The pure Spanish school in Andalusia, as distinct from Italian imitation, may be said to have started with Herrera. It was further advanced by another independent painter, Zurbaran (1598-1662), a pupil of Roelas. He was a painter of the emaciated monk in ecstasy, and many other rather dismal religious subjects expressive of tortured rapture. From using a rather dark shadow he acquired the name of the Spanish Caravaggio. He had a good deal of Caravaggio's strength, together with a depth and breadth of color suggestive of the Venetians. Cano (1601-1667), though he never was in Italy, had the name of the Spanish Michael Angelo, probably because he was sculptor, painter, and architect. His painting was rather sharp in line and statuesque in pose, with a coloring somewhat like that of Van Dyck. It was eclectic rather than original work. [Illustration: FIG. 72.--FORTUNY. SPANISH MARRIAGE.] Murillo (1618-1682) is generally placed at the head of the Andalusian school, as Velasquez at the head of the Castilian. There is good reason for it, for though Murillo was not the great painter he was sometime supposed, yet he was not the weak man his modern critics would make him out. A religious painter largely, though doing some _genre_ subjects like his beggar-boy groups, he sought for religious fervor and found, only too often, sentimentality. His madonnas are usually after the Carlo Dolci pattern, though never so excessive in sentiment. This was not the case with his earlier works, mostly of humble life, which were painted in rather a hard, positive manner. Later on he became misty, veiled in light and effeminate in outline, though still holding grace. His color varied with his early and later styles. It was usually gay and a little thin. While basing his work on nature like Velasquez, he never had the supreme poise of that master, either mentally or technically; howbeit he was an excellent painter, who perhaps justly holds second place in Spanish art.