The influence of the two years Murillo had spent in Madrid can readily be traced in these early paintings. The outlines are distinct and in some cases hard; while the tone of the shadows, and the treatment of the lights follows the method of the realists, and affords little or no sign of the melting indecision of outline, the manner so prevalent in his later work. The pictures belonging to this period are said to be painted in the _Estilo Frio_, or cold style. The best instance in Seville, is La Anunciación de Nuestra Señora, in the Museo. In his later work Murillo abandoned the influence of Ribera, Zurbaran, Velazquez and the Spanish realists; he developed a manner more personal, and more in harmony with the mystic trend of his emotions. His outlines became softer, and his forms rounder, while his colour began to assume tones of melting transparency. A Spaniard writing of his work at this period remarks that his flesh tints seem to be painted '_con sangre y leche_' (with blood and milk). The first picture painted in this manner, which is known as the _Estilo Calédo_ (warm style), is Nuestra Señora de la Concepción, executed for the brotherhood of the True Cross, in 1655, for the sum of 2500 _reals_. To this period belong the fine portraits of St. Leander and St. Isidore, in the _Sacristía Mayor_, of the Cathedral; the Nativity, which formerly hung behind the high altar, until it was carried away by Soult; and the celebrated St. Anthony of Padua, receiving the infant Christ, still to be seen in the _Cap del Bautistero_. The portraits of St. Leander and St. Isidore are among the finest instances of the powers of Murillo. All the accessories are painted with the utmost care, and perhaps the only criticism which can be offered is that the figures are rather short. These portraits must be classified with Murillo's fine _genre_ studies--those charming representations of gipsy life and beggar boys, by which he is largely known in this country, but of which Seville unfortunately possesses not a single example. The Nativity of the Virgin was received by Seville with a burst of enthusiasm. The St. Anthony was painted in 1565, the Chapter paying for it the sum of 10,000 _reals_. The light in the dim chapel renders it very obscure. A brown-frocked monk kneels at a table, and gazes at the Heavenly Child, who descends towards him. Upon the table rests a vase of lilies, and the story runs that they were so life-like that the birds, flying around the Cathedral, used to come and peck at them, while Murillo was engaged in painting them. The picture was restored, and almost repainted in 1833, which has doubtless done much to destroy its charm. Shortly after this time Murillo adopted his third and last manner, known as "el Vaporoso," in which the outlines are entirely lost, obliterated in a misty effect of light and shade.