Murillo’s only teacher was his uncle, Juan de Castillo, who gave his pupil a thorough grounding in drawing, though his own style could not do much to help his pupil’s advance in painting. After a time Juan moved to Cadiz and his nephew, without father or mother, was left to face life alone. He gained a living by painting “bodegones,” or still-life subjects, and pictures of saints, which he sold in the _feria_ or weekly market. His ambition was to study in Rome and, as a first step, to visit Madrid. Having saved a little money, he made his way on foot to the capital and presented himself to his fellow townsman, Velasquez. The latter received him kindly and obtained permission for the young man to paint in the royal galleries. Here Murillo studied and copied the works of Titian, Rubens, Van Dyck, Ribera and Velasquez himself, to such purpose that the last-named advised him to go to Rome. But Murillo, who had now been three years away from Seville, determined to return thither. The same independent spirit which had enabled him to shift for himself and to leave home and study in wider fields, now assured him that he had gained what he needed without further travel. From the various influences which he had experienced, he discovered a style for himself. He returned to Seville without friends or influence, but opportunity presented itself. The monks of the convent of S. Francis wished their cloister decorated. Murillo applied to them for the commission. They would have preferred a well known artist of the city, but, having little money to offer, engaged the young, unknown painter. Murillo spent three years on this work, and, when it was completed, found himself the most famous painter in Seville. He had taken something from the several styles of the artists he had studied and imprinted upon it his own individuality. This expressed itself particularly in an ability to give reality to his picturing of the story involved in the legends of S. Francis. He had proved himself to be a great illustrator.