We can only touch briefly upon the remaining pictures of Zurbaran. They are all worthy of study. Signs of weak drawing can often be detected, but the effort after truthful expression, and the entire absence of a desire to please by any special trick of manner will commend his work to every student. Note the simple, yet powerful, sincerity of his Crucifixion. Consider the manner in which he has depicted the boy Jesus in the picture, El Niño Jesús. A boy clad in a simple gown of darkest grey; no halo surrounds his head, and upon his knees rests a twisted crown of thorns. One of the prickly spines has pierced the boy's finger, and with the verity of life Zurbaran depicts him pressing the finger to extract the thorn. The drawing of the figure is faulty and the execution of the little sketch is not equal to many of the other pictures, but the mode of treatment illustrates very convincingly the sincerity of the artist's purpose. Many of the studies of monkish figures are very fine. San Luis Beltrán is a work of wonderful power. The careful painting of the hands, and the way in which every detail of the picture is subordinated to the whole effect deserve high praise. To turn from the works of Zurbaran to the pictures of Francisco Pacheco and Juan de Castillo is somewhat difficult. The hard, flat, lifeless portraits of the one, and the dull, faultily drawn, religious composition of the other, offer little inducement to linger. Were it not for the interest which attaches to these artists from the illustrious fame of their pupils, their very names would hardly be remembered. Equally disappointing are the majority of the remaining canvases, which hang in the nave of the Museo. The modern pictures appear out of place. The chief idea they convey is one of intense crudity of colour. Among the numerous pupils and imitators of Murillo not one is worthy of attention. The work of the pupils of Zurbaran reaches a somewhat higher level. The pictures of the Apostles, by the brothers Miguel and Francisco Polancos are good studies. [Illustration: SAINT HUGO IN THE REFECTORY _Zurbarán_] In the nave are two pictures, both good and one of fine merit, executed by artists not belonging to the Sevillian school. La Sagrada Cena (The Last Supper), by Pablo de Céspedes, the artist of Córdoba, 1538-1608, hangs upon the end wall of the nave, near to the Martyrdom of St. Andrew. The colour is good, there is a slight confusion of detail, but the picture is not without charm. The portrait of himself, by Doménico Theotocópuli,[F] 1548-1625, better known as El Greco, the genius of Toledo, will be found near the door. It is a magnificent study and testifies to the power of the hand which executed it. Composition and technique alike, are above praise. The portrait is life-like in its reality; we grow to know the dark face of the artist, as he stands, with his brush and palette in his hand.