yed, when treating these celestial subjects, and which has been
called his vaporous manner. To speak correctly, two of his three manners
are employed in this picture, since the Saint is an instance of that
called his warm manner.

On the opposite or north side of the cathedral, in the first chapel
after passing the door of the Sagrario, is the San Antonio. This is
probably the greatest work of Murillo in the two styles just mentioned,
and certainly the most magnificent picture contained in the cathedral.
On the lower foreground is the Saint, in adoration before the Christ,
who appears in the centre, surrounded by the Heavenly Host.

No one but Murillo could ever have thus embodied his conception of a
supernatural vision. On sitting down before this canvass, from which, as
it extends across the whole chapel, no other object can draw off the
attention, you speedily yield to the irresistible power of abstraction,
and are lost in an ecstacy, nearly resembling that which the artist has
sought to represent in the countenance and attitude of his Saint. The
eye wanders in a sort of trance through the glorious assemblage of
Heaven. The whole scene looks real: but it is only on taking time to
study the details that you discover the prodigies of talent displayed in
the drawing and finishing of this picture. An angel, suspended in front
of the lower portion of the group, more especially attracts the
attention. One leg is extended towards the spectator, the foreshortening
of which is a marvel of execution.

Over the San Antonio, as it does not reach to the ceiling, there is a
smaller picture, representing the Baptism of Christ, also by Murillo. In
a chapel at the south-west angle of the church, there are several fine
paintings by Luis de Vargas, one of the founders of the school of
Seville.

In the choir, the collection of books for the chanting services is worth
seeing. Of these immense folios, enclosed in massive covers, bound with
a profusion of wrought metal mostly silver--may be counted upwards of a
hundred. They are filled with paintings, infinite in minuteness and
beauty. For the performances of the daily services and all duties,
ordinary and extraordinary, within this edifice, more than eight hundred
persons are employed. Five hundred masses are recited each day at the
different altars: all of which taking place during the early part of the
day, an idea may be formed of the business which goes on. Of the six or
seven org