Although Murillo admired this perfect representation of material nature, his own works are exceptions, in fact almost the only exceptions, to this peculiarity of the Spanish masters. He partakes, indeed, of the qualities of both schools in an eminent degree. In intellectual expression and delineation of the operations of the mind, he is superior to all his countrymen, but inferior to the first Italian painters. In the material imitation of nature, he is superior to the greater number of the Italians, but inferior to the other principal Spanish artists. There is, at Madrid, a Christ on the Cross, of his, in which he has attempted this effect--an effort he ought rather to have despised. The picture contains no other object than the figure, and the cross of admirably imitated wood, on a simple black, or rather dark brown background, representing complete darkness. After sitting a short time before it, you certainly feel a sort of uncomfortable sensation, caused by the growing reality of the pale and tormented carcass; but it is not to be compared to the Descent of Campana. There the whole group is to the life, and no darkness called in to aid the effect. The drooping body is exposed to a powerful light, and hangs its leaden weight on the arms of those who support it, with a reality perfectly startling. This picture is placed in the centre of the upper end of the sacristy, as being considered the best of those therein contained: but it is not without rivals. The few paintings placed here are first rate; particularly the portraits of the two archbishops of Seville, San Leandro, and San Isidore--two of Murillo's most exquisite productions. Some of the greatest compositions of this painter are contained in the chapels we have passed in review, where they serve for altar-pieces, each filling an entire side of a chapel. Of these large pictures, I think the best on the side we are visiting is the Saint Francis. The Saint is represented kneeling to a vision of the Virgin. It may certainly be ranked among Murillo's best efforts in the style he employed, when treating these celestial subjects, and which has been called his vaporous manner. To speak correctly, two of his three manners are employed in this picture, since the Saint is an instance of that called his warm manner. On the opposite or north side of the cathedral, in the first chapel after passing the door of the Sagrario, is the San Antonio. This is probably the greatest work of Murillo in the two styles just mentioned, and certainly the most magnificent picture contained in the cathedral. On the lower foreground is the Saint, in adoration before the Christ, who appears in the centre, surrounded by the Heavenly Host.