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Updated: May 8, 2025
When he watched the towering crests of the waves at sea or the snow-clad mountain tops his imagination brought before him his aunt's noble grey head; her eyes looked at him from the portraits of Velasquez and Gerard Dow, just as Murillo's women reminded him of Vera, and he recalled Marfinka's charming face as he looked at the masterpieces of Greuze, or even at the women of Raphael.
Delgrado, already regretting an inexplicable outburst, turned from the picture and looked at Murillo's "woman clothed with the sun, and the moon under her feet, and upon her head a diadem of twelve stars." "Now, please help me to appreciate that and you will find me a willing student," he murmured. But Joan had recovered her self-possession.
Above, in a transparent light, which grows from himself, the Child Jesus appears, and descends, floating through wreaths of angels, drawn down by the power of prayer. Another of Murillo's renowned pictures is that of the patron saints of Seville, 'Santa Rufina and Santa Justina, who were stoned to death for refusing to bow down to the image of Venus.
He chose to be buried beneath the picture he loved so much "The Descent from the Cross," and upon his grave was laid a stone carved with his name, a skeleton and an inscription in Latin which means "Live as one who is about to die." The church has since been destroyed, and on its site is the Plaza Santa Cruz, but Murillo's grave is marked by a tablet.
Murillo was glad to find that he had made a painter of his slave, and though the pictures of Gomez were full of faults his color was much like that of his master. Two of his pictures are in the Museum of Seville. He did not live long after Murillo's death in 1682. His best original pictures were portraits.
Doctor Schnitzle was promptly brought over from Farnham Hall, but after taking a look at Murillo's wound, he turned and whispered to Frank: "Maype he vill last vun halluf hour, but it iss not to be expectioned. It vos der end uf him." The doctor was right. To the end Murillo protected his accomplice, claiming he had broken into the house by himself, with the intention of carrying Juanita off.
Among a thousand pictures in a gallery, you are strongly impressed by the sublime anguish on the face of some Madonna of Murillo's; by some Beatrice Cenci in which Guido's art portrays the most touching innocence against a background of horror and crime; by the awe and majesty that should encircle a king, caught once and for ever by Velasquez in the sombre face of a Philip II., and so is it with some living human faces; they are tyrannous pictures which speak to you, submit you to searching scrutiny, and give response to your inmost thoughts, nay, there are faces that set forth a whole drama, and Mme. d'Aiglemont's stony face was one of these awful tragedies, one of such faces as Dante Alighieri saw by thousands in his vision.
They gathered about the young artist, overwhelmed him with honours and praise, and the monastery was crowded from morning till night with those who wished to study his work. From that moment Murillo's fame, if not his fortune, was made. He married a rich and noble lady with the tremendous name of Dona Beatriz de Cabrera y Sotomayer. He had fallen in love with her while painting her as an angel.
In the National Gallery there is a large Holy Family of Murillo's, and in Dulwich Gallery there is a laughing boy, an irresistible specimen of brown-cheeked, white-teethed drollery. Nicolas Poussin was born at Andely in Normandy in 1594. Of his parentage little seems to have been ascertained, but it is believed that he was well educated, and his classical learning in after life was reckoned great.
Given simultaneously a photograph of Murillo's rendering of The Virgin Crowned Queen of Heaven and a photograph of a governor's installation in our State capital, there is no one of us but will quite naturally look at the latter first, in order to see if in it some familiar countenance be recognizable.
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