BARTOLOME ESTEBAN See also:

• BARTOLOME ESTEBAN MURILLO (1617-1682)

MURILLO (1617-1682)  , See also:

• SPANISH

Spanish painter, son of Gaspar Esteban See also:

• MURILLO, BARTOLOME ESTEBAN (1617-1682)

Murillo and Maria See also:

• PEREZ, ANTONIO (c. 1540-1611)

Perez, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SEVILLE
• SEVILLE (Span. Sevilla, Lat. Ispalis or Hispalis, Moorish Ishbiliya)

Seville in 1617, probably at the end of the See also:

• YEAR

year, as he was baptized on the first of See also:

• JANUARY

January 1618 . Esteban-Murillo appears to have been the See also:

• COMPOUND
• COMPOUND (from Lat. componere, to combine or put together)

compound surname of the See also:

• FATHER

father, but some inquirers consider that, in accordance with a frequent Andalusian See also:

• CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom, the painter assumed the surname of his maternal grandmother, See also:

• ELVIRA, SYNOD OF

Elvira Murillo, in addition to that of his father . His parents (the father an See also:

• ARTISAN, or ARTIZAN

artisan of a humble class), having been struck with the sketches which the boy was accustomed to make, placed him under the care of their distant relative, Juan del See also:

• CASTILLO

Castillo, the painter . Juan, a correct draughtsman and dry colourist, taught him all the See also:

• MECHANICAL

mechanical parts of his profession with extreme care, and Murillo proved himself an See also:

• APT

apt See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil . The See also:

• ARTISTIC

artistic appliances of his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master's studio were not abundant, and were often of the simplest See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . A few casts, some stray fragments of See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture and a See also:

• LAY

lay figure formed the See also:

• PRINCIPAL

principal See also:

• AIDS

aids available for the Sevillian student of See also:

• ART

art . A living See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model was a luxury generally beyond the means of the school, but on See also:

• GREAT

great occasions the youths would See also:

• STRIP

strip in turn and proffer an See also:

• ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm or a See also:

• LEG
• LEG (a word of Scandinavian origin, from the Old Norwegian leggr, cf. Swed. lagg, Dan. laeg; the O. Eng. word was sceanca, shank)

leg to be ,studied by their See also:

• FELLOWS, SIR CHARLES (1799-1860)

fellows . See also:

• OBJECTS

Objects of still See also:

• LIFE

life, however, were much studied by Murillo, and he See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early learnt to See also:

• HIT

hit off the ragged urchins of Seville . Murillo in a few years painted as well as his master, and as stiffly . His two pictures of the Virgin, executed during this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, show how thoroughly he had mastered the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, with all its defects . Castillo was a kind See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, but his removal to See also:

• CADIZ
• CADIZ (Cadiz)
• CADIZ (in Lat. Gades, and formerly called Cales by the English)

Cadiz in 1639–164o threw his favourite pupil upon his own resources . The See also:

• FINE

fine school of See also:

• ZURBARAN, FRANCISCO (1598–1662)

Zurbaran was too expensive for the poor lad; his parents were either dead or too poor to help him, and he was compelled to See also:

• EARN

earn his See also:

• BREAD

bread by See also:

• PAINTING

painting rough pictures for the " feria " or public See also:

• FAIR

fair of Seville .

The religious daubs exposed at that mart were generally of as See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low an See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order as the prices paid for them . A " pintura de la feria " (a picture for the fair) was a proverbial expression for an execrably See also:

• BAD, BCD

bad one; yet the See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

street painters who thronged the See also:

• MARKET (Lat. mercatus, trade or place of trade)

market-See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place with their "clumsy .See also:

• SAINTS, BATTLE OF THE

saints and unripe Madonnas" not unfrequently See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose to be able and even famous artists . .This rough-and-ready practice, partly for the market-place, partly for converts in See also:

• MEXICO
• MEXICO (Span. Mejico, or Mexico,)
• MEXICO, FEDERAL DISTRICT OF
• MEXICO, GULF OF

Mexico and See also:

• PERU
• PERU (apparently from Biru, a small river on the west coast of Colombia, where Pizarro landed)

Peru, for whom Madonnas and popular saints were produced and shipped off by the dozen, doubtless increased Murillo's See also:

• MANUAL

manual dexterity; but, if we may See also:

• JUDGE (Lat. judex, Fr. juge)

judge from the picture of the " Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child" shown in the Murillo-See also:

• ROOM

room at Seville as belonging to this period, he made little improvement in colouring or in See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general strength of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . Struck by the favourable See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change which travel had wrought upon the style of his See also:

• BROTHER

brother artist Pedro de Moya, Murillo in 1642 resolved to make a See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to See also:

• FLANDERS (Flem. Vlaanderen)

Flanders or See also:

• ITALY
• ITALY (Italia)

Italy . Having bought a large quantity of See also:

• CANVAS

canvas, he cut it into squares of different sizes, which he converted into pictures of a kind likely to sell . The See also:

• AMERICAN

American traders bought up his pieces, and he found himself sufficiently See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich to carry out his design . He placed his See also:

• SISTER

sister, who was dependent on him, under the care of some See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, and without divulging his plans to any one set out for See also:

• MADRID

Madrid . On reaching the See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital he waited on See also:

• VELAZQUEZ, DIEGO RODRIGUEZ DE SILVA Y (1599-166o)

Velazquez, his See also:

• FELLOW

fellow-townsman—then at the See also:

• SUMMIT

summit of his See also:

• FORTUNE, ROBERT (1813-188o)

fortune—and asked for some introduction to friends in See also:

• ROME
• ROME (Roma)

Rome . The master liked the youth, and offered him lodging in his own See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house, and proposed to procure him See also:

• ADMISSION

admission to the royal galleries of the capital . Murillo accepted the offer, and here enjoyed the masterpieces of Italy and Flanders without travelling beyond the walls of Madrid . The next two years were chiefly spent in copying from See also:

• RIBERA, GIUSEPPE (1588-1656)

Ribera, Vandyck and Velazquez; and in 1644 he so astonished the latter with some of his efforts that they were submitted to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king and the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court . His See also:

• PATRON

patron now urged him to go to Rome, and offered him letters to smooth his way; but Murillo preferred returning to his sister and his native Seville .

The friars of the See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent of See also:

• SAN

San See also:

• FRANCESCO
• FRANCESCO, 210

Francesco in Seville had about this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time determined to adorn the walls of their small See also:

• CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

cloister in a manner worthy of their patron See also:

• SAINT (lat. sanctus, " holy ")

saint . But the brotherhood had no See also:

• MONEY

money; and after endless begging they found themselves incapable of employing an artist of name to execute the task . Murillo was needy, and offered his services; after balancing their own poverty against his obscurity the friars bade him begin . Murillo covered the walls with eleven large pictures of remarkable See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power and beauty—displaying by turns the- strong colouring of Ribera, the lifelike truthfulness of Velazquez, and the sweetness of Vandyck . Among them were to be found representations of San Francesco, of San Diego, of See also:

• SANTA

Santa See also:

• CLARA, SAINT (1194-1253)

Clara and of San Gil . These pictures were executed in his earliest style, commonly called his frio or See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold style . It was based chiefly on Ribera and See also:

• CARAVAGGIO
• CARAVAGGIO, MICHELANGELO AMERIGHI (or MERIGI) DA (1569-1609)
• CARAVAGGIO, POLIDORO CALDARA DA (1495 or 1492-1543)

Caravaggio, and was dark with a decided outline . This rich collection is no longer in Seville; See also:

• MARSHAL (med. Lat. marescalcus, from O.H.Ger. marah, horse, and scalc, servant)

Marshal See also:

• SOULT, NICOLAS JEAN DE DIEU

Soult carried off ten of the See also:

• WORKS

works . The fame of these productions soon got abroad, and " El Claustro Chico " swarmed daily with artists and critics . Murillo was no longer friendless and unknown . The rich and the See also:

• NOBLE, SIR ANDREW (1832- )

noble of Seville overwhelmed him with their commissions and their praises . In 1648 Murillo married a wealthy See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady of See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank, Dona Beatriz de See also:

• CABRERA, RAMON (1806-1877)

Cabrera y Sotomayor, of the neighbourhood of Seville, and his house soon became the favourite resort of artists and connoisseurs .

About this time he was associated with the landscape-painter Yriarte—the two artists interchanging figures and landscapes for their respective works; but they did not finally agree, and the co-operation came to an end . Murillo now painted the well-known " See also:

• FLIGHT

Flight into See also:

• EGYPT

Egypt," and shortly afterwards changed his earliest style of painting for his calido or warm style . His See also:

• DRAWING

drawing was still well defined, but his outlines became softer and his figures rounder, and his colouring gained in warmth and transparency . His first picture of this style, according to Cean See also:

• BERMUDEZ

Bermudez, was a See also:

• REPRESENTATION

representation of " Our Lady of the Conception," and was painted in 1652 for the brotherhood of the True See also:

• CROSS

Cross; he received for it 2500 reals (£26) . In 16J5 he executed his two famous paintings of " San Leandro " and " San Isidoro " at the order of See also:

• DON
• DON (anc. Tanais)

Don Juan Federigo, See also:

• ARCHDEACON (Lat. archidiaconus, Gr. &oxt3tauovor)

archdeacon of See also:

• CARMONA

Carmona, which are now in the See also:

• CATHEDRAL

cathedral of Seville . These are two noble portraits, finished with great care and admirable effect, but the critics complain of the figures being rather See also:

• SHORT, FRANCIS JOB (1857– )

short . His next picture, the " Nativity of the Virgin," painted for the See also:

• CHAPTER (a shortened form of chapiter, a word still used in architecture for a capital; derived from O. Fr. chapitre, Lat. capitellum, diminutive of caput, head)

chapter, is regarded as one of the most delightful specimens of his calido style . In the following year (1656) the same See also:

• BODY

body gave him an order for a vast picture of San See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio de See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua, for which he received 1o,000 reals (£104) . This is one of his most celebrated performances, and still hangs in the See also:

• BAPTISTERY (Baptislerium, in the Greek Church 4wrurrilpiov)

baptistery of the cathedral . It was " repaired " in 1833; the grandeur of the design, however, and the singular richnessof the colouring may still be traced . The same year saw him engaged on four large semicircular pictures, designed by his friend and patron Don Justino Neve y Yevenes, to adorn the walls of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of Santa Maria la Blanca . The first two (now in Madrid) were meant to illustrate the See also:

• HISTORY

history of the Festival of Our Lady of the See also:

• SNOW (in O. Eng. sndw; a common Indo-European word; cf. in Teutonic languages, Ger. Schnee, Du. sneeuw; in Slavonic snieg', Lith. snegas; Gr. vi4a, Lat. nix, nivis, whence the Romanic forms, Ital. neve, Fr. neige, &c.; Ir. and Gael. sneachd; the original

Snow, or the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of the See also:

• ROMAN

Roman See also:

• BASILICA

basilica of Santa Maria See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore .

The one represents the wealthy but childless Roman senator and his lady asleep and dreaming; the other exhibits the devout pair See also:

• RELATING

relating their See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

dream to See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope Liberius . Of these two noble paintings the Dream is the finer; and in it is to be noticed the commencement of Murillo's third and last style, known as the vaporoso or vapoury . It should be noted, however, that the three styles are not strictly separable into date-periods; for the painter alternated the styles accordingly to his subject-See also:

• MATTER

matter or the See also:

• MOOD

mood of his See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration, the calido being the most frequent . In the vaporoso method the well-marked outlines and careful drawing of his former styles disappear, the outlines are lost in the misty blending of the See also:

• LIGHT

light and shade, and the general finish betrays more haste than was usual with Murillo . After many changes of fortune, these two pictures now hang in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy at Madrid . The remaining pieces executed for this small church were a " Virgin of the Conception " and a figure of " Faith." Soult laid his hands on these also, and they have not been recovered . In 1658 Murillo undertook and consummated a task which had hitherto baffled all the artists of See also:

• SPAIN
• SPAIN (Espana)

Spain, and even See also:

• ROYALTY (0. Fr. realte, reialte, royaulte, from Med. Lat. regalitas, the substantive of regalis, of or belonging to a king, rex)

royalty itself . This was the establishing of a public academy of art . By See also:

• SUPERIOR

superior tact and See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper he overcame the vanity of See also:

• VALDES, JUAN DE (c. 1500-1541)

Valdes Leal and the presumption of the younger See also:

• HERRERA, FERNANDO DE (c. 1534-1597)
• HERRERA, FRANCISCO (1576-1656)

Herrera, and secured their co-operation . The Academy of Seville was accordingly opened for the first time in January 166o, and Murillo and the second Herrera were chosen presidents . The former continued to See also:

• DIRECT

direct it during the following year; but the calls of his studio induced him to leave it in other hands . It was then flourishing, but not for See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long .

Passing over some See also:

• HALF

half-length pictures of saints and a dark-haired Madonna, painted in 1668 for the chapter-room of the cathedral of his native See also:

• CITY (through Fr. cite, from Lat. civitas)

city, we enter upon the most splendid period of Murillo's career . In 1661 Don See also:

• MIGUEL, MARIA EVARIST (1802–1866)

Miguel Mariam Vicentelo de Leca, who had recently turned to a life of sanctity from one of the wildest profligacy, resolved to raise money for the restoration of the dilapidated See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

Hospital de la Caridad, of whose pious gild he was himself a member . Manua commissioned his friend Murillo to paint eleven pictures for this edifice of San Jorge . Three of these pieces represented the " See also:

• ANNUNCIATION

Annunciation," the " See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant Saviour," and the " Infant St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John." The remaining eight are considered Murillo's masterpieces . They consist of " See also:

• MOSES (Gr. Mwvo c, Mcoo-i3s)
• MOSES, ASSUMPTION OF

Moses striking the See also:

• ROCK
• ROCK (O.Fr. rake, Sp. rota, Ital. rocca; possibly from a Lat. form rupica, from rupes, rock)
• ROCK, DANIEL (1799–187t)

Rock," the " Return of the Prodigal," " See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

Abraham receiving the Three Angels," the "Charity of San Juan de Dios," the " See also:

• MIRACLE (Lat. miraculum, from mirari, to wonder)

Miracle of the Loaves and Fishes," " Our See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord healing the Paralytic," " St See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter released from See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

Prison by the See also:

• ANGEL

Angel," and " St See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth of See also:

• HUNGARY
• HUNGARY (Hungarian Magyarorszdg)

Hungary." These works occupied the artist four years, and in 1694 he received for his eight great pictures 78,115 reals or about £800 . The " Moses, " the " Loaves and Fishes," the " San Juan," and the three subjects which we have named first, are still at Seville; the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French carried off the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest, but the " St Elizabeth " and the " Prodigal Son " are now back in Spain . For See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass and vigour the " Moses " stands first; but the " Prodigal's Return " and the " St Elizabeth " were considered by Bermudez the most perfect of all as works of art . The front of this famous hospital was also indebted to the See also:

• GENIUS (from Lat. genere, gignere)

genius of Murillo; five large designs in See also:

• BLUE (common in different forms to most European languages)

blue glazed tiles were executed from his drawings . He had scarcely completed the undertakings for this edifice when his favourite See also:

• FRANCISCANS (otherwise called Friars Minor, or Minorites; also the Seraphic Order ; and in England Grey Friars, from the colour of the habit, which, however, is now brown rather than grey)

Franciscans again solicited his aid . He accordingly executed some twenty paintings for the humble little church known as the Convent de los Capucinos . Seventeen of these Capuchin pictures are preserved in the Museum of Seville . Of these the " Charity of St See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas of Villanueva " is reckoned the best .

Murillo himself was wont to See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call it " su lienzo " (his own picture) . Another little piece of extraordinary merit, which once hung in this church, is the " Virgin of the Napkin," believed to have been painted on a " servilleta " and presented to the See also:

• COOK
• COOK, ALBERT STANBURROUGH (1853– )
• COOK, EDWARD DUTTON (1829–1883)
• COOK, ELIZA (1818–1889)
• COOK, JAMES (1728-1779)
• COOK, THOMAS (1808-1892)

cook of the Capuchin brotherhood as a memorial of the artist's See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil . In 167o Murillo is said to have declined an invitation to court, preferring to labour among the See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown coats of Seville . Eight years afterwards his friend the See also:

• CANON

canon Justino again employed him to paint three pieces for the Hospital de los Venerables: the " See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

Mystery of the Immaculate Conception," " St Peter Weeping," and the " Blessed Virgin." As a See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark of esteem, Murillo next painted a full-length portrait of the canon . The spaniel at the feet of the See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest has been known to call forth a snarl from a living See also:

• DOG

dog . His portraits generally, though few, are of great beauty . Towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of his life Murillo executed a See also:

• SERIES (a Latin word from serere, to join)

series of pictures illustrative of the life of " the glorious See also:

• DOCTOR (Lat. for " teacher ")

doctor " for the Augustinian convent at Seville . This brings us to the last See also:

• WORK

work of the artist . Mounting a scaffolding one See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day at Cadiz (whither he had gone in 1681) to execute the higher parts of a large picture of the " Espousal of St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine," on which he was engaged for the See also:

• CAPUCHINS

Capuchins of that See also:

• TOWN

town, he stumbled, and See also:

• FELL
• FELL, JOHN (1625-1686)

fell so violently that he received a hurt from which he never recovered . The great picture was See also:

• LEFT

left unfinished, and the artist returned to Seville to See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die . He died as he had lived, a humble, pious, brave man, on the 3rd of See also:

• APRIL

April 1682 in the arms of the See also:

• CHEVALIER, ALBERT (1861– )
• CHEVALIER, MICHEL (1806-1879)
• CHEVALIER, ULYSSE (1841– )

chevalier Pedro See also:

• NUNEZ, PEDRO (PETRUS NoNlUS) (1492—1577)

Nunez de Villavicencio, an intimate friend and one of his best pupils . Another of his numerous pupils was See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian See also:

• GOMEZ, DIOGO (DIEGO) (ff. 1440-1482)

Gomez, named " Murillo's See also:

• MULATTO (Span. and Port. mulato, diminutive of mulo, Lat. mulus, a mule, used as denoting a hybrid origin)

Mulatto." Murillo left two sons (one of them at first an indifferent painter, afterwards a priest) and a daughter—his wife having died before him .

Murillo has always been one of the most popular of painters—not in Spain alone . His works show great technical attainment without much style, and a strong feeling for See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary nature add for truthful or sentimental expression without lofty beauty or ideal See also:

• ELEVATION

elevation . His ecstasies of Madonnas and Saints are the themes of some of his most celebrated achievements . Take as an example the " Immaculate Conception " (or " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin," for the titles may, with reference to Murillo's treatments of this subject, almost be interchanged) in the Louvre, a picture for which, on its See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale from the Soult collection, one of the largest prices on See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record was given in 1852, some £24,600 . His subjects may be divided into two great See also:

• GROUPS
• GROUPS, THEORY

groups—the scenes from low life (which were a new experiment in Spanish art, so far as the subjects of See also:

• CHILDREN, LAW RELATING TO

children are concerned), and the Scriptural, legendary and religious works . The former, of which some salient specimens are in the See also:

• DULWICH

Dulwich See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, are, although undoubtedly truthful, neither ingenious not sympathetic; sordid unsightliness and roguish squalor are their foundation . Works of this class belong mostly to the earlier years of Murillo's practice . The subjects in which the painter most excels are crowded compositions in which some See also:

• ACT (Lat. actus, actum)

act of saintliness, involving the ascetic or self-mortifying See also:

• ELEMENT (Lat. elementum)

element, is being performed—subjects which, while repulsive in some of their details, emphasize the broadly human and the expressly See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic conceptions of life . A famous example is the picture, now in the Madrid Academy, of St Elizabeth of Hungary washing patients afflicted -with the scab or itch, and hence commonly named " El Tinoso." Technically considered, it unites his three styles of painting, more especially the cold and the warm . His power of giving See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere to combined groups of figures is one of the marked characteristics of Murillo's art; and he may be said to have excelled in this respect all his predecessors or See also:

• CON

con-temporaries of whatever school . Seville must still be visited by persons who wish to study Murillo thoroughly . A large number of the works which used to adorn this city have, however, been transported else-whither .

In the Prado Museum at Madrid are See also:

• FORTY

forty-five specimens of Murillo—the " Infant See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ and the Baptist " (named " Los Ninos della Concha "), " St Ildefonso vested with a See also:

• CHASUBLE

Chasuble by the Madonna," &c.; in the Museo della See also:

• TRINIDAD

Trinidad, " Christ and the Virgin appearing to St See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis in a Cavern " (animmense See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition), and various others . In the See also:

• NATIONAL

National See also:

• MURNER, THOMAS (1475-1537 ?)

MURNER 37 Gallery, See also:

• LONDON

London, the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief example is the " See also:

• HOLY

Holy See also:

• FAMILY

Family "; this was one of the master's latest works, painted in Cadiz . In public galleries in the See also:

• UNITED

United See also:

• KINGDOM

Kingdom there are altogether twenty-fou_ examples by Murillo; in those of Spain, seventy-one . Murillo, who was the last pre-eminent painter of Seville, was an indefatigable and prolific worker, hardly leaving his painting-room See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save for his devotions in church; he realized large prices, according to the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard of his time, and made a great fortune . His See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character is recorded as amiable and soft, yet See also:

• INDEPENDENT

independent, subject also to sudden impulses, not unmixed with See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion . See See also:

• STIRLING
• STIRLING, JAMES (1692-1770)
• STIRLING, JAMES HUTCHISON (182o-1909)
• STIRLING, MARY ANNE [FANNY] (1815-1895)
• STIRLING, WILLIAM ALEXANDER, (titular) EARL OF (1726—1783)
• STIRLING, WILLIAM ALEXANDER, EARL OF (c. 1567-1640)

Stirling, See also:

• ANNALS (Annales, from annus, a year)

Annals of the Artists of Spain (3 vols., London, 1848); See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

Ford, Handbook for Spain (London, 1855); See also:

• CURTIS, GEORGE TICKNOR (1812-1894)
• CURTIS, GEORGE WILLIAM (1824-1892)

Curtis, See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue of the Works of Velasquez and Murillo (1883); L . Alfonso, Murillo, el hombre, &c . (1886); C . Justi, Murillo (illustrated, 1892) ; P . Lefort, Murillo et sec eiives (1892) ; F . M . Tubino, Murillo, su epoca, &c .

(1864; Eng. trans., 1879); Dr G . C . See also:

• WILLIAMSON, ALEXANDER WILLIAM (1824–1904)
• WILLIAMSON, SIR JOSEPH (1633–1701)
• WILLIAMSON, WILLIAM CRAWFORD (18r6–1895)

Williamson, Murilla (1902); C . S . Ricketts, The Prado (1903) . . (W . M .