Juan del Castillo, 1584-1640, and Francisco Pacheco, 1571-1654, may be regarded as types of this phase in the record of Andalusian art. Their reputation rests largely upon the renown of their pupils. Juan del Castillo was the master of Murillo and Alonso Cano, and the chief interests incited by the study of his work, rests in tracing the influence he may have exercised in moulding the work of the Sevillian favourite. His best picture is the Assumption, in the Museo, in which the figure of the Virgin has some merit. Francisco Pacheco, the father-in-law and devoted teacher of Diego Velazquez, claims our attention as an individual, rather than as an artist. He painted innumerable pictures, which may still be viewed in the Cathedral, the churches and the Museo, but none rise above the level of mediocrity. They are carefully executed and rarely offend the rules of drawing, but they are all hopelessly 'mannered,' and entirely devoid of individual imagination. We owe a debt of gratitude to Pacheco for his _Arte de la Pintura_, a treatise upon the principles of art, and the lives of the artists of Spain, published in Seville in 1649. In style the work is pompous and prolix, and often very tedious, but as a record of the lives of the Sevillian artists it possesses great value. Pacheco was the Inquisitor of Art, or Familiar of the Inquisition. His authority under the Holy Office was great, and it was his duty to see that no indecorous or indecent pictures found their way into the churches. Here is a copy of the commission which was granted to him: 'We give him commission and charge him henceforward that he take particular care to inspect and visit all sacred subjects which may stand in shops or in public places; if he finds anything to object to in these he is to take the picture before the Lords, the Inquisitors.' The degraded Italian taste was carried to its uttermost limits by Herrera El Mozo (the younger), 1622-1625, who, by a strange anomaly, was the son of the man, who was the first to break completely away from the trammels of the pseudo-Italian manner. His works may be viewed in the Cathedral and the Museo; they instance the degradation which had been brought upon the art of Seville, by the unintelligent adoption of an alien style.