A saloon is dedicated to the modern Spanish school; containing the pictures both of the living masters, and of those who have lived within the last forty or fifty years. It is impossible to look upon these pictures without feeling more and more the excellences of those painters, who now live only in their works; for in the modern Spanish school, there is little to remind us of Murillo and Velasquez; or even of Juanes, Cano, or Morales. Difficult as it must be admitted to be, to imitate the unapproachable excellences of Murillo, it is surprising nevertheless, that the attempt to do this should scarcely ever be made. After the death of Murillo, as well as during his lifetime, there were innumerable artists, who, although conscious of the immeasurable distance at which they followed, yet, thought it wisdom patiently to seek the traces of his footsteps: and it is a merit of no ordinary kind, if a painter can earn the character of being a follower of Murillo; because this at least proves, that he is able to appreciate, even if he cannot approach, his excellences. But in looking through the gallery of the modern school, not one picture can be found, of which it may be said, “this is in the style of Murillo.” Aparicio and Lopez are the painters who at present enjoy the highest reputation; but neither of these will suffer a comparison with Bayeu, who died thirty-five years ago, or with Goya, who has long since retired from a professional life, but who still lives at Bourdeaux. As little can the pictures of Bayeu or Goya be compared with the compositions of the ancient school. The two great pictures of Aparicio are, “The Glories of Spain,” and “The Famine in Madrid,”--and both are more in the style of the modern French, than of the ancient Spanish school. The latter of these is intended to represent (as the author of it says), “The Triumph of Spanish Constancy.” During the time of the French invasion, in the winter of 1811-12, the famine that raged in Madrid, almost realized what we read, of ancient Numantia; and many examples of heroic patriotism are recorded of this time. The painter has chosen the following:--an old man, extenuated, and apparently dying, is stretched upon the ground; and the dead bodies of his daughter, and his grandson are at his feet: three French soldiers passing by, touched with compassion, offer him food; but he, disdaining to accept food from the enemies of his country, covers his face with his hands, that he may not be tempted, and prefers death to what he considers dishonour.