Three other rooms, of small size, complete the Museo. The pictures they contain are not of great importance, but there are a few interesting canvases in the old sacristy, leading from the south transept of the Salón. Among them are several compositions of the early fifteenth century, classified as belonging to the _Escuela Flamenca_, by artists whose names have not been preserved. The tones in many of these antique pictures are wonderful, and they are all painted with a naïve simplicity. The colour in the two compositions, El Señor Coronado de espinas (thorns), and La Anunciación de Nuestra Señora is especially good. The long lean figures and conventional grief depicted in El enterramiento del Señor, strongly resemble the similar picture by Sanchez de Castro, in the house of Murillo. The works of Francisco Frutet will be found in this room. The finest, a grand triptych, entitled, Jesús en el camino (road) del Calvario, is a work of much beauty. The central picture of the Crucifixion is finely conceived, and Sir W. Stirling-Maxwell thinks that several of the figures bear a resemblance to the Spasimo de Sicilia of Raphael. El Juicio Final, by Martin Vos, a Flemish painter, who worked in Seville during the early years of the sixteenth century, is a quaintly-conceived allegorical picture. This finest portion represents the hosts of the wicked. The drawing of the figures is good, but the canvas is much crowded. _The Statuary in the Museo._ Before studying Spanish statuary, it is well to remember that this branch of art never attained to the same level in the Peninsula as the sister art of painting. The reason of this lack of development is not difficult to appreciate, when we remember that statuary was executed, almost without exception, for the religious uses of the Catholic Church. The images were needed to increase the pious fervour of the populace; they were carried in the religious processions, and often they were credited with miracle-working powers. The one necessity for a Spanish statue was that it should be an exact imitation of life. The more realistic the illusion, the greater was the power of the statue to conform to the requirements of the Church.