The confused character of this picture is sufficiently shown by the fact that whilst the official designation is as above, other critics have called it the "Destruction of Sennacherib." For a masterpiece by Ercole, see 1119. The ascription to him of this inferior work is decidedly doubtful.
74. A SPANISH PEASANT BOY.
Murillo (Spanish: 1618-1682). See 13.
Look at this and the other little boy near it (176), and you will see at once the secret of Murillo's popularity. "In a country like Spain he became easily the favourite of the crowd. He was one of themselves, and had all the gifts they valued. Not like Velazquez, reproducing by choice only the noble and dignified side of the national character, Murillo could paint to perfection either the precocious sentiment of the Good Shepherd with the lamb by his side, or the rags and happiness of the gipsy beggar boy" (W. B. Scott's Murillo, p. 76)—
Poor and content is rich and rich enough.
75. ST. GEORGE AND THE DRAGON.
Domenichino (Eclectic-Bologna: 1581-1641). See 48.
Compare this conventional representation of the subject with the imaginative one by Tintoretto (16). Amongst points of comparison notice the absence of anything terrible in the dragon, the crowd of spectators (on the walls in the distance), St. George's helmet; and where is his spear?
76. CHRIST'S AGONY IN THE GARDEN.
After Correggio. See under 10.