the staff and bell.—Ridolfi, Maraviglie, i. 345; C. & C., N. Italy, ii. 405; Burckhardt, 736.
ANTHONY OF PADUA, ST., AND INFANT
JESUS, Murillo, Baptistery of the
Cathedral, Seville; canvas, H. 18 ft. × 10
ft. 11 in. The Saviour, attended by cherubs
and angels, descends in a glory to visit
the Saint, who, kneeling in his cell, welcomes
him with outstretched arms; on a
table, an open book and vase of lilies; at
left, cloisters seen through an open door.
Murillo's largest painting and the first noticed
in any printed book. Painted in 1656;
in November, 1873, the picture was mutilated
by thieves, who cut out the figure of
St. Anthony; the stolen part, much damaged,
was offered in New York, Jan. 2, 1875, to
William Schaus, the picture-dealer, who
bought it for $250 and returned it to
the Spanish consul, and it was reinstated in
its old place with much ceremony, October
30, 1875, after skilful restoration by Señor
Cubells. Lithographed by Aug. Lemoine.—Curtis,
210; C. Boutelont, Estudio de
S. Antonio de Murillo (Seville, 1875); A. de
Latour, Comment un tableau de Murillo fut
volé (Sceaux, 1878); Gaz. des B. Arts, Feb.,
1875; Graphic (London), June 30, 1875;
Harper's Weekly, Feb. 20, 1875.
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St. Anthony of Padua, and Infant Jesus, Murillo, Berlin Museum.
By Murillo, Berlin Museum; canvas, H. 5 ft. 5 in. × 6 ft. 6 in. The Saint, kneeling, presses his cheek to that of Infant Jesus, whom he holds in his arms; five cherubs in a glory, and two others on ground at left; background, hilly landscape. Probably picture taken by Soult in 1810, with aid of a troop of infantry, from Convent of S. Pedro de Alcantara, Seville; bought in Paris in 1835. Engraved by A. H. Payne; lithographed by Locillot de Mars; centre only engraved by Caspar, Schultz, and L. de Mars. Study in bistre, J. C. Robinson, London. Repetitions, with changes: Dudley House, London; Henry Hucks Gibbs, London; Munro sale (1878), £2,362 (Earl of Rosebery ?).—Curtis, 212; Cean Bermudez, ii. 58; G. de Leon, ii. 198.
By Murillo, Hermitage, St. Petersburg; canvas, H. 8 ft. 2 in. × 5 ft. 6 in. The Saint, full length, kneeling, encloses in his arms, without touching, the Infant Jesus, who stands on the open book of the Gospels placed on a rock, his right hand in benediction, his left in St. Anthony's right; above, five cherubs. Belonged to M. Laneuville; purchased in 1852 for 30,000 fr.—Curtis, 214; Cat. Hermitage, 130.
By Murillo, Seville Museum; canvas, H. 6 ft. 3 in. × 4 ft. The Saint, three-quarters length, with lilies in right hand, kneeling and embracing the Infant Saviour, who stands on an open book, with his right hand on the Saint's head. Painted about 1676 for Capuchin Convent, Seville; placed in Museum in 1840. Repetition: Condesa de la Mejorada, Seville.—Curtis, 212.
By Murillo, Seville Museum; canvas, H. 9 ft. 5 in. × 6 ft. 3 in. The Saint, full length, kneeling, with lilies in right hand, embraces with left the Infant Saviour, who, seated on an open book, places his right hand on the Saint's head; above, four cherubs. Painted about 1676 for Capuchin Convent, Seville; placed in Museum in 1840. Probably finest of Murillo's pictures of the subject.—Curtis, 211; Robinson, Great Painters (London, 1877) wrongly called St. Francis.
By Elisabetta Sirani, Bologna Gallery; canvas, H. 6 ft. 4 in. × 5 ft. 4 in. The In-
