Both the author and the publishers have 
 rendered our country service by the publica- 
 tion of this work, because it gives information 
 relating to all that is worthy of notice in 
 Spain that the dwellers in Great Britain 
 should have. . ." 22nd December, 1903. 
 
 " Diario de Barcelona." 
 
 *' It is customary on the part of foreigners, 
 when writing about our country, to disfigure 
 and exaggerate, to a great extent, its 
 defects, ignoring almost completely, either 
 through ignorance or bad faith generally, 
 its qualities ; thus their descriptions partake 
 of the character of coarse novels in series, 
 rather than impartial impressions. On this 
 account, DON ALBERT F. CALVERT 
 deserves great praise, for in his work, Im- 
 pressions of Spain, written in English, he, 
 far from imitating his countrymen when 
 speaking of Spain, does this with a spirit of 
 impartiality and justice worthy of all 
 eulogy." 17th December, 1903. 
 
 " El Nervion " (Bilbao). 
 
 " Mr. CALVERT has not given Spain the 
 superficial attention which has characterised 
 other writers abroad. Except in a few 
 instances, he gives his attention to what is 
 truly beautiful and useful ; and if in some 
 cases he praises the country for which he 
 has such admiration a little more highly 
 than it deserves, it cannot be denied that 
 there is much of truth and justice in hi s 
 study of it." 15th January, 1904. 
 
 " Times." 
 
 " Mr. Calvert covers a great deal of 
 ground, and treats a great many subjects. 
 There is an immense number of portraits 
 and views." 27th November, 1903. 
 
 " Morning Post." 
 
 *' The sympathetic spirit in which Mr. 
 CALVERT writes of the Spanish people in 
 his Impressions of Spain will make his 
 book very attractive to all who know that 
 fascinating country. His book is full of that 
 true knowledge which comes of sympathy, 
 and is both more trustworthy and moiie 
 agreeable than many more pretentious 
 volumes." 10th December, 1903. 
 
 M Daily Mail." 
 
 " Mr. CALVERT'S work is the result of 
 experience derived from a series of visits 
 extending over many years. 
 
 " Mr. Calvert lends to his theme fresh- 
 ness of colour, detail, and good judgment." 
 
 26th December, 1903. 
 
 «« Daily News." 
 
 ' Mr. Calvert gives a pleasant and 
 straightforward account of the Spain of to- 
 day, illuminated by a fine enthusiasm for 
 his subject. No work of recent times so 
 adequately depicts with pen and picture 
 Spain and its people with so sympathetic an 
 appreciation of its greatness and charm." 
 
 31st December, 1903. 
 " Pall Mall Gazette." 
 
 " .... Its charm— for it has a charm ot 
 its own — consists in the author's whole- 
 hearted enthusiasm for his subject. He is 
 so frankly fond of Spain and the Spaniards 
 that his fondness must infect the most 
 hostile reader." 15th December, 1903. 
 
 8 
 
ALFONSO XIII. 
 IN ENGLAND 
 
 BEING A REPRINT OF THE OFFICIAL RECORD 
 OF THE RECENT VISIT OF HIS SPANISH 
 MAJESTY AS A GUEST OF EDWARD VII., 
 TOGETHER WITH AN INTIMATE NARRATIVE 
 DESCRIPTION OF THE ROYAL VISIT, 
 COMPILED BY ALBERT F. CALVERT, WITH 
 NUMEROUS ILLUSTRATIONS 0 0 0 0 
 
 Size io x 7i 
 
 PUBLISHER'S NOTE 
 
 IN the ordinary course of political affairs, the record of the visit to this country 
 of a reigning European Sovereign is confined to official reports and ephemeral 
 newspaper descriptions of public functions connected with the event. ^ In 
 the majority of instances this conventional recognition is doubtless sufficient. 
 But the unprecedented heartiness of the welcome which all classes of English 
 people extended to the young King of Spain on the occasion of his recent visit to 
 these shores, the extraordinary interest with which his career has been watched 
 in this country, from his birth as the king-born ruler of Spain to the present day, 
 and the peculiar significance of the friendship of a Monarch in whose hands, to a 
 very large extent, the peace of Europe depends, have suggested the desirability of 
 reclaiming the history of his sojourn among us from the archives in which Court 
 Chronicles are preserved and the oblivion into which newspaper appreciation 
 disappears. 
 
 For these reasons it was decided to memorise the incidents of the Spanish 
 King's visit in an edition de iujce, which may serve to keep us in mmd of 
 King Edward's fervent hope that the two countries of England and Spain " may 
 march together for^ the benefit of peace, progress, and the civilization of man- 
 kind," and may, it is also hoped, remind the King of Spain that in a country 
 where the reception of a guest and the welcome of a friend differ so markedly 
 from one another, it was the latter kind of amity which was offered him by every 
 force in this country. 
 
 To the people of this country the personality of Alfonso XIII. has always 
 exercised a peculiar fascination. English men and women have learned by 
 their own experience to love and reverence a royal sway wielded by a sovereign 
 lady, and they watched with sympathetic admiration the nobility and courage of 
 the Queen-Mother who, for sixteen years, stood beside the throne of Spain and 
 devoted her life to the task of fitting her son for the high destiny to which he 
 was born. The thrill of the first reverberant cry of H Viva el Rey I " that arose 
 from the throng outside the Palace of Madrid on May 17th, 1886, was felt in 
 distant England ; it was renewed three years ago, when the young King, amid 
 sounds of universal rejoicing, assumed the reins and responsibilities of sov- 
 ereignty.; and it found vent in the demonstrative heartiness with which the 
 English welcomed His Majesty to our shores. His mother's love and devotion 
 had always ensured him our goodwill, and that same gallant bearing, that easy 
 grace of manner, and that proven courage which have gained for him the con- 
 fidence and the affection of his own people, won our hearts. Seldom, if ever, 
 has England striven so unanimously or so successfully to impress a guest witb 
 the sincerity of its affection and esteem. 
 
 9 
 
LIFE OF 
 CERVANTES 
 
 A NEW LIFE OF CERVANTES TO COM- 
 MEMORATE THE TERCENTENARY OF 
 THE PUBLICATION OF "DON QUIXOTE," 
 BY ALBERT F. CALVERT, ILLUSTRATED. 
 Size Crown 8vo. 150 pp. Price 3/6 net. 
 
 PREFACE. 
 
 THREE hundred years ago this month the First Part of El Ingenioso 
 Hidalgo Don Quixote de la Mancha was published in Madrid, and 
 the world was made the richer by a book which will last until "the 
 silver chord be loosed or the golden bowl be broken " ; until the earth 
 relapses into its original silence and language is no more spoken or read. It is 
 somewhat late to weave new laurels for the brow of Miguel de Cervantes 
 Saavedra — the last word on Don Quixote has been spoken. The great con- 
 temporary of Shakespeare has long since come into his own among the world's 
 neroes ; no country has forborne to do him honour ; no literature is complete 
 that does not contain a translation of his book. 
 
 But while the career of Cervantes forms as eventful and varied a history as 
 that of the Knight-errant of La Mancha himself — Don Qtiixote might even be 
 read as the sequel of its author's life — the number of biographies of the Spanish 
 writer in the English tongue is curiously limited. It is ten years since Mr. 
 Henry Edward Watts — whose recent demise will be regretted by all Cervantists in 
 this country — issued his new and revised edition of the Life and Works of 
 Cervantes, and the scholarly and deeply-interesting Life by Mr. James 
 Fitzmaurice-Kelly, Cervantes' most brilliant and discriminating biographer, is 
 already a rare and almost unobtainable work. 
 
 Several hundred works of biography, commentary, and criticism of Cer- 
 vantes' life and writings have been published in various languages, yet I am not 
 without hope that this modest contribution may find an unoccupied niche in the 
 broad gallery of Cervantist literature. I have no new data to offer, but I have 
 put forward my conclusions, where they traverse the judgment of other authors, 
 with all reserve ; and on points of fact I have accepted the verdict of the 
 majority of my authorities. Wherever I have quoted, and 1 have had much 
 resource to Mr. Fitzmaurice-Kelly and others, I have acknowledged my 
 indebtedness ; and I have endeavoured to keep always in view my object to 
 present a concise, accurate, and readable life of Cervantes. 
 
 I confess that I have less diffidence in submitting for the approval of my 
 readers the illustrations which grace this little book. The reproductions of the 
 title pages of various of Cervantes' books, and the original illustrations to Don 
 Quixote, will recommend themselves to lovers of letters and of Cervantes ; and, 
 in default of an authentic likeness of our author, I offer a choice of all the 
 best-known attempts to repair the omission. 
 
 "Royston," Hampstead, N.W., A. F. C. 
 
 January, 1905. 
 
 10 
 
IMPORTANT ANNOUNCEMENT. 
 
 SPANISH SERIES. 
 
 Mr. John Lane has arranged with Mr. Albert F. 
 Calvert to act as General Editor of a New Series of 
 Books dealing with Spain in various aspects, its cities 
 and its people. 
 
 Each volume will be complete in itself in an artistic 
 binding, and will be fully illustrated with pictures pro- 
 duced in the latest styles. 
 
 Some of the volumes will consist of abridgments of 
 Mr. Calvert's standard works upon the subjects dealt 
 with ; others will be written by the General-Editor, and 
 the rest will be prepared, under his supervision, by 
 authors having special knowledge of Spain. 
 
 This Spanish Series will be 7 X 4! ins. in size, and 
 will be issued at 3s. 6d. per volume. 
 
 The following volumes will be issued in due course : 
 
 Murillo Velasquez 
 
 Alfonso XIII. Madrid Picture Gallery 
 
 The Escorial 
 The Alhambra 
 Cordova 
 Seville 
 Toledo 
 Cervantes 
 El Greco 
 Vicente Lopez 
 
 Royal Armoury 
 The Moors in Spain 
 Goya 
 
 Burgos Cathedral 
 Barcelona and Monserrat 
 Madrid 
 Granada 
 
 11 
 
MURILLO 
 
 BEING A BIOGRAPHY AND APPRECIATION OF 
 THE GREAT SPANISH PAINTER, BY ALBERT 
 F. CALVERT, ILLUSTRATED BY A SERIES OF 
 OVER 150 REPRODUCTIONS FROM PHOTO- 
 GRAPHS OF HIS MOST CELEBRATED PICTURES 
 IN EVERY PART OF THE WORLD 0 
 
 Size 7x4! Price 3/6 
 
 PUBLISHER'S NOTE. 
 
 WHILE the names of Murillo and Velasquez are inseparably linked 
 in the history of Art as Spain's immortal contribution to the small 
 band of world-painters, the great Court- Painter to Philip IV. has ever 
 received the lion's share of public attention. Many learned and 
 critical works have been written about Murillo, but whereas Velasquez has been 
 familiarised to the general reader by the aid of small, popular biographies, the 
 niche is still empty which it is hoped that this book will fill. 
 
 In Art, it has been said, Velasquez is an eagle, Murillo an angel ; and while 
 one has proclaimed the former as " perhaps the noblest artist who ever lived," 
 the latter has been described in no less confident terms as " the greatest painter 
 Spain has produced." It is not the purpose of the author to compare or to 
 contrast the work of these contemporary painters, this Prince and Priest in the 
 wide realms of Art, but to present the reader with a concise biography and 
 appreciation of Murillo, illustrated by reproductions of his most celebrated 
 pictures. 
 
 In this volume the attempt has been made to show the painter's art in its 
 relation to the religious feeling of the age in which he lived, and his own feeling 
 towards his art. Murillo was the product of his religious era, and of his native 
 province, Andalusia. To Europe in his lifetime he signified little or nothing. 
 He painted to the order of the religious houses of his immediate vicinity ; his 
 works were immured in local monasteries and cathedrals, and, passing 
 immediately out of circulation, were forgotten or never known. 
 
 ^ But the romance from which his life was almost free attaches to his pictures, 
 which, after being immured for two hundred years in shaded cloisters and dim 
 convent recesses, were torn from their obscurity by the commercial greed of 
 Napoleon's generals, and thrust before the amazed and admiring eyes of Europe. 
 The fame of the "Divine Murillo," which grew beneath the shadow of the altar, 
 was re-born amid the clash of arms, and in countries which for two centuries had 
 forgotten his existence he lived again the triumph which was his in his life. 
 
 This book, although intended only as an introduction to the study of Murillo, 
 has been prepared with great care, and this series of illustrations, which is 
 perhaps the most complete collection of the pictures of any painter that has ever 
 been published, have been produced by the latest and most perfect processes. 
 
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J GETTY RESEARCH INSTITUTE 
 
 
 
 
 
 
 
 
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