After Velázquez the most important painter of the School of Madrid is, beyond dispute, Carreño. Though his religious canvases are numerous, Carreño was, above all, a portrait painter. The relative influence of the work of Van Dyck, which extended as far as Seville, also reached Madrid, and Carreño came under it at times and discreetly made use of it. We say discreetly, for he had lost his national qualities. He borrowed from Velázquez the basic colours of his palette, but sought to enrich them with certain warm, golden tones, and he was enamoured of russets and, above all, of carmines, generally those which approximate to the colouring of the Flemings, but which appear cloying beside the works of Van Dyck. The portraits by Carreño were represented at the exhibition by that of _A Young Lady_ (Plate XXII), belonging to the Duke of Medinaceli, which might almost be described as a black-and-white from its colouring and the evident purpose of the artist to preserve this tonality throughout the work; that of _The Queen of Spain, Doña Mariana de Austria_, the property of Don Ramón de la Sota, a most beautiful example, from which, without doubt, have been taken the many repetitions which are known of it besides other variants; and that of _The Marchioness of Santa Cruz_, which is of great importance and very characteristic. Of religious pictures it is necessary to mention _The Apparition of the Virgin to Saint Bernard_, sent from Bilbao by Don Antonio Plasencia. The two brothers Rizi, Juan and Francisco, were of Italian origin; both were decorative painters and worked in the style of Carducho and Caxes. Juan, the elder, was a monk, and was one of the prototypes of the School of Madrid, following Velázquez in his work, soberly and simply. Francisco seems at times to display the qualities of his Italian origin, and though sufficiently Spanish, gave to his creations a certain quality which may have influenced the Spanish decorative painters of the time. It is a curious problem of influence. In any case this artist, who achieved fame in his time, is an interesting study to-day, and it would seem that the critic must scrutinize the beginnings of the question before he tries to explain its results. Pereda, Collantes and Leonardo are also notable, if lacking the character of their school, which clearly shows them to be among the disciples of Carreño, among whom, perhaps, the most notable were Cerezo and Cabezalero, who unfortunately died young. Cerezo seems to be the most striking figure of those years, and his brilliant colour and fine style initiated a tendency which made for the enrichment of the Spanish palette, the sobriety of which we admire in the masters, but which degenerates into a certain poverty at times in the hands of their disciples. With Cerezo we should mention Antolínez, who also died before he reached artistic maturity.