The figure, kneeling behind the King, is the Inquisitor-General, Tomas de Torquemada; the one behind the Queen represents S. Peter Martyr of Verona. Ascribed to the end of the fifteenth century is the curiously interesting _S. Ursula_, reproduced on page 31. The picture forms one of a series of three, of which the first is _The Coronation of the Virgin_ and the third _The Temptation of S. Anthony_. Escorted by the Pope and by bishops and cardinals, S. Ursula is seen at the head of the procession of eleven thousand virgins who are following her to Rome; but, if the legend is to be believed, will be slaughtered by the Huns near Cologne. With another example, reproduced on page 37, we reach at least the suggestion of a Spanish painter’s name. _The Apparition of the Virgin to a Community of Bernardine Monks During a Ceremony of Exorcism_ is ascribed, though with a query, to Pedro Berruguete. Carl Justi considers that this picture and its companions, illustrating Dominican legends, were by the Burgundian painter, Juan de Borgoña, assisted by Berruguete and another painter named Santos Cruz. To the last is attributed the traces of Peruginesque influence that occur in all the series; in the present example, in the angels surrounding the Madonna. But the chief interest lies in the varied and individual characterization which the artist has given to the heads of the monks and laity. The latter seem of Flemish type, and, if Carl Justi’s attribution is correct, may, together with the architectural perspective have been executed by Juan de Borgoña. On the other hand, Berruguete was probably responsible for the monks, since they approximate to the Spanish type, as may be verified by comparing them with the character studies of this order of brotherhood by Zurbarán (see page 166). The gradual emergence of the national type in the works of this period is again illustrated in the collection of splendid panels in the Hispanic Museum, New York. Examples 1 to 7 show the Netherlandish influence, [Illustration: S. STEPHEN CONDUCTED TO MARTYRDOM JUAN DE JUANES THE PRADO] while numbers 8 and 9 represent the commencement of native feeling. Compare, for instance, the face of the woman who kneels on the left of the foreground in _S. Gregory Saying Mass_ with those of the women in the high upright panel of the earlier series. The latter have a Flemish roundness of features and rather dull expression, whereas the face in the _Gregory_ picture, narrows toward the chin and has something of the spiritual intensity which in the next century will be brought to its highest pitch of expression by El Greco. In fact, although Spain borrowed motives and methods from abroad, the inspiration remained her own and imprinted a native character on the product. * * * * *