This picture--known as the Pedroso Murillo, from the Pedroso family, in whose possession it remained until 1810--is one of the painter's last works, painted when he was about sixty. The look of childlike innocence in the head of the young Christ is very attractive, although the attitude is undeniably "stagey." The heads of the Virgin and St. Joseph also are good instances of Murillo's plan of "supplying the place of intrinsic elevation by a dramatic exhibition of sentiment" (W. B. Scott). The picture is characteristic of what is known as Murillo's third, or _vaporoso_, manner. His first manner is called _frio_, or cold; his second warm, or _calido_, and the third, from its melting softness, _vaporoso_. The first style is generally spoken of as lasting up to 1648, the second up to 1656, but he did not so much paint in these different manners at different times as adapt them to the different subjects severally in hand. 14. SEAPORT: THE QUEEN OF SHEBA. _Claude_ (French, 1600-1682). _See_ 2. This seaport--inscribed in the right corner _La Reine de Saba va trouver Salamon_,--is one of Claude's masterpieces. Like its companion, the picture was painted in 1648 for the Duke of Bouillon. "The spectator," says Sir Edward Poynter, "may almost imagine that he feels the freshness of the early morning, and the breeze which sends the crisp waves rolling in from the open sea, while the limpid purity of the sunlit atmosphere and the sparkle of the sun on the water, not only invite sympathy with the more exquisite aspects of nature, which is, perhaps, the highest achievement of this art, but are expressed with a simplicity and perfection of execution which surpass all the works of other painters in which similar effects have been attempted" (_The National Gallery_, i. 192). The picture which Turner selected to vie with this is not one of his best, but Ruskin makes a point out of Claude's poverty of invention in the details. The queen is starting for a distant expedition, and was going in great state (she went "with a very great company, and camels that bare spices, and gold in abundance, and precious stones"); yet the prominent incident in the picture is the carrying of one schoolgirl's trunk. She is going by sea, and is setting out in the early morning (for the sun is represented only a little above the horizon);[55] yet has no wraps, nor even a head-dress. For the rest, Ruskin notices the tameness of Claude's waves and a certain conventionality in his treatment of ships and seaports generally. "A man accustomed to the broad, wild sea-shore, with its bright breakers, and free winds, and sounding rocks, and eternal sensation of tameless power, can scarcely but be angered when Claude bids him stand still on some paltry chipped and chiselled quay, with porters and wheel-barrows running against him, to watch a weak, rippling, bound and barriered water, that has not strength enough in one of its waves to upset the