Viardot says: "Murillo comes up, in every respect, to what our imagination could hope or conceive. His earthly daylight is perfectly natural and true; his heavenly day is full of radiance. We find in the attitude of the saints, and the expression of their features, all that the most ardent piety, all that the most passionate exaltation, can feel or express in extreme surprise, delight, and adoration. As for the visions, they appear with all the pomp of a celestial train, in which are marvellously grouped the different spirits of the immortal hierarchy, from the archangel with outspread wings to the bodiless heads of the cherubim. It is in these scenes of supernatural poetry that the pencil of Murillo, like the wand of an enchanter, produces marvels. If in scenes taken from human life, he equals the greatest colorists, he is alone in the imaginary scenes of eternal life. It might be said of the two great Spanish masters, that Velasquez is the painter of the earth, and Murillo of heaven." His next work was for the Augustinian convent church, the "Madonna appearing to St. Augustine," and "St. Augustine and the little Child on the Seashore," who is trying to fill a hole in the sand with water carried from the ocean in a shell. About this time, he painted the exquisite "St. John with the Lamb," now in the National Gallery, for which the government paid ten thousand dollars; "Los Niños de la Concha," the "Children of the Shell," where the Child Jesus holds the shell, filled with water, to the lips of St. John, now in the Prado Museum at Madrid; and "St. Ildefonso receiving the Chasuble from the Virgin," also at Madrid. This saint defended the doctrine of the Immaculate Conception at a time when it had many opponents. In token of her appreciation, the Virgin came to his cathedral, seated herself upon his ivory pulpit, and, with the angels about her, chanted a service from the Psalter. He bowed to the ground, and the Virgin said, "Come hither, most faithful servant of God, and receive this robe, which I have brought thee from the treasury of my Son." He knelt before her, and she threw over him a cassock of heavenly tissue. The ivory chair remained thereafter unoccupied, till the presumptuous Archbishop Sisiberto sat in it, and died a miserable death in consequence. Besides all this work, Murillo's various "Beggar Boys" are known wherever art is loved; one is in the Louvre, "El Piojoso"; several, in the Pinakothek at Munich; the "Flower-Girl" and a "Boy with a Basket and Dog," at the Hermitage; and others, in London and Madrid. The "Education of the Virgin," Mary kneeling by the side of St. Anna, her mother, the faces portraits, it is believed, of his wife and daughter, is in the Royal Gallery at Madrid. Five large paintings from the life of Jacob, "Isaac blessing Jacob," "Jacob's Dream," "Jacob and Laban's Sheep," "Laban searching for his Gods in the Tent of Rachel," and one other, are in various galleries.