mourned by all who knew him.

It is said that on one occasion he was in a house where a copy of Titian's
"St. Margaret" hung upon the wall, and those present united in saying that
it was abominably done. Carreno said: "It has at least one merit; it shows
that no one need despair of improving in art, for I painted it myself when
I was a beginner."

Gregorio Utande, a poor artist, had painted a "Martyrdom of St. Andrew"
for the nuns of Alcala, and demanded one hundred ducats for it. The nuns
thought the price too much, and wished to have Carreno value the work.
Utande took the picture to Carreno, and first presenting the great master
with a jar of honey, asked him to touch up his St. Andrew for him. Carreno
consented, and, in fact, almost repainted Utande's picture. A short time
after Carreno was asked to value the St. Andrew, but declined. Then
Herrera valued it at two hundred ducats, which price the nuns paid. After
Utande received his money he told the whole story, and the picture was
then known as "La Cantarilla de Miel," or "the pot of honey."

CLAUDIO COELLO (1635-1693), who, as we have said, has been called the last
of the old Spanish masters, was intended by his father for his own
profession, that of bronze-casting. But Claudio persuaded his father to
allow him to study painting, and before the close of his life he became
the most famous painter in Madrid. He was not only the court-painter, but
also the painter to the Cathedral of Toledo and keeper of the royal
galleries. It was not strange that he should feel that he merited the
honor of painting the walls of the Escorial, and when this was refused him
and Luca Giordano was selected for the work, Coello threw aside his
brushes and paints, grew sad, then ill, and died a year later. His
masterpiece is now in the Escorial; it represents the "Collocation of the
Host." His own portrait painted by himself is in the gallery of the
Hermitage at St. Petersburg.

The school of Seville was the most important school of Spain. It is also
known as the school of Andalusia. It dates from the middle of the
fifteenth century, and its latest master, Alonso Miguel de Tobar, died in
1758.

LUIS DE VARGAS (1502-1568), one of the earliest of the painters of the
school of Seville, was a devout and holy man. He was accustomed to do
penance, and in his room after his death scourges were found with which he
had beaten himself, and a coffin in which he had been accustomed to lie
and m