This fact in a large measure accounts for the popularity of Murillo, and the rapid recognition which his merits received at the hands of his countrymen. His art appealed pointedly to the hearts of the people; the expression of his genius was comprehensible to them all. He speedily became the favourite artist in Spain, and his fame gradually extended throughout Europe. Murillo's artistic career may be divided into four periods. During the first he was needy and unrecognised, gaining a precarious livelihood by painting rude pictures for the Feria, a weekly fair, held every Thursday at the northern end of the Old Alameda, in front of the Church of All Saints. The artistic training he had received was slight. Juan de Castillo, who, as a relative of the family, had taught the boy free of charge, left Seville, and the young Murillo was too poor to enter the schools of Herrera, Pacheco, or Zurbaran. He was obliged to toil with strenuous effort to support himself and his sister, who was dependent upon him. We can picture the future genius of Seville, standing in the market of the Feria, exposing his pictures for sale. He would often paint them while he waited, or would alter each composition to suit the fancy of an intending purchaser. Ambitious dreams fired his imagination. Pedro de Moya, an artist friend, had been to Rome, and had returned imbued with the glories of the metropolis of art. Murillo aspired to visit Italy, and with this hope he toiled, until he had saved a sufficient sum to take him to Madrid. He at once sought the counsel and protection of his old friend Velazquez. The court artist received him with the utmost kindness. He gave him lodging in his own apartments, and obtained permission for him to work in the Royal Galleries. A new world was revealed to the young Murillo. For two years he worked, then Velazquez advised him to go to Italy, to continue his studies in Rome, or Florence. He offered him letters of introduction, and did all in his power to induce him to undertake the journey, but for some reason Murillo declined his offer and returned to Seville. His earliest work was to paint a series of studies of the Legend of St. Francis, for the Franciscan Convent, formerly situated behind the Casa del Ayuntamiento. They at once assured his fame; the unknown artist became the most popular painter in opulent Seville. The only person who failed to acknowledge his genius was Francisco Pacheco. Jealous for the fame of Velazquez, and unable to forgive the lack of appreciation which Seville had tended to his favourite, he makes no mention of Murillo or his works, in his _Arte de la Pintura_; a curious omission only to be accounted for by private enmity. None of the Franciscan cycle of pictures are in Seville, and only two, The Heavenly Violinist, and The Charity of St. Diego, are in Spain. They were carried away by the French during the War of Independence.