It would take a volume to describe all the works of art to be seen in the palaces and churches of Seville. We will only mention the _Jesus Nazareno del Gran Poder_――of great power――at San Lorenzo, a statue by Montañes, which is carried in the processions of Holy Week, dressed in black velvet broidered with silver and gold, and bearing a large cross encrusted with ivory, shell, and pearl. Angels, with outspread wings, bear lanterns before him. The whole group is carried by men so concealed under draperies that it seems to move of itself. We had not the satisfaction of witnessing one of these processions, perhaps the most striking in the world, with the awful scenes of the Passion, the Virgin of Great Grief, and the apostles in their traditional colors; even Judas in yellow, still in Spain the color of infamy and criminals. Of course we went repeatedly to the _Museo_ of Seville; for we had specially come here to see Murillo on his native ground. His statue is in the centre of the square before it. The collection of paintings is small, but it comprises some of the choicest specimens of the Seville school. They are all of a religious nature, and therefore not out of place in the church and sacristy where they are hung――part of the suppressed convent of _La Merced_, founded by Fernando el Santo in the thirteenth century. The custodian who ushered us in waved his hand to the pictures on the opposite wall, breathing rather than saying the word _Murillo!_ with an ineffable accent, half triumph, half adoration, and then kissed the ends of his fingers to express their delicious quality. He was right. They are adorable. We recognized them at a glance, having read of them for long years, and seen them often in our dreams. And visions they are of beauty and heavenly rapture, such as Murillo alone could paint. His refinement of expression, his warm colors and shimmering tints, the purity and tenderness of his Virgins, the ecstatic glow of his saints, and the infantine grace and beauty of his child Christs, all combine to make him one of the most beautiful expressions of Christian art, in harmony with all that is mystical and fervid. He has twenty-four paintings here, four of which are Conceptions, the subject for which he is specially renowned. Murillo is emphatically the Painter of the Immaculate Conception. When he established the Academy of Art at Seville, of which he and Herrera were the first presidents, every candidate had to declare his belief in the Most Pure Conception of the Virgin. It was only three months before Murillo’s birth that Philip IV., amid the enthusiastic applause of all Spain, solemnly placed his kingdom under the protection of the _Virgen concebida sin peccado_. Artists were at once inspired by the subject, and vied with each other in depicting the “Woman above all women glorified, Our tainted nature’s solitary boast.”