470 Painting he returned to the natural bent of his genius, we find Twelve Apostles; a striking Mary the Egyptian; a S. James and S. Roch, magnificent pendants brought from the Escorial ; and lastly, a Martyrdom of S. Bartholomew, the most celebrated of his paintings of this terrible subject. Here he has shown as much talent in composition and power of expression, in the union of grief and beatitude, as incom- parable force in the execution. The National Gallery pos- sesses two works by him, a Pieta and a Shepherd with a lamb : and a Locksmith in the Dulwich College Gallery (formerly given to Caravaggio) is now catalogued as a Bibera. Jacinto Jeronimo de Espinosa (1600 — 1680) worked under Francisco de Ribalta, whose style he successfully acquired. He is reported also to have gone to Italy to study the works of the great masters. Pedro Orrente (died 1644) is said to have visited Italy and studied under Jacopo Bassano. It is doubtful whether he was the pupil of that artist, but he certainly imitated his style. Orrente was much patronized by the Duke of Olivarez, for whom he executed some works in the Palace of the Buen Retire His pupil, Esteban March (died 1660), distinguished himself principally in painting battle-scenes. 2. The Andalucian School. Two local schools, as we have already said, arose about the same time as that of Seville, one at Cordova, the other at Granada. Let us choose the most illustrious masters from each. Luis de Vargas (1502 — 1568) was first a pupil of Diego de la Barrera, and afterwards of Perino del Vaga, in Italy, and had the distinguished honour of being the first to
