The gallery is open to the public only on _Sundays_, but the director allows it to be shown every day to strangers, who are expected to give a fee to the attendants. On rainy days it is always shut; an obvious reason is, that visitors will soil the floors with their shoes, but a better reason is that the gallery is so badly lighted that in gloomy weather some of the pictures are quite invisible. Who would suppose that sixty pictures by Reubens are to be seen in one gallery in Spain! and fifty-three by Teniers; and ten grand pictures by Raphael; and forty-six by Murillo; and sixty-four by Velasquez, some of them very large and magnificent; and twenty-two by Van Dyck; and _forty-three of Titian_, who spent three years in Madrid, by invitation of Charles V.; ten of Claude Lorraine; and twenty-five by Paul Veronese; and twenty-three by Snyder; and more than thirty by Tintoretto!!! There are more than two thousand here. Among so many, of course, some are good for nothing, as in every large collection. But one gallery in the world has masterpieces only,—that is in the Vatican. And _there_ you have less than a hundred pictures, all told. But they are all great. Here, as in Florence and Dresden, good, bad, and indifferent have been hung together; and perhaps the contrast makes the good appear better, and the bad worse. Murillo, the greatest of Spanish painters, is here in his glory. We have associated his name with his “Immaculate Conceptions” more than with any other of his works. One copy was brought to America a few years ago, and is now in the gallery of W. H. Aspinwall, Esq. A duplicate is in the Louvre, at Paris. And still another is in Madrid. These are three originals, undoubtedly, and they have been copied in every style of human art, especially in Paris, until they are as common as heads of the Saviour, all the world over. Yet this is not the _Murillo_,—not his “Conception.” It is a grand conception by the artist, but it is not the great picture of that subject on which, more than any other, his fame is founded. This is in another attitude, with another expression; the Virgin is looking downward, and not gazing, in an ecstasy, heavenward. The artist, in this picture, imagines the Virgin Mary at the moment she becomes conscious of the fact that by the overshadowing of the Holy Ghost she is to be the mother of the Son of God! The accessories of the painting are of no account, but into the countenance of the Virgin he would throw the expression such as a spotless maiden might be supposed to have when first alive to such a wondrous, awful, yet transporting and delightful thought, “I,—I,—of all the daughters of Israel, am the highly favored among women. Of me is to be the Messiah! I am the mother of the promised Saviour!”