s Madonna.

According to the subject he was painting, Murillo used three distinct
styles of work, known as the _cold_, the _warm_, and the _aerial_. The
first, in which the line or drawing is marked by strength, he used in
his studies of peasant life. The second he used in his visions, while
the third he reserved for his Conceptions--his heavenly effects. So
fine a colorist was he, however, and so indispensable a part of his
art did he consider the coloring that even the pictures classed as
_cold_ are radiant with his lovely, mellow colors.

[Illustration: VIRGIN OF THE MIRROR. _Murillo._]

Through the greater part of Murillo's life he painted for his
beautiful Seville. In 1680, however, he went to Cadiz to paint
pictures for the Capuchins at that place. He began on the largest one
of the number. It was to represent the marriage of St. Catherine, a
favorite subject of the time. Events proved that this was to be his
last picture, for, while trying to reach the upper part of it, he fell
from the scaffolding, receiving injuries from which he died two years
later. Gradually his physical power deserted him until he did not
attempt to paint at all. Then he spent much of his time in religious
thought. In the church of Santa Cruz near by his home, was a picture
of the "_Descent from the Cross_" by Campana. Before this picture he
spent many hours, so much did he admire it. One evening he remained
later than usual. The Angelus had sounded, and the Sacristan wished to
close the church. He asked the painter why he lingered so long. He
responded, "I am waiting until those men have brought the body of our
blessed Lord down the ladder." When Murillo died he was buried,
according to his wish, immediately under this picture.

He died in April, 1682. His funeral was of the sort that draws all
classes--a beloved man and a profound genius had passed away. His
grave was covered with a stone slab on which were carved but few words
beside his name. The church was destroyed during the French wars, and
the Plaza of Santa Cruz occupies its place. In later years a statue of
bronze was erected in one of the squares of the city in honor of
Murillo; there it stands, through all changes, the very master spirit
of the city.

If this sketch has implied anything, it has emphasized over and over
again the sweet and lovable character of Murillo. His religious zeal
was great, yet no one could ever justly write fanatic beside his name.
There wa