Before the paintings for La Caridad were finished, Murillo was asked to decorate the new Capuchin church. For three years he worked here, not leaving the convent, it is said, for a single day. Such diligence is most suggestive to those persons who expect to win success without unremitting labor! Of the more than twenty pictures painted here by Murillo, nine formed the _retablo_ of the high altar, and eight were on the side altars. Seventeen of these are now in the Seville Museum. The immense altar-piece, "The Virgin granting to St. Francis the Jubilee of the Porciuncula," is now in the National Museum of Madrid. This was a feast in honor of the Cavern of St. Francis of Assisi, in which he received a visit from the Virgin and Child. Thirty-three beautiful cherubs are showering the kneeling St. Francis with red and white roses, blossoms from the briers with which he scourged himself. Over the high altar were pictures of "Saints Justa and Rufina," "St. Anthony of Padua," "St. John in the Desert," "St. Joseph," "St. Felix of Cantalicio," the "Veronica," "Saints Leander and Bonaventura," and a gem called "The Madonna of the Napkin." Murillo had so endeared himself to one of the lay brethren of the convent, a cook, that he begged some token of remembrance from the hand of the great artist. As he had no canvas, Murillo took the napkin which the cook had brought with his food, and, before nightfall, made a most beautiful Virgin, and a Child so natural that it seems, says E. G. Minor, in her life of Murillo, "as if it would spring from its mother's arms. The coloring of this picture, of which innumerable copies and engravings have been made, was never surpassed even by Murillo himself." St. Veronica was a noble-hearted woman, who, seeing the Saviour pass her door, on his way to Calvary, wiped the perspiration from his brow with her handkerchief or veil. To her surprise and delight, she found an image of the Lord's face upon it. She suffered martyrdom under Nero. The great pictures on the side altars of the church illustrated "St. Thomas of Villanueva," which the artist himself esteemed the best of all his works; "St. Francis of Assisi, embracing the Crucified Redeemer," "St. Anthony of Padua and the Infant Christ"; the "Vision of St. Felix," the "Annunciation," the "Immaculate Conception," the "Nativity," and the "Virgin with the Head of the Saviour on her Knee."