Before dealing with the continuators of Velázquez, we must briefly refer to painting in Andalusia, where Murillo appears as a great force in Seville, years after Velázquez had been so in Madrid. Murillo, at first a disciple of his kinsman Castillo, was soon afterwards a follower of Pedro Moya. The painter passed during his youth through a whole gamut of influences, that of Van Dyck especially, alternating at times with that of Ribera. At twenty-four he was in Madrid, where Velázquez worked and taught, though only for a short time. When he returned to Seville he did not forget the lessons of Velázquez, and from this period date those popular figures, full of character, which began to bring him fame. Later, Murillo altered his methods, and for the rest of his life employed a style suave and soft as the Andalusian accent, graceful and suggestive. His religious works, his _Virgins_, and, above all, his _Conceptions_ were soon famous, and, an incessant worker, he left a multitude of paintings which bear a personal and unmistakable stamp, and reveal an adequate technique, ample in treatment, in a tonality of varying greys, warm and glowing and without exaggeration. But in truth the art of Murillo is of less interest than formerly, owing to present-day preferences, which seek spirituality in art, a force and even a restlessness which we do not find in the work of this artist. But his fame in his own day was very great, and for a long time he was considered as the foremost of Spanish painters. What gave him such a great reputation? The illustrious Spanish critic, Señor Cossío, has asked the same question regarding the causes underlying a style so direct and simple. Murillo’s subject-matter, says Señor Cossío, in the background as in the thing portrayed, represents always the soft and agreeable side of life. In the sphere of spontaneous creation, in that which does not require profundity, nor reflection, Murillo always exerts an irresistible attraction. His _Conceptions_ are beautiful but superficial. There is in them no more skilful groundwork, dramatic impulse, nor exaltation than appears at first sight. To comprehend and enjoy them it is not necessary to think, their contemplation leaves the beholder tranquil, they do not possess the power to distract, they have no warmth, nor that distinction which makes a work unique, and as they hold just that degree of cultured mediocrity which in thought and feeling is the patrimony of the majority of people, they are able to please accordingly. If there be added to this a pious and poetic sentiment and the celestial and suave expression of his figures, it is easy to understand the great, indisputable and just popularity which Murillo has enjoyed. Velázquez thought profoundly, but with ideality; Murillo has not idealism, nor is he profound. Both are realists, and if one represents the masculine feeling in Spanish painting, the other shows at its highest the feminine tendency.