We could wish to exclude from our paper all notice of the foreign artists, whose genius assisted in decorating the new wonder of the world; but how omit from any Escurialian or Philippian catalogue the names of Titian and Cellini, Cambiaso and Tibaldi? For seven long years did the great Venetian labour at his famous Last Supper, painted for, and placed in the refectory; and countless portraits by his fame-dealing pencil graced the halls and galleries of the Palatian convents. In addition to these, the Pardo boasted eleven of his portraits; among them, one of the hero Duke Emmanuel Philibert of Savoy, who has received a second grant of renown--let us hope a more lasting one[17]--from the poetic chisel of Marochetti, and stands now in the great square of Turin, the very impersonation of chivalry, horse and hero alike--κυδεί γαιῶν. [17] All these portraits were destroyed by fire in the reign of Philip III. The magnificent Florentine contributed "the matchless marble crucifix behind the prior's seat in the choir," of which Mr Stirling says--"Never was marble shaped into a sublimer image of the great sacrifice for man's atonement." Luca Cambiaso, the Genoese, painted the Martyrdom of St Laurence for the high altar of the church--a picture that must have been regarded, from its subject and position, as the first of all the Escurial's religious pictures,--besides the vault of the choir, and two great frescoes for the grand staircase. Pellegrino Tibaldi, a native of the Milanese, came at Philip's request to the Escurial in 1586. He, too, painted a Martyrdom of Saint Laurence for the high altar, but apparently with no better success than his immediate predecessor, Zuccaro, whose work his was to replace. But the ceiling of the library was Tibaldi's field of fame; on it he painted a fresco 194 feet long by 30 wide, which still speaks to his skill in composition and brilliancy in colouring. Philip rewarded him with a Milanese marquisate and one hundred thousand crowns.