The two last were purchased for the Emperor of Russia. The collection was sold in May, 1852. The works of Murillo have been largely copied and imitated, and so successfully as to deceive even connoisseurs. MURILLO’S ASSUMPTION OF THE VIRGIN. The Assumption of the Virgin is considered by all the Spanish writers as the masterpiece of Murillo, and never, perhaps, did that great master attain such sublimity of expression and such magnificent coloring, as in this almost divine picture. It represents the Virgin in the act of being carried up into Heaven. Her golden hair floats on her shoulders, and her white robe gently swells in the breeze, while a mantle of blue gracefully falls from her left shoulder. Groups of angels and cherubim of extraordinary beauty, sport around her in the most evident admiration, those below thronging closely together, while those above open their ranks, as if not in any way to conceal the glory shed around the ascending Virgin. The size of the picture is eight feet six inches in height, by six feet broad, French measure. This picture was the gem of the famous collection made by Marshal Soult, during his campaigns in Spain, who used humorously to relate that it cost him _two monks_, which he thus explained. One morning two of his soldiers were found with their throats cut, and the deed being traced to the instigation of the monks, near whose convent they had encamped, he immediately arraigned them before a court-martial, sentenced two of the fraternity to expiate the deed, and compelled them to designate the victims by lot. One of the chances fell to the Prior, who offered Soult this peerless picture as the price of their redemption. CASTILLO’S TRIBUTE TO MURILLO. Castillo was educated in the school of Zurbaran. After returning to his native city, he flattered himself that he was the first Spanish painter of the day; but subsequently, on a visit to Seville, he was painfully undeceived. The works of Murillo struck him with astonishment, and when he saw the St. Leander and St. Isidore, as well as the St. Anthony of Padua by that master, he exclaimed, “It is all over with Castillo! Is it possible that Murillo can be the author of all this grace and beauty of coloring?” He returned to Cordova, and attempted to imitate and equal Murillo, but felt satisfied that he had failed; and it is said that he died in the following year, from the effects of envy and annoyance. CORREGGIO.