Virginian-pilot. (Norfolk, Va.) 1898-1911, 1899-04-15

charity; II was but a branch of relig-
ious teaching carried out as strictly as
the teaching in IL theological seminary
Inc spanish prelateS, face TO face with
SO large percentage of non-Christian
population in the new kingdom, had to
solve the same problem as the early
Christian and Carlovingian churches
Like them, they used art largely as a
means OF conversion and cdifcatlon
but their methods Smacked less of early
christian mildness than of the brutality
Oh Charlemagne, who drove the Saxons
to the river and drowned by thousands
those who declined baptism. Only IN
Spain fire and not water was the favo-
rite medium of persuasion. The art OF
these people was ascctic and stern; held
out no promises but ruled by fear, and
pointed 10 hell and not to heaven. Such
were the fanatic painters who mostly
harked back to the Flemish school. on
Inc other hand. the Journalists were
men tainted with the pseudo religious
art OF Italy, whose work was admired
because or its external perfection and
who obeyed the formulas governing the
composition of religious subjects uav-
ing caught something of the conversa-
zione style Of the Italians. and. being
plentifully lacking in conviction they
did not touch the heart of the people
they were tolerated because since the
Moors and the Jews had been extermI-
mated, converted or eXiled and danger
OIL protestant propaganda had passed,
the fanatical school seemed to have
completed its work.
But religious intensity had not vet
worn Itself out IN Spain. 1t simply be-
came more mystic under Franciscan
guidance: passionately feminine instea /
OF merely masculine, the promises OF
love overshadowing the terrors of the
inquisition. The loving Divine Child
replaced the Supreme Judge. held and
guided by the Immaculate Virgin. The
spell under which the catholic church
proclaimed the dogma Of the immacu
late conception in 1866 was woven at
that time in Spain. and the most potent
artistic factor in its weaving was Mn
riDo. and it was he also who lent the
charm Of his pencil to the spread of
the doctrine of the sacred heart. Of the
seraphic and other visions and costa
es. TO all these and other phascs Of
that debauch of religious sen;i,nontoli-
~ n s sincere s it was misgui1a1
which had Spain as its center. '7ha
fervor and faith shown by Murillo in
depicting these scenes which We're S,1cb
favorites with monks and people made
of him the chief apostle of tho nov,
creed. At last there had arisen n
painter that could interpret the heart
Of the people.
Bartolome Esteban Murillo was horn
at Seville at the close of Dece-nher
1blf, IN a small tenement house. and
was haptised on January l. 1ClS. His
parents We're In very moderate circum-
stances. They both died in 1G2S lnavinr
the boy to the guardianship OF the hus-
band OF his aunt, Ana Murillo. After his
school days were over, in abont 1850.
he was apprentlced to a relative. the
well known hainter. Juan del Castillo
tlos4-lS4W, a pupil OF Fernandes, more
famous as a teacher than as an artist.
There he passed through the weary
stages of grinding colors and cleaning
brushes until he was allowed to mas
ter Castillo's system Of hard and dry
draughtsnanship. The studio was In the