at the same time an original Madonna by Raphael from the convent of Discalced Carmelites at Valladolid.[17] The agglomeration of such works of art at Madrid during a long period naturally led to the dispersion of the great collections on the death or fall of the noble owners, and this was effected by the usual Spanish form of sale still common, called an _almoneda_, such articles as are for sale usually remain _in situ_, but on public view, with the prices marked; and the German ambassador, Count Harrach, mentions no less than twenty of such almonedas of artistic collections belonging to Madrid nobles within the space of five years, at a somewhat later period of Philip's reign than that of which we are now writing.[18] Of one such noble collector in Madrid (Juan de Espina) Quevedo says: "For years his house was an epitome of the marvels of Europe, visited by strangers, to the great honour of our nation, for they had often nothing to tell of Spain except their recollections of him." I have mentioned that one of the presents given by Olivares to the Prince of Wales on his departure was a set of paintings, but these were by no means the only pictures that Charles took back {196} with him to enrich the royal galleries of England. The unfortunate murdered Count Villa Mediana's great collection was still being dispersed by _almoneda_ at the time, and here Charles bought several specimens. Lope de Vega says that the Prince "collected with remarkable zeal all the paintings that could be had, paying for them excessive prices." He was unable to persuade Quevedo's friend Espina to sell him the gem of his collection, two volumes of original drawings by Leonardo da Vinci, which, however, eventually came to England as the property of Philip Howard, Earl of Arundel.[19] Many other paintings and precious objects were secured by Charles during his stay by purchase and gift; and it may be fairly assumed that so great an art lover as he must have found his principal solace for his long absence from home in the inspection and acquisition of objects he prized so highly. In the Calle Mayor, against the wall of the Oñate Palace, opposite Liars' Walk, on the raised path along the side of St. Philip's Church, the Spanish painters of the day, on the lookout for patrons, were wont to exhibit their canvasses for sale,[20] and some of the modern Spanish pictures that Charles took home with him were doubtless seen and bought in the course of his {197} daily promenade through the fashionable street of the capital. [Sidenote: Valezquez in Madrid]