At the Royal Academy seven pictures of Murillo, some of real importance, were shown. Amongst these religious subjects predominated, _San Leandro_ and _San Buenaventura_, from the Museum of Seville, and _The Triumph of the Holy Eucharist_, lent by Lord Faringdon. Among the portraits were that of the artist, the property of Earl Spencer; _Gabriel Esteban Murillo_, sent by the Duke of Alba and Berwick; and _Don Diego Félix de Esquivel y Aldama_, from a private collection in Madrid. In alluding to the Sevillean school, we must mention a contemporary of Murillo, though somewhat his junior, of singular talent. His name is little known outside of Spain, and this is doubtless the reason why so few of his pictures have left the country. We believe it a mistake to allude to him, as is sometimes done, as one of those Spanish painters whose work is no longer of interest, such is his expression, his distinctive note, his creative boldness and individuality. We refer to Valdes Leal. His harsh outlook, his frequent inaccuracies, his thought, profound and almost always obscure, and above all, his subjects, at times macabre and bizarre, at times graceful, provide reasons for his unpopularity, no less than the still scanty knowledge we possess regarding this singular man, the circumstances of whose work and life are presented to us almost in a legendary manner, as in the case of his friend and patron, Don Juán de Mañara, who has been incarnated in the popular imagination as the Don Juán of tradition. In Granada, Alonso Cano, as great a sculptor as painter, maintained, with other artists of lesser note and standing, a flourishing school which had links with that of Seville. * * * * *