the Spanish horse passed, every one struck it with a stick, a whip, a stone, or whatever was at hand, and so urged it on; and partly owing to this, and partly owing to some carts intercepting the road, the Spanish horse gained both heats. This triumph was followed by loud acclamations; and so intemperate was the mob in its joy, that the grossest insults were offered to the carriage of the Duke of San Carlos as he left the ground. I heard it reported, that the Duke intended to take the field again with better horses, and upon better ground; and that horse races in Madrid would re-commence at a future time, under the patronage of one of the Infantes. CHAPTER VI. MEMOIR OF MURILLO. A slight sketch of the life of Murillo, will not be considered an unappropriate introduction to some notice of his principal works, yet to be found in the Picture Gallery of Madrid; and in the churches, convents, and hospitals of Seville. ESTABAN MURILLO, the prince of painters, was born at Seville, on the 1st of January, 1618. The small town of _Pilas_, in Andalusia, has disputed this honour with Seville; but the claim of Pilas to this distinction has probably arisen from the fact, that his mother was from Pilas, and that he inherited, through her, some property in that neighbourhood. But it is of little importance whether the courtly Seville, or the lowly Pilas, gave birth to Murillo; they may feel equally honoured in his name, for the name of Murillo belongs to his country. How he acquired the name of _Estaban_, has also been matter of dispute: some say he derived it from his father, who, it is said, was called Gaspar Estaban Murillo; and others are of opinion, that he took the name of his maternal uncle; but this dispute is of even less importance than that respecting the place of his nativity. Neither of the Estabans are now alive, to claim the honour of such a name-son; and Murillo’s honours are independent of his kindred. Great painters, more than any other class of eminent men, have given intimation, during childhood, of the distinction to which they have afterwards attained; and if the chronicles and traditions of Murillo record truly, his infancy did not form an exception. This fact is not difficult to account for; because, at the earliest age, the genius of the painter finds facilities for displaying itself. The infant musician to whom nature has denied a vocal talent, cannot, without an acquaintance with some instrument, convey a knowledge of his powers; still less can the infant poet embody poetic conceptions, without an acquaintance with language: but the painter finds, every where around, the means of giving expression to his thoughts: a dark and a light substance are all he requires; and in Spain, where the walls of the rooms are almost universally white-washed, the infant Murillo could find no obstacle to the indulgence of his genius.