ourite a picture
with Murillo, that he used to pass much of his time every day, seated
before it. On one occasion, his presence being required on an affair of
importance, which he had forgotten, his friends found him at his usual
post before the Descent; when, pointing to the figure of the Christ, he
replied to their remonstrances, "I am only waiting until they have taken
him down."

Although Murillo admired this perfect representation of material nature,
his own works are exceptions, in fact almost the only exceptions, to
this peculiarity of the Spanish masters. He partakes, indeed, of the
qualities of both schools in an eminent degree. In intellectual
expression and delineation of the operations of the mind, he is superior
to all his countrymen, but inferior to the first Italian painters. In
the material imitation of nature, he is superior to the greater number
of the Italians, but inferior to the other principal Spanish artists.
There is, at Madrid, a Christ on the Cross, of his, in which he has
attempted this effect--an effort he ought rather to have despised. The
picture contains no other object than the figure, and the cross of
admirably imitated wood, on a simple black, or rather dark brown
background, representing complete darkness. After sitting a short time
before it, you certainly feel a sort of uncomfortable sensation, caused
by the growing reality of the pale and tormented carcass; but it is not
to be compared to the Descent of Campana. There the whole group is to
the life, and no darkness called in to aid the effect. The drooping body
is exposed to a powerful light, and hangs its leaden weight on the arms
of those who support it, with a reality perfectly startling.

This picture is placed in the centre of the upper end of the sacristy,
as being considered the best of those therein contained: but it is not
without rivals. The few paintings placed here are first rate;
particularly the portraits of the two archbishops of Seville, San
Leandro, and San Isidore--two of Murillo's most exquisite productions.
Some of the greatest compositions of this painter are contained in the
chapels we have passed in review, where they serve for altar-pieces,
each filling an entire side of a chapel. Of these large pictures, I
think the best on the side we are visiting is the Saint Francis. The
Saint is represented kneeling to a vision of the Virgin. It may
certainly be ranked among Murillo's best efforts in the style he
emplo