Esposito,' or 'Foundling Moor,' proved one of a class entirely unknown to Spanish literature, but quite in accordance with the national genius, so as to be at once accepted by the Spanish public, as entitled to their unqualified admiration. To use the words of his biographer, Pastor Diaz, himself a writer of considerable reputation, "This work, which had no model, nor has yet had a rival, is one of the most precious jewels of our literature, and in our judgement the most beautiful flower of his poetic crown."
But it was not to poetry alone that Saavedra gave his attention at Malta. He continued also his application to painting, not having forgotten his original intention of adopting this art professionally. Notwithstanding the advantages he enjoyed there, however, he was anxious to be nearer his own country, and sought permission to go to France, for which purpose he had an English vessel of war assigned to take him to Marseilles. On arriving there, instead of being allowed to go to Paris as he desired, he was directed to fix his residence at Orleans, where, having exhausted the means afforded him for subsistence, he found it necessary to establish a school for drawing. In this he met with some success, having obtained various pupils and commissions for portraits, and a painting which he had finished with care and ability having been bought at a high price for the museum of the city. Four others of his paintings are in the choir of the cathedral at Seville.
After a few months' residence at Orleans, the revolution of July, 1830, allowed him to go to Paris, where he found his valued friends Isturitz and Galiano, both, like himself, having moderated the warmth of early opinions by the effect of observation as well as of time. Instead of interfering in political questions therefore, he continued his artistic labours. Several portraits he had painted appeared in the Exhibition of
