Among his best scholars were: JUAN BAUTISTA DEL MAZO (d. 1667), his son-in-law. How nearly he approached his master may be seen by his admirable portrait of D. Tiburcio de Redin, and the view of Saragossa, in which the figures have even been attributed to Velasquez, in the Madrid Gallery. PAREJA, his half-caste slave, and afterward freedman (d. 1670), who imitated his master in his portraits, but not in his religious and other subjects, in which he followed the Dutch and Italian painters of the time; as in his “Calling of St. Mark,” in the same gallery. CARRENO, a member of a noble family (b. 1614; d. 1685), who succeeded Velasquez as court painter, and who is chiefly known by his portraits of the idiot king (Charles II.), his mother, Mariana of Austria, Don John of Austria (not the hero of Lepanto), and other royal and courtly persons of the period. Spanish writers on art rank him with Vandyke, to whom, however, he was greatly inferior. His coloring is generally insipid, and wanting in vigor. BARTOLOME ESTEBAN MURILLO was born at Seville in 1616. He studied under Juan del Castillo, a very indifferent painter, but formed his style, like Velasquez, on the works of Ribera and the Italian naturalistic painters. Like that great master, too, he modified his “manner” three times, as he gained in experience and knowledge. From his boyhood he painted pictures which were sold in the market-place of his native city, and bought by dealers; chiefly, it is said, for exportation to the Spanish colonies in America. After obtaining a considerable reputation at Seville, he went to Madrid to improve himself by the study of the works of the great Italian masters in the royal collection. Their influence led him to modify his first style, called by the Spaniards _frio_ (cold), in which he had imitated the brown tints, dark shadows, and conventional treatment of drapery of Ribera; but he did not abandon it altogether. It may still be traced in his second, or _calido_ (warm) manner, as in the celebrated “Holy Family,” called “Del Pajarito,” in the Madrid Gallery. The advice of Velasquez, who treated him with great kindness, and the works of Titian and Rubens, led him to adopt a warm, harmonious and transparent coloring, and a more truthful rendering of nature; at the same time his drawing became more free, if not more correct. His third manner is termed by the Spaniards _vaporoso_ (misty), from a gradual and almost imperceptible fusion of tints, producing a kind of hazy effect. In it are painted, for the most part, his well-known “Miraculous Conceptions,” the Virgin standing on the crescent moon attended by angels. The three manners of Murillo are neither so well defined nor so easily recognized as those of Velasquez. He never completely abandoned one of them for the other, and in his last pictures he frequently returned to the calido style. As a painter of portraits and landscapes, he was inferior to Velasquez. It was only in religious