Mazo (1610?-1667), pupil and son-in-law of Velasquez, was one of his most facile imitators, and Carreno de Miranda (1614-1685) was influenced by Velasquez, and for a time his assistant. The Castilian school may be said to have closed with these late men and with Claudio Coello (1635?-1693), a painter with a style founded on Titian and Rubens, whose best work was of extraordinary power. Spanish painting went out with Spanish power, and only isolated men of small rank remained. ANDALUSIAN SCHOOL: This school came into existence about the middle of the sixteenth century. Its chief centre was at Seville, and its chief patron the Church rather than the king. Vargas (1502-1568) was probably the real founder of the school, though De Castro (fl. 1454) and others preceded him. Vargas was a man of much reputation and ability in his time, and introduced Italian methods and elegance into the Andalusian school after twenty odd years of residence in Italy. He is said to have studied under Perino del Vaga, and there is some sweetness of face and grace of form about his work that point that way, though his composition suggests Correggio. Most of his frescos have perished; some of his canvases are still in existence. Cespedes (1538?-1608) is little known through extant works, but he achieved fame in many departments during his life, and is said to have been in Italy under Florentine influence. His coloring was rather cold, and his drawing large and flat. The best early painter of the school was Roelas (1558?-1625), the inspirer of Murillo and the master of Zurbaran. He is supposed to have studied at Venice, because of his rich, glowing color. Most of his works are religious and are found chiefly at Seville. He was greatly patronized by the Jesuits. Pacheco (1571-1654) was more of a pedant than a painter, a man of rule, who to-day might be written down an academician. His drawing was hard, and perhaps the best reason for his being remembered is that he was one of the masters and the father-in-law of Velasquez. His rival, Herrera the Elder (1576?-1656) was a stronger man--in fact, the most original artist of his school. He struck off by himself and created a bold realism with a broad brush that anticipated Velasquez--in fact, Velasquez was under him for a time.