freedom from Humanistic influence which characterised Murillo’s art encreased its value to the people of Seville. It was essentially Spanish in its naturalism and specifically Andalusian in its sentiment. * * * * * Murillo’s method of painting has been described as exhibiting three styles--cold, warm and vaporous. According to this arrangement, the first style (_estilo frio_) is distinguished by cold coloring and dark shadows; the second (_estilo calido_) by warmth of coloring, stronger contrasts of luminous light and shade, and by increased plasticity of form; the third, (_estilo vaporoso_) by the vaporous or misty effects of atmosphere, enveloping the whole or part of the composition. But while his works show this variety of method, they cannot be distributed into periods, definitely characterised by one or another style. Nor will it repay the student to try to docket the different pictures according to any such pigeon-hole [Illustration: SS. JUSTA AND RUFINA MURILLO PROVINCIAL MUSEUM, SEVILLE] system of division. He will rather become aware that, as Murillo attained to facility and confidence in his own way of rendering his intentions, he perfected his pictorial representation both of the naturalistic motive and of the spiritualised conception, which in whole or in part for the time being occupied his imagination. In some pictures you find the naturalistic motive either predominating or in complete control; in others it is combined with the spiritualised motive; while again, particularly in the _Conceptions_, the spiritualised intention is exclusively apparent. Whether it satisfies your own spiritual sense is another matter. Nor can these varieties of motive be assigned to special periods of Murillo’s career. For example, after he had established his reputation as a painter of _Conceptions_, he executed the series of works for the Hospital de La Caridad, in Seville. Two of these are produced on page 150. They were selected because they redounded to the reputation of Murillo in his lifetime, and yet exhibit a weakness which more or less is evident in all his works of illustration.