have prepared his spirit for the task by partaking of the Sacrament. Another picture which helps to throw a light upon this period of Italian imitation is the _Descent from the Cross_ by Pedro Campaña (page 51). This painter was born in Brussels in 1503. But, though of Flemish origin, he gained his knowledge of art in Rome, whence he passed to Spain, living in Seville for twenty-four years, until his death in 1580. Thus he was an important factor in the transitionary development of the School of Andalusia. Murillo particularly admired this picture, and at his own request was buried beneath it in the Church of Santa Cruz. When the latter was pulled down, the picture was removed to the Cathedral, where it now hangs in the Sacristy. Its indebtedness to Raphael is apparent in the group of figures at the foot of the Cross, while a Peruginesque influence is suggested in the draperies of the men upon the ladders and in the placing of their figures against the sky. But also evident is the artificiality of the whole. The gestures and expression of the women are affected; quite inadequate is the support which is being given to the Sacred Body, while the attitude of the latter is too obviously regulated with the double intention of securing certain lines in the composition and of introducing the suggestion of forgiveness of the Magdalen. In fact, the chief virtue of the picture seems to be its extremely handsome composition, which must be admitted to have great nobility as well as a fine organic simplicity. The picture, indeed, is an achievement of science; valuable for its enforcement of academic principles; yet, even so, the work, not of a master, but a manneristic imitator. * * * * *