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 56 MURILLO the church of Santa Maria la Blanca in Seville. Two of these, representing the legend of the dream of the Eoman patrician which led to the building of Santa Maria Maggiore in Borne un- der Pope Liberius, now hang in the academy of San Fernando in Madrid. They are in the va~ poroso style, described as misty, vaporous, and blending, and are magnificent specimens of the artist's powers. Between 1660 and 1674 was executed, for an almshouse outside the walls oi Seville, a celebrated series of pictures. Five of these, "Abraham receiving the three An- gels " " The Return of the Prodigal Son," " The Healing of the Cripple," "St. Peter released from Prison by the Angel," and " St. Elizabeth of Hungary," were carried off by Soult. I he first two were sold to the duke of Sutherland; the third was bought by Mr. Tomline, an Eng- lish collector, for 160,000 francs; the fourth is in the Hermitage in St. Petersburg ; and the fifth, with the two pictures from Santa Maria la Blanca, is in the academy of Seville. Of the original series still remaining in the almshouse the chief are " Moses striking the Rock," " The Charity of San Juan de Dios," and " The Mira- cle of the Loaves and Fishes," works conceived with all the artist's strength in the maturity of his powers. Subsequent to 1675 he paint- ed a series of about 20 pictures for the convent of the Capuchins in Seville, of which 17 are now in the museum of the city. One of the best of these, " The Charity of St. Thomas of Villanueva," presents many striking studies of street nature, and was called by the artist su liemo, " his own picture." Another celebrated picture formerly in the chapel of the monastery, representing the Virgin and child, is said to have been painted on a sermlleta, whence it was called the "Virgin of the Nap- kin." He subsequently executed fine series of pictures for the hospital de los venerdbles and the Augustinian convent of Seville, and a mul- titude of miscellaneous works, generally of a religious character. Preeminent among them were those devoted to the illustration of the immaculate conception of the Virgin ; and from the frequency and fondness with which he represented the subject, he was called "the ''painter of the conceptions." A memorable example of this style of picture is the " Im- maculate Conception," purchased at the sale of Marshal Soult's collection in 1852 by the French government for 635,000 francs, and now in the Louvre, in which the Virgin ap- pears in a state of ecstatic beatitude, borne aloft in a golden ether to heaven by a multi- tude of cherubs, who are painted with inimi- table sweetness. A few similar works, attrib- uted to him, are owned in the United States. His remaining works are distributed among the royal and private galleries of Europe. The Louvre contains a considerable number; the Pinakothek in Munich has two or three admi- rable specimens of his beggar boys ; Dulwich gallery has six pictures, including the celebra- ted "Flower Girl;" and the national gallery MURNER of London has his "Holy Family" and "In- ! ant St. John and the Lamb." The Hermitage n St. Petersburg has 18 of his pictures. His ' Little Shepherd " (El pastorcico), presented by Queen Isabella to Guizot, was sold by him at auction in May, 1874, for 120,000 francs. Such, however, has been the mania of late years for his works, that his name has been applied indiscriminately to productions utterly unworthy of his pencil, and many of the pic- tures of peasants and beggars attributed to aim are supposed to be by his followers or pupils. A short time before his death Murillo went to Cadiz to paint the " Espousals of St. Catharine " over the high altar in the Capuchin church of that city, and while engaged upon the work stumbled and fell from the scaffold- ing, receiving an injury which proved fatal. He was buried in the church of Santa Cruz in Seville, before a picture of the " Descent from the Cross " by Pedro Campana, which he had greatly admired in his life. The French in 1810 levelled the church to the ground, and " cast out the ashes of Murillo to the winds." Murillo was essentially a painter of religious subjects, and excelled as a colorist. As a land- scape painter his scenery is often conventional and merely accessory. He also painted a few Eortraits. See Ford's " Handbook of Spain," tirling's "Annals of the Artists of Spain," Head's "Handbook of the Spanish School," and Cunningham's " Life of Wilkie." BURNER, Thomas, a German satirist, born in Strasburg, Dec. 24, 1475, died probably in Heidelberg about 1536. He studied at the principal universities of Europe, lost a place in the conventual Latin school of Strasburg by his invective against Wimpfeling, and led af- terward an unsteady life, preaching for some time at Frankfort and other places, but gener- ally incurring the displeasure of his congrega- tion by his coarse personalities. He was suc- cessively expelled from Freiburg, Treves, and Venice. He resumed his functions in the con- ventual school of Strasburg in 1519, and be- came one of the most virulent opponents of the reformation. In 1523 he went to England, invited by Henry VIII., but troubles in his convent compelled him to return. Some of his writings against the reformation had al- ready been burned by order of the Strasburg magistracy ; and to elude the vigilance of the authorities he established a press of his own, which was destroyed by a mob, together with his house, and he was compelled to flee to Switzerland, whence he was afterward ex- pelled. In 1506 he had been crowned as poet laureate by the emperor Maximilian, and he had justified the distinction by his Narrenbeschwo- rung and Der Schelmen Zunft (1512). He wrote Chartiludium logice, &c. (Cracow, 1507), and other Latin works; prepared a German ver- sion of Virgil and other translations ; and was also regarded as .the editor of Eulenspiegel. But he is chiefly remembered by his writings against Luther and the reformation. His most