If you doubt the sincerity of Don Miguel's conversion, you have only to visit the Church of La Caridad, which, together with the adjoining hospital, he founded and wherein he was buried. I do not think you will share the opinion of Sir W. Stirling-Maxwell that this is the most elegant church in Seville, but you will be rewarded for the visit by seeing some very remarkable works of art. Near the entrance are the two extraordinary pictures which proclaim the artist, Valdés Leal, to have been a master of realism. One of these exhibits a corpse at which, Murillo declared, you must look with your nostrils shut. The church contains six canvases by Murillo himself--"Moses Striking the Rock," "The Miracle of the Loaves and Fishes," "The Charity of St. Juan de Dios," "The Annunciation," "The Infant Jesus," and "St. John." The third is really the finest of these pictures, though the first, commonly called "La Sed" (Thirst), is the most generally preferred. The figures are, as usual in this master's compositions, ordinary Seville types. Over the altar is another great work, "The Descent from the Cross," by Pedro Roldán. The "Caridad" has indeed the most important collection of pictures in southern Spain, next to the Museo, as the old Convent of La Merced is now called. There, of course, some of the greatest works of art by Spanish masters are to be seen. There you may see the "St. Thomas of Villanueva" giving alms, Murillo's favourite picture; his beautiful "St. Felix of Cantalicio," and "St. Leander and St. Buenaventura," and his famous "Vírgen de la Servilleta" which was _not_ painted on a serviette. On the south wall hangs his "Saints Justa and Rufina" (holding the Giralda), exquisitely coloured, and on the north wall the admirable "St. Anthony de Padua." But one grows a little weary of Murillo in Seville. Zurbaran, the great painter of monks, is well represented by the wonderful "St. Hugh in the Refectory," and "Apotheosis of St. Thomas Aquinas." This last picture, I am told, was carried off by Soult, and recovered by Wellington at Waterloo. The older Herrera's "St. Hermenegild" is good, but by no means Andalusian. The native temper finds more truthful expression in the works of Roelas, Valdés Leal, Cespedes and Frutet, which may be studied to the best advantage here. Curiously enough, the gallery contains not a single work by Velazquez, who was born in Seville; nor any paintings by Alonso Cano or Luis de Vargas. Spanish sculpture, of which one sees so little, is not unworthily represented by a beautiful St. Bruno by Montañez, and by some busts and crucifixes of less importance. The students of Andalusian art must also visit the Hospital de la Sangre, near the Macarena Gate, for some splendid works by Zurbaran and by his less-known forerunner Roelas. The three pictures ascribed to the last named are, however, very awkwardly placed and difficult to see.