A “Mary Magdalen Penitent,” by Murillo, and a “St. Geronimo,” by Españoletto, are also found here; but one of the most extraordinary pictures I have seen in Spain, is preserved in this Sola; it is by Antonio de Pereda, and is called “the Desengaño de la Vida,” which cannot be literally translated into English, but which means “the Discovery that Life is an Imposture.” A Caballero, about thirty years of age, handsome and graceful, is represented asleep, and around him are seen all those things in which he has found enjoyment. Upon one table lie heaps of gold, books, globes, and implements of study; upon another are the wrecks of a feast; musical instruments are scattered here and there; magnificent mirrors and paintings adorn the walls; and on the floor lies a jewel-box, which has dropped from the hand that hangs over the couch where he reclines; and a miniature of a beautiful woman has fallen out of it. But in the air, opposite to the sleeper, is seen the vision of an angel, who holds a scroll, with certain words inscribed upon it, which the painter has left for the imagination to decipher, and which may be naturally interpreted, “Let all pass,--eternity lies beyond;” and the countenance of the sleeping figure shews not only that he sees a vision,--but there is something in it so placid, so resigned, that it seems to express an acquiescence in the advice of the angel,--“Yes, it is all a cheat.” I have perhaps dwelt too long upon this picture; but I was strongly impressed with its excellence, both in design and execution. There are few private collections of great value in Madrid. Those of the Duke of Liria, and of the Duke of Medina Cœli, are the best. The former of these collections adjoins the duke’s palace in the _Plaza de Liria_; and having carried an introductory letter to his Grace from the Marquesa de Montemar, the duke did me honour to accompany me round the gallery. I found three good Murillos,--“St. Roch,” “Santa Teresa,” and “Murillo’s Son,”--the latter only in his best style; several pictures, which may or may not be Salvator Rosa’s; but generally believed to be originals; two of Rubens: a “Battle of the Amazons;” and “Ruben’s Wives,”--the latter in his best manner; “Adam and Eve chased out of Paradise,” by Paul Veronese, in all the grace and sweetness of that esteemed master; “A Holy Family,” by Gaspar Poussin; three landscapes, by Nicholas Poussin; a charming portrait of Mengs, by himself; two or three delightful gems of Berghem, full of beauty and repose; three Titians, “A Holy Family,” the female head singularly beautiful; “St. John in the Wilderness,” a picture of great richness and finish; and “A Boy playing with a Lion;” a “Venus,” by Brencino; two Canalettos, but neither of them in his best style; “The Children of Velasquez,” by Velasquez; and “A Holy Family,” by Perucini, the well known _élève_ of Raphael,--for which the present possessor paid 10,000 sequins.