subjects, and especially in his Holy Families, that he surpassed him. His Virgins are taken from the common type of Andalusian beauty, slightly idealized; but he gives to them an expression of youthful innocence and religious sentiment which makes him the most popular of Spanish painters. The Spaniards are naturally proud of him. They believe that he unites the best qualities of the greatest masters, and surpasses them all. All other critics place him second to Velasquez, who unquestionably possessed a more original genius. Comparisons between these two great painters are, however, more than usually pointless and misleading, the two men being essentially different in feeling, taste, and manner. Returning to Seville, after his first and only visit to Madrid, Murillo established himself there for the rest of his life, painting, with the help of scholars, many pictures for churches and convents in Spain and her colonies. In the Peninsula, his best works are now only found at Madrid and in his native city. The French invaders and the picture-dealers carried the greater number away. Among those most worthy of note at Madrid are the “St. Elizabeth of Hungary tending the Sick,” and the “Patrician’s Dream,” now in the Academy of San Fernando, and the two “Immaculate Conceptions” in the Gallery: at Seville, “St. Thomas of Villanueva distributing Alms to the Poor,” in the public Museum; the “St. Anthony of Padua” in the Cathedral; and the pictures in the Caridad. Of his well-known sunburned beggar-boys and girls there are none, that we know of, in Spain; many of those in European collections are probably by his favorite pupil, VILLAVICENCIO, in whose arms he died at Seville in 1682. There is a picture by this painter, who was of a noble family, and rather an amateur than an artist, in the Madrid Gallery, representing a group of boys at play. It has no great merit, but shows how he attempted to imitate his master in this class of subject. He was born in 1635, and died in 1700. The imitations and copies of Murillo by TOBAR (d. 1758) are so successful that they frequently pass for originals. The same may be said of some by MENESES, who died early in the 18th century. Among the contemporaries of Murillo was IRIARTE (b. 1620; d. 1685), one of the few landscape-painters that Spain has produced. His landscapes were much esteemed by Murillo, but they are not entitled to rank with the works of any of the great masters in this branch of the art. The Madrid Gallery contains five examples of them.