“Saint John the Evangelist writing the Revelations in the Isle of Patmos,” by Alonzo Cano.
A “St. Francis in ecstasy,” by Cerezo, who was an excellent painter; and who, in design and colouring, sometimes approached Van Dyk.
“The Virgin and the Infant Jesus.” By Morales, sometimes called “The divine.”
An incomparable “Head of Christ, crowned with Thorns,” by Juanes.
“The Entombment of St. Etienne,” by Juanes, a picture which partakes largely of the graces that distinguish the school of Raphael and his followers.
“The Supper,” by Juanes. This is considered the _chef d’œuvre_ of the author, and was taken by the French, and afterwards restored. Love and devotion have seldom been more beautifully painted than in this picture.
“Jesus Interrogated by the Pharisees, touching the Tribute,” by Arias.
A saloon is dedicated to the modern Spanish school; containing the pictures both of the living masters, and of those who have lived within the last forty or fifty years. It is impossible to look upon these pictures without feeling more and more the excellences of those painters, who now live only in their works; for in the modern Spanish school, there is little to remind us of Murillo and Velasquez; or even of Juanes, Cano, or Morales. Difficult as it must be admitted to be, to imitate the unapproachable excellences of Murillo, it is surprising nevertheless, that the attempt to do this should scarcely ever be made. After the death of Murillo, as well as during his lifetime, there were innumerable artists, who, although conscious of the immeasurable distance at which they followed, yet, thought it wisdom patiently to seek the traces of his footsteps: and it is a merit of no ordinary kind, if a painter can earn the character of being a follower of Murillo; because this at least proves, that he is able to appreciate, even if he cannot approach, his excellences. But in looking through the gallery of the modern school, not one picture can be found, of which it may be said, “this is in the style of Murillo.”
Aparicio and Lopez are the painters who at present enjoy the highest reputation; but neither of these will suffer a comparison with Bayeu, who died thirty-five years ago, or with Goya, who has long since retired from a professional life, but who still lives at Bourdeaux. As little can the pictures of Bayeu or Goya be compared with the compositions of the ancient school.