Cean Bermudez remarks of the Tiñoso, that the figure of the Queen Santa Isabel (whom by the way he makes a Queen of Portugal in one of his works and a Queen of Hungary in another) is equal to Vandyck; the face of the boy illuminated by the reflection of a basin of water, worthy of Paul Veronese; and an old woman and a mendicant unbinding his leg, as fine as Velasquez. He concludes by asserting, that if instead of the numbers of copies, good, bad, and indifferent, that have been made from all the pictures of the Caridad, a series of accurate engravings after them had been executed, these compositions would be as much celebrated and admired as those of the best Italian painters. The pictures of the Caridad were finished in 1674. The Capuchin Convent is another vast gallery of the fine works of Murillo. Without reckoning smaller pieces, there are twenty pictures by his hand in the convent with figures the size of life. Among these one is said to have obtained the especial preference of the painter himself; the subject is Santo Tomas di Villanueva distributing alms. In the Nativity, Murillo has followed the artifice of Correggio, by making the light emanate from the infant: this picture is one of the best of the series. The Annunciation is remarkable for the beauty and dignity of the Angel, and for the graceful humility of the Virgin. Three pictures, done for the Hospital de los Venerables, about 1678, are mentioned by the author already quoted as admirable performances: among them the Penitence of St. Peter is described as surpassing the same subject by Ribera, and an Immaculate Conception as superior in colour and admirable management of light and shade to every similar composition by the artist himself. In the refectory of the convent is the portrait of Don Justino Neve, by whom Murillo was employed to paint the pictures just mentioned; his biographer says it is in all respects equal to Vandyck. The altar pictures of the Convent of San Agustin, and a long list of single figures of saints, some larger than life, together with many portraits of superiors of religious orders, scarcely complete the catalogue of Murillo’s public works in Seville, and it would be too long to enumerate those which exist in other parts of Spain. The pictures which he executed for private collections were almost equally numerous, and his biographer asserts, that at the beginning of the last century there was scarcely a house of respectability in Seville that was not ornamented with some work of his. They began to disappear when Philip V. and his court visited the city. Many were presented or sold to the noblemen and ambassadors who accompanied the king, and are now in galleries of Madrid and other cities of Europe. Since that time, however, several of the principal families have made their pictures heir-looms, and thus guarded, as far as possible, against a further dispersion of their countryman’s works.