In the church of the Faubourg Triana, on the right hand after passing the bridge, are some excellent pictures, particularly a Conception by Murillo. The multitude of paintings left by this artist is incredible, when to all those scattered through Spain, France, and England, are added those preserved in this his native town. Almost all the good houses in Seville contain collections of pictures; and all the collections have their Murillos. There are no fewer than sixteen in the gallery of the Canon, Don Manuel Cepero; but this is the largest of the private collections, and the best, as it ought to be, since it is contained in Murillo's house. It is the residence occupied by him during the latter part of his life, and in which he died. Its dimensions and distribution are handsome. At the back of it there is a garden of limited extent, but in which not an inch of space is thrown away. Where there remains no room for choice flowers and orange trees, the walls are painted to prolong the illusion. The Canon possesses also several good paintings by Italian masters. I counted likewise four Rembrandts, and two of Rubens. Among the other private collections, that of the Alcalde Don Pedro Garcia is one of the richest; it contains a Santa Barbara of Cano, an exquisite picture. A Saint Joseph by Murillo, in the collection of the French Consul (a native of Seville) is admirable. In most of the churches there is sufficient of this sort of attraction to make them worth a visit. In the convents nothing is left; in fact they no longer exist as convents. There may be one or two remaining in Seville, but I did not hear of them. The monastery of Jeronimites, and the Chartreuse--both situated in the environs--were the most considerable religious establishments of Seville. They are converted, one into a school, and the other into a porcelain manufactory. This last, the Chartreuse, contains in its church and refectory, plentiful traces of its former magnificence. An Englishman has purchased the monastery with three or four acres of ground, containing the immediate dependencies; and he is occupied with the labours which necessarily precede its appearance in its new character, replacing the butteries, kitchens, storehouses, and cells, by rows of pudding-shaped baking-houses.