But Murillo was without money, and without friends; and how could he travel to Flanders or Italy? His reputation in Seville, as a painter, was small; for although his practice of working for the fair, had in reality increased his powers, it was little likely to add to his respectability; and it was a question, therefore, not easily solved, how he should obtain the means of effecting his design. But even in this extremity, courage did not desert him; and an expedient was found, by which he might modestly replenish his purse. He purchased a large piece of canvas; primed it himself; and dividing it into unequal parts, painted upon it, every possible variety of subject,—saints, landscapes, animals, flowers,—but particularly devotional pieces. With this treasure, he went to Cadiz, to tempt the masters of the India vessels. Among so many subjects, the taste of every one could find something to gratify it, and he returned to Seville without any of his canvas, and with a little stock of pistoles.
Murillo did not now delay a moment longer the execution of his purpose. Communicating his design only to his brother, who lived at Seville in the house of an uncle, he left his native city at the age of twenty-four, to return, and afterwards enrich it with undying memorials of that genius which is the glory of Spain, and the just pride of the city where it was chiefly exercised.
It is a long and toilsome journey from Seville to Madrid; and many must have been the anxious thoughts that filled the mind of the adventurer; but the predominating feeling would doubtless be buoyant, for youth and genius are fertile in hope. We think we see the young painter leave his native town,—long visible in the majestic tower of the cathedral, at which he often turns round to gaze. We follow his steps (for his journey was performed on foot) up the banks of the Guadalquivir, flowing towards his home; we see him with his scanty supplies toiling up the defiles of the Sierra Morena, and looking upon the other side, over the wide plain of La Mancha; and we see him with a quickened step, hasten towards the capital, when he first descries its towers in the midst of the desert that surrounds it.
Velasquez was, at this time, first painter to the king’s bed-chamber, and highly esteemed at the court of Philip IV.; he was then past the prime of life, and almost beyond its vicissitudes; and surrounded by friends, and full of honours, he could feel no jealousy of the friendless boy who came to him for advice and protection. Murillo no sooner arrived in Madrid, than he bethought himself of waiting upon Velasquez; and he found in this good man, and excellent painter, a friend who instantly became his guide; and who never deserted him, even when the progress of the pupil seemed to point out a rival of his own immortality.
Velasquez questioned Murillo as to his family, his studies, his knowledge, his motives, and his wishes; and, like a true lover of his art, admiring the spirit and enthusiasm which were disclosed in the answers of Murillo, and approving the motive of his journey,—and, doubtless, discovering in his conversation, tokens by which a man of Velasquez’s experience and knowledge, might draw a presage of his future greatness, he took the young painter under his roof as a pupil, a friend, and a countryman. Murillo did not accept the hospitality of Velasquez without immediately proving himself worthy of it. The object of his journey was uppermost in his thoughts; and Velasquez, without delay, afforded him the requisite facilities for prosecuting his design. He sent him to the different palaces, and to the convent of the Escurial, that he might see, and study, the pictures of the great masters; and directed him to select such as he might be ambitious of copying; and by this, Velasquez could not fail to obtain farther insight into the bent of his genius, and would even be able to judge better of its extent. What a moment for Murillo, when, entering the sacristy of the Escurial, he first beheld the works of Raphael, and Da Vinci, and Titian, and Paul Veronese!
The three years that followed the arrival of Murillo in Madrid, afford little incident for the biographer. During these years, he was no doubt laying the foundation of his future eminence, by practising his pencil and his eye among the excellent models to which he had access; among whom, no one was a greater favourite with Murillo than his kind friend and patron, Velasquez. It is certain, that he also highly esteemed the genius of Titian; and although he adopted no exclusive model, his admiration of that great head of the Venetian school is discernible in many of his works.
It appears, however, that Murillo did not confine himself to the study of these two masters, but that he also occupied himself with the works of Van Dyk, and of Rebera (Españoletto); for when Velasquez accompanied the king into Catalunia, Murillo, upon his return, shewed him three copies from pictures of Van Dyk, Rebera, and himself. These were presented to the king; and surprised equally the court and Velasquez, by their fidelity, and the excellence of their execution; so much so, that Murillo is said to have been advised to occupy himself henceforward with the works of only these masters.
But the time now approached, when Murillo should no longer copy the works of others; but when he should himself become a model for the imitation of succeeding ages. At the return of Velasquez from a second journey, in which he had accompanied the king to Saragossa, he was so much struck with the progress of his protégé, that he told him he could gain nothing more by a residence in Madrid; and advised him to travel to Rome, to which city he offered to furnish him with letters of recommendation, and other advantages; not the least of these, being the command of his purse.
The true reason of Murillo’s rejection of this advice, it is impossible to ascertain; but he had resolved upon returning to his native city. It has been commonly said, that the importunities of a brother whom he highly esteemed, and certain domestic causes, recalled him: but it seems more probable, that his determination was the result of an internal conviction, that he had already accomplished the end for which he left the place of his nativity: and it is also possible, that a disinclination to be a farther debtor for the good offices of Velasquez, without which he could not have journeyed into Italy,—may have had its influence. Velasquez, although not approving the determination of his young friend, did not oppose his design; and Murillo returned to his native city.
It chanced, that at this time the Franciscan friars desired to have eleven historical pictures, to adorn the Claustro Chico of their convent; but, as the sum to be paid for these, arose solely from alms which a devout person had collected for the purpose, it may be supposed that the painter who might undertake to execute the order, could not expect a very liberal remuneration. Accordingly, the principal painters then in Seville, shewed no great disposition to engage in the work; and the friars, failing to secure the talents of any of those who had the reputation of being the first masters, found themselves obliged to be contented with an inferior hand, and applied to Murillo, who, being then more needy than his brethren, willingly undertook the commission, in which he no doubt perceived other advantages than the paltry remuneration proposed to him.