If it be true, (says his biographer, BERMUDEZ,) that painters put their own portraits in their works, that is to say, that they exhibit their own genius, their propensities, affections, and the dispositions of their minds in them, the pictures of MURILLO bear a great analogy to his virtues, and the gentleness of his character. He was distinguished above all others of his profession by the mildness with which he instructed his pupils; by the urbanity with which he treated his rivals; by the humility with which he excused himself from becoming the painter of the Camara to CHARLES the Second, which was offered to him by the court; and for the charity with which he distributed the most liberal alms to the poor, who afterward deplored his death. But those who were most affected by it were his beloved scholars, who, overwhelmed with grief and anguish, could find no consolation for the loss of a father who loved them most dearly; of a master who instructed them with the utmost kindness, and of a protector who encouraged them by giving to each such portions of employment as enabled them to maintain themselves. This affectionate tribute to the character of MURILLO, must recall to the minds of our readers that beautiful passage in the letter of BALDASSARE CASTIGLIONE to his brother, which is said to express the feelings of all the artists in Rome upon the death of his friend RAPHAEL: 'Ma non mi pare esser a Roma, perche non vi e piu il mio poveretto RAFFAELLO.' MURILLO was born at Magdalena, near Seville, on the first day of January, 1618, and died on the third of April, 1682. He was buried in the church of Santa Cruz at Seville. The immediate cause of his death, although he had long been worn out by the anguish of his infirmities, was a fall from a scaffold while he was painting the Marriage of Saint Catharine for the Convent of Capuchins at Cadiz. Notwithstanding the many pictures which he painted, he died possessed of only a few rials, and some property which he had acquired by his wife.