It is a relief to revert to the work of those men, whose sturdy Spanish spirits refused to bend beneath the yoke of conventional tradition. The work of the cleric, Juan de la Roelas, 1560-1625, bears little, or no, trace of the degenerate pseudo-Italianism, although his pictures are not exempt from foreign influence. They are Venetian in colour, soft, yet free, in their drawing. They exhibit many of the features, afterwards amplified in the work of Murillo. His finest composition is the Death of San Isidore, in the parish church, dedicated to that saint. The theme of the picture is the transit of the holy man, Archbishop of Seville, during Gothic days. Many figures fill the canvas, but with true artistic unity, the interest is centralised upon the dying saint, who rests upon the ground, clad in dark mantle and finely-painted pontifical robes. Subtle discernment is manifested in the grouping of the figures. The aged fathers are thrown into distinct relief, by the youthful bloom of the children who kneel beside them. The shadowy forms of the worshippers, as they kneel in the receding aisles of the church, lend atmosphere to the study. The heavens are depicted above, and in the midst of a blaze of glowing light, the Virgin awaits with Christ, the coming of the saint. San Santiago, destroying the Moors in the battle of Clavigo, which hangs in the Cathedral, affords another fine instance of the work of Roelas. Three more of his pictures may be seen in the University--The Holy Family, The Nativity, and the Adoration of the Shepherds, while several hang in the Museo. A figure of a black-robed kneeling saint, in the Holy Family, is said to be the portrait of Roelas. Francisco de Herrera, 1575-1656, termed, el Viego (the Elder) to distinguish him from his son, possessed a character of unusual vigour. The traditions which have survived, reveal the temper of the man. His methods were eccentric. He worked with a dashing pencil, and it was his custom to employ any implement, which presented itself as convenient. It is reported that upon one occasion, when short of a brush, he painted a picture with a spoon. His fame induced numerous artists--the young Velazquez being among them--to seek his studio; but his irascibility was so great that few of them remained. He broke many a maul-stick across their shoulders, and frequently he was left without a single pupil to execute his mandates.