One turns to a _Penitent Magdalen_ (Prado, 980), not to endorse her very lady-like sentiment, but to admire the way in which the beautiful brown hair is rendered and the exquisite color and texture of the old-rose drapery. A similarly choice treatment of this delicate color, shot with silver light and dove-grey shadows, appears in _Isaac Blessing Jacob_. Then for another fine example of color one may note a half length, _S. Simon_. Here again is a head of magnificent character; black hair and beard, ruddy features, massive brow, a characterization, generously masculine and vigorous. A warm brown drapery hangs over the slightly yellow-tinted brown of the robe, which shows below it the collar and cuff of a grey shirt; all this placed against a dark olive background. The tonality, organised with extreme delicacy, is in its ensemble superb. Another choice passage of color occurs in _S. Bartholomew_, where the saint is shown, life size, seated beneath a cliff. He holds across his body a white drapery; or such is your first impression of the hue. But study reveals a more subtle tissue of smoked ivory and grey, woven into the pallor of the white. However, the finest example of Ribera’s subtle vein of color-expression in this gallery is in the _Jacob’s Ladder_. The sleeping figure reclines horizontally across the foreground, a hand supporting the head, while in the sky are faint suggestions of ascending and descending angels. The foreground consists of slabs of rock out of which, at the back of the figure, rises a tree-trunk, with a broken limb. The figure is clothed in an olive-greyish-brown habit, resembling a monk’s; the hair and beard are black in strong contrast to the pallor of the face, which is slightly flushed with warmth and puffed with sleep. The suggestion of sleep is, indeed, rendered with extraordinary truth; it seems no idle fancy that one hears the breathing and watches the stir of the drapery over the rise and fall of the chest. But the dignity of this canvas depends upon the color scheme, cold, severe, constrained; so opposite to the sensuous, impassioned or splendid; yet withal so stimulating to the imagination. This picture is a grand example of the intellectual-esthetic quality in Ribera’s finest work; placing this artist far above the estimate popularly formed of him. It is not difficult to discover the influence of this large, grave feeling in the earlier work of Murillo and in almost all the work of Zurburán. CHAPTER X MURILLO The most popular artist of the Spanish School is unquestionably Murillo. He was the idol of his contemporaries in Andalusia; most admired by connoisseurs and public in the eighteenth century, and, although during the nineteenth century artists and connoisseurs have extolled Velasquez and more recently Goya and El Greco at his expense, to the popular taste Murillo is still in the ascendant.