To put an end to the surprise you will experience at the enumeration of such a profusion of _chefs d'œuvre_ of the great masters as is here found, it is necessary to lose sight of the present political situation of Spain, and to transport ourselves to the age of painting. At that time Spain was the most powerful, and especially the most opulent empire in Europe. Almost all Italy belonged to her; a large portion actually owning allegiance to her sceptre, and the remainder being subject to her paramount influence. The familiarity which existed between Charles the Fifth and Titian is well known; as is likewise the anecdote of the pencil, picked up and presented by the Emperor to the artist, who had dropped it. The same taste for, and patronage of, painting, continued through the successive reigns, until the period when painting itself died a natural death; and anecdotes similar to that of Charles the Fifth are related of Philip the Fourth and Velasquez. All the works of art thus collected, and distributed through the different palaces, have been recently brought together, and placed in an edifice, some time since commenced, and as yet not entirely completed. Titian was the most favoured of all the Italian painters, not only with respect to his familiar intercourse with the Emperor, but also in a professional point of view. The Museo contains no less than forty of his best productions. Nor is it surprising that the taste of the monarch, being formed by his masterpieces, should extend its preference to the rest of the Venetian school in a greater degree than to the remaining Italian schools. There are, however, ten pictures by Raffaelle, including the Spasimo, considered by many to be his greatest work. A cause similar to that above named enables us to account for the riches assembled in the Dutch and Flemish rooms, among which may be counted more than two hundred pictures of Teniers alone. I should observe, that I am not answerable for this last calculation; being indebted for my information to the director, and distinguished artist, Don Jose Madrazo. There is no catalogue yet drawn up. Rubens has a suite of rooms almost entirely to himself, besides his just portion of the walls of the gallery. The Vandykes and Rembrandts are in great profusion. With regard to the Spanish schools, it may be taken for granted that they are as well represented as those of the foreign, although partially subject, nations. The works of Velasquez are the most numerous; which is accounted for by his situation of painter to the Court, under Philip the Fourth. There are sixty of his paintings. [Illustration: ITALIAN GALLERY AT THE MUSEO, MADRID.]