UC-NRLF SB ERS ivellers 11 II H II A' ST Division ! RH 8vo, 5< R (I'M OP Shelf MAN A Trav< Received. . M^ .C, ,/ ^ , ( 1 87 , A UNIVERSITY OF CALIFORNIA, GIFT OF DANIEL C. OILMAN. HAND-BOOK OP PAINTING. THE SCHOOLS OP ITA Translated from the German of KUGLKR. PostSvo, 12s. A DICTIONARY OF GREEK AND ROMAN ANTIQUITIES, inter as a convenient HAPsD-BOOK FOR TRAVELLERS. With 200 Wood 1'ost Svo, 10*. 6d. HAND-BOOK FOR MALTA AND THE EAST, The IONIAN 1SL\NDS, TURKEY, ASIA MINOR, and CONSTANTINOI Maps. Post Svo, 15s. May to December, 1847. [Continued. MR. MURRAY'S HAND-BOOKS FOR TRAVELLERS. LAND-BOOK. FOR EGYPT AND THEBES, With all the necessary information for the OVERLAND PASSAGE TO INDIA. Map. Post 8vo, 15s. I AND-BOOK FOR FRANCE AND THE PYRENEES, NORMANDY, BRITTANY, the RIVERS LOIRE, SEINE, RHONE, and GARONNE; the FRENCH ALPS, JDAUPHINE and PROVENCE. Maps. Post 8vo, 12*. A vID-BOOK FOR SPAIN, ANDALUSIA, GRANADA, CATALONIA, MADRID, &c. Maps. Post 8vo ,16s. ^ATHERINGS FROM SPAIN. Intended as an agreeable Companion for Travellers in that Country. BY RICHARD FORD. Post 8vo, 5*. VND-BOOK FOR NORTHERN EUROPE; RUSSIA, NORWAY, SWEDEN, and DENMARK. Maps. Post 8vo, 12v. LAND-BOOK FOR ENGLAND AND WALES. Map. Post svo. In preparation. UtfD-BOOK FOR LONDON PAST AND PRESENT; A COMPLETE GUIDE FOR STRANGERS VISITING THE METROPOLIS. Post Svo. Nearly Ready. Ls~N T D-BOOK TO THE GALLERIES OF ART ' In and near London. With Catalogues of the Pictures, accompanied by Historical, Biographical, and Critical Notes. By Mrs. JAMESON. Post Svo, 10*. [AND-BOOK FOR WINDSOR AND WESTMINSTER ABBEY. Woodcuts. Fcap. Svo, 2s. 6d. each. A PORTMANTEAU LIBRARY. tks that you may carry easily and hold readily in your hand, are tfie most v eful after all. DK. JOHNSON. "/> reading which Sir Humphry Davy preferred was f Lord Byron's Poems' fij which he procured a convenient travelling copy in one volume. See LIFE. MOORE'S LIFE OF LORD BYRON. 15*. LORD BYRON'S POETICAL WORKS. 155. CAMPBELL'S SPECIMENS OF THE POETS. 15s. BOS WELL'S LIFE OF JOHNSON, BY CROKER. CRABBE'S LIFE AND POETICAL WORKS. 15s. BISHOP HEBER'S JOURNALS IN INDIA. 12s. BORROWS GYPSIES OF SPAIN. 6s. BARROW& LIFE OF SIR FRANCIS DRAKE. 2s. 6d SIR JOHN MALCOLM'S SKETCHES OF PERSIA. 6*. MRS. MEREDITH'S NEW SOUTH WALES. 2s. M. BRACEBRIDGE HALL. BY WASHINGTON IRVING. 6s. LORD MAHON'S LIFE OF CONDE. 6s. MELVILLE'S MARQUESAS ISLANDS. 6*. LIVONIAN TALES. By a Lady. 2s. 6(2. ay to December, 1847. HAND-BOOK HISTORY OF THE SPANISH AND FRENCH SCHOOLS OF PAINTING. IJS TENDED AS A SEQUEL TO KUGLER'S HAND-BOOKS OF THE ITALIAN, GERMAN, AND DUTCH SCHOOLS OF PAINTING." SIR EDMUND HEAD, BART. \\ LONDON : JOHN MURRAY, ALBEMARLE STREET. *1848. LONBOK !' GEOBGE WOODFALL AND SON, ANGEL COURT, SKINNER STREET. CONTENTS. Page Preface iii Principal Literary Materials for the History of the Spanish and French Schools of Painting xi HISTORY OF PAINTING IN SPAIN. CHAPTER I. Influence of Religion on Spanish Painting .... 1 CHAPTER II. Early Spanish Masters 22 CHAPTER III. Progress of Spanish Painting Connexion with Italian Art . 42 CHAPTER IV. Masters of the Middle Period of Spanish Art Influence of Foreign Artists on the Schools of this Time . . .62 CHAPTER V. Schools of Southern Spain 98 11 CONTENTS. CHAPTER VI. Page Velazquez and Murillo 134 CHAPTER VII. Successors of Velazquez and Murillo 192 SKETCH OF THE HISTORY OF PAINTING IN FRANCE. CHAPTER I. Illuminated Manuscripts King Rene Painters before N. Poussin 220 CHAPTER II. Nicolas Poussin and Eustache Lesueur 233 CHAPTER III. Epoch of Louis XIV 265 CHAPTER IV. Painters of the Eighteenth Century 294 CHAPTER V. School of David and his Followers 327 Appendix .......... 343 Additions and Corrections 353 Index . . 355 PREFACE. ANY person who has turned over Kugler's "Hand- book of Painting" in the original German, must have been struck with the summary manner in which the Spanish, French, and English schools are treated. The first of the three is disposed of in twenty-four pages, the French school occupies twenty, and that of England claims no more than thirteen. The abridged history of each school is indeed given with truth and conciseness; but there is a total want of proportion between these parts of the book and those which treat of the Italian, Fle- mish, Dutch and German masters. It was a sense of this defect which led me, when I undertook to edit the second part of the translation of Kugler, to propose to myself the compilation of a sketch of the Spanish and French schools, such as might serve in some degree as a manual for travellers, and might afford a cursory view of the history of art in those countries. In fact, a Hand-book ought not to aim at more than this ; the reader should turn readily to the name and date of any artist, and see VOL, in. b IV PREFACE. where his principal works are to be found. He should likewise he able to arrive at the character and the relative place occupied by each master, whilst the general history of the school is shortly given. The reader is probably aware of the fact, that Kugler's work is now in the course of publication in Germany, in a form somewhat different from that which it originally bore. In the new edition, the history of painting will be treated as a whole not in separate schools. Such a plan is for better, in some respects, than that originally adopted by the author ; but, on the other hand, it is often less con- venient to the traveller who visits a particular coun- try for a short time only. I have said thus much, because I am anxious that no pretensions should be ascribed to my book which do not properly belong to it. It does not profess to contain profound reflections, or to aim at origin- ality. I have consulted the sources of knowledge which are open to every one, and I have endea- voured to take from them such information as I thought likely to be interesting or useful for my purpose. I have not scrupled to make extracts from authors whose opinions were worth having, or whose descriptions were characteristic, and I have for the most part avoided putting forward my own notions on the originality or merit of individual pictures feeling that any such expression on the PREFACE. V part of a mere amateur is necessarily worth but little. It was not, however, right entirely to with- hold my own opinion, where personal observation warranted me in stating it. On this point I wish the reader to remember, that I bave no acquaintance with the school of Valencia, except so far as its productions may be seen at Madrid. The schools of Madrid and Seville I have had opportunities of studying and appreciating. The notices of the school of Aragon, contained in the following pages, are taken from the 10th volume of Minafio's " Topographical Dictionary of Spain/' where they are printed from a MS. of Cean Ber- mudez. In their Spanish shape, therefore, they are not readily accessible to the English reader ; and I believe I may say that, short as the account of Spanish painting given in this Hand-book is, it is the most complete which has appeared in England up to the present time. I am happy to hear that Mr. Stirling of Keir has completed a work of a far more elaborate character, which would make it im- possible for me to assert the same thing if I were writing a few months hence. With regard to the French school, I cannot say that I bear any extraordinary love to its productions; but I have endeavoured to give as full and as im- partial an account of its progress and its results as my information and limits would permit. Professor Waagen's volume on Paris has never been translated VI PREFACE. into English, though it is, in fact, a work far more useful to the mass of Englishmen than the same author's hook on their own country. For one Englishman who sees the pictures in the private collections or country seats of England, twenty saunter through the Louvre with no sufficient guide. I have, therefore, without scruple extracted Waagen's Observations on Poussin, and on other French ar- tists ; and I have done so the more willingly, he- cause I mistrust my own impartiality. I must plead guilty to a prejudice in favour of colour the qua- lity most deficient in French painting. When I look at a Poussin, I never feel sure that niy judgment is not corrupted beforehand; or, at any rate, the effort to appreciate its beauties necessarily diminishes my enthusiasm. It may be thought that I have occasionally intro- duced irrelevant matter into the notes, and perhaps into the text. I trust that my errors in this respect are not numerous, and that some allowance will be made for an attempt to diminish the dryness of a mere list of names, places, and dates of the birth and death of each artist. I rather fear that no effort of mine can remove a fault which is in- herent in the plan of the book. Second-rate and third-rate masters must be named, and yet to dwell upon them is impossible : it follows inevitably, that page after page will resemble a catalogue to be re- ferred to rather than perused. PREFACE. Vll With regard to authorities, when no author is quoted, the reader may assume thatl take my inform- ation, with reference to Spanish art, from Cean Ber- mudez's Dictionary. It is the less necessary to refer to it specially at every moment, because its alphabetical arrangement makes it easy to turn to any particular master. Palomino I have not relied on, though I have consulted him. Pacheco is a source less accessible to the general reader, and I am indebted for the loan of this very rare volume to Mr. Ford, whose Hand-book the reader will find quoted at every page. When the second edition of Mr. Ford's work is not specially named, the refer- ences are made to the first, in two volumes. It is unnecessary for me to say any thing as to the value of that Hand-book a value which the public has fully recognized, by the rapid disappearance of the first edition. In fact, it contains more informa- tion as to Spain than all the volumes of travels in that country put together ; and, I need not add, in a far more entertaining form. I owe at least as much to Mr. Ford's correspondence and conversation as I do to his Hand-book. If the reader is desirous of knowing what hopes we have of gaining additional information respect- ing Spanish art, or, if he wishes to learn how far the political condition of the Peninsula is likely to rescue and deposit in the public galleries of Spain works hitherto unknown or inaccessible, I would b3 Till PREFACE. request his special attention to the Appendix "which follows the text of this volume. I will close this preface with the following story, as illustrating the knowledge of Spanish pictures, and the taste for Velazquez prevailing in England at the present day. When General Meade's pictures were exhibited at Christie's this year, there was among them a large three-quarter length portrait of the Infanta Margarita Mariana of Austria. Before the sale, when the public were admitted to view the pictures, this one was hung so high as to make it utterly impossible to be certain what it was. The dress, too, is grotesque and unprepossessing. She is attired in court mourning a large hooped petticoat, and a sort of jacket of black, the latter of which is richly laced with white gimp, and has cut sleeves, so as to show the white satin dress underneath it. Her hair, or wig, is frizzed in the extraordinary style of the day, in regular rows of flaxen curls standing straight out on each side of her face, and at the top of her head a feather lies flat. She has no jewels but pearls, and one or two diamonds. I was not at the sale, but I presume the picture was taken down before it was actually brought to the hammer : be this as it may, some time after the sale a letter was re- ceived by a gentleman in this country from the best judge of Spanish pictures in Spain, in which the lat- ter says that he knows the picture well ; that it was one of those given by the late King Ferdinand VII. PREFACE. IX to the Canon Cepero* of Seville, in exchange for the two large Zurbarans that now hang in the gallery at Madrid. When Cepero was in difficul- ties from his political opinions, it passed into the hands of Sefior Bodenas, and was sold some years later hy his widow to General Meade. The writer of this letter adds, " It gives me but a very poor idea of the state of knowledge of the arts in Eng- land, when I see that a fine Velazquez has been sold for less money than many miserable daubs in the same collection have fetched." But the reader will be desirous of knowing for what it really did sell. This Velazquez, in the year 1847, in the height of the season, at Christie's, with all the dealers of London in the room, fetched thirteen guineas ! I have since seen the picture close, and I have no doubt whatever of its genuineness. It is slightly painted, without glazing or much finish ; but it is brilliant in touch, and thoroughly charac- teristic of the master. * Cepero is now Dean of Seville, and the head of the Local Commis- sion for the Fine Arts. He lives in Murillo's house, and to him arc owing whatever exertions have been made to rescue from plunder and neglect the fine pictures of Seville. PRINCIPAL LITERARY MATERIALS FOR THE HISTORY OF THE SPANISH AND FRENCH SCHOOLS OF PAINTING. I. SPANISH SCHOOL. ANTONIO PALOMINO Y YELASCO : el Museo Pictorico y escala optica. 3 vols. in 2, fol. Madrid, 1795-6-7. A compendium of Palomino was printed in London in 1744, and there is sometimes bound tip with it an account of the cities, churches, and convents in Spain where pictures are to be found. (1746.) ANTONIO PONZ : Viage de Espanay Viage fuera deEspana. 18 vols. 12mo. Madrid, 1786-94. D. JUAN BUTRON: Discursos Apologeticos. Madrid, 1726. VINCENCIO CABDUCHO : Dialogos de la Pintura. Madrid, 1633. FKANCISCO PACHECO : el Arte de la Pintura su anti- quedad y grandezas. Sevilla, 1649. For the use of this book I have been indebted to Mr. Ford, in whose copy is the following note : " This book is so extremely rare in Spain, that Joaquin Cortes, the Director of the Academy at Seville, in a search of twenty years had never been able to meet with a perfect copy. Mr. Williams, of Seville, (the best judge of Spanish paintings in that country,) had never been able, even in a longer period, to see any copy except thfi mutilated one of Cortes. Xll LITERARY MATERIALS. " Mr. Heber's library did not, I believe, contain a perfect copy. Pacheco is supposed to have been the mouthpiece of the Jesuits, in his observations on the manner in which sacred subjects ought to be painted." Cean Bermudez (iv. 14) speaks of the book as very rare, and regrets that it has not been reprinted. Compare what is said at p. Ill of this Hand-book. D. FELIPE DE GUEVARA: Comentarios de la Pintura (published by Ponz). Madrid, 1788. CEAN BEBMUDEZ: Diccionario Historico de los mas ilustres profesores de las bellas artes en Espaiia. 6 vols. 12mo. Madrid, 1800. This is the best authority on Spanish art, and a most useful work in ever} 1 " respect. CEAX BEEMTJDEZ: Descripcion artistica de la Catedral de Sevilla. 12ino. Seville, 1804. I have referred in the Preface to the notices of the Aragoneso school \>y this writer contained in Minaiio. RICHARD CUMBERLAND : Anecdotes of Eminent Spanish Painters. 2 vols. 12nio. London, 1782. And Ca- talogue of the Pictures of the King of Spain. 1787. ANTONY RAPHAEL MENGS, first painter to his Catholic Majesty Charles III., his works, translated from the Italian, published by Chevalier Don Joseph Nicholas cTAzara, Spanish Minister at Rome. 2 vols. 8vo. London, 1796. M. O'NEILL: Dictionary of Spanish Painters. 2 vols. 8vo. London, (Simpkin and Marshall,) 1834. F. QUILLIET: Dictionnaire des Peintres Espagnols. Paris, 1816. SCHEPELER : Beitrage zu der Geschichte Spaniens ent- haltend Ideen und Notizen iiber Kiinste und Spa- nische Maler. 8vo. Aachen u. Leipzig, 1828. LITERARY MATERIALS. xiii Louis YIARDOT : Notices sur les principaux Peintres cle 1'Espagne. Ouvrage servant de texte aux gravures de la Galerie Aguado. By the same Author : Les Musees d'Espagne, d'Augle- terre, et d'ltalie. Catalogo de los Cuadros del Eeal Museo de Pintura y Escultura de S. M. Compiled by DON PEDRO DE MADRAZO. Madrid, 1843. 2nd edit. 1845. Besides this catalogue, there is the great lithographic work of the pictures in the Museum of Madrid. FORD: Hand-book of Spain. 2 vols. Murray. 1845. 2nd edit. 1 vol. 1847. Mr. Ford also wrote the article "Velazquez" in the Penny Cyclopaedia. The article on Spanish painters in the Foreign Quarterly Review, No. XXVI., May, 1834, was written by the author of this volume. II. FRENCH SCHOOL. FELIBIEN : Entretiens sur les vies et les ouvrages des plus excell ens Peintres. 4to. 2 vols. Paris, 1688. Republished, with the Lives of the Architects, at Amsterdam, in 1705 in 5 vols. 12mo, and at Tre- voux in 1712, in 6 vols. 12mo. DE PILES: Abrege de la vie des Peintres. 12mo. Paris, 1712. D'ARGENVILLE : Abrege de la vie des plus fameux Peintres. Paris, 1745. 3 vols. in 4to, and 4 vols. in 8vo. XIV LITERARY MATERIALS. GAULT DE ST. GERMAIN : Trois siecles de la Peinture Francaise. 8vo. Paris, 1808. A useful book, though sometimes inaccurate as to dates. It is now not common. GAULT DE ST. GERMAIN : Vie de Nicolas Poussin, con- sidere comnie chef de 1'ecole Francaise. Diclot. Paris, 8vo, 1806. QUATREMERE DE QuiNCY : Collection de Lettres de Nico- las Poussin. Paris, 8vo, 1824. I have used the Catalogue of the Louvre of 184.6, in which the numbers appear to be the same as they were when Waagen's third volume on .Paris was published. The title of this volume is as follows : " Kunstwerke und Klinstler in Paris, von Dr. Gr. F. Waagen. Berlin, 1839." It forms the third of the series in which the work on England makes the two first. The edition of Diderot referred to is that of his works, in 8vo, published in 1821. The remarks on the Salons and on Painting are contained in the 8th, 9th ; and 10th volumes. HAND-BOOK OF THE HISTORY OF PAINTING IN SPAIN. CHAPTER I. INFLUENCE OF RELIGION ON SPANISH PAINTING. BEFORE I enter on the history of Spanish painting, and enumerate the masters who make up the schools of Spain, it is essential to say something on the pecu- liarities of Spanish art as distinguished from that of the rest of Europe. It must be understood that in doing this we look to the time when the great masters of Spain had assumed an independent position, and had cast off the conventional and academic gloss of those who cultivated painting on the principles of the Italians. The character of the school is not complete until it had put forth its own genuine strength ; and that character is not marred or effaced by the occasional influence of foreign example. It is no doubt true that Vandyke, through Pedro de Moya, worked on Murillo : Velazquez studied in Italy ; but, with all this, the foundation of the VOL. in. ' B 2 INFLUENCE OF RELIGION [CH. I. power of Murillo and Velazquez is of native growth, and its main element is of a naturalist character. Spain, and Spain only, pervades their works : there are defects as well as beauties, indigenous in the soil in which the tree was planted, but its products are at least peculiar to the climate. They do not result from the accidental efforts of some one or two individuals, who studied the art or the scenery of other lands, and shed on their own country a glory essentially of foreign origin and foreign character. The contrast, in this respect, with the best painters of the French school is very strong. If we treat Nicholas Poussin and Claude and Gaspar as Frenchmen, and add to them Le Sueur and Philip de Champagne, we shall trace but little in their works which is really French, or which is common to them all*. The pic- tures of some of them have never been equalled in their respective departments, but taken together they have no national character. In the works of Mignard and Le Bran in the seventeenth, and in those of David and his scholars in the eighteenth century, the case is dif- ferent. In both the last sets of masters there is cer- tainly an element characteristic of their country ; whe- ther in either case it be one which is consistent with genuine excellence in art may be doubted. No one ever walked through a large collection of genuine Spanish pictures without feeling that a peculiar * Perhaps I have stated this too generally : the pedantic classicism of N. Poussin has certainly something peculiarly congenial with the French taste in other matters, and contains the germ of much that characterizes David and the later French school but I shall return to this subject hereafter. CH. I.] ON SPANISH PAINTING. 3 solemnity, and what may be called an ascetic spirit, per- vaded the works around him. The "Beggar Boys" of Murillo, rejoicing in water-melon and merry in the free- dom of their rags, may seem to convey a different im- pression, but they are themselves exceptions to the general rule ; such pictures are rarely or never met with in Spain, though the same element of street life is seen as an accessory in many of Murillo 's more serious works. It is probable too that a large number of those current under his name in foreign countries were exe- cuted by his followers Meneses, Tobar, or Villavicencio. Be this as it may, the prevailing tone of Spanish pictures is one of gloom and severity : you feel as Pa- checo says he did with regard to Campana's Descent from the Cross afraid to be alone with it in a gloomy chapel (" temiendo estar solo en una, capilla oscura"}*. Joined with all this there sometimes meets us an ex- pression of enthusiastic devotion, so that the whole result expresses the characteristic spirit of Spanish re- ligion, which united the gloom of St. Dominic with the mystical fervour of St. Ignatius or St. Teresa. The principal elements which composed the Spanish nation are such as rendered this combination of stern- ness and enthusiasm natural and easy. The haughty spirit of those Castilian nobles who formed the domi- nant type of the northern portions of the Spanish people, is seen clearly in their national ballads, and may be illustrated by the pretension of the grandees to wear their hats in the presence of their sovereign. With this was joined the enthusiastic temperament of * Pacheco, Arte defe Pintura, p. 57. B 2 4 INFLUENCE OF RELIGION [CH. I. southern Spain, whilst all tendency to open sensualism was, since the days of Ferdinand and Isabella, kept down by the constant pressure of the one Spanish institution the Inquisition. I say the one Spanish institution, because it was the single common bond and link which united into one monarchy all the scattered kingdoms and lordships making up what we call " Spain. " It was easily imposed : when men are fighting day by day with the enemies of their faith 011 their own soil, their religious feeling is kept from stagnating by the constant current of national hatred, which stirs it up and preserves its sincerity. Italy was half hea- then in spirit when the Spaniards were struggling in a crusade against the inveterate enemies of Christendom. The zeal therefore for purity of doctrine was maintained at such a pitch, that the royal authority found little dif- ficulty in carrying out at once its own interests and those of the church. An alliance was formed between these two elements of power. The Inquisition borrowed the kingly sword to put down heresy and misbelief, whilst it lent to the crown what was quite as valuable the sanction of religion to a royal tribunal paramount to all the constitutional powers of the various states composing the Spanish monarchy*. This institution, in its spiritual capacity, watched over * The action of the Inquisition on the constitutional liberties of Aragon, is shown in the case of Antonio Perez. Charles V. felt the value of this tribunal to himself when he negotiated with the Pope before the Edict of Worms ; his readiness to act against Luther was part of the price paid to the Pope for the control by the crown of the Inquisition in Spain. See Banke's History of the Reformation ; and compare his Fiirsten and Vb'lker, vol. i. s. 238, iii. 21, and more especially iii. s. 189. CH. I.] ON SPANISH PAINTING. 5 thought, and over all the means by which thought could be expressed to others : its control over the former was of course imperfect * ; its power over the latter was rigor- ously and successfully exercised. Speech, the press, and the pencil, were guarded^with severity and vigilance. Our business at present is with the manner in which it regu lated the exercise of the fine arts, and it is worth while to dwell for a short time on this portion of the subject, since it is in itself curious, and since it accounts in some degree for the peculiar impression created by the pic- tures of the Spanish school. A strong and enthusiastic feeling of a religious cha- racter has often inspired the fine arts : we owe to such sentiments the finest and purest productions of modern painting those which bear the impress of the * The joint operation of auricular confession and the Inquisition in depressing and keeping under the intellect and the spirit is well told by a sufferer in Doblado's letters. I have referred to the haughty tone assumed by the nobles in the older Spanish ballads as illus- trating the change effected by the Inquisition, let us compare the spirit implied in such words as those attributed to Bernardo del Car- pio, (Duran. iv. p. 155,) when he says, in the presence of Alphonso the Chaste, whom he had bearded on his throne " nadie se mueva Que soy Bernardo, y mi espada A ninguno se sujeta," with the condition of the Spanish grandees, in the time of Philip II or Philip III. The words of Tacitus were never more applicable than they are to this contrast " Dedimus profecto grande patientiae docu- mentum ; et sicut vetus setas vidit quid ultimum in libertate esset, ita nos quid in servitute, adempto per inquisitiones et loquendi audiendique commercio. Memoriam quoque ipsam cum voce perdidissemus, si tarn in nostra potestate esset oblivisci quap tacere." Agric. 2. 6 INFLUENCE OF KEL1GION [CH. T. Umbrian school still strong upon them, whilst they have mingled with the original type the truth to nature and the greater freedom of Raphael's middle time. Pro- gress in art, however, implies the study of nature ; the study of nature and the exhibition of its results have con- tinually shocked the rigid asceticism of a severe morality a morality which makes indecency depend on the simple fact of exposure, not on the feeling in which the work is conceived. Scrupulous persons often appear unconscious that in this, as in other things, it is easy to observe the letter and to violate the spirit. A picture or a statue may be perfectly decent, so far as regards drapery, and yet suggest thoughts and ideas far more objectionable than those resulting from the contempla- tion of figures wholly unclothed. Still it must be owned that such a jealousy of the arts might reasonably exist in Italy at the end of the 15th and the beginning of the 16th centuries, in the days of Alexander VI., Julius II., and Leo X. ; when all the abominations of heathenism prevailed at Rome in practice, and when Christianity can hardly be said to have existed in theory*. Art, however, although not the corrupter, was, like every- thing else, corrupted by the poison which tainted the mind of the Italians of that period ; we cannot, there- fore, wonder that Savonarola -j- and the "Piagnoni" at * See Ranke Papste, ii. s. 73 ; who quotes from Caracciolo's MS. life of Paul IV., " In quel tempo non pareva fosse galantuomo e buon Cortegiano colui che de' dogmi della chiesa non aveva qualche opinion erronea ed heretica." + Compare Rio 1'Art Chretienne, p. 327 and following pages. M. Angelo, however, was a reader of Savonarola as well as a corre- spondent of Aretin. See Bunsen's Rom. ii. Th. 2, s. 280 n. CH. I.] ON SPANISH PAINTING. 7 Florence, when they burnt the "accursed thing " (ana- thema) in the public market-place, should have included the profane and indecent productions of the pencil among the objects thus proscribed. It would have been strange if, amidst such universal depravity, art, inter- woven as it was with the feelings and the thoughts of the Italians of those days, had escaped unsullied by the general pollution. Still it was against the abuses and the excesses of art that these efforts were directed, and the re- action in the Catholic Church under Paul IV., whilst it gave a somewhat different character to the subjects and to their treatment in the later schools, cannot be said to have acted on the cultivation of either painting or sculpture with any repressive force. The feeling of the Puritans in this country was less important in itself, and is of little moment in the general history of art, though it tended to check its cultivation in England, and dis persed the collection of Charles I. But in Spain the case was wholly different. There it was no transient insurrection of a purer morality against the vicious extravagances of a particular period, but a constant and uniform pressure exerted without intermis- sion on all the means of developing and cultivating the human mind, or of imparting its sentiments to others. Pacheco repeats the well-known story relating to the figure of Minos in the Last Judgment of Michael Angelo *. Biagio da Cesena, master of the ceremonies to Paul III., * Arte de la Pintura, p. 229 ; for the story itself, see Bunsen's Rom. ii. Th. 1, s. 291, who says that he can find no authority for the story older than Richardson. Pacheco's repetition of it shows that it was widely spread and was current at a much earlier date. 8 INFLUENCE OF RELIGION [CH. I. remonstrated against the indecency of the fresco on the point of being finished ; the painter in revenge placed the dignitary in hell as Minos, with long ears and a tail. A complaint to the Pppe produced no other result than the answer that he was sorry for him, but could not help him out, since the Pope's power extended no further than purgatory. The contrast between Italian and Spanish Catholicism is well illustrated by such stories as this. What was done by the Inquisition was done in earnest. Painting and sculpture came in for their share of restriction, and the nature of the discipline to which they were subjected may be gathered from the work of Pacheco. Many of the express precepts given by him were the result of traditional types, and their observation was probably considered as not absolutely essential to enable a picture to pass the censure of the official inspector. An expression of opi- nion, however, from a person armed with this species of authority, must have been understood as a command ; and the principles of decorum recognized by the tribunal under which he acted, may be safely inferred from the rules which he lays down. The genius of the national school of Spain cannot be properly comprehended with- out some understanding of the tone of legendary feeling natural to its people, and sustained by the constant in- fluence of the clergy as well as by the institutions of the country. Pacheco thus describes his peculiar fitness for offering advice on the decorum necessaiy to be observed in sacred pictures. "My remarks will serve as salutary counsel, CH. I.] ON SPANISH PAINTING. 9 offered as they are at the age of seventy ; all that is best and most assured in them is principally owing to the sacred religion of the Company of Jesus, which has per fected them. I find myself at this moment rich in hints and observations, the result of the advice and approval of the wisest men since the year 1605. It will not, therefore, appear alien from my profession to point out to Christian painters the method which they ought to pursue, more especially since I find myself honoured with a particular commission from the Holy Tribunal of the Inquisition, to denounce the errors com- mitted in pictures of this class by the ignorance or the wickedness of artists. This commission was made out and sealed on the 7th of March, 1618 : a part of it runs as follows : 'In consideration of our regard for the per- son of Francisco Pacheco, inhabitant of this city, an excellent painter, and brother of Juan Perez Pacheco, Familiar of this Holy Office, and having regard to his wisdom and prudence We give him commission and charge him henceforward that he take particular care to inspect and visit the paintings of sacred subjects which may stand in shops or in public places.' It then goes .on to say, that if I find anything to object to in them, I am to take the pictures before My Lords, the Inquisitors, in order that they, having seen them, may take such order as may be fitting therein ; and it concludes with the words ' and for this end we give him a commission such as is of right required.' "* * Pacheco, Arte de la Pintura, p. 470 ; compare Ford, Hand- book, p. 115. * B 3 10 INFLUENCE OF RELIGION [CH. T. Having thus established Pacheco's undoubted right to be heard on this subject, I shall proceed to give the reader an idea of some of the advice which he thinks it necessary to offer to artists. Like Biagio da Cesena, he is of course grievously offended by the Last Judgment of Michael Angelo : not only the indecency of so many naked figures shocks him, but he severely censures other gross improprieties *. Thus he says : "As to placing the damned in the air, fighting as they are one -with another, and pulling against the devils, when it is matter of faith that they must want the free gifts of glory, and cannot, therefore, possess the requisite lightness or agility the impro- priety of this mode of exhibiting them is self-evident. With regard, again, to the angels without wings and the saints without clothes, although the former do not pos- sess the one and the latter will not have the other, yet since angels without wings are not known to us, and our eyes do not allow us to see the saints without clothes, as we shall hereafter, there can be no doubt that this again is improper." In another passage, he expressly states that the Angel in the Annunciation is not to be painted as if he were coming down, falling, or flying with his legs uncovered, as some represent him, but is to be- decently clothed, kneeling with both knees on the ground, with all respect and humility, before his Lady and Sovereign Queen -j~. It is moreover highly indecent and improper, having regard to their nature, to paint angels with beards J. * Pacheco, p. 225. f Ibid. p. 498. $ Ibid. p. 478. CH. I.] ON SPANISH PAINTING. 11 On the general question of how an artist is to acquire sufficient skill in the figure without exposing himself to risks which the Inspector of the Inquisition is bound to deprecate, Pacheco is a good deal embarrassed. " I seem," he says, " to hear some one asking me, ' Senor Painter, scrupulous as you are, whilst you place before us as examples the ancient artists who contemplated the figures of naked women in order to imitate them per- fectly, and whilst you charge us to paint well, what resource do you afford us ? ' I would answer * Senor Licentiate, this is what I would do ; I would paint the faces and hands from nature, with the requisite beauty and variety, after women of good character ; in which, in my opinion, there is no danger. With regard to the other parts, I would avail myself of good pictures, engravings, drawings, models, ancient and modern statues, and the excellent designs of Albert Durer ; so that I might choose what was most graceful and best composed without running into danger.'"* Pacheco, it is evident, did not consider the peril to which those were exposed who prepared the works of art of which the Catholic painter was to avail himself. So far as regards Albert Durer, indeed, and the ancients, they were probably, in his opinion, too far gone on other grounds to be much the worse for any little exposure to evil in drawing the naked figure ; but it must be con fessed it is a little hard on the masters who furnish these models for the painters of Spain, that they are to be thrust forward as a forlorn hope, whilst the others profit by their labours without incurring the same danger. * Pach*o, p. 272. XL 12 INFLUENCE OF RELIGION [OH. I. Risk, indeed, there may be, even in the pictures consulted by the devout artist ; witness the story which Pacheco tells of the bishop who had been in the Indies, and said he, would rather stand a hurricane in the Gulf of Ber- muda than perform mass again opposite to a certain picture of the Last Judgment in the Augustine convent at Seville, executed by Martin de Vos, in 1570*. Nor are awful examples wanting to warn the painter who may be inclined to transgress the strict limits of decorum; such as that which is given in the story quoted from Martin de Eoa, in his " Estado de las Animas en Purgatorial A painter, it seems, had in his youth, at the request of a gentleman, executed an improper picture. After the painter's death this picture was laid to his charge, and it was only through the intercession of those saints whom he had at various times painted, that he got off with severe torments in Purgatory. Whilst there, however, he contrived to ap- pear to his confessor, and prevailed on him to go to the gentleman for whom the picture was painted, and entreat him to burn it. The request was complied with, and the painter then got out of purgatory f. The Inquisition of * Facheco, p. 201 ; compare Ford's Hand-book, p. 116. This picture is now in the Museum at Seville ; the date of 1570 is upon it. Mr. Ford tells me (for I have no recollection of the picture myself, though I must have seen it), that the lady who frightened the bishop is very easily distinguished. + I have given this story from the two versions, one in Pacheco, p. 272; the other in Carducho, p. 121. The latter author enforces the same moral by other examples of a similar kind, and by the opinions of a number of learned authorities, p. 123; compare Ford, Hand-book, p. 116. CH. I.] ON SPANISH PAINTING. 13 course took care that the sanction necessary to enforce de- corum was not left entirely to Purgatory, but that errors of this kind were visited in this world also ; thus we find that a painter had a penance inflicted on him at Cordova for painting " Our Lady at the foot of the Cross with a verdugado" (that is, a hooped petticoat, close at the hips and gradually widening,) " with a jubon de puntas," (perhaps a pointed boddice,) " and with a saffron-coloured head-dress ; " St. John had " colzas atacadas" (panta- loons,) and a "jubon con agujetas," (doublet with points). This chastisement Pacheco considers as richly deserved*. A painter, who was otherwise extremely devout, erred greatly in like manner, in a picture in the Carthusian convent near Seville. This was Don Luis Pasqual, who in his Marriage of the Virgin, represented her, without any mantle, in a Venetian petticoat, fitting veiy close in, the waist, covered with knots of coloured ribbon, and with wide round sleeves, (" mangas grandes de rueda,") "a dress," our author adds, " in my opinion very unbe- coming the gravity and dignity of this our Sovereign Lady."f Certain it is that the old German painters must have changed their treatment of sacred subjects, or they would have led but a sorry life in Spain. It need scarcely be said, that the precepts as to the proper mode of painting the Virgin are innumerable. The greatest caution against any approach to nudity is * Pacheco, p. 456. f Ibid. p. 496 ; compare Cean Bermudez Diccion. ii. p. 178. 14 INFLUENCE OF RELIGION [CH. I. of course requisite*. Nay, Pacheco says " What can be more foreign from the respect which we owe to the purity of Our Lady the Virgin, than to paint her sitting down, with one of her knees placed over the other, and often with her sacred feet uncovered and naked ? (Let thanks be given to the Holy Inquisition, which com- mands that this liberty should be corrected)." We scarcely ever, therefore, in Spanish pictures see the feet of the Virgin. Carducho speaks more particu- larly on the impropriety of painting the Virgin unshod, since it is manifest that Our Lady was in the habit of wearing shoes, as is proved by "the much venerated relic of one of them from her divine feet in the Cathe- dral of Burgos." f It is not necessary to go through, in detail, the rules for representing properly the various events of the Vir- gin's life, beginning, of course, with that leading point of Spanish devotion the Immaculate Conception a sub- ject so often and so beautifully executed by Murillo. In painting this subject, the Virgin was to be from twelve to thirteen years of age, of surpassing beauty and clothed in blue and white : she is often placed in the crescent moon and tramples under her feet the dragon, as the woman in the Revelations J. * Pacheco, p. 486, p. 189 ; compare Hand-book, p. 212. I take the rule of not showing the Virgin's feet to apply to such subjects as those of the Conception and the pictures in which she appeared in full dignity. If the feet were never shown at all, one does not see how the fact of her wearing shoes or not was material. t Carducho, p. 117 ; compare Pacheco, p. 491. J See Kev. xii. 1 ; compare S u Bernard! opera (Antwerp, fol. dL I.] ON SPANISH PAINTING. 15 Pacheco * does not appear to approve of the common subject of St Anne teaching the Virgin to read ; a sub- ject painted by Roelas in the Merced Calzada at Seville. His reasons are curious : after admitting that the Virgin might have assumed the outward show of learning from her mother out of humility, on the same principle that Christ remained subject to his parents, he goes on to say " There can be no doubt that the glory and 1609) p. 262. Sermo de beata Maria : " Mulier araicta sole et luna sub pedibus ejus in capita ejus corona stellarum duodecim." St. Bernard, however, was an opponent of the doctrine of the Immaculate Conception; see his Letter to the Canons of Lyons (Ep. clxxiv.) p. 1539. He says, cogently enough, " Si igitur ante conceptum sui sanctificari minime potuit, quoniam non erat ; sed nee in ipso quidem conceptu propter peccatum quod inerat ; restat ut post conceptum in utero jam existens sanctificationem accepisse credatur : quae excluso peccato sanctam fecerit nativitatem non tamen et conceptum." The reader may refer to Pacheco, p. 482 ; Hand-book, p. 266 ; and to Doblado's Letters, p. 25 and note A, as well as to Zuiiiga, Anales de Sevilla, iv. 265, for the manner in \vhich the Papal Brief, recog- nizing their favourite mystery, was received by the inhabitants of Seville. With regard to the dragon, Pacheco says he avoided it if he could (p. 484). Kibadineira (Flos Sanctorum, p. 26) thus speaks of the Immaculate Conception : " Deus enim tanta illam suae gratise copia inundavit, quanta decuit earn, quae jam Dei filio mater erat destinata, quseque superbum Stygii draconis caput erat obtritura." That the Immaculate Conception still preserves its hold in some coun- tries, is shown by a pamphlet published at Liege in 1835, on the mi- racles wrought by a medal stamped with its emblems. The Corsicans, in the eighteenth century, after the refusal of the King of Spain to accept the sovereignty of the island, placed their state under the pro- tection of " the Immaculate Conception." Valery compares this to the Florentines choosing Christ as their Gronfaloniere ; but there is something far bolder in the idea of submitting to the abstraction of an event. See Valery, Voyage en Corse, i. p. 91. * Pacheco, p. 490. 16 INFLUENCE OF KELIGION [CH. I. perfection of the Virgin must have been too great for her to need the teaching of mere created beings ; for coming professedly to receive instruction from her mother goes to show some imperfection in her nature, and denotes ignorance of that which is taught. Now God accumulated in her all the privileges which he had diffused among all his creatures; from the first instant of her most pure conception she possessed per- fect use of reason, free will, and contemplation ; she saw the divine essence ; science, natural and supernatural, was poured into her, more abundantly than it was granted to Adam or to Solomon." Under these cir- cumstances it is clear that Pacheco is right as to the impropriety of representing the Virgin as learning to read of her mother. In like manner, Maria de Agreda maintained that if the Virgin did not talk from the time of her birth, it was not because she was unable, but be- cause she did not choose to do so *. Pacheco in his rules for the Annunciation mentions, of course, the lilies which are so constant an accessory in this scene. He says that the lily in the hand of the angel signifies the exaltation of the Virgin from the state of lowliness to the great and lofty dignity of Queen of Heaven f. If the reader will refer to the Quarterly * See Bayle, Diet. art. Agreda, note A. + Pacheco, p. 499 ; compare Qy. Rev. Ixii. p. 130 ; Ford's Hand- book, p. 267. The passage quoted from the old ballad of Tristan will explain what is meant : " Alii nace un arboledo Que azucena se llamaba Cualquier muger que la come Luego se siente prenada." Duran. iv. 22. CH. I.] ON SPANISH PAINTING. 17 Review, he will find an allusion of a more recondite character, and which is probably the right one. The attention bestowed by artists on the pictures of the Virgin was, as might be expected, repaid by an occa- sional miracle, of which the following may serve as a specimen : A painter was engaged in a chapel of a church in finishing a picture of the Virgin, of whom he had already completed the face, half the body, and one arm. Whilst he was proceeding with the hand holding the child, the planks of the scaffolding, on which he stood at a great height from the ground, suddenly gave way : the artist, with perfect faith, exclaimed to the image, " Holy Virgin, hold me up ! " No sooner had he uttered the words than the figure stretched out from the wall the arm which was already painted, and held the painter fast. The scaffold, with all the apparatus, fell to the ground with such a crash that the persons in the church rushed in, thinking that the roof had fallen : to their astonishment they saw the Virgin, whose figure was not yet entirely painted, with her arm coming out from the wall and holding up the artist. Amid exclam- ations of devotion and surprise they fetched a ladder and took the painter down, when the Virgin quietly drew her arm back again into the picture *. Lope de Vega, in his Hymn to the Virgin, in the Peregrine en su Patria, p. 21, addresses her as "Palma de Nazareth, limpia azu- cena." * Pacheco, p. 119. The reader will be reminded of the celebrated miracle of St. Vincent Ferrer, who seeing a mason fall from the top of a house, though he wished to save him, did not venture to do so without the permission of his superior. The man was suspended in mid-air ; St. Vincent went back to his convent, obtained leave to per- 18 INFLUENCE OF RELIGION [CH. I. In discussing the proper manner of painting the na- tivity of Christ, Pacheco says that he is always much affected (" causa me gran compassion ") at seeing the infant Jesus represented naked in the arms of his mo- ther. The impropriety of this, he urges, is shown hy the consideration that St. Joseph had an office, and it is not possible that poverty should have obliged him to forego those comforts for his child, which scarcely the meanest beggars are without *. One fertile subject of dispute among the artists and theologians of Pacheco 's day, appears to have been the proper method of representing the nails by which Christ was affixed to the cross. I should scarcely think it de- sirable to dwell on this point if it were not for the very characteristic arguments with which the opinions on either side are supported. Doubtful points of sacred history, not recorded expressly in. Scripture, are held by the Spanish writers to be best settled by au- thentic visions: for instance, the dress of the Vir- gin, in representing the Immaculate Conception, is to be blue and white, for in this dress she appeared to Dona Beatriz de Silva, a Portuguese nun, who founded the order of the Immaculate Conception -f-. Thus, too, the nature of our Lord's sufferings, when crowned with thorns, is established by a special revela- form the miracle, came back again and let the mason down. See Ford's Hand-book, p. 448. I am afraid the miracle of the image, in the text, does not rest on any great authority. Pacheco cites Lope de Vega, and it will be found accordingly in his " Peregrine en u Patria," p. 96. * See Pacheco, p. 484 ; compare 505, 506. t Ibid. p. 482. CH. I.] ON SPANISH PAlNHNGk 19 tion to St. Bridget*. In the case of the number of nails used in attaching Christ to the cross, Pacheco argues strongly for four, and supports his own views by appending an essay written by Don Francisco de Eioja, who appeals to the visions of St. Bridget in this matter also f. He attributes the heresy of three nails to the Albigenses, and cites Bellarmine in favour of the four; but the strongest argument in this case too is taken to be the fact that the stigmata of St. Francis ; which were not mere wounds, but actual protuberances representing the nails, were four in number J : had these marks been wounds only, they would clearly have proved nothing. Ribadineira expressly says, " Relicta quoque fuerunt in ejus manibus pedibusque clavorum capita rotunda et nigra ; ipsa vero acumina oblonga, retorta et quasi repercussa, quse de ipsa carne surgentia carnem * Pacheco, p. 536. t Ibid. p. 596. J Ibid. p. 601. My object is not to enter into these points themselves, but simply to illustrate the spirit which pervaded the Spanish school of painting. It may be observed, however, that as a matter of antiquity and tradition Pacheco is probably right. Accord- ing to M. Didron, (Manuel d'Iconographie Chretienne, p. 196, note,) the placing the feet one over the other, and fastening them with one nail, was not introduced till the 12th or 13th century. So far as the Roman custom goes, it appears from the passage in the Mostellaria of Plautus that each limb was fastened separately : " Ego dabo ei talentum, primus qui in crucem excucurrerit ; Sed ea lege ut offigantur bis pedes, bis brachia." II. i. 12. It must be added, however, that Lipsius (de Cruce, cap. ix.) puts a different interpretation on these lines. Gregory Nazianzen, who lived in the 4th century, calls the cross %vXov r^'itrnXov and the legend of the Invention of the Cross, as given by Lord Lindsay in his Sketches of Christian Art, implies three nails, sec. 1, p. Ixxiii. 20 INFLUENCE OF EELIGION [CH. I. reliquam excedebant." * Carducho does not appear to think the question material f, but Palomino is decidedly in favour of the three instead of four nails J. He, too, feels the necessity of supporting his views by the precise tes- timony of some recent saint, but he cites one of more than doubtful authority Maria de Agreda; indeed, he quotes her with a reservation that he only assents to what she says in so far as that assent is warranted by the state of her cause (at Rome), by the decrees of the church, and of Pope Urban VIII. I shall have o'ccasion to speak hereafter of the effect of the principles of the Spanish school, as they are mani- fested in the works of individual artists. We are told that Luis de Vargas was a model of Christian piety. He confessed and communicated constantly ; showed the * Ribadineira, Flos Sanctorum, Cologne, 1630, fol. p. 488, in vita Sti. Francisci. Octob. 4. j* Carducho, p. 114. J Palomino, ii. p. 226. I have already referred to some of the views of Maria de Agreda respecting the Virgin. As Bayle says, the only wonder is that the Sorbonne confined itself to saying that her proposition was false, rash, and contrary to the doctrine of the gospel, when she taught that God gave the Virgin all he could, and that he could give her all his own attributes except the essence of the Godhead. The condemnation of Maria de Agreda's life of the Virgin was not carried in the Sorbonne without the greatest opposition and tumult. The book was also cen- sured at Home, notwithstanding all the efforts of the Spanish am- bassador. The Spanish feeling, with reference to the Virgin, and more particularly to the doctrine of her Immaculate Conception, went too far for the rest of Catholic Europe : it was impossible for the Pope and the French Church to sanction at once the absurdities that Spain was quite ready to adopt. See Bayle, Diet. art. Agreda, ; Biographic Univ. ; and Southey's Tale of- Paraguay, note to Canto iv. st. 17. CH. I.] ON SPANISH PAINTING. 21 greatest humility, and at his death all sorts of hair-shirts and disciplines were found, which bore testimony to the rigid devotion of his life. Juanes again prepared him- self for painting by confession and communion *. The Carthusians of Zurbaran and the Jesuits of Roelas give us the very essence of those orders. There is often, too, as Frederick Schlegel has remarked, a visible endeavour on the part of the Spanish painters to make the state of inspired ecstasy a subject of art. They strive, he adds, to express the sentimental, but it is tinged with melan- choly; their sorrow is of a great and severe charac- ter f. A great deal more might be written on the mythologi- cal views which form the groundwork of Spanish pic- tures but I have probably said enough to give the reader some idea of the feeling with which such works of the Spanish school as bear a distinct national cha- racter are, for the most part, imbued. I do not now speak of the pictures of Velazquez : his nationality was based on other elements, which must be considered spe- cially when he is treated of. * Pacheco, p. 118. This is according to the course recommended by Archbishop Arundel " Whan that an ymage maker shall kerve, caste in moulde, or peynte ony images, he shall go to a prieste and shryve him as clene as if he sholde than dye, and take penaunce, and make some certeyn vow of fastyng, or of praiynge, or of pilgrimage- doinge, praiyng the prieste specially to praye for hym, that he may have grace to make a faire and devoute ymage." Trial and Examin- ation of Master William Thorpe, Prieste, for Heresye, before Thomas Arundel, Archbishop of Canterbury, 8 Hen. IV., A.D. 1407. HowelTa State Trials, i. p. 196 ; from Fox's Arts and Monuments. t Fr. v. Schlegel, Ansichten und Ideen von der Christlichen Kunst, Wien, 1823, B. vi. s. 82, 84. 22 EABLY SPANISH MASTERS. [CH. II. CHAPTER II. EAELY SPANISH MASTERS. THE conviction that no art worth notice existed before the end of the 15th and the beginning of the 16th cen- turies, has probably deprived us of information with re- ference to the early history of painting in Spain, which might have been accessible to Palomino and; even to Cean Bermudez. As it is, our materials for any such account are as scanty as possible.; Pablo de Cespedes*, in his essay addressed to Pedo, of Valencia, in 1604, says, "In the parish church of? St. Peter, in our city of Cordova, on the right-hand wall; there are many paintings of those times," (that is, before the invasion of the Maho- metans,) " which escaped the barbarous fury of the Moors when they held that place, though they have not escaped the ravages of time and the neglect of those entrusted with the care of the church. The consequence is that they are scarcely intelligible from the injury which they have received, and the dust which has accumulated upon them. This sort of painting, rude and savage as it is, appears to have been the ashes whence was destined to spring that fairest Phoanix of modern art, which has since burst forth in such splendour and richness." The names of three illuminators of manuscripts of the 10th century, Vigila t Sarracino, and Garcia, are given by Cean Bermudez ; and Pedro of Pampeluna, in the 13th century, transcribed the Bible of Alonzo the * The fragments of Cespedes are printed at the end of the 5th vo- lume of Cean Bermudez's Dictionary. See p. 295. CH. II.] EAELY SPANISH MASTEES. 23 Wise, preserved in the library of the cathedral of Se- ville. It is likely that much additional light may yet be thrown on the early history of Spanish art, by a care- ful search in the libraries still existing in that unhappy country. Schepeler * is probably right when he says that any investigation into the history of art in Spain previous to the year 1500 ought to distinguish between the two great branches of the monarchy ; that is to say, between Castile, with its Gothic aristocracy and its western chi- valry, and Aragon, involved in all the commerce of the Mediterranean, and from time to time connected with the Levant and the Byzantine empire. The truth is, however, that the whole subject is wrapped in obscurity ; nor can we wonder that it is so ; it is not very long since the industry of the Germans called in the aid of original documents to correct or confirm the gossip of Vasari with reference to early Italian art; and the German schools of the 14th and 15th centuries have only re- cently become the subject of sound critical investiga- tion. Until lately the differences between the schools of Cologne and those of Westphalia, or Nuremberg, were matters completely unknown. In Spain we have no such groundwork as Vasari to work upon ; we have had no Boisseree collection ; we have not had access either to the monuments of art or the records which relate to them ; nor is there the same national interest acting on men capable of performing the task, as has stimulated the Germans in unravelling the pedigree of their own native schools. * Beitrage zu der Gteschichte Spaniens, p. 94. 24 EAKLY SPANISH MASTERS. [CH. II. Singularly enough we have traces of a very early Spanish painter in England. The name of Petrus de Hispania first occurs in the accounts of works at West- minster in the 37th year of Henry III. (1253) *. Mr. Gage Rokewode tells us, that when the great hall was re- paired " in 1255 he was ordered to repair the painting in the king's oratoiy near his bed. In 1257 the king ordered his treasurer and chamberlain to pay to Master Peter de Hispania, whom he had retained in his service to make pictures when required, sixpence for his wages daily so long as he was employed in the king's service ; and also to pay to the same Peter ten pounds for his expenses, in going with his clerk of Toulouse, to parts beyond the seas and in returning ; and for two shields which he had made for the king's use and brought to him at Chester. These shields were probably enamelled, and we suspect that Peter de Hispania excelled in the art of decora- tion."! In Spain we find that, in the years 1291 and 1292, Rodrigo Esteban was painter to King Sancho IV. ; in a MS. in the Royal Library there is recorded a payment to a master of this name. What the work was to which the payment related, or what other works he executed, is entirely unknown. Between Pvodrigo Esteban and the year 1500, Cean Bermudez records the names of 25 painters, of whom the earliest was a Catalonian, Juan * This is the year before the marriage of Prince Edward with Eleanor of Castile, which took place in the chapel of " Las Huel- gas," in October, 1254. See Dunham's Hist, of Spain, ii. p. 184 ; Ford's Hand-book, p. 903. t Account of the Painted Chamber, fol. London, 1842, p. 26. CH. II. 1 STARNINA AND DELLO. 25 Cesilles. A retablo of his, in the church of Reuss, was executed in 1382 and removed in 1557. Two others of this number were Gerardo Stamina and Dello; both Florentines, and both mentioned by Vasari *. Stamina was born in 1 354 ; he was a pupil of Antonio Veneziano, and was easily prevailed on to leave his native city, where he had got into a quarrel. Vasari tells us that he worked much for the king in Spain, and returned thence not only rich and in great esteem, but having profited much in his manners and disposition from his residence in that country. His words are, " Dove imparo a essere gentile a cortese poscia che egli in quelle parti divenne in guisa contrario a quella sua prima na- tura, che ritornando a Fiorenza, infiniti di quelli, che innanzi la sua partita a morte 1'odiavano, con grandis- sima amorevolezza nel suo ritorno lo ricevettero e poi sempre sommamente I'amarono si fattamente er' egli fattosi gentile e cortese." Vasari is not consistent with himself as to the date of Stamina's death, which he alleges to have taken place at the age of 49. One of his pupils was Masolino da Panicale. Dello was not only a painter, but a sculptor also, and the terra-cotta of the Coronation of the Virgin over the door of the Hospital of St. Maria Nuova at Florence is by him. The subjects painted by Dello were, according to Vasari, mostly small, and his drawing was not good. He received, however, high honour in Spain, was knighted by Juan II., and returned rich to Florence ; but unfortunately foreign travel does not seem to have done as much for his popularity or courtesy as it * Vasari, i. p. 197, 8. VOL. III. C 26 PAINTINGS IN THE ALHAMBEA. [CH. II. effected for those qualities in Stamina. The reader will see in the note a veiy curious and characteristic story- told by Vasari of the circumstance which was one of the main reasons inducing the painter to return to Spain : there he spent the remainder of his life #, and is supposed to have died about 1421, at the same age as Stamina. Here, then, in the fourteenth and early in the fifteenth centuries were two points of contact between the art of Florence and that of Spain ; it is probable there were many more such of which we know nothing. No works of either master are known to exist in Spain. I ought next to notice the very curious ceiling of the Sala del Tribunal, in the Alhambra at Granada. Better engravings of these paintings than we formerly possessed will now be found in Mr. Owen Jones's work on the Al- hambra f. Plates 46, 47, and 48, give the general subject ; pi. 50 represents a tracing from a single head of the original size. Mr. Jones observes that veiy little reliance can be placed on the strict observance of the precepts of the Koran respecting art by the Granadan Moors ; the sarcophagus at the foot of the Torre de la Vela, in the Alhambra, is one proof of their disregard of such prohibitions. In fact there was an evident dispo- * Vasari, i. p. 222. Dices! che tornando Dello a casa a cavallo con le bandiere vestito di broccato ed onorato dalla Signoria, fu pro- verbiato nel passare per Vacchereccia dove allora erano molte botteghe d'orefici, da certi domestic! amici che in gioventu 1'avevano conosciuto, o per ischerno o per piacevolezza che lo facessero, e che egli rivolto dove aveva udito la voce, fece con ambe le man! le fiche, e senza dire alcuna cosa passo via : sicche quasi nessuno se n'accorse se non se quegli stessi che 1'avevano uccellato. f Folio. London, 1842. CH, II.] PAINTINGS IN THE ALHAUBfiA. 27 sition on the part of the Moors to adopt some of the ha- bits and luxuries of western chivalry, and the coat of arms of " El Rey Chico" the bend gules with the name of Alia on it, so common throughout the Alhambra is a good example of this sort of fusion which will occur to every one. We know, too, that the prohibition of the Koran did not prevent the employment by the Grand Signor of Gentile Bellini. Mr. Jones tells us, " The ornaments moreover which are introduced into these paintings are strictly of a Moorish character, as may be seen in detail in plate 49 : another strong presumption in favour of their being the work of the Moors, exists in the construction of the domes ; the plaster ornaments round the curve and in the spandrils are original Moorish work, which the Spaniards in their restorations of the palace never at- tempted to imitate." " The subject of this painting (that on the ceiling of the Hall of Justice) is considered by the Spaniards to represent a tribunal, whence they have called this hall ' Sala del Tribunal.' From the different colours of the beards and dresses of the figures, they would appear to represent the heads of the tribes of Granada. These paintings are of bright colours, but in flat tints, and were first drawn in outline in a brown colour. They are painted on skins of animals sewn together, nailed to the wooden dome ; a fine coat of gypsum forming the surface to receive the painting. The ornaments on the gold ground are in relief." There appears no Gothic character in the subject re- presented in plate 46, but there is something much more 28 PAINTINGS IN THE ALHAMBRA. [CH. IT. like the spirit of northern chivalry in the painting of the left-hand alcove given in plate 47. The subject of this ceiling is a lion and a bear hunt, undertaken partly by Moors and partly by Christians. One Chris- tian knight is presenting a dead bear to his lady. Mr. Jones says, " Notwithstanding the want of perspective and knowledge of drawing, there is much spirit in the details, and the female figures especially are most grace- ful." Of the right-hand alcove he adds, " It is difficult to convert the several subjects of which this painting is composed into one probable story : the chief group, that of a Moor killing a Christian, may be taken as a strong presumption of the paintings being the work of a Mo- hammedan artist, as it appears unlikely that it would have been so represented by a Spaniard after the con- quest of Granada." It scarcely seems to follow, however, that they were not the work of a Christian artist; perhaps, as Mr. Ford con- jectures, they were painted by some renegade, before the conquest. The evidence is strong that they were executed whilst the Alhambra was the palace of the Moorish kings *. The details of the dress and arms of the Spaniards and Moors are exceedingly curious. The Christian knights ride with the lance in rest protruding through the usual notch in the shield over the right breast; the Moors use their javelins over-handed : the Christians wear ro welled spurs ; the Moors have the end of the stirrup formed into a spur, and ride with short stirrups t. The * Compare Ford's Hand-book, p. 379 ; Argote, paseos por Gra- nada, ii. p. 164. f This Moorish seat with short stirrups is, I imagine, what is CH. IT.] MAESTEO KOGEL. 29 swords of the Moors are not scimitars, but long, straight, and broad in the blade. If we return to the chronological list of Cean Bermudez, we find among the painters of the fifteenth century, at the court of Juan II. of Castile, a Fleming, Maestro Rogel, who is supposed to be the same person as the celebrated scholar of Van Eyck, Roger of Bruges *. He meant in the Spanish ballads by the phrase " Caballero a la gineta," as opposed to the seat of the heavy-armed knights, in which the pur- chase was obtained by straightening the leg in the stirrup, with the high croupe to the saddle behind, and the body leaning forward with the lance in rest. Thus in the ballad of the Moor who was pursued by the Cid from Valencia (Duran. ii. p. 139), the costume of the former is thus described : " Helo, Helo, por do viene El moro por la calzada Caballero d la gineta Encima una yegua baya, Borceguies maroquies Y espuela de oro calzada Una adarga ante los pechos Y en su mano una azagaya." In Lord Berners' " Froissart," Henry of Trastamara, when reckon- ing his forces before the battle of Najera, is made to say, " I have thre thousande larded horses, the whiche shall be two wynges to our batayle ; and I have also seven thousande genetours," (cap. ccxxxvi.). In another ballad the Moor Arbolan is called " El mas gallardo ginete Que jamas tuvo Granada Diestro en una y otra silla." That is to say a good horseman, either in the Moorish fashion or in the seat of a knight, as occasion might require (Duran. i. p. 44). With regard to the swords, see Ford's Hand-book, p. 853. * Rathgeber, Annalen der Niederlandischen Malerei, s. 13, 43 ; Waagen, Deutschland, ii. 309. It is now discovered that Roger of Bruges and Roger Van der Weyde were one and the same person. See Eastlake, Materials for History of Oil Painting, p. 217. 30 MAESTKO BOGEL. [CTI. 13. executed an oratory or portable altar-piece which Juan. II. gave to the Carthusian convent of Miraflores near Burgos. This altar-piece, I lament to say, after having been in England, has, like many other works, passed from us, and is now never to be recovered. Waagen, in his 'England,' speaks of it as the travelling altar of Charles V., which was bought (?) from the cathedral of JSurgos by a French general, the Vicomte d'Armagnac, and was offered for sale in London, in 1835, by a French painter, Berthon, for the price of 3000. It was then held to be the work of Memmeling, but a comparison of Waagen's description with that given in Cean Bermudez leaves very little doubt of its identity with the oratory of Maestro Rogel from Miraflores. It now belongs to the King of Holland *. The subjects of the three pic- tures are, the Virgin under a Gothic canopy with the new-born child, the dead Christ in the lap of his mother with Joseph of Arirnathea and St. John, and the appa- rition of Christ to the Virgin after his resurrection. In the extract from the archives of Miraflores they are called " Nativitatem Jesu Christi, descensionem ipsius de cruce, quae alias quinta angustia nuncupatur, et appa- ritionem ejusdem ad matrem post resurrectionem." It is a singular fact that the great master, John Van * See Waagen, Deutschland, ii. s. 309 ; Kugler's Hand-book, Ger- man and Flemish Schools, p. 81 ; also Passavant in the Kunstblatt for 1843, No. 59 ; and Niewenhuy's Catalogue Raisonne of the pictures of the King of Holland, Brussels, 1843. Compare Cean Bennudez, iv. 234 ; Waagen's England, ii. 234. I do not understand why Waagen continues to call it the travelling altar of Charles Y. : it may no doubt have served as such, but it was executed for a much earlier prince, as I have stated in the text : with reference to Bliraflores, see Ford's Hand-book, p. 903. J V* CH. II.] VAN EYCK. MAESTBO JOEGE INGLES. 31 Eyck himself, was once in the Peninsula. When Philip the Good of Burgundy sent an embassy to solicit the hand of Isabella, daughter of John I. of Portugal, John Van Eyck, who was v-alet-de-chambre to the Duke, ac- companied the ambassadors and painted the portrait of the princess *. This embassy set sail in December, 1428, and did not leave Portugal on its return until October of the following year. Another foreign master who painted in the reign of Juan II. , or immediately afterwards, would appear to have been an Englishman ; at least he is called Maestro Jorge Ingles. The great Marquis of Santillana, Don Inigo Lopez de Mendoza, directed in 1455 that this painter should execute the retdblo in the church of the hospital of Buitrago. This retablo, or a portion of it at any rate, containing the portrait of the marquis him- self and of his wife, was in existence in the time of Ponz ; and I infer, from what is said in Cean Bermudez's article on the painter, that the portrait of the marquis was engraved by the order of the Duke del Infantado, patron of the establishment for which the work was exe- cuted. What has become of the retablo I know not ; it is described as having great merit of its own, and it would have been doubly interesting on account of its preserving the likeness of so celebrated a person as the Marquis of Santillana. The masters of Seville in the fifteenth century whose * See Bathgeber, Annalen, p. -36, and Kaczynski, Les Arts en Por- tugal, pp. 195, 196, where abundant testimony to this fact will be found. Rathgeber says the embassy with the princess left Portugal on the 8th of October, 1429, and arrived on the coast of Flanders on Christmas Day. '& s 32 EARLY MASTERS OF SEVILLE. [CH. II. names are known to us are, Juan Sanchez de Castro, Pedro Sanchez, Juan Nunez, and Gonzalo Diaz. The first of these painted, in 1454, a retdblo which formerly stood in the chapel of St. Joseph in the ca- thedral of Seville, but which appears to have been taken away in Ceaii Bermudez 's time. His fresco in St. Julian, in the same city, executed in 1484, has been repainted ; but Mr. Ford tells us that there is in the same church a Holy Family by him *. He was alive as late as 1516. From the archives of the cathedral of Seville it is ascertained that Pedro Sanchez worked there in the year 1462. Juan Nunez was a pupil of J. Sanchez de Castro : one of his pictures was taken out of a chapel in the cathedral two or three years before Ceari Bermudez wrote. Another picture of the Virgin holding the dead body of Christ is described by the same author as very good, and is still to be seen in the " Cuarto de los Subsidies" attached to the cathedral t. A small retablo by Gonzalo Diaz of the year 1499 had been so retouched, that Cean Bermudez speaks of it as ruined J. If we turn to Castile we find Garcia del Barco of Avila and Juan Rodriguez of Bejar, employed in 1476 by the Duke of Alba to execute " Obra Morisca," as it is termed in the contract, in his palace of Barco di Avila, The expression " Obra Morisca" probably meant something in the nature of the patterns, which, in the Alhambra and the Alcazar of Seville, are * Ford's Hand-book, p. 269. t Ibid. p. 250. I Description Artistica de la Catedral de Sevilla, p. 67. CH. II.] EAELY MASTERS AT TOLEDO. 33 formed in stucco; mingled perhaps with other orna- ments which would bring it nearer to the character of Italian Arabesque. It is at Toledo, however, that the most numerous traces of artists of the fifteenth and of the beginning of the sixteenth centuries are to be found. We learn from Mr. Ford's Hand-book that the Archbishop Tenorio caused the cloisters, which he founded in 1389 on the site of the Jews' market, " to be painted in fresco in the style of Giotto, with subjects which are described by Ortiz, who particularly specifies groups of heretics burning. These extraordinary and almost unique speci mens of art in the fourteenth century, were all effaced in 1775 by the barbarian chapter, who employed the feeble Bayeu and Maella to cover the spaces with their com- monplace academical inanities, whose raw modern tones rnar the sober Gothic of all around." * In 1418 Juan Alfon painted certain retablos in the same cathedral. Juan de Borgona f , Pedro Berruguete, and Antonio del Eincon, were three more of the many masters who con- tributed to decorate this wonderful structure. Juan de Borgona executed the Conquest of Oran in the Muzarabic chapel, as well as the paintings in the Sola capitular del invierno the winter chapter-house. The resemblance be- * Ford's Hand-book, p. 848. + It may be doubted whether Juan de Borgofia's name alone is sufficient to mark him as a foreigner. There was a sculptor and ar- chitect who was sometimes called Felipe de Borgofta, and sometimes Felipe de Vigarny, and who is said to have been born at Burgos. He, too, worked at Toledo at the very beginning of the fifteenth century, and had a brother, Gregorio, who was also a sculptor. The inscription,, however, in the Cathedral of Toledo gave his name as Philippus Burgundio. Compare Cean Bermudez, Diccion. v. p. 228 231 ; Widdrington's Spain in 1843, i. p. 10. C 3 34 JUAN DE BOEGONA. PEREZ DE VILLOLDO. [CH. II. tween these last and the school of Peragino is, as Mr. Ford remarks, exceedingly striking : they are sometimes erroneously attributed to Berruguete. I can hardly un- derstand, however, how the same man who executed these works in 1511, could paint the Conquest of Oran in 1514; since the inferiority of the latter is to me very strongly marked. It is possible that the unusual nature of the composition and of the subject may account for the difference in some degree. With Juan de Borgona is associated, in the records of the cathedral, the name of Alvar Perez de Villoldo, respecting whom, however, nothing more seems to be known. He is too late to be the same person as the Portuguese painter, Alvaro di Piero, named by Vasari in his life of Taddeo Bartoli *. The existence of Pedro Berruguete as a painter was for a long time doubted, but appears to be incontestably established, both by the archives of the cathedral of Toledo and by the will of Lazaro Diaz, his grandson, quoted by Cean Bermudez. Pedro was the father of Alonso Berruguete, whom I shall hereafter have occasion to mention. Antonio del Eincon was a native of Guadalaxara, and * See Vasari, p. 204 ; compare Baczynski, Les Arts en Portugal, p. 197, 274. Vasari says " Alvaro di Piero di Portogallo che in Volterra fece piu tavole, ed in St. Antonio di Pisa n'e uno, ed in altri luoghi altre che per non esser di molta eccellenza non occorre- fame altra memoria." The editors of the recent edition of Vasari (Florence, 1832 1838) say, that no other author speaks of this artist. I presume he is the master after whom Ruscheweyh en- graved an exquisite little plate of the Annunciation in 1822, but I know not where the original of this plate is to be found. On it the painter's name is given as " Alvarez Petri,' with the date of 1422. GH. II.] ANTONIO AND FERNANDO DEL RINCON. 35 was bom about 1446 ; he painted with Berruguete in the sacristy of the cathedral of Toledo, but his great work was the altar-piece of the village of Robledo de Chavela, a few miles to the west of the Escurial. This was still in its place, I believe, in 1833 ; whether it be there now is more uncertain *. A Virgin and Child, attributed to A. del Rincon, is in the Spanish Museum of the Louvre. He also painted the portraits of Ferdinand and Isabella, " the Catholic kings," and that of Antonio de Nebrija, which were formerly in the church of St. Juan de los Reyes, at Toledo ; copies of the two first of these pic- tures appear to be in the Madrid Gallery (Nos. 1646, 1647) ; and there are two more, either copies or duplicates, which bear the name of Rincon, in the Capilla de la Antigua, at Granada. The light is bad, and the pictures are injured, but they have some of the richness and transparency of the Venetian school f . Fernando del Rincon was the pupil of his father Antonio. I do not know that any picture of his can be referred to as now in existence, but he worked with Juan de Borgona and others. at the great retablo of the cathe- dral of Toledo. His name appears also in the archives of Alcala de Henares, as employed in executing some gilding and decoration there {. It must be borne in * See Ford's Hand-book, p. 801 ; For. Qy. Rev. xxvi. 242. Mr. Ford, in his second edition (p. 459), says they have disappeared. f I have heard a suspicion expressed, that some mistake exists as to the portraits supposed to have been in the church of St. Juan at Toledo, and a conjecture that they had been confounded with the portraits at Granada. See Ford's Hand-book, second edition, p. 155. J See Ford's Hand-book, p. 843 ; Cean Bermudez, ir. 199. 36 COMONTES FLORES JUAN FLAMENCO. [CH. II. mind that work of this description was often performed by the very first Spanish masters, who did not disdain to pick out and finish in colour or gilding the wooden statues, or the shrines in winch the statues stood -'. The brothers Antonio and Inigo de Comontes were also scholars of Antonio del Rincon. The latter painted, in 1495, the History of Pilate on the wall at the side of one of the doors of the cathedral of Toledo, and in 1529 he executed another work in one of the porches. I believe that no portion of these pictures remains. Inigo de Comontes had a son, Francisco de Comontes, who held the office of painter to the Chapter of Toledo from 1547 to 1565, when he died. Frutos Flores was employed at Toledo on the same retablo as Fernando del Rincon. The name of Flores is Flemish, and we have, as might be expected at this time, other masters besides him and Juan de Borgona, who appear, from their names, to have come from the north of Europe. Juan Flamenco, Juan de Fldndes, and Francisco de Amberes are three such. Juan Flamenco has by some been supposed to be one and the same person with Hans Memmeling, or Hemling : but in the volume of Kugler which contains the history of the Flemish schools I have stated reasons for not acqui- escing in this viewf; there is at any rate no evi- dence to support it. The great works of Juan Flamenco * Thus Pacheco (p. 589) boasts of the excellence of his painting of the head and hands of the St. Ignatius sculptured by M outaiies for the Jesuits of Seville ; compare p. 406. f Hand-book of German and Flemish Schools, p. 92. CH. II.] FERNANDO GALLEGOS. 37 were the two altar-pieces in the Carthusian convent at Miraflores, executed between 1496 and 1499. Juan de Flandes executed, in the year 1509, the retablo mayor of the cathedral of Valencia ; it contained eleven sub- jects, and he was to receive for it 500 ducats of gold. Francisco de Amberes was a sculptor or carver as well as a painter, and he worked with Juan de Borgona in the Muzarabic chapel *. The Spanish master whose works are generally spoken of as most closely resembling those of the early German school was Fernando Gallegos. He was bom at Salamanca in the latter half of the fifteenth century, and died there, at an advanced age, in 1550. His pic- tures are said to have been confounded with those of Albert Diirer, but considerable allowance must often be made in admitting these assertions of resemblance between the works of artists of different countries. I have never seen anything by Gallegos. Count Rac- zynski conjectures that certain pictures in the Academy at Lisbon may be by him f . Cean Bermudez mentions the altar-piece in the chapel of St. Clement in the cathedral of Salamanca as an authentic work of his, and * Captain Widdrington speaks of certain old and curious paintings in the cloisters of the cathedral of Leon. He says, " the style resembles the early Florentines, between Giotto and Masaccio, and is really good work." They are, however, much injured. Spain and the Spaniards in 1843, ii. p. 56. f See Kaczynski, Les Arts en Portugal, p. 322. These pictures came from Thomar, but the supposition that they are by Gallegos is a mere conjecture. The name of Gallegos has been applied without discrimination to a whole class of early pictures. 88 EABLY ITALIAN PAINTEKS IN SPAIN. [OH. II. attributes to him others in the same city, on the ground of their resemblance of style. Mr. Ford refers to these pictures as still in their places, and thinks, moreover, that the Descent from the Cross, in the Royal Chapel at Granada, is by the same master. Some have attri- buted to Gallegos the paintings of the retdblo in the choir of the Dominican convent at Avila *. I do not believe that any specimen of the works of Gallegos exist in the Madrid Museum, the Spanish gal- lery at the Louvre, or the collection of Marshal Soult. It ought also to be observed, that in the sixteenth century, before the full influence of Italian poetry and art burst upon Spain, single masters from the schools of Italy worked in the latter country. Thus Nicolas Fran- cisco Pisan was painter to " the Catholic kings," and executed two oratories with the date of 1504, which were preserved, in the time of Cean Bermudez, in the Alcazar of Seville; and I shall refer hereafter to Francisco Neapoli and Pablo de Aregio. It is not easy to attempt any general character of the early Spanish painters ; their works have disap- peared from the public view, and they are not to be seen in the great Museum even of their native land. Schepeler says "A person curious in art will find pictures of a date earlier than the middle of the sixteenth century only in churches, chapels, or old buildings; such a picture may be thrust away in corners or in magazines under a heap of worthless woodwork ; for * Compare Ford's Hand-book, pp. 388, 576, 806. f Ford's Hand-book, p. 439. CH. H.] EESEMBLANCE TO DUEEE. 89 the Spaniard neither knows nor values anything which does not fall exactly within the favourite period of art. Even in the Museum of Madrid and the royal palaces works of the earlier times are not to be found. Ordinary- persons throw all such pictures into one general class, and baptize them by the name of " Albert Purer," or the " German school," though it is difficult to conceive that this one source could have poured such a mass of its productions over Spain in the fifteenth century. This idea, however, was so rooted in men's minds, that Palomino makes Fernando Gallego, who flourished in Castile in the beginning of the sixteenth century, to have been a scholar of Diirer's, because his works re- semble those of the German. Cean does not, indeed* go so far as this, but he says that the German style jthen prevailed throughout Europe; and he, in fact, assumed every thing which that century produced as belonging to the German school."* In another passage this author says " So far as I saw of the early Spanish school, it appeared to me to possess certain characteristics, which remained more or less evident in the artists of the more brilliant period. The colouring is not so bright as that of the old German * Beitrage zur Gesch. Spaniens, s. 107, 109, 110, 111. With regard to Schepeler himself as a military writer, see Ford's Hand-book, p. 136, 2nd edition, p. liv. I wish to be distinctly understood as not vouching for the accuracy of all the remarks on art quoted from this writer, though, on the other hand, I have no special reason for mistrust- ingmost of them. He is referred to by Kugler in his sketch of the His- tory of Spanish Painting. The book from which -these quotations are made is a miscellaneous sort of volume, containing, among other things, some curious documents relating to the Armada of 1588. 40 EAELY SPANISH COLOURING. [CH. II. painters, but there is in it and about it a sort of softness which produces the effect of a veil thrown over the pic- ture ; an effect which we might perhaps call breadth of colouring. This quality, visible in most of their works, even of the subsequent period, they called atmosphere or * ambiente.' In the following period the warm colour- ing of the Venetians had powerful charms for the Spaniards, and exercised its influence the more readily because the breadth of the former school fell in with the peculiarities of the latter. If we add to these qualities a broad and full pencil readily following the artist's glow- ing fancy, we shall have seized some of the principal characteristics of Spanish painting. "The constituent elements of fine Spanish colour differ from those which go to make up the analogous quality in the masters of the Low Countries, just as the colour of the inhabitants of the one country differs from that of the natives of the other. The white or red skin of a Spaniard seems to be laid over an under-surface of an olive tint, whilst that of a Fleming covers a bright red ground. With all the brilliancy, therefore, of Spanish colouring, it often seems dusky to an eye not accustomed *o it ; and many of the best painters appear to be defi- cient in positive colour. " There is, however, another quality which must be observed in all Spanish pictures, and that is the cha- racter of the drapery. Even in the fifteenth century the Spanish masters could not prevail upon themselves to compose their drapery as stiffly as those of other nations, nor did they do it as successfully; some one or two pieces always show that the half oriental artist, if he was CH. II.] SPANISH DBAPERY. 41 not thinking of the light drapery of the East, could not help executing it, and had not patience to spend much time on that execution. It is, therefore, very rare to find a Spanish picture with a cast of the drapery which is entirely pure ; and to this may be added the fact, that in most great compositions one or two figures are more or less carelessly executed." What the author goes on to say connects itself more properly with a later period in the history of art, but it will be better to refer to it here as relating to the whole subject of Spanish drapery. He observes, that out of the Murillos in the Royal Museum at Madrid (which, by the way, is not a good place to look for the best speci- mens of Murillo) there are but two with really noble drapery, and that only in the principal figures. " Mu- rillo," he says, " never folded linen otherwise than in the Spanish fashion." It is necessary to distinguish carefully the cast of the drapery from the execution of it : no one ever executed white linen better than Murillo, but it is perfectly time that we often miss in Spanish paintings that element of simplicity and dignity which gives such a charm to the drapery of the best Italian masters, and shines through even the fantastic folds of the German schools. The early masters imparted a moral expression to the fine solemn breadth of their drapery, and this they derived from the architectural principle of stiffness pervading all old Italian pictures. Nor is an analogous dignity wholly wanting in some Spanish pictures; the dress of the Carthusians and the other religious orders gave fine models for this species of excellence : to quote one instance, it is impos- 42 PROGRESS OF SPANISH PAINTING. [CH. III. sible to say that the famous picture of Zurbaran, for- merly in the college of S to . Tomas, at Seville, wants dig- nity or breadth in the drapery. Still in many of their works, especially where monks form no part of the dramatis personae, the cast of the drapery is unsatisfac- tory. There was not in Spain, as in Italy, a new prin- ciple ready to come into action, and replace with excel- lence of another kind the stiff symmetry of the older schools. In the latter country the study of the antique in the fifteenth century, and the constant recourse to nature in her best models, developed anew source of beauty and dignity. But few Spanish painters had opportunities ot studying the antique, and the prudery of Spanish Catholicism, as we have already seen, guarded by the Inquisition, threw hindrances of another kind in their way. Where such a general rule prevailed as that the Virgin's foot must not be shown, no great success could be expected in making the drapery of a figure what Goethe has called it when well treated " the thousand- fold echo of the form," even if such a result would have been tolerated. CHAPTER III. PROGRESS OF SPANISH PAINTING CONNEXION WITH ITALIAN ART. Office nr gftrj J,> ?i * <*.._ IT is not easy to write the history of any school, either of art or literature, in a strict chronological order. The line which separates two ages is not a definite one; <3H. HI.] CJIEONOLOGY OF AET. 48 individuals always exist whose peculiar turn of intellect or whose accidental position has placed them in advance of the movement, or has kept them hack and made them representatives of hy-gone feelings. This is remarkably the case in Spain, where painters worked in the solitude of the cloister, and where devotional feeling was so strongly imprinted on the mind; external influences could not at once prevail. Schepeler observes : ** Although in the middle of the sixteenth century the influence of the revolution in art had already become visible throughout Spain, yet we find up to that period, and even towards the end of it, highly esteemed masters whose works properly belong to the fifteenth century. Luis de Morales is one of these ; he was born in Estre- madura, learnt his art there, and lived till 1590. His works unite the melting colour of Coreggio (whom he had never seen) with a hardness and irregularity in the drawing which belong to the fifteenth century."* This supplies an illustration of what I have already said: Coreggio died in 1534; no picture of Morales appears to be known of an earlier date than 1546; yet without a doubt, on the mere internal evidence of their respective works, we should place Morales at least fifty years before Coreggio. Indeed, this last master himself, viewed in his relation to the Italian schools around him, furnishes another instance of the same kind : nothing is more striking than the manner in which he appears to belong to a period far later than that in which he really lived. My object, however, is not now to dwell on Morales as a painter, since I must return to him in his * Beitrage, s. 111. 44 PEOGEESS OF SPANISH PAINTING. [CH. III. proper place, but simply to point out to the reader that, in attempting to follow the order of time, it must not be expected that every individual master will fall into what may appear to be his proper place. I have already spoken of individuals whose names show that foreign art had found its way into Spain at an early period ; but the time was to come when the feeling of the nation in painting, in poetry, and in architecture, was destined to be revolutionized by the influence of Italy. The moment was a fortunate one in some respects, since the power and wealth of the Spanish monarchy in the reign of Charles V. furnished the means for gratifying to the utmost the new-born taste. His wars became sub- servient to the same end. Boscan, Garcilaso de Vega, and Diego de Mendoza familiarized their countrymen with that Italian versification and feeling, which, though not unknown before, had never prevailed over the native school of the Peninsula until their time. It is a singular spectacle to see men, who were by profession soldiers, and that not in times when war was a gentle game, themselves the agents in changing the taste of a whole people by introducing into their own literature a softer element from a conquered country. Garcilaso was killed young in an assault on a fort. Mendoza would appear to have united in himself qualities and functions apparently the most incompatible. One and the same man was the ambassador of the proudest monarch in the world at the Council of Trent; and wrote the original model of all the numerous romances of thieves and blackguards Lazarillo de Tormes. He ruled Italy with the stern severity of a Castilian soldier, whilst he CH. III.] CONNEXION WITH ITALIAN ART. 45 imitated in his native language the most plaintive love sonnets, and collected ancient Greek MSS. even from Mount Athos. In the arts of design a similar revolution was effected, and a school appears, corresponding in its relative posi- tion to that of Franz Floris and Otho Venius in the Low Countries. Nor does the parallel cease here : in Spain, as in Brabant at a later time, after a certain number of years, the native element burst through the classic mannerism which had certainly served to refine and elevate the taste of the country. In Flanders the eclectic principles of the semi-Italian masters faded before the genius of Rubens : in Spain, in the next century, the under-current of native character burst forth in the pictures of Zurbaran, Murillo, and Velazquez. They profited indeed by the works of foreign masters, but their true Spanish feeling, whether for Andalusian de- votion or Castilian dignity, completely overpowered the feeble exotic element to be traced in the works of those painters who formed the link between Spain and Italy. It will be well to begin by noticing one or two Spaniards who are known to have painted in Italy, in the first half of the sixteenth century. Vasari tells us that many came from France, Spain, and Germany, to study in the school of Perugino * ; and among these he mentions particularly Giovanni Spagnuolo, "who," he says, " coloured better than any other of those whom Pietro left at his death. This Giovanni would have stopped in Perugia after Pietro 's death, if the envy of the painters of that city, who were bitter enemies of * Vita di P. Perugino, pp. 422, 423, 427, n. 63. 46 GIOVANNI SPAGNUOLO. [CH. III. foreigners, had not persecuted him in such sort that he was obliged to retire to Spoleto. Here, on account, of his virtue and excellence, a lady of good blood was given hi in marriage ; he was made a citizen,, and executed pictures in this and other cities of Umbria. At Ascesi he painted the picture of the chapel of St. Catherine, as well as that in the lower church of St. Francis, for the Cardinal Egidius, who was a Spaniard, and also one in St. Damian. In S. Maria degli Angeli, in the little chapel in which St. Francis died, he painted some half figures of the size of nature, that is to say, several of the companions of St. Francis and other saints, full of life, and he placed in the midst a St. Francis in relief." The editors of the recent edition of Vasari inform us, however, that there is proof of Giovanni having married at Spoleto, and become a citizen there eight years before the death of Pietro Perugino. These little inaccuracies are not uncommon in VasarL The Cavaliere Fontana ascribed to Giovanni the Ancajani picture of the Adora- tion of the Kings, which tradition had more correctly attributed to Raphael*. But Giovanni, although he appears in Cean Bermu- dez's Dictionary under the name of Juan de Espana, really belongs to the Italian school, and I must refer the reader to the first volume of Kugler's Hand-book f, where he will find him placed next to Piaphael among the scholars of Perugino. * This picture, which is executed on cloth in distemper, is now at Berlin ; see Longhena, Vita di Raffaello, pp. 23, 24, n. ; and Passayant, Raphael. It was well engraved by Eichens in 1836. f See Kugler, Ital. Schools, p. 162. CH. in.] ITALIAN MASTERS ALONSO BERRUGUETE. 47 It has been conjectured that the two masters, Fran- cisco Nedpoli and Pablo de Aregio, who executed the doors of the retablo mayor in the cathedral of Valencia, were pupils of Leonardo da Vinci, on the ground of the resemblance of their style to his. Mr. Ford says they are painted in a Florentine manner, but adds that Villa- nueva thinks them to be the works of Felipe Paulo de S ta . Leucadia, a Burgundian artist. He adds, that they were ordered and paid for in 1471, by Rodrigo Borgia*. Cean Bermudez, on the other hand, assigns them to the year 1506, apparently on the authority of Ponz. A certain Pedro Francione has been spoken of as a Spanish artist of merit, about the year 1521, whose works were to be found in some churches of Naples ; but I know nothing of himf. Alonso Berruguete was the principal agent in diffusing the Italian taste throughout Spain. He was the son of Pedro Berruguete, of whom I have already spoken, and was born at Paredes de Nava, near Valladolid, about 1480. He began life as " Escribano del Crimen" to the Chancelleria of Valladolid, that is, as an attorney on the crown side. " From the desk of chicanery he passed into the noble studio of Michael Angelo," for in 1503 we find him at Florence, where he is named among the students of the cartoon of the war of PisaJ. In the * Ford's Hand-took, p. 439. f Cean Bennudez, Diccion. ii. p. 135. Ford's Hand-book, p. 639. The date is given by Cean Bermu- dez on the authority of Vasari. It is true that Vasari speaks of Berruguete as one of the copyists of the cartoon of the war of Pisa, but this cartoon was certainly not finished even in 1504; compare Lanzi, i. 133; Longhena, Vita de Kaffaello, p. 29, n. Some pas- 48 ALONSO BERRUGUETE. [CH. III. life of Filippo Lippi, Vasari speaks of a picture of that master, " which after his death was very well carried forward," (tirata assai bene inanzi,) by Alonso Berru- guete, hut was finished by other painters after the departure of the latter for Spain*. In Rome we find him mentioned among the artists whom Bramante com- missioned to model the Laocoon in wax, of the full size, with a view to having it cast in bronze. From among these models Raphael selected that of Sansovino, which was accordingly executed in metal for the Cardinal Gri- mani, and by him taken to Venice, whence it passed to France in the year 1534f. Lanzi says truly enough that Berruguete is not named by Vasari as one of the regular scholars of Michael Angelo, but simply as a student from his cartoon J. Like Michael Angelo, Berruguete was architect, sculptor, and painter ; in all those arts he held a position analogous to that which Garcilaso de Vega occupied in poetry. His architecture was the Spanish style of the " renaissance" which they call "plateresque" from the character of the ornament prevailing in it. On his sage of Vasari, however, to which Cean Bermudez refers, may have escaped me ; those to which I allude are in the life of Baccio Bandi- nelli, p. 780 ; and in the life of M. Angelo, p. 983 ; compare Pacheco, p. 335. Vasari, p. 406. f Ibid. Vita de Sansovino, p. 1070. Storia della Pittura, i. p. 143. See Ford's Hand-book, p. 123 ; and Qy. Review, No. CLIII. This name is a very good one : the decorative parts are put to- gether on the principle of arabesque small and generally in low relief; the details are classic in themselves, but their application to the whole, partakes of the Gothic principle. No better type of the CH. III.] ALONSO BERRUGUETE. 40 return to Spain, Berruguete was employed by Charles V. at Madrid, and on his new palace in the Alhambra of Granada. The retdblo of the Colegio del Arzohispo, at Salamanca, and the portal of the nunnery of S. Espiritu in the same city, are designed by Berruguete. A large portion of the work of the stalls in the choir of the cathedral of Toledo, and some of the statues on the gates of that city, are also by him *. It is more difficult to point to Berruguete 's pictures : I do not find the one at Palencia, which is referred to by Cean Bermudez, in Mr. Ford's Hand-book, and we may, therefore, safely conclude that it is no longer to be seen there. His name does not appear in the Catalogue of the Madrid Gallery, nor in that of the Spanish Museum in the Louvre. Berruguete was one of the chamberlains of Charles V. f, and died in 1561. Much more than he really executed has been attributed to him, as is the case with every master whose name marks an epoch in the history of art. That the study of art was not held derogatory to the nobility of Spain, is shown by the example of Don Felipe de Guevara, author of the " Comentarios sobre la pintura" which were published by Ponz in 1788. Don style can be cited than the Gasa del Ayuntamiento at Seville, which was built 1545-64. (Hand-book, p. 261.) Silversmith's work, in our days, would be far better if the " plateresque " principle, which is admirably adapted to produce an effect of richness in metal, without distorting the form, were more generally applied. * See Ford's Hand-book, pp. 579, 581, 834, 842 ; other works of architecture and sculpture by Berruguete will be found enumerated in Cean Bermudez's Dictionary. f See Pacheco, p. 93. VOL. III. D 50 FELIPE DE GUEVARA TITIAN. [CH. III. Felipe was the grandson of Don Ladron de Guevara, Lord of Escalante and Trecefio *. His father, Don Diego, had been page of Charles, Duke of Lorraine, and afterwards ambassador in France on behalf of Charles V. Don Felipe accompanied the Emperor to Bologna on the occasion of his coronation there in 1530, as well as in his expedition against Tunis in 1535. On the former occa- sion he made the acquaintance of Titian. He died in 1563. The courtesy of Charles V. towards Titian, if we believe the popular story of his picking up that artist's brush and rebuking the contempt shown for a painter by some of his suite, must have had considerable effect in raising the social rank of artists in Spain, and may have softened any scruples on the part of such men as D. Felipe de Guevara. Titian's own journey to Spain is an important event in the history of art in that country, more especially when we consider the decided influence of the Venetian school which is visible in many of the works of later Spanish masters. Palomino, on the authority of Kidolfi, says that Titian came to Spain in 1548, and remained there till 1553. Cean Bermudez, on the other hand, maintains that Titian visited Spain shortly after the execution of his second portrait of Charles V., which was painted at Bo- logna in 1532, when Charles was returning from Hun- gary. Had he really made the journey in 1548, he would then have been no less than seventy-one ; an age * On the name " Ladron" see Ford's Hand-book, p. 931. The " casa solar" of the Ladrones de Guevara is in the town of Guevara, between Vittoria and Pampeluna. Cll. III.] TITIAN PEDEO MACHUCA. 51 at which it scarcely seems probable that he would have undertaken such a journey. Again, Titian is said to have painted the portrait of the Empress, who died in 1538. Against this view there is the date of a patent of no- bility given to Titian whilst in Spain, and said by Kidolfi to be dated in 1553. Cean Bermudez supposes that this must be a clerical error of the copyist for 1535, since Charles himself was not in Spain in 1553 the year during seven months of which he was so closely shut up in Brussels, that many believed him to be dead *. The Venetian artist, like Berruguete, was one of the Emperor's chamberlains. It is impossible to say which of Titian's pictures, out of the enormous num- ber now at Madrid and the Escurial, were executed in Spain ; many were purchased by Philip TIL, and some, we know, came from the collection of Charles I. Pedro Machuca was another Spaniard, contemporary with Berruguete, who studied in Italy. He was super- intendent of the works in the Alhambra, and lived at Granada, where some of his productions as a sculptor still remain. Like M. Angelo, he added a knowledge of engineering to the professions of architect, sculptor, and painter ; and the citadel of Pampeluna was strengthened by him. He is one of " the Eagles," or great painters mentioned in the curious extracts from the MS. of Francisco de Holanda which have been published by Count Raczynski f . * Cean Bermudez, v. 30 ; Palomino, ii. p. 377 ; Pacheco, p. 93. Pacheco tells us that Charles] V. paid Titian at the rate of 2000 ducats for middling-sized pictxires, and 1000 ducats for every portrait. (Pacheco, p. 66.) f Compare on Machuca, Cean Bermudez, Diccion. iii. p. 38 ; D 2 52 GASPAE BECERRA. [CH. III. The Spaniard, however, who, next to Berruguete, did most to diffuse the Italian taste in the fine arts among his countrymen, was Gaspar Becerra. He, too, was painter, architect, and sculptor, but exercised most in- fluence in the last capacity. He was born in 1520 at Baeza, a place which claims the far greater honour of having given birth to the 11,000 virgins an honour, however, as Mr. Ford observes, filched from England *. It is evident that Becerra could not, as has been asserted, have been a pupil of Raphael, who died the year of his birth; but he might have studied under M. Angelo, and he assisted Vasari in some of his works in the Vatican f. He was married at Rome in 1556 to a Spanish lady, and returned to Spain shortly afterwards. In 1563 Philip II. made him his court-painter, and he was em- ployed in executing the frescos in the Palace of Madrid and in that of the Pardo. His works in the former perished in a fire in 1735. I do not know of any easel pictures by Becerra ; such may exist, but there are none in the Catalogue of the Madrid Gallery. Mr. Fordj Kaczynski, Les Arts en Portugal, p. 55 ; Ford's Hand-book, pp. 274, 371, 376, 1004. Francisco de Holanda, in the same passage, men- tions among these great painters a certain John (JtMn) of Barcelona as remarkable for colour. I do not know who this master was. * Ford's Hand-book, p. 603. f See Lanzi, Storiadella Pittura, i. p. 143. J This retallo at Astorga is, I am told, one of the finest things in Spain. It is entirely carved in wood. The coloured sculpture of the Peninsula forms a peculiar feature in the history of art in those countries. I may refer the reader to the For. Qy. Eeview, No. XXVI., p. 264, and to Mr. Ford's Hand-book, pp. 109, 110. Not that coloured sculpture or carving, the size of life, was unknown else- where ; and a very curious example of it may be seen in the south CH. III.] GASPAE BECEERA. 53 describes the retablo in the cathedral of Astorga as " perhaps his master-piece ; it is one of the most re- markable of its kind in the Peninsula, but unfortunately it has been much repainted. It is divided into three parts ; the frame-work of the under-story is supported by Berruguete pillars ; the second tier has fluted columns and enriched bases ; the third, pilasters in black and gold. The carvings represent subjects from aisle of the cathedral of Volterra. It appeared to me the oldest spe- cimen of this kind, consisting of several figures, which had come' under my notice. The subject is the Taking Down from the Cross f on each side are St. John and the Virgin ; one figure holds the mid- dle of the body of the Saviour, whilst another is unfastening the feet, or taking them up. The figures are tall and meagre, like the type of Christ in the Gfreek crucifix. The expression of the figure of Christ is good ; the body too flat, but well executed. It is difficult perhaps to suppose these figures to be anterior to the school of Pisa ; they may belong to the middle or end of the thirteenth century, and are the work of some artist of considerable mechanical skill who imitated the paintings of that day. In Italy the study of the antique, and the subordination of religious enthusiasm to other principles, at the end of the fifteenth and beginning of the sixteenth century, probably arrested the further progress of this branch of sculpture. In Spain, on the other hand, there was nothing to weaken that craving for life-like idols not genuine works of art which the unrefined taste and de- fective imagination of the vulgar so eagerly long for. A powerful priesthood, free from the heathen taint of the Papal court, availed themselves of these means, and great masters, men of real genius, applied themselves to meet the demand thus created. No one who has seen the Christ of Montafles, for instance, in the Cartuxa at Seville, can doubt the power of such works, though their effect is often painful, and alien from the proper principles of the fine arts. In the Andalusian school, Cano and Montafles were the greatest masters in painted sculpture ; Juni and Hernandez among the Castilians. For further details I must refer the reader, in this as in other matters, to Mr. Ford's Hand-book ; see for Astorga, p. 592. 54 FERNANDO YANEZ. [CH. III. the life of the Saviour and Virgin ; observe especially the Pieta, the Ascension and Coronation of the Santis- ima, and the Five recumbent Females and Michael Angelesque, * Charity.' These nudities gave offence, and were about to be covered, when the Consejo of Madrid interposed. These grand carvings are very Florentine and muscular." The crucifix in the retablo of Medina del Campo is also supposed to be by Becerra. Although these works are in sculpture, not painting, I refer to them as showing the school to which the master belonged. Becerra died at Madrid in 1570. The account given by Palomino of Hernan or Fernando Yanez is utterly inconsistent with itself and with other well-ascertained facts : that author states the painter to have been a pupil of Raphael's, who died in 1520, and to have died himself, at the age of a little more than fifty, about the year 1600*. The fact is, however, that Yanez might have been a pupil of the great Italian master, since he worked in Spain in 1531, as is shown by the will of Don Gomez Carrillo de Albomoz. Mr. Ford describes the style of Yanez as more Florentine than Roman f . I cannot refer to any work of this master, except those executed for the chapel of the Albomoces at Cuenca, and to one which bears his name in the Spanish gallery of the Louvre. Before we proceed to the remaining masters of what may be called the middle period of Spanish painting the period when the arts of the Peninsula were under * Compare Palomino, iii. p. 399 ; Cean Bennudez, Diccion, Ti. p. 15. f Hand-book, p. 867. CH. III.] LUIS DE MORALES. 55 the immediate action of Italian models we ought to return to a master whose name has been already men- tioned Luis de Morales. It has been said that the works of Morales, in their feeling and execution, bear the stamp of an age earlier than that to which chronolo- gically they belong. No painter's name has been more ignorantly and wantonly misapplied than that of the " divine Morales." Every head of our Saviour which came from Spain, and could not be called a Murillo, has been attributed without scruple to this artist *. It has been supposed that this painter's name was Cristobal Perez de Morales, but Ceaii Bermudez has made it clear that he was properly called Luis, and that Cristobal was in all probability his son. Morales was born at Badajoz, early in the sixteenth century; for Philip II., on his return from Portugal in 1581, saw the artist and said to him, " You are very old, Morales ?" to which he replied, "Yes, Sire, and veiy poor." Philip then conferred on him a pension of three hundred ducats, and he died in his native city in 1586. Cean Bermudez denies that he could have been a pupil of Pedro Campana, who did not come to Spain till a short time before 1548, whereas there are pictures by Morales which bear the date of 1546. There is certainly nothing in the styles of the two masters which would lead us to conclude that the one had been instructed by the other. * It should be stated, however, that there was another artist of no great note, Francisco Morales, a lay brother of the Carthusian monas- tery of Paular. He was born in the Azores in 1660, and died in 1720. 56 LUIS DE MOKALES. [CH. III. Pacheco speaks of Morales as deficient in drawing: whilst in describing a highly finished picture of a head of Christ, he observes that the beard of the Saviour was so elaborately painted as to exceed in fineness, not merely the work of Morales, but even that of Albert Durer *. The author of the Hand-book says, " He painted chiefly Saviours crowned with thorns, and Madonnas dolor osas ; he finished highly, and was the Parmigianino of Spain, being defective in his lengthy drawing and often dark colouring. He painted many large pictures, which, from lying out of the way, are scarcely known, "f All that can be said is, if Morales obtained the surname of "divine" from the nature of the subjects which he painted, few Spanish masters of his day painted any other subjects, and he can hardly be called peculiar in his choice of them. Pacheco finds fault with the liberty he sometimes took, of painting his Ecce Homos without the reed in the Saviour's hand, and even without the crown of thorns J. With regard to the pictures of Morales to be seen in public galleries, the Madrid collection contains six attributed to him (viz., numbers 45, 49, 110, 120, 157, and 537). The third of these is a picture of the Cir- cumcision, in which there is a tinge of Florentine manner ; the females on the left hand are very beautiful. No, 120 is a head of Christ of considerable merit. No. 157, a Virgin and Child, has again something of Floren- tine colour. The new Spanish collection at the Louvre * Pacheco, pp. 320, 321. f Ford's Hand-book, p. 524. t Pacheco, p. 538. CH. III.] LUIS DE MORALES. 57 contains three pictures which bear the name of Morales, and which are thus commented upon by the writer of the articles on this collection in the Kunstblatt *. " Fervent faith and religious enthusiasm made Morales a great painter ; his countenances of Christ breathe nothing but the most sublime expression of self sacrifice and resigned love. The features are thin, but they are delicate and noble, and always bear the stamp of that divine humility with which our Redeemer bore the insults of the soldiers and the shame of the cross. This character of resignation is visible even after death, and a wonderful expression is concentrated in the cold head (No. 141) which the Virgin gazes on in her lap, whilst she checks the cry of grief because she holds in her arms the Saviour of the world. The colouring of Morales is warm and brilliant. His Christs (No. 139 and 140) remind us of a Descent from the Cross by Quintin Metsys, in the Museum at Antwerp (see 36, 3) ; but his conception is far more sublime, and his exe- cution much more earnest in feeling than that of the Flemish master. Morales might be called the Spanish Perugino, since with him it was that pure Christian feeling ceased in the school of Castile. He died at Badajoz in 1586." Waagenf speaks of the Christ carrying his Cross in the old gallery of the Louvre, but professes himself incompe- tent to determine its genuineness. My recollection of this picture is, that it bears a very faint resemblance to any genuine Morales ; the writer in the Kunstblatt calls it " more than problematical." * Kunstblatt for May, 1838, s. 155. f Paris, s. 634. D 3 58 LUIS DE MORALES. [CH. III. In Spain there is a Christ by Morales in the Sacristy of the Church of Osuna; and in the convent of the order at Alcantara, over the high altar, there are injured pictures of this master, the " best of which are a fine St. Michael, a St. John, a Pentecost, an Apostle read- ing, and a Resurrection doubtful." * The pictures by Morales, in his native city of Badajoz, were formerly the finest in Spain, but the French took away the four best from the cathedral, and those which remain have been repainted. Mr. Ford particularly directs the traveller to observe a Crucifixion with a Parmigianino-like old manf. In the parish church of Arroyo del Puerco, a wretched village between Merida and Placentia, are sixteen of the finest pictures ever painted by this master. The author of the Hand-book says" Twelve are very large ; and although chilled, dirty, and neglected, they are at least pure. The altar divides them into two portions, which again are subdivided into two tiers, each tier con- taining four pictures, three large and one small. The subjects ' are, ' Christ in the Garden ;' ' Bearing the Cross;' 'The Annunciation;' 'Nativity;' ' Christ in Limbo' (very fine); 'St. John preaching;' a ' St. John' (three-quarter length), and a ' Saviour bound,' its com- panion (both very fine) ; the ' Descent ' (fine) ; the 'Burial;' the 'Christ and Joseph of Arimathea' are grand ; ' Adoration of Kings ;' ' Circumcision ;' ' Ascen- sion of Christ;' the 'Pentecost;' 'Saviour with the reed ;' and ' St. Jerome.' It is miraculous how these pic- tures escaped the French, who long occupied the hamlet, " J * Ford's Hand-book, pp. 326, 546. f Hand-book, p. 524. t Ibid. p. 546. CH. III.] LUIS DE MOEALES. 59 At Evora, in Portugal, there was a celebrated picture by Morales, of Christ on the Cross, in the chapel of the monastery of St. Catherine of Sienna. The composi- tion was supposed to be taken from a smaller picture of Michael Arigelo's. On the right of the cross were the Virgin, the Magdalen, and St. Catherine : on the left St. John, St. Dominic, and St. Francis. In the upper part of the picture on a label were the words " Pater ignosce."* In the Hotel Saldanha- Castro at Lisbon there is a St. Dominic by Morales, respecting which Count Kaczynski entertains no doubt. With regard to works of Morales in private collec- tions elsewhere, especial notice should be taken of that in the possession of the Duke of Dalmatia ; but I do not know whence it came. The subject is one constantly selected by this artist the body of Christ taken down from the Cross, or what is called in Italy a " Pieta." The figures are half lengths : it is exquisitely finished, and evidently with a most careful study of nature. The features are too thin, and the chins pointed : the marks of physical suffering are not softened in the least de- gree, but are rather exaggerated. Thus the thorns piercing Christ's head are painfully minute and true ; one comes out again from beneath the skin, and two others show externally the blue mark occasioned by their having been pressed by main force into the flesh. In the Aguado collection, which was sold at Paris a * I do not understand from Count Eaczynski's account whether this picture is still to be seen. See on the subject of Morales, Les Arts en Portugal, pp. 89, 275, 277, 327, 518. 60 EARLY MASTERS OF ARAGON. [CH. III. short time ago, there were two pictures attributed to Morales. Passavant considers the Christ bearing the Cross, in the collection of Sir Thomas Baring, and the S ta . Veronica in the Grosvenor Gallery, as works of a later master ; at least if the picture of Marshal Soult be a genuine production of the painter *. I shall have occa- sion hereafter to speak of the altar-piece in Magdalen College Chapel, which has been attributed to Morales without a shadow of reason. During the fifteenth and sixteenth centuries a distinct school of art seems to have arisen at Saragossa, the existence of which is hardly known f . When the cathedral of Saragossa had been raised to the rank of a metropolitan church by John XX., devo- tion increased in the diocese, and the fine arts began to flourish. This was especially the case with painting, which profited by the confiscated property of the Templars. At that time Ramon Torrente, who died in 1323, and his pupil Guillen Tort, flourished at Saragossa and enjoyed considerable credit. They executed figures in the Gothic style for the metropolitan church and for others of the diocese, and were the first artists in this city respecting whom we possess any certain information * See Passavant, Kunstreise, ss. 66, 130, 162 ; compare Waagen, England, ii. s. 251. f These notices of the earlier masters of Aragon are translated from some extracts from a MS. of Cean Bermudez, published by Minano, Diccionario Geografico-Estadistico de Espana y Portugal, Madrid, 1828 ; see vol. x. p. 80. My attention was first called to this account of the Aragonese school by Mr. Ford. The same materials will be referred to hereafter. CH. III.] OETIGA APONTE PELEGRET. Cl supported by documents. There is no account of any other Aragonese painter, until we come to the year 1457, in which Bonant de Ortiga lived; he was painter to the Deputies of Aragon, and executed the altar-piece of St. Simon and St. Jude for the church of St. Francis in Saragossa, on the orders of Don Ramiro de Funes, Lord of Quintos. Pedro de Aponte succeeded him ; he was a native of Saragossa, and painter to Juan IT. of Aragon, for whom he executed the panels of the retablo of San Lorenzo which stood in the cathedral. On the death of this king, his son, Ferdinand V., took Aponte with him to Castile in 1479, and made him pintor de cdmara to the Catholic kings. He afterwards painted the portraits of these sovereigns, who conferred on him various honours and rewards. He had previously studied in Italy with Luca Signorelli and Ghirlandaio, and had brought their maxims and precepts of art to Spain : it is on this account as well as because he was distinguished by the Catholic kings that he must be considered as the true founder of the Aragonese school. Thomas Pelegret also spent some time in Italy, and studied in Rome under Polidoro da Caravaggio. On his return to Spain, in the reign of Charles V., he esta- blished himself at Saragossa. There he executed fres- cos in chiaro-scuro for the churches and on the facades of the houses, and it was he who inspired the Aragonese with that good taste and excellence in this kind of art, and in ornament generally, which they have never lost. A certain Cuevos, born at Huesca, was a pupil of Pele- 62 MIDDLE PEEIOD OF SPANISH ART. [CH. IV. gret. He adorned the sacristy of the cathedral of his native town with works in black and white, and painted the " monumento " * for the Holy week. Cuevos and his master both died at Saragossa ; the former young ; the latter at the age of eighty-four. CHAPTER IV. MASTERS OF THE MIDDLE PERIOD OF SPANISH ART INFLUENCE OF FOREIGN ARTISTS ON THE SCHOOLS OF THIS TIME. BEFORE I turn to the native Spanish masters who would next demand our attention, it may be desirable to speak of certain foreign artists who resided and worked in Spain, or whose pictures exercised an extensive influ- ence there, in the sixteenth century. Michael Coxis came to Spain, having been charged with the execution of the copy of Van Eyck's great picture, which formerly hung in the chapel of the palace at Madrid f . When in that capital, he was employed by Philip IT. to execute several other pictures in the Escurial. One of them, a St. Cecilia, is now in the Royal Gallery at Madrid (No. 499), which also contains * See Blanco White, Doblado's Letters, p. 285. The "monu- mento" is a temporary structure erected in every church, with more or less splendour, in which the host is deposited with great solemnity on the Thursday in Passion week. t See Kugler, Hand-book, German and Flemish Schools, p. 68, n. 208 ; compare Carducho, p. 151 ; Cean Bennudez, i. p. 369. CH. IV.] COXIS FLOBES FRUTET. 63 an Assumption, originally painted by Coxis for the church of St. Gudule at Brussels, but purchased by Philip (No. 1598). Palomino-- speaks of a certain Antonio Flores, a Fleming by birth, as having lived at Seville at the same time as Campana, and having died there in 1550. Cean Bermudez found that the pictures which bore the name of Flores were proved by the archives of the Merced Calzada, in which they were, to have been painted by Francis Frutet, a Fleming, and there was no doubt that the Burial of Christ, in Sta. Maria de Gracia, which also bore the name of Flores, was the work of the same master. Palomino, therefore, seems to have made some confusion between Francis Frutet and Francis Floris ; nor is it easy to clear the matter up. The real name of Floris was De Vriendt, and con- sidering the disfiguring process which foreign names undergo in Spain, it would not be very surprising to find this transformed into Frutet ; but Francis Floris the elder is not known to have been in Spain, nor did he die until 1570. His son, Francis Floris the younger, is still more out of the question ; and the name of Antony does not occur in the family for four generations f . The principal pictures of Francis Frutet are now, I believe, in the Museum at Seville. Pedro Campana, or El Maese Pedro, as he is often * Palomino, iii. p. 357 ; compare Cean Bermudez, ii. p. 141. t See Fiorillo, Gesch. der Zeichn. Kiinste in Deutschland, ii. s. 450. Fiorillo, however, at page 438 of the same volume, mentions Antonio Flores without being aware of the doubt raised by Cean Bermudez. 64 PEDEO CAMPANA. [CH. IV. called, was born at Brussels in 1503. He went to Borne in 1530, and on his way painted a triumphal arch at Bologna, for the coronation of Charles V. According to Pacheco, he studied in Italy twenty years, but he could not have been a pupil of Raphael, as that author and Palomino assert ; since, when Raphael died, Campana was seven years old ; nor can we reconcile the length of his stay in Italy with the inscription under the Descent from the Cross at Seville, which bears the date of 1548 : assuming, as is most probable, that the picture was painted at Seville *. He lived long and was much honoured at Seville, but in his old age he returned to Brussels, where he died in 1580f. Campana's best known picture is the Descent from the Cross, formerly in the parish church of S ta . Cruz, now in the sacristy of the cathedral at Seville. Mr. Ford says it is hard and stiff ; on me, I confess, it made a more favourable impression. Murillo used to stand for hours before it, and once replied to some one asking what he was doing " I am waiting till these holy men have taken our Lord down." By his own desire he was originally buried in front of this picture J. Pacheco pays it a very high compliment when he says that he has been afraid to remain alone with the picture in the gloomy chapel in which it hung. Besides the Descent from the Cross, Campana, in 1553, painted the Purification of the Virgin, and other * Compare Cean Bermudez, Diccion. i. p. 201 ; Palomino, iii. p. 369 ; Pacheco, p. 241. f This is the date given by Cean Bermudez ; Palomino says 1570. Ford's Hand-book, p. 255. Pacheco, p. 57. CH. IV.] ANTONIO MORE. 65 pictures, including the portraits of the donor's family for the chapel "del Mariscal" in the cathedral of Seville *. He also executed works for various parish churches in that city and the neighbourhood. Pacheco speaks of his excellence as a portrait-painter f. His son, Juan Bautista Campana, remained in Seville as a painter after his father's removal. He was employed by the Chapter on the "Monumento" in 1594. Of Antonio More an account has been given in Kugler's Hand-book J. He was born in 1512, at Utrecht, and came to Spain in 1552. Philip II. showed him great favour ; so much indeed as to excite the jealousy of other parties about the court. More had a narrow escape of being thrown into the prisons of the Inquisition on suspicion of heresy, and was probably too glad to get back to Brussels . For his portrait of Mary of England he received 100?. sterling and a gold ring, besides his salary of 100Z||. He died at Antwerp in 1588 IT. Many of More's pictures were burnt in the great fire at the Pardo in 1608. The present Madrid Gallery * Cean Bermudez, Catedral de Sevilla, p. 94. f Pacheco, p. 434. Kugler, German and Flemish Schools, p. 207 and note; com- pare Walpole, I. p. 235. Palomino, iii. p. 361. || Ibid. ; one pound sterling was reckoned by Palomino as equal to five " pesos de moneda Castillana." IT This is the date given by Cean Bermudez, and by Fiorillo, Gresch. d. z. k. in Deutschland, ii. p. 439. Palomino states his death to have occurred in 1568 ; and Fuseli's Pilkington makes him to have been born in 1519 and to have died in 1575. 66 PUPILEK STUKM CHKISTOBAL OF UTEECHT. [CH. IV. contains thirteen of his portraits, among which are those of Maiy of England and of the Emperor Maximilian and his wife. Portraits by More of John III. of Portu- gal and his queen are shown in the church of St. Roch at Lisbon *. Of Mary of England there is a portrait by this master at Hampton Court, as well as at Castle Howard. Waagen seems to doubt the genuineness of the celebrated portraits of the Queen and Philip in the possession of the Duke of Bedford at Woburn. At Althorp there are several of More's portraits f . Another Fleming, whom Philip took into his service in 1556, was Antonio Pupiler. Cean Bermudez sup- poses that his pictures were burnt at the Pardo : none appear to be known. Ferdinand Sturm, or Sturmio, was a foreign master employed by the Chapter of Seville ; and a retablo bear- ing his name, executed in 1551, is to be seen in one of the lateral chapels of the cathedral of that city}. Christobal of Utrecht is said to have been a pupil of Antonio More, who brought him to Spain : he after- wards went to Portugal, and was made a Knight of the * See Raczynski, p. 291 ; compare p. 256, note 2. Raczynski says " Les portraits de Jean III. et de la Heine Catherine qui sont attribues a More, doivent avoir ete excellens avant d'avoir souffert du temps et des restaurations. Us viennent de subir cette operation pour reprendre leur ancienne place." f See Waagen, England, i. s. 389 ; ii. s. 310, 540, 547 ; Passa- vant, Kunstreise, s. 192 ; compare Kugler's Hand-book, German and Flemish Schools, p. 207, note. J From the inscription on this picture, quoted by Cean Bermudez, Diccion. iv. p. 396, it would appear that Sturm was a native of Ziriczee, which is a small town in Zealand, five leagues from Bergen- op-Zoom. CH. IV.] LUIS DE VARGAS. 67 Order of Christ by John III.* Count Raczynski observes truly enough, that More was fourteen years younger than Christobal, if the usual dates are correct, and it is therefore unlikely that he was his scholar, as Cean Bermudez asserts that he was. I cannot, how- ever, bring myself to believe that pictures bearing evident traces of the manner of Van Eyck, such as those in the archiepiscopal palace at Evora are described to be, can be the works of so late a master as this artist Nor does the conjectural evidence of the monograms given by Count Raczynski at all remove these doubts f< Luis de Vargas, bom at Seville in 1502, may be con- sidered as having founded the higher school of art in his native city. His pictures bear more traces of his Italian studies than of any national character ; and ac- cording to Pacheco he remained in Italy twenty-eight years. He is said to have been a pupil of Perm del Vaga, whose style he certainly imitated J. The earliest work of Vargas known at Seville is the altar-piece in the Chapel of the Nativity in the cathedral, which bears the date 1555 ; but his most celebrated picture is that commonly called " La Gamba," from the prominence in the composition of the leg of Adam. It represents, as we are told, the temporal generation of Christ, and it certainly is a work of great merit, though it is not easy to see it properly where it hangs ; one figure of a child * Pacheco, p. 93 ; Cean Bermudez, Diccion. v. p. 97. f Raczynski, pp. 319, 353, 354, 355, 368 ; for the monograms see pp. 109, 110. J Pacheco, p. 118. Ford's Hand-book, p. 253. 68 LUIS DE VARGAS. [CH. IV. on the ground is peculiarly beautiful, and almost rivals the matchless cupids of Raphael *. The niches on the outside of the Giralda or tower of the cathedral were painted hy Vargas, but are long since ruined, as well as the Christ bearing the Cross, or the " Calle de Amargura " (Way of Bitterness), as the subject is called by the Spaniards. This latter fresco is outside the court of orange-trees, and was held in great reverence by the people. It was repainted in 1594 by Vasco Pereyra, a Portuguese. From criminals being allowed to stop before it on their way to punish- ment, it acquired the name of " el Cristo de los Azota- dos" Pacheco finds fault with Vargas for having painted our Lord with nothing but a tunic on f . In the .church of S ta . Maria la Blanca at Seville, in which those glorious Murillos of the Patrician's Dream, now at Madrid, formerly hung, there is a Dead Christ by Luis de Vargas, which is described by Mr. Ford as " very fine and Florentine, but cruelly injured and neglected. "J The body of Christ is in the arms of his mother, and is very striking. The Museum at Madrid does not profess to contain a single picture by Luis de Vargas : the Spanish collec- tion in the Louvre has one attributed to him ; the sub- ject is the Virgin with St. Michael and other saints. In the Esterhazy palace at Vienna there is an exceed- ingly beautiful Virgin and Child by Vargas, as well as * Mr. Ford calls it " this truly Italian picture." Hand-book, p. 204 ; see also p. 248 for the niches of the tower, f Pacheco, p. 539. Hand-book, p. 269. CH. IV.] LUIS DE VARGAS. 69 a Christ in the Garden. The latter picture, if I can trust my recollection, is very fine, and the idea is some- thing like that of Coreggio's celebrated work, but it is executed on a far larger scale. In the Orleans Gallery there was a picture which bore the name of Vargas, which is at present in the possession of Lord Francis Egerton in this country * : it is said by Waagen to be an old copy of the St. John in the Wilderness, formerly named a Raphael in the Diisseldorf collection, and now called a Giulio Romano in the Munich Gallery. Luis de Vargas was an admirable portrait-painter. On part of the retdblo in which his " Gamba" is placed he had painted the portrait of the Precentor (el Chantre) Don Juan de Medina ; the Precentor was in the habit of saying his prayers near this picture, and the boys used to get round and look first at the likeness and then at the original in admiration of the skill of the artist f. It is said that an indifferent artist once showed Vargas a picture which he had painted of Christ on the Cross, and asked his opinion of its merits ; Vargas replied that our Lord seemed to be saying, " Father, for- give them, for they know not what they do." A speech which the painter accepted as a compliment to his work. I have already stated J that Luis de Vargas was singularly devout and scrupulous in his religious duties, * See Waagen, England, i. s. 354, 512. f Pacheco, p. 442 ; compare Cean Bermudez, Catedral de Sevilla, p. 91. J See p. 20 ; compare Pacheco, p. 118. 70 MIDDLE PEEIOD OF SPANISH ART. [CH. IV. and that after his death the instruments of mortification were found in his chamber. According to Palomino he died at Seville in 1590*, at the age of sixty two; but this would place his birth in 1528. Cean Bermudez states, on the authority of Pacheco and Morgado, that he died in 1568f, but Pacheco, like Palomino, makes him sixty-two at the time of his death, which would place his birth in 1506, and not in 1502, as given by Cean Bermudez. At this early period it cannot be said that the three great schools of Seville, Valencia, and Castile had as- sumed their respective characters or were definitely formed. Vargas may be considered as the leader of that of Andalucia ; though his works, as we have seen, bear stronger traces of his Italian education than of genuine Spanish feeling. I will now proceed in like manner to the head of the school of Valencia, and then go on to treat of those masters whose works were about the same time most prominent at the Escurial and at Toledo. Vicente Joanes J was born, as it is believed, at Fuente la Higuera, in 1523. He could not, therefore, have been, as Palomino asserts, a pupil of Kaphael ; though there seems little doubt that he studied in Italy. Like Luis de Vargas, he was a man of a deep religious feel- ing, and is said to have confessed and communicated * Palomino, iii. p. 387. f See Pacheco, p. 118; compare Cean Bermudez, Liccion. T. p. 138. t The writer in the Kunstblatt (No. 39, May, 1838, a. 155), asserts that Joanes' proper name was Vicente Joanes Macip. I do not know his authority. CH. IV.] MIDDLE PERIOD OF SPANISH ART. 71 before he undertook the execution of a sacred subject *. He died at Bocairente whilst employed on the retablo of the church there, in December, 1579. In 1581 his remains were transferred to the church of S ta . Cruz, in Valencia. The Royal Gallery at Madrid contains no less than eighteen pictures attributed to Joanes ; among these is a series of the Martyrdom and Burial of St. Stephen, which is sufficient of itself to give the artist a very high rank as a painter f. Saul walks by the side of the saint with the resolute air of a persecutor from conviction, who is discharging a solemn duty; the mob, on the other hand, are exulting in all the joy of vulgar bigotry, and in a natural love of cruelty. Studies for such scenes must have been common in Spain; many a Dominican might have sat for the Saul. The treatment and technical execution of these pictures is Italian in its character and very fine. The Visitation, and the Mar- tyrdom of S ta . Ines are inferior to the works just men- tioned ; but the former struck me as somewhat resem- bling Garofalo, and the latter has some beautiful Raphaelesque heads. The heads of Christ and the Christ bearing the Cross are also fine, and the portrait of Don Luis de Castelvy is exceedingly beautiful ; Mr. Ford says " equal to anything of Bronzino." I should almost have compared it to the portraits of Raphael J. Valencia, however, is the great storehouse of the works of Joanes. In the sacristy of the cathedral is " a * Pacheco, p. 118. f Nos. 196, 197, 199 ; compare Ford's Hand-book, p. 754. $ No. 169 ; Ford's Hand-book, p. 754. 72 MIDDLE PERIOD OF SPANISH ART. [CH. IV. truly Raphaelesque Holy Family," in which St. John is presenting the Saviour with a blue flower *. In the Capilla de S. Pedro, Mr. Ford tells us to observe the ex- quisite Christ in a violet robe with the chalice, as well as a Holy Family f. In the house of the Conde de Parcent is a picture of S. Vicente preaching, and in the sacristy of the Colegio del Corpus a small altar by this master J. The Spanish Museum in the Louvre contains six pic- tures ascribed to Joanes . The writer in the Kunstblatt considers none of these as first rate, except that of God the Father with Christ and another of the Saviour con- templating the instruments of his suffering. The former, he says, unites correct drawing, good modelling, colour, and expression in one harmonious whole, and the latter has a feeling of mystic inspiration suited at once to the subject and to the personal character of the artist ||. Marshal Soult's collection contains, I think, one picture by Joanes a full-length figure of Christ with the Cross. Sir William Eden, of Windlestone, is said to possess a picture by Joanes which he purchased at Valencia. With this exception, I do not know any work of the master in England, though it is very possible that some others may have been imported lately. The son of Vicente Joanes, Juan Vicente Joanes, was again a painter, and imitated his father. In the Spanish Museum of the Louvre there is a Scourging of Christ attributed to him. * Ford's Hand-book, p. 440. Nos. 123 to 128. f Hand-book, p. 441. || Kunstblatt, May 1838. No. 39. $ Hand-book, pp. 442, 444. CH. IV.] DiEGO CORREA ALONSO SANCHEZ COELLO. 73 Diego Correct was another master of the sixteenth century ; his works are very rare. A series represent- ing scenes of the Passion, which formerly constituted the retablo mayor of the Bernardine convent of Valdeiglesias, are now at Madrid *. Captain Widdrington describes them as very curious, and adds that by an inexperienced eye they would be taken to be early works of Joanes, since Correa would appear to have studied Raphael almost as much as the great Valencian himself. " One," he says, " had parts extremely like a Raphael of the second manner." Some of Correa's pictures bear the date of 1550. According to Mr. Ford he studied at Florence. Alonso Sanchez Coello is called by Palomino a Portu- guese, and the name Coello or Coelho is a Portuguese name f. Cean Bermudez, however, on the authority of a pedigree produced by Coello's nephew as his qualifica- tion for the order of Santiago, maintains that he was born near Valencia, and conjectures that his third name may have been taken from his mother's family. He was born early in the sixteenth century, and died, ac- cording to Palomino, in 1590. It is possible that he studied at Rome. Subsequently he became a pupil of Antonio More, and, like his master, was peculiarly dis- tinguished in portraits J. * Compare "Widdrington, Spain in 1843, p. 34; Ford's Hand- book, p. 777. I cannot find Correa's pictures in the Catalogue of the Madrid Gallery. f Diccion. iii. p. 388. Count Raczynski throws no light on this matter. Gruarienti, from whom he quotes, wrote very late, and evi- dently copied Palomino, taking care, however, to add some special blunders of his own. See " Les Arts en Portugal," p. 318; com- pare 247, 310. t Pacheco, p. 442. VOL. III. E 74 ALONSO SANCHEZ COELLO. [CH. IV. Coello went with More to Lisbon, when the latter was commissioned by Charles V. to paint the portraits of the royal family there ; the former artist remained in the service of Don Juan, husband of the emperor's daughter. After the death of that prince, Philip II. received the painter into his own household. Philip treated Alonso Sanchez with the greatest dis- tinction : he gave him apartments in the palace, and would visit his studio when he was at work, causing the painter to be seated in his presence ; and sometimes, it is said, he would lean on his shoulder and watch his pro- gress. He addressed him in writing as his " beloved son."* Coello received similar honours from other princes, and accumulated a large fortune. His histo- rical works were few in comparison with his portraits, and many of his paintings perished in the fires of the Pardo and the Palace at Madrid. Several of the large altar- pieces of saints in the Church of the Escurial are by Alonso Sanchez, and in the Celda Prioral is the fine portrait of the Padre Siguenzaf. In 1585 he painted a portrait of Ignatius Loyola, which, like all those of that saint, was executed after his death. Coello was assisted by the cast of Loyola's face made in Rome, and by the suggestions of Ribadeneira J. The Royal Gallery of Madrid contains eight pictures by Alonso Sanchez Coello : one of them, the Marriage of * "Al muy amado hijo, Alonso Sanchez Coello." Cean Ber- mudez, Diction, iv. p. 334; compare Palomino, iii. pp. 388, 389. f Ford's Hand-book, p. 817. This picture was engraved by Selma ; see Nagler, Kiinstler-Lexicon. Pacheco, p. 589. Loyola died in 1556, at Borne. CH. IV. j ALONSO SANCHEZ COELLO 75 St. Catherine, is painted on cork, and came from the Escurial ; the remainder are portraits. Among the latter is a supposed portrait of Don Carlos, son of Philip II., in which there is no expression of idiocy or defi- cient intellect. Another, that of the Infanta Clara Eugenia, wife of the Archduke Albert, is very well painted. The portrait in black, with the cross of Sant- iago (No. 206), has been supposed to be that of Antonio Perez. The Duke of Dalmatia's collection contains a singular picture by Coello of St. Anthony and St. Paul the Hermit : the colour is good, and the style resembles Navarrete. In the Spanish Museum of the Louvre are nine por- traits ascribed to this master ; one of them bears his name with the date 1577 *. In the Hermitage at St. Petersburg i& a portrait of Alexander Farnese by Coello, with the date of 1586f. Coello's daughter, Dona Isabel, was an artist as well as a distinguished musician. His best pupil, however, was Juan Pantoja de la Cruz, who became painter to Philip II., and has left numerous traces of his activity in the Gallery of Madrid. Two of his works, of which the subjects are the Birth of the Virgin and the Birth of Christ, are curious, inasmuch as all the figures are said to be likenesses of the family of Philip III. j The latter picture is well painted, as are most of his por- traits, though not in general equal to those of his master. Two portraits by Pantoja de la Cruz will be found in * Compare the Kunstblatt, No. 40, May, 1838. *h Nagler, Kunstler-Lexicon. J Numbers 175 and 181 in the Catalogue. E 2 76 PANTOJA NAVARRETE. [CH. IV. the Pinacothek at Munich : one is of the Archduke Albert, and the other is that of his wife, the Infanta Isabella, daughter of Philip II. ; both are signed by the artist. Altogether these pictures by Coello and Pantoja of Infants and Infantas, bristling with the stiffness and for- mality of the old Spanish court, independently of their merit as works of art, are in themselves most interesting, and carry us back in spirit to the twines of the House of Austria. A later artist, in the style of Pantoja, was Diego Va- lentin Diaz, of Valladolid. He was a familiar of the Inquisition, and died in 3660. The retdblo of the chapel in which he is buried, in the Casa de la Miseri- cordia in his native city, is painted by him, and there are in the same place portraits of himself and his wife *. We are now in what may be called the middle period of Spanish art ; when the Italian character was giving way to a certain national feeling, but the full power of Murillo and Velazquez had not yet burst forth. At this time there were some great masters in the school of Castile, among whom one of the most eminent was Juan Fernandez Navarrete, surnamed EL Mudo, or " the Dumb."f He was born at Logrono in 1526. An * Ford's Hand-book, p. 637. f There were two other painters of little note who were dumb : Diego Lopez was one he painted certain pictures near Talavera ; the other was Pedro el Mudo, by whom Cean Bermudez seems to have seen a well-painted portrait. See Diccion. iii. pp. 45, 210 ; compare Viardot. Notices sur les Peintres de 1'Espagne, p. 106. I do not know to what this last author alludes as " quelques ouvrages dis- tingues" by Pedro el Mudo. CH. IV.] NAVABBBTE EL MUDO. 77 attack of disease deprived him of his hearing at the age of three years, and consequently he never learnt to talk. He acquired the first rudiments of art in a monastery near his native place ; but when he grew up he was sent to Italy, and there saw the treasures of Rome, Florence, Milan, Naples and Venice. In the last-named city he worked in the house of Titian. On his return to Spain Philip II. secured his services in the decoration of the wonderful fabric of the Escurial. The patent appointing Navarrete painter to the king bears date the 6th of March, 1568. The picture which he executed as a specimen of his powers is said to be that of the Baptism of Christ, which formerly hung in the Prior's cell in the Escurial, and is now in the Royal Museum at Madrid. Some of the figures in it are fine, especially those on the left hand. In the Madrid Gallery there are also two figures of St. Peter and St. Paul, which are supposed to be sketches for the larger works at the Escurial, where the great productions of El Mudo must still be sought for. The figures of the apostles and saints in these altar- pieces are most striking, both in dignity of form and beauty of colour. The finest, Mr. Ford thinks, are St. Philip and Santiago *. The grand picture of Abraham and the Angels, now in the collection of the Duke of Dalmatia, was also originally in the Escurial. The effect of the whole is very peculiar : the angel to the right is fine, and the light falling on the feet of the three figures, with the rich glow of colour on the bending form of Abraham, is grand and most remarkable. Pacheco thinks the subject is treated indecorously, because the angels are repre- * Hand-book, p. 813. 78 NAVABRETE EL MUDO. [CH. IV. sented " con ropas moradas Nazarenas" when they ought to have been painted as pilgrims ; above all, he is shocked at their having beards *. Navarrete offended more seriously in another picture of the Holy Family, by introducing a partridge and a cat and dog quarrelling f . His propensity to improprieties of this kind seems to have been known, for we find, in the contract entered into with him by the authorities of the Escurial, it is expressly stipulated, " Whenever the figure of a saint is repeated by painting it several times, the face shall be represented in the same manner, and likewise the garments shall be of the same colour ; and if any saint has a portrait which is peculiar to him, he shall be painted according to such portrait, which shall be sought out with diligence wherever it may be : and in the afore- said pictures the artist shall not introduce any cat or dog or other unbecoming figure, but all shall be saints, and such as incite to devotion." \ Marshal Soult has also a very singular portrait by Navarrete. It is marvellously painted, but the eyes have that sort of appearance which we should call "wall-eyed" in an animal. Navarrete 's admiration for Titian is well exemplified by the story of his attempt to save the Last Supper of * Pacheco, p. 549. + Cean Bermudez, Diccion. ii. p. 97 ; Pacheco, p. 430. + See Cean Bermudez, Diccion. ii. p. 100 ; compare Viardot. Notice sur les Peintres de 1' Espagne, p. 102. It is curious to see how carefully this contract endeavours to secure in the figures of the saints that indi- vidual character which is essential to the impression of reality. The ad- vantage of " type " in such subjects was clearly felt by the monks of St. Lorenzo. Compare Preface to Kugler, German and Flemish Schools, p.xl. CH. IV.] NAVARRETE EL MUDO. 79 that master, executed for the refectory of the Escurial, from being cut to fit the place for which it was destined. El Mudo gave the king to understand by signs that he would copy it in six months or forfeit his head ; an offer which Pacheco says he would without doubt have made good *, but which the king was too impatient to accept, and ordered the picture to be cut. In the Spanish Museum of the Louvre there is one small picture of the Flagellation which bears the name of Navarrete. In this country I know none, except that in the possession of Lord Lansdowne, at Bowood, which is supposed to be a portrait of Dona Maria de Pacheco, the heroic wife of Don Juan de Padilla. She is seated on the mule or ass on which she bore her infant son whilst she endeavoured to rouse the Comuneros of Castile to avenge the death of their murdered chief f. Navarrete did not live to complete the contract, already quoted, by which he had bound himself to exe- cute no less than thirty-two pictures for the church of the Escurial : he completed only eight of the saints and evangelists; the remainder were entrusted to Alonso Sanchez Coello and Luis de Carabajal. El Mudo died in March, 1579, at Toledo. Lope de Vega has left the following epigram upon him : * Pacheco, p. 94 ; Cean Bermudez, Diccion. ii. 109. f If Navarrete painted this portrait, it must have been long subse- quent to the events to which it referred. Juan de Padilla was put to death in 1522, four years before the birth of the painter. The pic- ture, I believe, was purchased in Italy, whither it had been brought from Spain. See Robertson, Charles V. ii. p. 176-178 ; compare Ford's Hand-book, p. 620. 80 CARABAJAL EL GRECO. [CH. IV. " No quiso el ciel que hablase Porque con mi entendimiento Diese mayor sentimiento A las cosas que pintase. Y tanta vida les di Con el pincel singular Que como no pude hablar Hice que hablasen por mi." Luis de Carbajal, or Carabajal, was born at Toledo in 1534, and worked much for Philip II. at the Escurial. Besides the large altar-pieces already referred to, he executed a Magdalen and a Nativity, as well as the por- trait of Don Bartolome Carranza in the Winter Chapter- House. He painted at Toledo with Bias del Prado in the year 1591, and is said to have been employed in the Pardo as late as 1613, though Palomino places his death twenty- two years earlier*. His Magdalen, we are told, was much admired by Lebrun : it is now in the Madrid Gallery f. We must next turn to one of those masters whose works are scarcely ever seen out of Spain Domenico Theotocopuli commonly called "El Greco." Both these names, as well as the fact that he has signed pic- tures in Greek characters, leave no doubt as to the country whence he came, but his character as an artist, unequal as it is, is thoroughly Spanish. El Greco is said to have been a pupil of Titian \ ; his great study was colour. Pacheco tells us " When I asked Do- menico Greco, in 1611, which was the more difficult, * Palomino, iii. p. 292. t Compare Quilliet, p. 52. J Palomino, iii. p. 425; compare Lanzi, iii. p. 116. El Greco, it appears, was employed by Titian to engrave his designs. Lanzi says he can point out no picture of his in Italy. CH. IV.] EL GEECO. 81 drawing or colour? his answer was colour: and this opinion of his is not so much to be wondered at, as to hear him talk with so little esteem for Michael Angelo, (being as he is the father of painting), of whom he said that he was a good sort of man " (buen ombre), " but did not know how to paint."* In another passage, however, Pacheco extols the diligence of El Greco, and says that he once showed him a cupboard full of clay models exe- cuted by himself for the purpose of being used in his painting, as well as small duplicates in oil of all the pic- tures which he had ever painted f . It remains to say something of the works of this strange but admirable master. He resided at Toledo in 1577, in which year he commenced the fine picture of the Stripping of Christ in the sacristy of the cath- edral. He also executed the carving and framework constituting the retablo in which the picture is placed. The figure of Christ is in the centre, clothed in deep crimson, and from its position and the glow of its colour, as well as the grouping of the subordinate personages, gives an unity to this work which has rarely been sur- passed. The tone is essentially Venetian, though per- haps not so much so as that of another production of the same master, the subject of which is the Burial of the Conde de Orgaz. Palomino treats this latter picture as the * Pacheco, p. 242. Wilkie, in 1827, wrote "After seeing all the fine pictures in France, Italy, and Germany, we must come to this conclusion that colour, if not the first, is at least an essential requisite in painting. No master has as yet maintained his ground beyond his own time without it." Life, ii. p. 443. Is not Poussin an exception ? t Pacheco, p. 347 ; compare Palomino, iii. p. 429. E 3 82 EL GEECO. [CH. IV. chef-d'oeuvre of the artist. It was painted in 1 584, by the order of Don Gaspar de Quiroga, Cardinal and Arch- bishop of Toledo The execution resembles Tintoret : the reality of the figures in the lower part is wonderful, but the upper portion is somewhat inferior. St. Stephen and St. Augustin are burying the deceased count with their own hands, whilst his friends and family look on some- what surprised. This picture I saw at Toledo in the church of S to . Tome, which was founded by the count himself, and where the miracle is said to have occurred in 1312 *. I infer, from what Mr. Ford says, that it is now at Madrid f; the transfer is much to be re- gretted. In the convent of La Reyna, at Toledo, there was a Christ Crucified, with two portraits below, both wonderfully painted {. Some of El Greco's figures were extravagant in length and of an ashen-grey tone, most singular in so fine a colourist. His works at the Escurial are unequal in this manner : of the three in the Sala Capitular, one is very fine and another perfectly absurd. The portrait of Innocent X., ascribed to El Greco, which used to hang in the apartments of Don Carlos, is equal to any portrait I ever saw. The Museum at Madrid possesses no less than ten pictures by this master, many of them por- traits. The Spanish Gallery in the Louvre professes to contain as many as eight, among which are his own por- * See Palomino, iii. p. 426, who gives the date 1323. f Hand-book, p. 771 ; compare Borrow's Bible in Spain, third edition, vol. ii. p. 374. J I think this is possibly the picture which now bears the number 254 in the Catalogue of the Spanish Collection at Paris. CH. IV.] EL GRECO MAYNO. 83 trait and that of his daughter; the latter is highly praised by the critic in the Kunstblatt : " The black piercing eyes, the thin features and morbid paleness of the face, betray the feverish restlessness of this female heart, and indicate a nature capable of deep passion and endowed with fine nerves. The manner in which the painter has thrown out this figure from a light drapery is remarkable." * A very singular portrait by El Greco has lately been brought to this country by Mr. Conyngham ; it is tho- roughly Venetian in its character, and purports to repre- sent Fra Vincentio Anastagi, who was governor of Citta Vecchia in the siege of Malta It is signed by the painter in Greek characters. Theotocopuli was the architect of the Casa del Ayun- tamiento at Toledo f. He died in 1625 at a great age. His memory has been celebrated in a sonnet of Gon- gora's which is strongly tainted with the affectation so often characteristic of that poet J. One of the best pupils of El Greco was Juan Bautista Mayno. He, too, was employed by the Chapter of Toledo, and became a Dominican monk. Philip IV. relied much on his advice in matters of art, both before and after his accession ; and it was by Mayno that the attention of the king was called to Alonso Cano. He died at Madrid, in the college of Santo Tomas, in 1649. One of this artist's pictures in the Gallery of Madrid is a large allegorical composition, representing the reco- very of a rebellious province of Flanders, and the dis- * Kunstblatt for 1839, No. 42, s. 166. *t* Hand-book, p. 850 ; Cean Bermudez, Diction, v. p. 6. J Obras, Madrid, 1654, p. 23. 84 BIAS DEL PBADO LUIS DE VELASCO [CH. IV. comfiture of heresy and sedition by Philip IV. and Olivares ; the other is a portrait. Bias del Prado was a native of Toledo. He is said by Palomino to have been a pupil of Berruguete, but that author is clearly wrong in affirming that he died in 1557, since Cean Bermudez found a record of his salary being paid as late as April, 1593, when he was out of the kingdom *. It may have been that at this time he was employed at the court of Morocco, whither he was sent at the special request of the Emperor. On his return to Spain the painter wore the dress of a Moor, and for some time used to sit on the floor in the oriental fashion. Palomino attributes to Bias del Prado three pictures which formerly hung in the cloisters of the cathedral of Toledo, but Cean Bermudez asserts that the archives show them to be the works of Luis de Velascof. In 1833 they were so placed as scarcely to admit of being seen at all, but they appeared to me to bear very strong traces of the style of Andrea del Sarto. The Eoyal Gallery at Madrid contains one picture of Bias del Prado, and there is also one in the Louvre. He was a good fruit-painter, and when he went to Morocco he took with him some pictures of this kind which Pa- checo pronounces to have been excellent j. Luis de Velasco, to whom Cean Bermudez assigns the * Palomino, iii. p. 359 ; compare Cean Bermudez, Diccion. iv. p. 117. Palomino's mistake is so gross, that I should be inclined to attribute it to a clerical error ; the date, however, is printed in words at length, not in figures. Philip II. did not come to the throne till 1556. + Compare Ford's Hand-book, p. 849. J Pacheco, p. 421. CH. IV.] LUIS TBISTAN. 85 three pictures commonly bearing the name of Bias del Prado, resided at Toledo in 1564, and worked for the archbishop and chapter of that see. He died in 1606. The favourite pupil of El Greco was Luis Tristan, born near Toledo in 1586, to whom his master made over many commissions which he was unable to execute himself. In this manner he was employed to paint the Last Supper for the Hieronymite monastery of La Sisla. The monks liked the picture, but they thought the price of two hundred ducats, which the artist asked for it, ex- cessive. They therefore sent for Theotocopuli to value it : when this master saw his pupil's work, he raised his stick and ran at him, calling him a scoundrel and a dis- grace to his profession. The monks restrained the angry painter, and soothed him by saying that the poor lad did not know what he had asked, and no doubt would submit to the opinion of his master. " In good truth," said El Greco, " he does not know what he has asked, and if he does not get five hundred ducats for the picture I desire it may be rolled up and carried to my house." The Hieronymites found themselves compelled to pay the larger sum. At the age of thirty Tristan painted the altar-pieces for the parish church of Yepes, and in 1619 he executed the portrait of Bernardo de San- doval, Archbishop of Toledo. The artist died in 1640. We are accustomed to consider Philip II. only in the light of a morose and narrow-minded tyrant : the bitter opponent of England, and the destroyer of all that was just and noble in the Netherlands. It is impossible, however, to contemplate the Escurial without admiring the taste which must have originated and fostered 86 THE ESCURIAL. [CH. IV. so glorious an edifice. The whole possesses a unity of purpose and design such as is rarely seen. It is not a palace, but a mighty monastery in which the King of Spain has apartments. The feeling of monastic seve- rity predominates over that of royal splendour every- where, except in the tomb, where the dust of the monarchs of Spain and the Indies is enshrined in the most precious marble. The architecture is broad and severe ; the scenery is rugged and solemn, and the scale in which the whole is cast, such as of itself to inspire awe and reverence*. The first stone of this grand work was laid on the 23rd of April, 1563. Philip is said to have often watched the progress of the fabric from the brow of the mountain at its side. When it was completed he attended mass with the monks, sitting in that stall at the comer of the choir where he received the news of the battle of Lepantof. In his last illness he lay in one of the tribunes near the high altar with the solemn service of the church ring- ing hourly in his ears ; and there he died within the walls of his own magnificent temple. The erection of such a work as the Escurial was necessarily an epoch in the history of Spanish art. I * I do not often differ from the author of the Hand-book on mat- ters of taste, but I cannot say that the Escurial disappointed me ; on the contrary, it exceeded my expectations in every way. That it contributed its influence to fix the residence of the court at Madrid is to be lamented, and that it was unpleasant to pay for on the part of the people I can easily conceive : but its grandeur I must maintain. See Hand-book, pp. 809, 810. f Ford's Hand-book, pp. 817, 819; Ximenez, Descripcion del Escorial. Madrid, 1764, fol. p. 226. CH. IV.] CAMPI CAMBIA80. 87 have already spoken of some of the masters * who were employed there ; but, in addition to the native artists, a flood of Italians, not all of them first-rate, poured them- selves into Spain to reap a portion of the patronage bestowed by Philip II. Gaspar Becerra has been already mentioned as among the most eminent artists who propagated Italian art in Spain; and I have spoken of Titian's visit to that country. The erection of the Escurial took place, how- ever, after his journey ; but that, building and the Ma- drid Gallery together are, to this day, perfect storehouses of his productions. Many of these have suffered from neglect, but few from the scrubbing of the picture- cleaner f . The two brothers, Antonio and Vincenzio Campi, were in Spain about 1583 ; they were natives of Cre- mona]:. Luca Cambiaso, of Genoa, was in the same * See the list of painters given by Carducho, p. 32. t The present Madrid Gallery contains forty-two pictures by Titian, of which fifteen (including the " Gloria," or Apotheosis of Charles V., of which Mr. Rogers has the sketch) have been brought from the Escurial. Many, among which I trust are the St. Lawrence and the Last Supper, still remain there. For an account of the principal Titians in these two collections see Wilkie's Life, vol. ii. pp. 483, 484, 485, 487, 488, 492, 499, 503, 504, 505, 524, 528 ; compare Ford's Hand-book, p. 551. J Compare Lanzi, Storia della Pittura, iv. p. 133. In an extract from a letter from S. A. Hart, Esq., R.A., printed in the Appendix to the Second Report of the Commissioners on the Fine Arts, the fol- lowing passage occurs : " The church of St. Sigismund at Cremona is literally covered with the works of the brothers Campi : hardly a square inch has been left vacant. These frescos, bearing date 1566-77, are all vigorous and brilliant, and are perhaps on the whole some of the best that could be adduced in favour of the material." (p. 43.) 88 TAVARONE CASTELLO. [CH. IV. year specially engaged by Philip, after he had painted the Martyrdom of St. Lawrence as a specimen of his powers. He arrived in Spain accompanied by his son Horace and his pupil Lazzaro Tavarone *. Cambiaso executed the frescos on the ceiling of the choir of the Escurial, besides other works of considerable magni- tude. Juan Bautista Castello, painter and architect, bore the soubriquet of " El Bergamasco," because he was a native of Bergamo. IJe was received into the service of Philip II. in 1567. In the Alcazar of Madrid he worked with Becerra, and was employed by the king on a mission to Genoa to purchase marble for the decora- tion of the same palace. At his death in 1569 he left two sons, both painters, Nicolao Granelo and Fabricio Castello. These two brothers remained in Philip's service, and with Lazzaro Tavarone and Horacio Cambiaso they executed the frescos of the Battles of Higuemela f and St. Quintin in the Sala de las Batallas in the Escurial. Another missionary of art from Italy was Eomulo Compare Lanzi, v. pp. 297, 300. + " The Battle of the Fig-tree " (Higuera or Higueruela) was a battle in which the Moors were defeated by Juan II. in person, It took place in 1431 ; and, according to Mariana (xi. p. 268), it was called "por una puesta y plantada en el mismo lugar en que pelearon ;" according to others the name was derived from the fact that the constable, Don Alvaro de Luna, who commanded the van- guard, was bribed by money concealed in figs. See Cean Bermudez, Diction, ii. p. 230; Ford's Hand-book, p. 819. Mr. Ford says, " The costume is most curious. This was copied for Philip II. from an original chiaroscuro roll, 150 feet long, which was found in the Alcazar of Segovia." CH. IV.] CINCINATO CAXES CARDUCHO. 89 Cincinato *, a pupil of Salviati, who was sent by the Spanish ambassador in Rome to Philip II. in the year 1569. Patricio Caxes (Caxesi or Caxete\ a native of Arezzo, accompanied him. Romulo worked in the Pardo at Madrid, at the Escurial f, at Cuena, and for the Duque del Infantado at Guadalaxara. Caxes painted much in the Pardo, and there is a picture by him in the Museum at Madrid. Romulo left two sons, Diego and Francisco, both born at Madrid and both painters \. The former of the two had the honour of painting Urban VIII. at Rome, and received from him the most distinguished marks of favour. We shall have occasion hereafter to notice Eugenio Caxes, the son of Patricio. Federigo Zuccaro was another well-known master who was brought over for the express purpose of assist- ing in the decoration of the Escurial. His works, how ever, did not give much satisfaction to the king, and he returned to Italy . Bartolomeo Carducci (or Barto- lome Carducho), of Florence, was the pupil of Zuccaro, and accompanied his master to Spain in 1585. Bartolome Carducho, however, with his brother Vincencio, remained in Spain, where the former worked much at the Escurial and the Pardo, and died in 1608. Few Italian masters did so much as Carducho to promote the fine arts in Spain. Kugler says he may be taken as representing the school * It is difficult to suppose that this was his real name, but I am unable to supply any further information. + Carducho, p. 32 ; Palomino, iii. p. 403. J Pacheco, p. 96. Compare Lanzi, ii. p. 112. 90 CARDUCHO ARBASIA. [CH. IV. of Florence in the time of Cigoli. A picture by him will be found in the Esterhazy palace at Vienna *. His brother Vincencio, besides executing many pictures of merit, wrote the Dialogues on Painting which Cean Bermudez calls the best book on the sub- ject in the Spanish language ; it was printed in 1633. Among the works of Vincencio Carducho were upwards of fifty in the Carthusian monastery of the Paular on the Guadarrama, whence they have now been brought to Madrid and placed in the upper quadrangle of the new Museum. They represent the history of the order, and the sufferings of its monks on the suppres- sion of convents by our Henry VIII. Captain Wid- drington speaks of them as very good f. Carducho died in 1638, at the age of seventy, and Lope de Vega wrote a sonnet in his honour. Another pupil of the Zuccaros, Cesar Arbasia, had exercised his art rather earlier in the South of Spain, and painted the retablo in the chapel of St. Nicholas, at Cordova, as well as the capilla mayor, and the chapel of the Incarnation in the cathedral of Malaga in 1579. Mr. Ford says the pictures at Cordova are of no merit J. Arbasia was born at Saluzzo, and lived for some time at Rome as a teacher in the academy of St. Luke . Pa- * Kugler, Handbuch der Gesch. der Malerei, s. 266. t Widdrington's Spain in 1843, p. 33. J Hand-book, p. 300. Compare Lanzi, v. p. 360 ; Pacheco, p. 422. Nothing can show Palomino's inaccuracy more than the quiet manner in which he says, " Cesar Arbasia, a great Italian painter, and of the school of Leonardo da Vinci, came to Spain about the year 1600." Arbasia died in 1614 ; Leonardo in 1519 ! CH. IV.] RIZI TIBALDI JTJNI. 91 checo praises his landscapes. Antonio Rizi, of Bologna, was brought into Spain by Zuccaro ; he married there and left two sons, Francisco Rizi and Fray Juan Rizi, both better known than their father as painters in the declining times of Spanish art*. Carducho names a Venetian, Bernardino del Agua f , as one of the artists employed at the Escurial, but the Italian who is best known among those masters was Peregrino Tibaldi, or, as he is properly called, Pellegrino Pellegrini \. He was a native of Valdelsa in the Milanese, but belonged to the school of Bologna. Of his works on the high altar of the Escurial, Mr. Ford says, " The pictures in the retablo of the Adoration and Nativity are very cold ; while his San Lorenzo, * non satis crematus,' puts out the gridiron-fire from sheer rawness. Again, the martyr is so gigantic, that he might have eaten up the disproportionate Romans as easily as Captain Gulliver routed the Lilliputians." With reference to his fres- cos in the Library, the same author truly remarks that he out-heroded M. Angelo without possessing a tithe of his grandeur or originality . Tibaldi returned to Italy highly honoured and well paid by Philip for his labours at the Escurial. Juan de Juni was certainly not a Spaniard ; accord- ing to Palomino I] he was a Fleming, but Cean Bermudez suspects that he was Italian : he was at least educated in Itaty, and, as it is said, in the school of M. Angelo. His works as a sculptor are celebrated for their excel- * Ford's Hand-book, p. 771. Hand-book, pp. 813, 816, 818. t Carducho, p. 32. || Palomino, p. 416. I Lanzi, v. p. 47. 92 ESQUAETE MOIS LUPICINO. [CH. IV. lence ; the best of them are, or were, to be seen at Val- ladolid, Segovia, Osma, Aranda del Duero, and Sala- manca *. As a painter he was far less known ; but he was the architect of the Episcopal palace at Oporto. In order to complete our survey of the northern schools of Spanish art, before we proceed to Andalusia, it is necessary to turn to the painters of Aragon. Here, too, Italian influence operated extensively f. The Duke of Villahermosa had already, in the year 1580, brought Paul Esquarte and Roland Mois from Italy to Saragossa. The first was a pupil of Titian, and excellent in portrait ; the second was a good historical painter ; and they adorned the churches and the palace of the duke himself with their works, thus imparting nourishment to the school of Aragon by their example and their teaching. Antonio Galceran, a pupil of Esquarte, painted the palace of the Bishop of Barbastro, and enriched the cathedral there with his historical pictures. About this time, a certain Lupicino of Florence established himself at Saragossa ; to him are attributed the pictures in the chapel of St. Helen in the cathe- dral, of which the subjects are the circumstances at- tending the finding of the Holy Cross. The pictures of the great altar of the convent of St. Augustin are also by Lupicino, and they have much merit, since they are painted with great knowledge and correctness*of draw- ing as well as good colouring. These works exercised * See Ford's Hand-book, pp. 616, 626, 627, 628, 638, 892. + The notices of Aragonese artists are again translated from the paper of Cean Bermudez, published in the tenth volume of Minaflo. CH. iv.] MOKA L'HOKFELIN DE POULTIEKS. 93 considerable influence by exciting the Aragonese painters to imitate them. Geronimo de Mora, a native of Saragossa, was con- versant with all profane literature ; a good poet cele- brated as such by Cervantes a valiant soldier, and a skilful painter. Stimulated by the works of Lupicino, he went to the Escurial in the year 1587, in order to perfect himself in painting under Federigo Zuccaro. When Mora returned home he executed the doors of the retablo of St. George for the Hall of the Deputies. At the beginning of the seventeenth century he was chosen, together with Bartolome Carducho, his brother Vincencio, and Patricio Caxes, to paint in fresco certain rooms and the staircase of the Palace of the Pardo. The works executed there by these celebrated artists met with the approval of all connoisseurs, but the price which was put upon them by other masters of Madrid did not give equal satisfaction to the Commissioners of Public Works (Junta de obras y Basques]. Pedro 1' Hor- felin de Poultiers was named to revise the valuation, and he reduced the price to less than the half of that at which they had been originally valued. In consequence of this great difference of opinion there followed a law- suit which lasted many years, much to the prejudice of the representatives of those artists who had executed the frescos. In 1615 Mora, as an artist, wrote a long and instructive paper in defence of himself and his fellows ; and it is to be regretted that this essay is not printed for the information both of artists and amateurs. Pedro VHorfelin de Poultiers was a Frenchman who had established himself at Saragossa, and died there with 94 COEIDA CACERES. [CH. IV. a property of 20,000 ducats, including 3000 paid him by the Commissioners of Public Works. His portraits were like their originals, and were painted with freedom, so that in this department he contributed to advance the school of Aragon. His son, Antony Horfelin, did much more. He was born at Saragossa in 1597, and died there in 1660. Having studied with success at Home, on his return to his birthplace he executed for the churches and private houses works of which both the composition and colour were pleasing. Geronimo de Corida was a pupil of Horfelin, and was also born at Saragossa. The archbishop of the diocese, Don Ferdinand of Aragon, was his patron, and for him he painted in oil, with correct design, various subjects from Scripture ; he taught his pupils with great exact- ness. One of these pupils was Frai Augustin Leonardo de Argensola, a relative of the celebrated poet, Argensola, and a member of the order of Mercenaries calzados. In the year 1640 Argensola had a high reputation as a painter in Saragossa, which he afterwards enjoyed in Catalonia, Valencia, and Madrid. He left everywhere works of merit, both in oil and fresco, such as support his claim to be accounted one of the good masters of the school of Aragon. Felices de Cdceres lived in Saragossa at this same time, and painted a good deal in chiaroscuro in a pow- erful style in distemper. His son was tamer in his manner, but both drew well, and their works were esteemed by connoisseurs of the city to which they belonged. CH. IV. J JIMENEZ PEOTUS LEON AEDO. 95 Francisco Jimenez was born at Tarrazoiia in 1598, and studied with success at Rome. On his return to Spain he painted for the cathedral of Saragossa two large pictures, of which the subject was taken from the life of San Pedro Arbues, as well as an Adoration of the Magi for the cathedral of Teruel. Jimenez died at Saragossa in 1666, to the great regret of all the city. At that time there flourished in Saragossa several Aragonese painters of the naturalist school, whose works exhibit good taste and good colouring. One of these was Rafael Peotus, who worked in distemper on the or- namental structure raised in the cathedral in honour of the Prince Don Balthasar Carlos. On this he personi- fied the rivers Ebro, Jalon, Huerva, and Gallego, and his landscapes were distinguished for grace and lightness. Another master was Domingo del Camino, who, though not so ready with his brush, was equally skilful in draw- ing. His pupil, Galceran, fell short of his master in the last quality, but surpassed him in colour. Miguel de Espinosa was more correct in his outlines than Gal- ceran, and executed some good pictures for the monas- tery of St. Millan de la Cogolla, and for other churches of Saragossa, where he was born. A certain Urzangui also was a native of the same city and adorned it with his works. Jusepe Leonardo, another painter of the family of Argensola, was born at Calatayud and studied at Madrid under Pedro de las Cuevas. He painted pictures con- taining many figures for the palace of Buen Retiro, which are still preserved in the Royal Museum on the 96 GALVAN MICIEE PABLO MAKTINEZ. [CH. IV. Prado *. Leonardo became mad, and died in that con- dition at Saragossa in 1656. In 1 658 Don Juan Oalvan died in the same city, where he had studied the first principles of his art, although he had completed his education at Rome. On his re- turn from Italy, in 1624, the corporation (Ayuntamiento) of Saragossa had named him their painter, and he exe- cuted various pictures for the cathedral, as well as for the convent of the Carmelitas calzados, Micier Pablo died at Saragossa in 1659. He was judge of the Audiencia Real, and a painter for his amusement only; he holds, however, a considerable place as an artist in the number of the masters of Aragon. Jusepe Martinez was born at Saragossa in ] 612, and studied at Rome. He had returned home before Philip IV. passed through his native city in 1642, and on that occasion he was appointed painter to the king. Neither this distinction, however, nor the favour shown him by Don John of Austria, could force him to attach himself to the court. He remained at home and died there in 1682, to the great regret of the members of the school of Aragon, which from that time began to decline into a sort of servile imitation of the naturalists, without correctness of drawing or expression in the attitudes of its figures. Martinez composed a book entitled " Dis- * The pictures now in the Madrid Museum are two Nos. 210 and 248 of the present Catalogue (1843). The subjects are, a March of Spanish Troops under the Duke of Feria. in 1626, and the Surrender of Breda to Spinola. The first especially is a fair picture. CH. IV.] ARAGONESE MASTERS. 97 cursos practicables del nobilisimo arte de la pintura, sus rudimentos medios y fines que ensena la experiencia con los ejemplares de obras insignes de artifices ilustres." His knowledge of the art was warranted too by the good pictures which he left in the cathedral, and in the churches of S ta . Engracia and the Colegio de la Man- teria, as well as in private houses. His son, Antonio Martinez, was also a native of Sara- gossa. Like his father he studied at Rome, and on his return assisted in the execution of the works in the Colegio de la Manteria. He afterwards became a lay brother in the Carthusian monastery of the Aula Dei, where he painted the pictures of the life of St. Bruno. Whilst Jusepe Martinez was the head of the school of Aragon, the following masters flourished there: Bernardo Polo was remarkable for his pictures of fruit and flowers. Pedro Aibar Jimenez was the nephew and pupil of Francisco Jimenez, and painted certain pictures which are to be seen in the collegiate church of S ta . Maria de Calatayud. An artist named Asensio was a skilful painter of portraits, both of ladies and men. Bartolome Vicente was a pupil of Don Juan Carreiio in Madrid. In his native city of Saragossa he painted in fresco the dome and spandrils of the chapel of our Lady " de los Remedios" as well as various oil pictures for other churches. Don Francisco de Vera Cabeza de Vaca, an Aragonese gentleman, page to Don John of Austria, learnt drawing and painting under Jusepe Martinez, and executed various public works and cabinet pictures for his own amusement. Geronimo Secall, or Secano, learnt the rudiments of his art at Saragossa, VOL. III. F 98 OKRENTE PONTONS MARCH. [CH. V. where he was born, and completed his education as a painter at Madrid. On his return home he executed some pictures in oil for the parish church of St. Paul and for the Hall of the Deputies, as well as certain frescos for the cupola of the chapel of St. Michael in the church just mentioned. He opened a school at Saragossa, and had pupils who made progress under him. CHAPTER V. SCHOOLS OF SOUTHERN SPAIN. THE great schools of the south were those of Valencia and Seville. It will be more convenient for the reader to consider the principal masters of the former of the two, before we plunge into the brilliant series of painters who belong to the latter : in pursuing this course, how- ever, I shall, as I have already done, depart in some degree from the strict order of time. Pedro Orrente was born at Monte-alegre, in Murcia, somewhere about the middle of the fifteenth century. Though he was not, as Palomino says, a pupil of Basan, he was a decided imitator of that master ; and that he was a successful imitator and a good colourist, is sufficiently shown by his works in the Madrid Gallery. Orrente has left five pictures at Valencia, and a specimen of him may be seen in the Esterhazy Gallery at Vienna : he died at Toledo in 1644, and was buried in the same church as El Greco. He was the master of Pablo Pontons and Esteban March : the pictures of the former are seldom CH. V.] M. MAECH RIBALTA. 99 seen out of Valencia * ; those of the latter are abundant in the Royal Gallery of Madrid. He painted many battle pieces, and his execution is free and powerful, as may be seen in the head, No. 149 of the Madrid Cata- logue. His son, Miguel March, was also a painter, and died young, in 1670, at Valencia. The great painter, however, of the Valencian school at this time was Francisco Ribalta, who was born about 1551, at Castellon de la Plana. He studied first in Valencia, where he fell in love with the daughter of his master. The father refused his consent to the marriage, but the girl promised her lover to wait whilst he im- proved himself in Italy. Eibalta accordingly went thither and devoted himself to his art ; studying the works of Raphael and those of the Bolognese masters, as well as the pictures of Sebastian del Piombo. On his return he entered the studio of his former teacher, who was not at home : finding a sketch of a picture on the easel he finished it in his mistress's presence, and left it to produce its effect on her father. The latter, on his re- turn, asked his daughter who had been, there, adding, " This is the man to whom I would marry thee, and not to that dauber -j-, Ribalta." The result of course was * Ford's Hand-book, p. 445. + The word in Cean Bermudez is " bisono," which means a raw recruit and thence a bungler. It is said to have been adopted in the Italian wars. Pistol no doubt would have translated it " bezonian/' as in Henry IV. 2nd pt. Act v. 3 ; compare Henry VI. 2nd pt. Act iv. 2. The commentators appear to derive this word directly from the Italian " bisognoso." The Spanish origin is the true one, and is much more in keeping with the " rodomontades Espagnoles " which make the staple of the worthy soldier's discourse. F 2 100 KIBALTA. [CH. V. that the marriage took place, and the fame of Ribalta immediately procured him employment. He executed the Last Supper for the college of Corpus Christi at Valencia as a commission from " El Santo Bibera," the archbishop. The whole establishment is described as " a Museum of Ribaltas." * It is in Valencia alone that this master can be seen and appreciated, and I can only refer the reader to Mr. Ford for his account of the pic- tures yet preserved there. He describes Ribalta as the Spanish Domenichino and Sebastian del Piombo com- bined, and he is of opinion that we possess in England a grand specimen of his powers in the altar-piece of the chapel of Magdalen College, Oxford. Certain it is that there is no ground for attributing it to Morales, and I know no one who has a better claim to fix the real master than the author just quoted himself the owner of a Ri- balta of very high merit f. The pictures which bear the name of Ribalta in the Madrid Gallery all appear in the present catalogue as the works of the son, Juan de Ribalta. One of these (No. 163) represents the Death of St. Francis of Assisi. The saint is admirable for truth and expression, but the angel is terribly affected. The Spanish Gallery of the * Ford's Hand-book, p. 442. *h See Ford's Hand-book, p. 445, for the reasoning process by which the Magdalen picture has been assigned to Morales. It was taken at the siege of Vigo, and was once in the collection of the Duke of Or- mond : a Mr. Freeman gave it to the college. See Dallaway's anec- dote of the Arts in England, p. 481. I understand that Sir William Eden brought one if not two Ribaltas from Valencia, which are now at Windlestone. I have never seen them ; the subject of one is the Last Judgment. CH, V.J ESPTNOSA. 101 Louvre boasts three or four of Francisco's productions, but the son, who was born in 1597, is said to have painted so like his father and instructor, that connois- seurs are unable to distinguish their works. His Cru- cifixion, in St. Miguel de los Reyes, at Valencia, was executed when he was only eighteen years old. He died in 1628. Jacinto Geronimo de Espinosa was born at Cocentaina in the kingdom of Valencia, in the year 1600. He was the son of a painter, Rodriguez de Espinosa, who had originally come from Valladolid ; and beside* the in- struction of his father, he is said to have studied under Kibalta. The excellence of his drawing, the attitudes of his figures, and the power of his chiaro-scuro, make it probable that he had visited Italy and had profited by the works of the Bolognese masters. The eight large pic- tures painted for the Carmelite convent at Valencia were executed in 1638; his Christ, for Sta. Tecla, was painted fifteen years earlier, when the artist was only twenty-three years old. Like those of Pdbalta, his works must be sought at Valencia. The present catalogue of the Madrid Gallery enumerates three of his pictures, of which his Magdalen (No. 221) has an expression almost of despair, but is very fine. The Mocking of Christ by the Jews, at the time of his Scourging (No. 311), is a painful picture and in bad taste, though well painted *. Of the eight works which bear the name of Espinosa in * I remember two pictures attributed to Espinosa in the catalogue of the Madrid Gallery in 1833, which I find, in that of 1843, are attributed to Juan de Ribalta. These represented the heads of a blessed and of a condemned soul. The expression of both was fine and striking. See Nos. 83 and 84 of present catalogue. 102 RIBEBA. [CH. V. the Spanish Museum at the Louvre, the writer in the Kunstblatt selects The Bearing the Cross as the most remarkable. It is full, he says, of energy and movement, and the colours are laid on with a broad and full pencil, though in the general impression produced by the whole work there is a sort of mixture of grandeur and vulgarity *. Espinosa died in 1680, and was buried in the parish church of St. Martin, at Valencia t. Josef de Eibera, or Lo Spagnoletto, cannot be entirely omitted in a history of Spanish painting, though his birthplace has been disputed and he resided in Italy. The Italian writers have contended that he was born at Gallipoli, in the kingdom of Naples, of Spanish parents, but the fact that he was bom at Xativa or San Felipe, near Valencia, seems to be clearly established by the register of his baptism there, which places his birth in 1588 {. He is said to have been a pupil of Bibalta ; but at any rate he went to Italy very young, and there studied the powerful works of Caravaggio and the naturalists, whose style he adopted. The character of the school was congenial to the spirit of Ribera, who enhanced its gloomy vigour, and tinged it with the true feeling of his own country. He died at Naples in 1656. * " Und aus dem ganzen tritt uns, ich weiss nieht welche Mischung von Trivialitat und Adel entgegen." Kunstblatt for 1838, No. 39, s. 156! t Sir William Eden is said to possess a fragment of a larger picture by Espinosa, consisting of three angels ; it is at Windlestone in the county of Durham. Compare Lanzi, Storia della Pittura, ii. p. 315 ; Cean Bennudez, Dice. iv. p. 185. CH. V.] EIBEKA. 103 I believe the best of Ribera's works to be the beauti- ful Pieta, in San Martino af Naples ; a picture rarely equalled by any master of any school. Sir Thomas Lawrence, in writing to Wilkie when at Madrid, in 1827, says, " From the one picture by Kibera, at Naples, I have been led to think you would find some grand severe specimens of his power and sentiment in chiaro-scuro, which Caravaggio never had. The picture I speak of was, I think, in the San Martino at Naples. A copy or repetition of it is at Lord Arundel's at War- dour *. Wilkie, in his reply, says, " There are none here, nor perhaps anywhere, so fine as that you mention." An account of the Riberas at Madrid, and a character of Ribera as a painter, will be found in the Hand-book of Spain f . At Osuna is a fine Crucifixion, at which, Mr. Ford tells us, the French amused themselves by firing, and four other pictures J. In "Las Agostinas Re- coletas," at Salamanca, were a Virgin of the Rosary and the great altar-piece, a Conception, signed by Ri- bera, with the date of 1635, and the adjunct of " Valen- tiano " after his name. This picture was remarkable in Spain as showing the Virgin's feet. The convent was founded by Manuel de Zuniga, Conde de Monterey, brother-in-law of the Count-Duke and Viceroy of Naples under Philip IV. : it was once "a museum of Neapolitan paintings : now they flap rotting in their frames, but yet are pure in surface, having never yet been defiled * See Kugler's Hand-book of Italian Painting, p. 415 ; Cunning- ham's Life of Wilkie, ii. pp. 478/501. + Hand-book, p. 755 ; compare pp. 426. 445. t Ibid. p. 326. 104 PABLO DE CESPEDES. [CH. V. by harpy cleaners or restorers. It is, or was, proposed to send them to the local Museo." * The Spanish Museum in the Louvre contains a large number of the works of Bibera, of which the writer in the Kunstblatt particularly mentions a horrible, but most powerful, martyrdom of St. Bartholomew ; as well as Cato tearing out his own Entrails, and Hercules res- cuing D eiaiiira from the C entaurs t . The Adoration of the Shepherds in the Gallery of the Louvre is extremely beautiful. It is obviously unnecessary to dwell longer on a master who is so generally known, and whose pictures are to be found in so many collections out of Spain. We will now turn to the school of Seville. The city of Cordova can boast great men in all times, from Seneca and Lucaii to that Gonsalvo "qui magni ducis nomen propria virtute, proprium sibi fecit. "J Among its cele- brated sons was Pablo de Cespedes, who was born in 1538. After passing some time at Alcala de Henares he proceeded to Italy, where he studied the fine arts. Pacheco calls him " a great imitator of the beautiful manner of Coreggio, and one of the best colourists in Spain. The school of Andalusia owe to him the fine tone of their flesh-tints, as he has shown in this city (Seville), and in his native town of Cordova, by his famous retablo in the college of the Jesuits. " Cespedes * Ford's Hand-book, p. 581. + Kunstblatt for May, 1839, No. 42, s. 167. I See Ford's Hand-book, pp. 295, 296. The quotation in the text is from the epitaph of " the Great Captain," at Granada. Compare Car- ducho, p. 61, who says, " La Ciudad de Corboba que no solo tuvo a Seneca por unico Filosofo, sino a Don Luis de Gongora por insigne poeta." Pacheco, p. 300 ; compare p. 317. CH. V.] CESPEDES ALONSO VAZQUEZ. 105 was buried in the chapel of St. Paul in the cathedral of Cordova, where may be seen his paintings of St. John and St. Andrew, and " a neglected Last Supper, once his master-piece."* The panel painted by Cespedes may still be seen in the Chapter House at Seville, and in the " Contaduria Mayor " were two other works of his the Sacrifice of Abraham, and S ta . Justa and S ta . Ru- fina, with the tower between themf. In the Spanish Museum in the Louvre is the portrait of Cespedes, painted by himself. He was the intimate friend of Arias Montanus and himself enjoyed a very high lite- rary reputation. Cean Bermudez has printed his frag- ments at the end of the 5th volume of his Dictionary ; among these are, a letter to Pacheco written in 1608, a poem on painting, and an essay on the com- parison between ancient and modern painting and sculp- ture. Cespedes held a prebend in the cathedral of Cordova, and usually passed his vacations at Seville, which he vi- sited for the last time in 1603 ; his death took place in 1608. The best pupils of Cespedes were, Juan Luis Zambrano, Juan de Penalosa, Antonio de Contreras, Cristobal Vela, and Antonio Mohedano. Alonso Vazquez, a native of Honda, worked with Mo- hedano in the convent of St. Francis, at Seville ; both excelled in the execution of fruits, arid Pacheco tells us that a large picture of Lazarus by Vazquez, in the possession of the Duke of Alcala, exhibited this skill in the various accessories which decorated the sideboard * Ford's Hand-book, p. 300. f Cean Bermudez, Catedral de Sevilla, pp. 151. 156. F 3 106 MAEMOLEJO KOELAS. [CH. V. of the rich man *. Mohedano died in 1625 ; Vazquez earlier than 1650, which is the date given by Palo- mino f. Pedro de Villegas Marmolejo was, like Cespedes, a friend of Arias Montanus ; he was born at Seville in 1520, and studied in Italy. Mr. Ford calls him an " imitator of the Florentine school," J and speaks of his Visitation in the cathedral of Seville. Villegas died in 1597. The next master whom it is necessary to mention is the licentiate Juan de las Roelas, or, as he is commonly called, "El Clerigo Roelas." The pictures of Roelas which remain at Seville are sufficient to confer on him a very high rank as a painter ; yet his name is scarcely known out of his own country. He was born in 1558 or 1560 ; that he studied at Venice is probable from his style: he held a prebend in the collegiate church of OUvares, where he died in 1625, and where some of his last, though not his best, works still exist . His finest pictures, however, were executed for the churches of Seville. The Santiago destroying the Moors in the battle of Clavijo, decorates the chapel of this saint in the cathedral. Mr. Ford says it is not one of his best works || ; it is nevertheless a fine picture : the horse is not equal to the rest, but the saint is bursting on the infidel foe with the terrors of the whirlwind: it was executed in 1609. The Martyrdom of St. Andrew was formerly in the college of S to . Tomas, but is now, I be- * Compare Palomino, iii. p. 455 ; Cean Benuudez, Dice. v. p. 146. f Pacheco, pp. 421, 422. J Hand-book, p. 253. Ibid. p. 256. || Ibid. p. 270. CH. V.J ROELAS. 107 lieve, removed to the Museum in the Merced " the only place in the world fully to understand the great school of Seville." * Lebrun, it is said, persisted in believing it to be a work of Tintoret's f ; though tho- roughly Venetian in its colour, the similarity is hardly so striking as this story would imply. The tone is redder than Tintoret | ; the landscape has become rather too blue ; the figures of the executioners are splendid. The university, formerly the Jesuits' convent, contains over the high altar three large pictures by Roelas : the Nativity is not, in my eyes, equal to the St. Andrew or the St. Isidore of the same master ; the colour is, how- ever, very fine, and has a rosy tinge about it, with a softness of execution and an expression by no means characteristic of Tintoret. The angels are peculiarly beautiful, and "no one ever painted the sleek grimalkin Jesuit like Roelas. " One of these pictures does not escape the sharp censure of Pacheco ||. " As it appears to me," he says, "the painter has placed a- sheet, and not a small one, in the hands of the Virgin his mother, as the bed of the child Jesus, whilst he has imitated Basaii by leaving the child naked. Assuming what we have said above, how do artists dare to paint him thus "? (That is, assuming that the child was wrapped in swad- dling clothes and laid in the manger.) " I can only answer all I have to do is to observe on the fact one * Ford's Hand-book, p. 264. f Ibid. p. 267. + Roelas' s shadows have not the blackness of those of Tintoret and of some of the Spanish masters. We learn from Mr, Eastlake that this tone may perhaps be attributed in these artists to the immoderate use of verdegris as a dryer. Materials for the History of Oil Painting, p. 78. Quilliet, p. 300. || Pacheco, p. 506. 108 BOELAS. [CH. V. thing is certain ; even if the sacred text did not tell us so, no one would presume so little prudence and so little compassion in his most Holy Mother, as that she would expose the child at such a rigorous season, and in the middle of the night, to the inclemency of the cold." The great work, however, of Roelas is, in my opinion, his Death of St. Isidore in the parish church of that saint. It resembles Tintoret more than the Martyrdom of St. Andrew does. The face of the dying saint upheld by his sorrowing clergy is very fine, and the subject suggests a comparison which would be fatal to most pic- tures it reminds us of the Communion of St. Jerome by Domenichino ; nor do I believe that, as a whole, the work of Roelas would lose by juxta-position with that master-piece. There are many other pictures by Roelas to be seen at Seville. Mr. Ford refers to the Conception in the Academia as equal to Guido *. I have already noticed the objections of Pacheco to Roelas 's treatment of the subject of St. Anne teaching the Virgin to readf, in which, says the inspector of the Inquisition, " the Virgin is kneeling before her mother, reading in something like a missal; she is about 13 or 14 years old, with a rose-coloured tunic and a blue mantle spotted with stars, and with an imperial crown on her head. At her side St. Anne has a buffet -with refreshments imitating nature ; underneath it are a cat and a little dog : close to the Virgin stand a work-basket and some play- things" This picture was in the "Merced Calzada."J * Hand-book, p. 270. f See above, p. 15. Pacheco, p. 506. CH. V.] LUIS FEENANDEZ JUAN DE CASTILLO. 109 The Museum of Madrid contains only one alleged spe- cimen of Roelas Moses Striking the Rock. It is boldly painted, and somewhat resembles Tintoret, but is far inferior to that master. To my eyes it appeared to have suffered some injury, and Mr. Williams, the best judge in such a matter, did not hold it to be a genuine work of the master *. The Spanish Museum in the Louvre contains three pictures which bear the name of Roelas ; the writer in the Kunstblatt considers only one of these the portrait of his daughter as be- ing really painted by him f . Mr. Buchanan mentions a picture by Roelas as having been sent from Spain in 1 809 by Wallis, but he does not say into whose hands it passed J. After all, it is at Seville, and at Seville alone, as I have already said, that this master can be properly appreciated. Roelas died at Olivares, after executing the pictures which have been mentioned as his last works. Luis Fernandez worked in Seville at the end of the sixteenth century, and is known, not by his pictures, but as the master of Juan de Castillo, Herrera, and Pacheco. The first of these three, Juan de Castillo, was born in 1584 at Seville; he had an elder brother, Agustin de Castillo, who, like Juan, was a pupil of Fernandez. Agustin lived and painted at Cordova, but his works there had perished even in Cean Bermudez's time, although a picture by him of the Adoration of the Kings remained in the cathedral at Cadiz. Juan owes his fame to the fact that he was the master of Alonso Cano, * Compare Ford's Hand-book, pp. 242. 263. + Kunstblatt for 1838, No. 93, p. 379. Memoirs, ii. p. 235. 110 JUAN DE CASTILLO PACHECO. [CH. V. Pedro de Moya, and Murillo. Agustin died iu 1626 ; his brother in 1640. The Spanish collection in the Louvre contains specimens of the works of both brothers. A journey which Juan de Castillo made to Granada was the occasion of Miguel Cano, the father of Alonso, transferring his residence to Seville. The six great pictures which Castillo executed for the church of Monte Sion, at Seville, are now in the Museum. The Annun- ciation and Salutation are meagre in colour and defective in drawing, though the Virgin's head and hands in the former are well painted. The Assumption is better ; the figure of the Virgin herself and the old man gazing up- wards, as well as the person looking into the tomb, are fine *. The son of Agustin, Antonio Castillo y Saavedra, was born at Cordova in 1603, and educated in the school of Zurbaran. After returning to his native city he became convinced that he was the first painter of the day, but on a visit to Seville he was painfully undeceived. The Murillos in the " Claustro chico " overwhelmed him with surprise. " When he saw the St. Leander and St. Isidore, as well as the St. Antony of Padua by the same master, he ex- claimed, ' It is all over with Castillo ! Is it possible that Murillo, that servile imitator of my uncle, can be the author of all this grace and beauty of colouring ? ' " He returned to Cordova, attempted to imitate and equal Murillo, felt satisfied that he had failed, and died in the following year (1667) of the effects of envy and annoyance. Of Francisco Pacheco much has already been said. * See Foreign Quarterly, No. xxvi. p. 254. CH. V.] FBANCISCO PACHECO. Ill He was, according to his own account, seventy years of age when he published his book, that is to say, in 1649 * ; consequently he was born in 1579, or, reckoning cur- rent years, in 1580. His death took place in 1654. Pacheco occupies a conspicuous place in the history of Spanish art, not so much on account of the merit of his own pictures, as because he was the teacher and father-in-law of Velazquez, as well as the most re- markable writer of his nation on the art which he prac- tised. There seems no good reason for supposing, with Palomino, that after he left the school of Luis Fer- nandez he studied in Italy f ; indeed the negative evi- dence is strong the other way : had he visited Rome, we should not have been left in doubt of the fact. Pacheco was a friend of Montanes, and many of the * Pacheco, p. 470 ; compare Cean Bermudez, Diccion. iv. p. 4 ; Palomino, iii. p. 476. Palomino is no doubt very inaccurate, but, upon the whole, I think Cean Bermudez attacks him here without reason. Pacheco, as Cean says, obtained the license to print his book in 1641, but some portion of the book was probably written several years before he obtained the license ; thus, in speaking of Velazquez, he says the king conferred on him the office of Ayuda de Camara, "en este de 1638," meaning, as I presume, the year in which he was then writing. Cean reckons the 70 years back from 1641 instead of from 1649, and finds fault with Palomino for having placed the au- thor's birth nine years too late. It is perfectly possible, however, that Pacheco, when his book was published, may have altered the statement of his age to suit the time, not of its composition, but of its publication. Indeed it would be natural so to do, for he is talking of the value of his own experience and knowledge at such an age ; his counsel, he would mean, when, the reader received it, was that of a man of seventy years of age ; no matter when it was written if he still adhered to what he had said. f Compare Pacheco, p. 243. 265. 344; Palomino, iii. p. 476; Cean Bennudez, Dice. iv. p. 5. 112 FRANCISCO PACHECO. [CH. V. statues of the latter were coloured by the former : in- deed he was the first painter in Seville who brought this branch of art to perfection. In the year 1600 Pacheco was employed to paint six large pictures of the Life of S. Ramon, in competition with Alonso Vazquez, for the " Merced Calzada." * Two of Pacheco 's pictures will be found at Alcala de Guadaira one in the church of St. Sebastian, and the other in that of Santiago f. In the Esterhazy palace at Vienna is a picture of Moses Striking the Rock J. In 1611 Pacheco visited Madrid, the Escurial, and Toledo, where he made acquaintance with El Greco, and became a friend of Vincencio Carducho. On his return to Seville he opened a school, among the pupils in which were Alonso Cano and Diego Velazquez. It has been already stated that this artist filled the office of Inspector of Sacred Pictures to the Inquisition : his * San Ramon, or Raimundus, de Penaforte was, like St. Vincent Ferrer, a Dominican. S. Ramon was founder of the order " B. Ma- riae de Mercede," the object of which institution was the redemption of captives. He is the saint of whom pictures are occasionally seen as sailing across the sea on his cloak. The occasion of this miracle was, that Don Jayme el Conquistador (the infant hero of Southey's ballad of Queen Mary's Christening) had refused to discard his mistress, and S. Ramon therefore determined on leaving him to his own devices. The king had forbidden any ship to take the saint, though one would have thought that under such circumstances Don Jayme would have been glad to get rid of him ; upon which St. Ramon performed the passage from Majorca to Barcelona in six hours, and landed with himself and his cloak perfectly dry " veluti ex area vestiaria earn recens accepisset" to use the words of Ribadeneira, Pt. ii. p. 25. f Ford's Hand-book, p. 236. I Kugler, Handbuch der Gresch. der Malerei, s. 257. CH. V.] GAUDIN HEEKEEA EL VIEJO. 118 brother Francis was also a familiar of the same tribunal. Velazquez having married his master's daughter, Pacheco and his son-in-law went to Madrid in 1623, whither the latter had been summoned by the Count-Duke of Olivarez. Pacheco thus witnessed the distinctions con- ferred on the husband of his daughter. He returned to Seville, and died there in 1654. Don Luis Pasqual Gaudin has been mentioned* as one of the artists whose mode of dressing the Virgin offended Pacheco 's sense of propriety. Yet he was a Carthusian monk, having professed in the " Cartuxa " of Granada in 1595, at the age of thirty-eight. He worked a good deal in Seville, and died in 1621. We must now turn to Francisco de Herrera el viejo, or the elder, who was born at Seville in 1576 ; he could not, as Cean Bermudez observes, have been a pupil of Pacheco, but was probably a fellow scholar with him in the school of Luis Fernandez. Herrera was the first master who introduced into the school of Andalusia that bold and vigorous touch which was adopted by Velazquez : in Herrera, indeed, this quality was somewhat exaggerated ; he is said, when he had no pupils, to have directed his maid-servant to smear the colours on his canvass with a broom, and then, whilst they were still wet, to have formed them into a sort of sketch with his own brush. The tem- per and character of Herrera were as coarse and vio- lent as the execution of his pictures. He drove away his pupils ; his son robbed him and fled to Rome, and his daughter became a nun. Herrera was fond of engraving on copper, and was charged with coining. * See above, p. 13. 114 HEEREEA EL VIEJO. [CH. V. Whether guilty or innocent, he took refuge in the col- lege of St. Hermenegild, which belonged to the Jesuits. Whilst sheltered here, he executed the large picture of that royal martyr which formerly hung on the staircase of the University, but is now in the Museum of Seville ; it has been much retouched*. This picture was shown to Philip IV., when he was at Seville in 1624 ; he asked after the artist, and was informed that he was charged with coining, and had taken sanctuary : the king caused him to be called, and pardoned him, with a caution that powers such as his ought not to be abused. The parish church of S n . Bernardo still contains the Last Judgment of Herrera: in St. Martin, also, are some of his early works f ; but the four large pictures formerly in S n . Buenaventura have been removed from Seville j : three of these are now in the possession of the Earl of Clarendon at the Grove ; the fourth, I believe, is in Paris. They are singular pictures, not remarkable for the relief of the figures, but executed with great vigour and truth. The Spanish collection in the Louvre professes to contain no less than thirteen paintings of the elder Herrera: there does not appear to be a single specimen in the Royal Gallery at Madrid. I am informed that among certain pictures left to the town of Cherbourg by a M. Henry are two Herreras one a David, a single figure with fine purple drapery, and very good ; the other a saint, or Job, of inferior quality . * See Ford's Hand-book, p. 264; For. Qy. Rev. No. xxvi. p. 256. f Ford's Hand-book, pp. 276270. Widdrington, Spain and the Spaniards in 1843, vol. i. p. 250. I am indebted to Mr. Ford for this information ; the numbers are 33 and 34. CH. V.] HERRERA EL MOZO. 115 The Duke of Dalmatia's picture of the Doctors of the Church is by far the finest work of Herrera that I have seen : those at Seville indeed were not so placed as to be seen to advantage, but they did not appear to me equal in force and power to this one ; whence it came I know not. The colour is good, and is laid on with an extra- ordinary impasto. Francisco Herrera el Mozo *, as he is called, was the son who left his father and fled to Rome. He was born in 1622. In Italy he became known as " Lo Spagnuolo dei Pesci," from his skill in painting fish in pieces of still-life, or as the Spaniards call pictures which display eatables, bodegones tavern pieces. On his father's death he returned to Seville, and exe- cuted the large picture in the " Sala de la Hermandad del Santisimo," in the court of orange- trees. Mr. Ford calls it " affected and indistinct ;" a somewhat severe sentence, but, in fact, the younger Herrera was a feeble artist f . The same qualities of softness and affectation characterize the angels in the picture of St. Francis in the cathedral ; the saint himself is fine, and altogether this last is one of the painter's best works. Both these pictures were engraved by Arteaga. Herrera was elected vice-president of the Academy of Seville when Murillo was president, and perhaps from jealousy he went to live at Madrid. Here he painted a good deal, and died * See Ford's Hand-book, p. 256, for Mr. Inglis's mistake in turn- ing "elmozo," or "the younger," into "hermoso," or "the beautiful." A notable instance of the danger of taking down the information of a cicerone, or valet-de-place, by the ear, and not checking it by books. f Hand-book, pp. 250. 256. 116 ALONSO CANO. [CH. V. in 1685 *. It should be stated that Herrera el viejo had another son, older than Francisco Herrera, who was a painter, and is known by the name of Herrera el Rubio ; he died, however, very young. The next master whom it is necessary to consider is Alonso Cano, and there are few Spanish painters more remarkable. His father, Miguel Cano, was a native of La Mancha, but had settled at Granada as a designer and carver of retablos ; by the advice of Juan de Castillo he afterwards removed his residence to Seville. Alonso Cano was born in 1601, and studied sculpture under the great master of the day, Juan Martinez Montanes ; in Seville he frequented the schools of Pacheco and Castillo. It has been suspected that Cano profited by certain antique statues which were in the collection of the Duque de Alcala, in the house known at Seville as " la casa de Pilatos : " f at any rate there is a grace and a simplicity about some of his works, both in sculp- ture and painting, which seem to indicate a study of better models than the productions of the masters under whom he learnt his art. Some of Cano's works in coloured sculpture are sin- gularly beautiful : the retablo in the parish church of Lebriga was executed in 1630 J. Nothing can exceed the small Virgin and Child at the top of the " Facistol," or Lectern, in the cathedral of Granada. The faults inherent in coloured figures are less offensive in a * There is a picture ascribed to Herrera el Mozo in the Pinacothek of Munich, 1st division, No. 356. t See Ford's Hand-book, pp. 247, 260. Hand-book, p. 237. CH. V.] ALONSO CANO. 117 miniature form. Mr. Ford says, '* The child is inferior, and possibly by another hand."* In the sacristy, he adds, " is a charming Conception, carved by Cano, with his peculiar delicate hands, small mouth, full eyes, and serious expression ; also by him, in the Oratorio, is a Virgin in blue drapery and very dignified."! In the church of St. Nicolas at Murcia is "an exquisite St. Antonio, carved in wood, in a brown Capuchin dress, about eighteen inches high, by Alonso Cano, and inscribed: it is the gem of Murcia." \ Again, in the cathedral of Toledo is a St. Francisco, two and a half feet high, " which is a master-piece of cadaverous ecstatic sentiment. " The head of St. Paul in the cathedral of Granada is wonderfully executed, but placed as it is in a glass case, and being the size of life, coloured, it pro- duces all the effect of an anatomical preparation ||. Cano fought a duel with Sebastian de Llanos y Valdes, whom he wounded, and he was accordingly obliged to fly to Madrid. In the capital he found a protector in his former fellow-pupil, Velazquez, who presented him to the Count-Duke of Olivares. In 1643, Cano went to seek employment at Toledo, and in the interval, be- tween this year and 1650, must have occurred the death of his wife, who was supposed to have been assassinated by the artist himself : it is said that he endured the rack without confessing, but Cean Bermudez was unable to find any record of the judicial proceedings in his * Hand-book, p. 386 ; compare For. Qy. No. xxvi. p. 265. t Ibid. p. 387. $ Ibid. p. 411. Ibid. p. 847. j| For. Qy. No. xxvi. p. 265. 118 ALONSO CANO. [CH. V. case *. According to the account of Palomino, he fled from justice originally to Valencia, and then to the Carthusian convent of the Porta Coeli, near that city ; it is certain that he left pictures in hoth places. In 1651 he obtained from the Crown a stall as racio- nero, or minor canon, in the cathedral of Granada, on condition of taking orders within the year. This space of time was twice enlarged, but as he failed to comply with the condition the chapter ejected him from his preferment -f. He was, however, afterwards ordained sub- deacon on the title of a chaplaincy to the Bishop of Salamanca ; the king then caused his stall to be restored to him, with the arrears, and he enjoyed it until his death, which took place in 1667. In the Madrid Gallery is a portrait of a sculptor by Velazquez, which is conjectured to be that of Alonso Cano (No. 81). Cano's character was singular and violent : whether he really killed his wife or not we do not know, but he was subject to strong impulses, and acted upon them without reflection. To the poor he was charitable ; but, with this exception, his finer feelings appear to have worked themselves off in the pensive melancholy and * Cean Bermudez, Diccion. i. p. 211 ; compare Palomino, iii. p. 578. "h According to Palomino it was necessary for him to obtain a dis- pensation from Rome for bigamy before he could take orders, since he had married a widow (iii. p. 580). So in England, bigamy in its proper sense, either of marrying twice or marrying a widow, was originally a bar to pleading benefit of clergy, since it was an obstacle to orders; see 1 Edw. IV. 12. Clergy was restored to bigamists by 1 Edw. VI. 12. See Hale, Pleas of the Crown, p. 229 ; Reeve's History of the English Law, i. p. 143 ; iv. p. 471. CH. V.] ALONSO CANO. 119 tender sentiment of his Virgins. Some of the anec- dotes which Palomino relates of him are so character- istic, not only of the man, but of the time and of the country, that it is worth while to extract them. An auditor (Oidor) of the chancery of Granada bore especial devotion to St. Antony of Padua, and wished for an image of the saint by the hands of Cano. When the figure was finished the judge came to see it, and liked it much. He inquired what money the artist expected for his work : the answer was, one hundred doubloons. The amateur was astonished, and asked " How many days might he have spent upon it?" Cano replied, " Some five-and-twenty days." " Well," said the Oidor, " that comes to four doubloons a day." " Your lordship reckons wrong," answered Cano, "for I have spent fifty years in learning how to execute it in twenty-five days." " That is all very well ; but I have spent my patri- mony and my youth in studying at the university, and in a higher profession ; now here I am, Oidor in Granada, and if I get a doubloon a day it is as much as I do." Cano had scarcely patience to hear him out. " A higher profession indeed ! " he exclaimed. " The king can make judges out of the dust of the earth, but it is reserved for God alone to make an Alonso Cano;" saying this, he took up the figure and dashed it to pieces on the pavement ; whereupon the Oidor escaped as fast as he could, not feeling sure that Cano's fury would confine itself to the statue. Jf we are to believe Palomino, it was owing to the offence taken by so great a man as an Oidor of Granada, " where they are venerated like deities upon the earth," that the canons deter- 120 ALONSO CANO. CH. V. mined on declaring Cano's prebend vacant on ac- count of the non-fulfilment of the condition of taking orders *. Another characteristic of Cano was his insuperable re- pugnance for any persons tainted with Judaism. It ap- pears that in Granada the unhappy persons who were penitenciados, that is, who had been subjected to pen- ance by the Inquisition, were in the habit of getting what they could to support themselves by selling linen and other articles about the streets ; they wore of course the sambenito, or habit prescribed by the Holy Office as the external mark of their backslidings. If Cano met one of these men in the street he would cross to the other side, or get out of his way into the passage of a house. Occasionally, however, in turning a corner, or by mere accident, one of these wretches touched the garment of the artist, who then instantly sent his servant home for another cloak, or another doublet, and gave the pol- luted one to his attendant. The servant, however, did not dare to wear what he had thus acquired, or his master would have turned him out of the house forth- with ; he could only sell it. It is added that the mani- fest profit which the servant derived from his master's religious scruples made people doubt whether in all cases the Jew had really brushed against the artist, or whether the servant had himself twitched the cloak as the Jew passed. At any rate the servant had been heard to remonstrate, and urge "that it was the slightest touch in the world, Sir; it cannot matter." "Not matter? * Palomino, iii. pp. 582-3. CH. V.] ALONSO CANO. 18l you scoundrel in such things as these, every thing matters ; " and the valet got the cloak. On one occasion Cano's housekeeper, with an excess of audacity, had actually brought one of these peniten- ciados into the house, and was buying some linen of him ; a dispute about the price caused high words, and the master came, hearing a disturbance. What could he do ? he could not defile himself by laying hands on the miscreant, who got away whilst the artist was look- ing for some weapon which he could use without the risk of touching him. But the housekeeper had to fly to a neighbour's, and it was only after many entreaties, and after performing a rigorous quarantine, and under- going purification, that she was received back again. It is possible that, like the Amas of other canons since the days of Cano, she had valuable qualities besides her sincere repentance and her orthodoxy, which may have pleaded in her favour. In Alonso Cano the ruling passion was strong in death, in more ways than one. He lived in the parish of Santiago in the Albaycin, being the quarter in which was the prison of the Inquisition; the priest of the parish visited him when on his death-bed, and proposed to administer the sacraments to him after confession. Cano quietly asked him whether he was in the habit of administering it to the Jews on whom penance was im- posed by the Holy Office ; the priest replied that he was. " Well then," said Cano, " Senor Licenciado, go with God, (se vaya con Dios,) and do not trouble yourself to call again; for the priest who administers the sacra- ments to the penitent Jews shall not administer them to VOL. in. 122 ALONSO CANO. [CH. V. me." Accordingly he sent for the priest of the parish of St. Andrew. This last, however, gave offence in another form ; he put into the artist's hands a crucifix of indifferent execution ; Cano desired him to take it away : the priest was so shocked that he thought him pos- sessed, and was on the point of exorcising him. " My son," he said, " what dost thou mean ? this is the Lord who redeemed thee, and who must save thee." " I know that well," was the painter's answer; " but do you want to provoke me with this wretched thing, so as to give me over to the devil ? let me have a simple cross, for with that I can reverence Christ in faith ; I can worship him as he is in himself, and as I contemplate him in my own mind." This was done, and Alonso Cano died in the most exemplary manner, edifying the bystanders with his piety. He was buried in the vault below the choir of the cathedral of Granada *. Cano was a great painter ; his colour was good ; his execution vigorous ; the taste of his draperies and his forms in general pure ; in the expression of his figures he was full of sentiment and tenderness, without being feeble or affected. The critic in the Kunstblatt speaks thus of his works in the Spanish Museum of the Louvre f. " The second room is rich in master-pieces : we find in it more than thirty Murillos ; two large pictures of Alonso Cano's have the next claim on our attention. The one (No. 18) represents the Deposition from the Cross, and is extraordinarily like a Vandyke ; the other, Balaam and his Ass, may be called a very remarkable picture. * Palomino, iii. p. 585. f Kunstblatt for May, 1838, No. 40, s. 159. CH. V.] ALONSO CANO. 123 We have to admire the simple and straightforward manner in which this excellent artist has conceived his subject, and has extracted from it all the aid which it was capable of affording him ; we see what can be done by the genuine feeling of one who unites sound common sense with the accomplishments of a well-instructed painter, and who thinks of nature far more than he does of the dogmatic principles of any school of art. The angel stands in the road with his drawn sword, un- seen by Balaam, but visible to his ass ; the latter, in her terror, has shrunk back against the wall of the vineyard, but, driven again by force into the path, she still finds the same obstacle in her way ; she rears and seems on the point of sinking down under the blows of the aged pro- phet. Alonso Cano has in this picture produced a master-piece, probably without any suspicion that he had done so ; for nothing can exceed the simplicity and natural feeling with which the subject is presented to us. The manner of Cano as a painter is soft, rich, and pleasing ; he might be called the Spanish Coreggio, as much with reference to his execution as to the character of his genius : his free and fertile pencil worked gracefully and naturally, without effect and without ever sacrificing correctness of drawing. With regard to his colouring, it is rich and fine, but a little smoky; the outlines consequently appear somewhat indistinct when one is close, though the detail and purity of the form may be seen at a certain distance from the picture. As a proof of what we say, we appeal to the Virgin and Child (No. 16), which is so badly placed, and to the Deposition of the Cross (No. 18). ft '2 124 ALONSO CANO. [CH. V. " In the New Spanish Museum there are twenty-one pictures by Alonso Cano. Like the other Spanish masters he has painted his own portrait more than once. The one which bears the No. 30 is the best, and leaves nothing to desire in its colour or the transparency of its shadows."* The Royal Gallery at Madrid contains eight Canos ; one of these, the Christ at the Column, came from the Escurial. Of the remainder I would observe that the picture of the Body of Christ, supported and wept over by an Angel, is a splendid workf, and the head of the St. Jerome meditating on the Last Judgment is really magnificent J. In the north transept of the cathedral of Seville is a Virgin and Child, painted originally in Malaga for Don Andres de Cascantes; it is a fine picture, but with the glass which covered it when I saw it, and hanging where it does, it was not easy to appre- ciate its merits . In the University are a St. John the Evangelist, and a St. John the Baptist. In the church of Monte Sion, in the same city, is a long picture of Purgatory, by Cano, which is very striking; one female head is especially beautiful, with the flakes of fire running off it. The flames below give no light; according to the conception of Milton * Kunstblatt for May, 1838, s. 160. This is the portrait of him as a young man ; there are two others at a more advanced period of life (Nos. 31, 32), in the same collection. f No. 166. t No. 227. See Ford's Hand-book, p. 256; Cean Bermudez, Catedral de Sevilla, p. 73. CH. V.] CANO BOCANEGRA. 125 " A dungeon horrible on all sides round As one great furnace flamed, yet from those flames No light, but rather darkness visible Served only to discover sights of woe." The finest Cano, however, which I saw in Seville, was the Tobit, belonging to Mr. Williams ; the colour of the landscape was very beautiful, and the form of the angel good. Where this picture and the two Holy Families, formerly in the same hands, now are, I do not know. At Malaga, in the church of Santiago, is a good Madonna del Rosario * S ta . Gines, at Madrid, contains a painting of Christ seated and stripped f. To return to Paris, Marshal Soult has two or three Caiios ; one, if I recollect right, is a very good female head. In the Esterhazy collection, at Vienna, will be found a very fine St. John writing his Revelations : it is almost equal in dignity to a Fra Bartolomeo : besides this, there is in the same palace a " noli me tangere " of great merit. Herr von Speck of Leipsic had, in 1828, a Virgin and Child by Alonso Cajio ; and in the Pinacothek of Munich there is a picture of St. Anthony of Padua kneeling before the Virgin with the infant Christ in his arms. A picture of the same subject is described by Waagen as belonging to the Earl of Shrewsbury, at Al- ton Towers {. Cano had a pupil, Pedro Atanasio Bocanegra, who was born at Granada, and has left some pictures in the cathedral of his native place. Mr. Ford says of him, "he was a vain man, and painted pictures * Ford's Hand-book, p. 354. f Ibid. p. 790. J Waagen, England, ii. s. 463. 126 LLANOS Y VALDES. [CH. V. larger in size than in merit."* He is said to have profited by the study of Pedro de Moya's works, of whom we shall presently speak. I never saw any picture by Cano's adversary in his duel, Sebastian de Llanos y Valdes, except that in the gallery of the Duke of Dalmatia; which came, I believe, from the College of S to . Tomas, at Seville. It represents the Virgin " del Rosario," with wor- shippers kneeling at her feet. The productions of this master, not in private houses, were so rare that Cean Bermudez could only mention two, of which this picture is one. There is a feeling of the old type about the Virgin and the Angels; whilst the truth of the figure at her feet, the richness of the drapery, and the southern glow of the garden background, combine, in my opinion, to place it among the finest works of the Spanish school. The Virgin's head is very beautiful ; her hair is light ; the man kneeling is clothed in black, and has his breviary in his hand. Llanos y Valdes was the scholar who endured the longest the harshness of old Herrera ; he was more than once President of the Academy of Seville. If the picture just referred to be that from S to . Tomas, it bears the date of 1667. Pedro de Moya was born at Granada in 1610, and be- came the fellow pupil of Alonso Cano and Murillo, in the school of Castillo. Tired of painting, he entered the army, and served in Flanders ; but here his old taste re- turned at the sight of the works of the great Flemish painters. Vandyck's pictures especially struck him, and he determined to seek that master in London and * Ford's Hand-book, p. 387. CH. V.] PEDRO DE MOYA ZURBABAN. 127 become his pupil. This he did, but before he had been more than six months with Vandyck the latter died, in England, in 1641. Overwhelmed with grief, Moya re- turned to Seville ; but his short acquaintance with the great portrait-painter is said to have borne fruit in the influence which it exercised on the style of Mu- rillo *. Later in life he returned to Granada, and there left some of his works. How successfully Moya imitated Vandyck may be seen from a portrait by him in the Esterhazy palace, at Vienna. His death took place in 1666. According to Waagen, there is a picture of Moya's in the possession of the Earl of Shrewsbury, at Alton Towers ; the subject is a merry party, " full of life," he says, " and clearly painted; but, like many Spanish pictures, it wants style, "f Francisco Zurbaran is a master whose life does not offer the amusing incidents afforded by that of Alonso Cano : as a painter, however, he was quite as great a man ; if he wanted Cano's tenderness, he made up for it in vigour. Zurbaran was born of humble parents, at Fuente de Cantos, in Estremadura, in the year 1598. When sent to Seville he became the pupil of Roelas ; but he worked most from nature, and was especially careful in his studies of drapery. Velazquez caused him to be summoned to Madrid ; here he painted for the Buenretiro the Labours of Her- cules, which are now in the Royal Museum; he was made painter to the king, as his signature on one of his * See Kugler's Hand-book of German and Flemish Painting, p. 243, Editor's note. f Waagen, England, ii. s. 463. 128 ZURBARAN. [CH. V. pictures, formerly in the " Cartuxa " of Xeres, shows. Palomino tells us that Philip IV. stopped one day to look at him whilst at work, and, laying his hand on the artist's shoulder, saluted him as " Pintor del Eey y Eey de los pintores."* Zurbaran is said to have died at the court in 1662. This master has been called the Spanish Caravaggio. Mr. Ford truly says he was "a far greater and more Titianesque painter. He was unrivalled in painting the Spanish Carthusian, as Murillo was for Mendicant monks, and Roelas for Jesuits." " The studier of style," he adds in another passage, " will notice the peculiar pinky tone of this master, especially in female cheeks ; the prevalent use of rouge at that time influenced his eye, as it did that of Velazquez, "f Where indeed shall we find a Caravaggio equal to Zurbaran's noble picture formerly in the College of S ; . Tomas? The Pieta of the Italian master in the Vatican, though fine, does not in my opinion, come near it. Indeed there are few pictures in the world which are superior to it. I have been told that when it hung in the Louvre with all the master-pieces of Italy beside it, it kept its place. This picture was painted in 1625. The Virgin and Christ are above in glory with St. Paul and St. Dominic, whilst below is St. Thomas Aquinas with the four Doctors of the Latin Church | ; nearest of all kneel the Emperor Charles V. * Palomino, iii. p. 529. t Ford's Hand-book, pp. 256. 264. St. Thomas's position in this picture is most appropriate ; he was ranked with Ambrose, Augustin, Jerome, and Gregory, and treated as the fifth great Doctor of the Latin Church by Pius V. in 1568. See Ribadeneira, p. 123. CH. V.] ZURBAEAN. 129 in his imperial crown and mantle, and the Archbishop Diego Deza, who was the founder of the college. The two latter figures are inimitable, nor is the figure of St. Jerome, with his uplifted finger, and the expression of deep thought on his face, at all less striking ; a broad mass of shadow is thrown across the lower part, but the background is sunny ; the composition is simple, and the style severe and massive. The head of St. Thomas was a portrait of Don Agustin de Escobar*. This picture is now in the Museum at Seville, where, according to Captain Widdrington, it can scarcely be seenf. Wilkie does not seem to have paid much attention to any Spanish pictures, except those of Murillo and Velaz- quez; yet even he says, in his journal, he "saw the Francisco Zurbaran in the Santa Tomasa (sic) a superb picture, which places that master next to Murillo, and in a style that we could wish the great painter of Seville had in some degree followed." J About the same time that he painted this celebrated picture, Zurbaran executed those in the retdblo of the chapel of St. Peter in the cathedral, to the order of the Marquis de Malagon. It is not easy to see them where they hang. Of the three pictures formerly in the sacristy of the Carthusian convent, the finest is that of San Bruno in deep humility before the Pope. Captain Widdrington * Mr. Ford says (p. 264) the head of S to . Domingo ; but see Cean Bermudez, Diccion. iv. p. 46. It is right to say that D. Agustin de Escobar is not the Jesuit whom Pascal has immortalized. f Spain in 1843, i. p. 247. J Cunningham's Life of Wilkie, ii. p. 529. G3 130 ZURBARAN. [CH. V. says of this picture, too, " After a long search for the San Bruno before the Pope, by Zurbaran, formerly the " Cartuxa," I was on the point of giving it up, when I discovered it at the very top of the chancel," (that is, in the New Museum, formerly the " Merced,") " where a telescope was almost necessary for its inspection. This is not only one of the best pictures in Seville, but there are few better in Spain ; yet it is completely lost in the situation they have assigned it. The same has happened, more or less, to most of the pictures in this vast repository ; and it is difficult to imagine the reasons which have influenced the ' Hanging Committee ' of the Academy in their selection of places for the great pro- ductions of their celebrated predecessors. The misfor- tune is, as I was informed, the fitting up this ill-managed site has cost a large sum of money, which, of course, there will be difficulty in again raising, should they re- pent of their mistaken proceedings."* In two others of the great monasteries of Spain, Zur- baran executed a series of pictures. One of these was the " Cartuxa," at Xeres ; the other, that of the Hierony- mites, at Guadaloupe. The pictures from the former are now in the Museum at Cadiz; those from the latter, eight in number, were seen by Captain Widdrington, in 1843, in their original places, and on his return to Ma- drid he suggested their transfer to the Royal Museum f . A St. Bruno, by Zurbaran, will be found in the Mu- seum at Valladolid \. * Spain in 1843, i. p. 248. f Ford's Hand-book, p. 538 ; Spain in 1843, i. p. 127. J Ford's Hand-book, p. 630. CH. V.] ZUEBAEAN. 131 With regard to Zurbaran's pictures in the Museum at Madrid, ten of those in the present catalogue are the Labours of Hercules, already mentioned as painted for the Buen-retiro. Another of the infant Christ asleep, with the crown of thorns by his side, is finely coloured, and a beautiful work. The Duke of Dalmatia possesses about twelve of this master's pictures, among which is a St. Anthony a good specimen from the "Mercenaries descalzos," at Seville. The Spanish Museum in the Louvre professes to contain as many as eighty productions from the pencil of Zurbaran. The writer in the Kunstblatt gives it credit for thirty fine originals ; a fair share, it must be admitted. He considers the Judith with the Head of Holofernes (No. 322), and the Monk with a Skull (No. 351), as the two best*. The Pinacothek at Munich possesses a striking pic- ture of St. John and the Virgin. In the Esterhazy Palace at Vienna there is an Immaculate Conception, ascribed to Zurbaran, and two heads, which Kugler tells us resemble the manner of Rubens f. Among the few specimens of the master in this coun- try, is a Flight into Egypt, belonging to Lord Claren- don ; and the Duke of Sutherland has four pictures, of which one, a Holy Family, is highly prized by Waagen J ; it is signed by the artist : besides this, there are three figures of Saints, from the collection of the Duke of Dalmatia. Waagen thinks that the picture attributed * Kunstblatt for May, 1839, s. 167. f Handbuch der Gesch. der Malerei, s. 259. J England, ii. s. 64. 132 CAXES JUAN DE TOLEDO CUE VAS. [OH. V. to Morales, at Dulwich, looks like Zurbaran's, though rather feeble in the extremities of the figure of Christ*. Two or three masters of second-rate merit remain to be noticed, before I pass on to Murillo and Velazquez ; and it may be well to refer to them in this place, al- though they do not belong to the school of Seville. Eugenio Caxes was the son of the master who has been already named f, and was born at Madrid in 1577. Philip III. employed him at the Pardo, and he exe- cuted various works in the churches of Madrid and To- ledo. He died in 1642. A fair specimen of his skill is afforded by the picture in the Madrid Gallery, repre- senting, according to the catalogue, the Attack of the English on Cadiz, in 1625, by the " Conde de Lest" which we are informed is " Spanish for Essex ; the real leader being Lord Wimbledon. "* Another painter of battles was the captain of horse, Juan de Toledo, born at Lorca, in 1610, and afterwards established at Granada. He studied under M. Angelo Cerquozzi. Three of his battle-pieces are in the Royal Gallery, and pictures by him of sacred subjects exist in one or two churches at Madrid, as well as at Alcala and Talavera. He died in 1665. Pedro de las Cuevas was born at Madrid, in 1568, where his school became of some celebrity ; but he him- self was a disappointed man, having failed in obtaining the post of painter to the king. He died in 1635, at the age of 77. * England, ii. s. 193. f See above, p. 89. J Ford's Hand-book, p. 756. CH. V.] ARIAS PEREDA. 133 Antonio Fernandez Arias was the pupil of Pedro de las Cuevas. It is said that he painted all the pictures of the principal retablo for the " Carmen Calzado " of Toledo, when he was only fourteen years of age ! At twenty-five he was a distinguished painter, and was se- lected by the Count-Duke to execute the portraits of the Kings of Spain in the Old Palace. He died in 1684. Antonio Pereda was born at Valladolid about 1599. He, too, became the pupil of Pedro de las Cuevas, and, like Arias, excited much attention by his proficiency at an early age. When eighteen years old, he painted a Conception which no one would at first believe to be his own work : he thus attracted the notice of the Count- Duke, who employed him in the Buen-retiro. He died in 1 669. There are two of his pictures in the Madrid Gallery ; one a St. Jerome meditating on the Last Judg- ment*. In the collection of Marshal Soult is a Christ asleep on the Cross, with flowers and skulls about him. It is well painted, but fluttering, and not in very good taste. The Esterhazy Gallery, at Vienna, contains a very good picture of St. Anthony and Christ, by this master, and there are three or four of his works in the Munich collection. Jusepe Leonardo, whom I have already mentioned f, was a fellow-pupil with Pereda in the school of Pedro de las Cuevas. He was born in 1616. It is unfor- tunate for this artist that the subject of one of his pic- tures the Surrender of Breda provokes a compari- son with the glorious work of Velazquez in the same collection. * Hand-book, p. 756. f See above, p. 95. 134 LEONARDO COLLANTES ROMAN. [CH. VI. To avoid all confusion, it may be well to say that there was another painter of the same name as the last Fray Agustin Leonardo. He was a monk in the monastery of Puig, in the kingdom of Valencia, where he painted some large pictures representing the siege of Valencia by Jaynie el Conquistador, and other sub- jects. He also worked at Madrid, at Toledo, and at Se ville. The date on one of his pictures was 1624. Francisco Collantes, born at Madrid in 1599, was a pupil of Vincencio Carducho. He is one of the few Spaniards who have painted landscapes; and that he did so with considerable power may be seen in his sin- gular picture of the Vision of Ezekiel, in the Madrid Gallery : the dry bones are becoming instinct with life at the word of the prophet. The artist died in 1656. A landscape, by Collantes, will be found in the Pina- cothek at Munich. Bartolome Roman stood high among his contempo- raries, both as to drawing and colour. He was born in 1596, and became the best pupil of Vincencio Carducho. He afterwards passed into the school of Velazquez, but, upon the whole, he had little success as an artist. His death took place in 1659. CHAPTER VI. VELAZQUEZ AND MURILLO. THE originality of an artist or a writer is the quality which perhaps excites the most general admiration, and CH. VI.] ORIGINALITY IN ART. 135 which it is at the same time the most difficult properly to appreciate. We understand by this term the opposite to that which is common-place a power of conception or of expression which presents itself to us as fresh, and exercises all the charm of newness, in addition to its intrinsic excellence. The possession of such a power is by its very nature rare. An original painter or poet teaches us how to derive fresh gratification and instruc- tion from the contemplation of things with which we have long been familiar. The number of objects which present themselves to us is in a certain sense limited ; but the points of view in which each may be contem- plated are innumerable. If we set two artists to make a sketch of the same building, or the same landscape, each of their drawings may be like nature, but in all probability they will be wholly different one from the other. Both may resemble the original ; but the resem- blance stamped upon the paper has passed through the medium of the artist's mind, and his conception of the scene before him is what we receive. As Carlyle says, " To Newton, and to Newton's dog, Diamond, what a different pair of universes ; while the painting on the optical retina of both was, most likely, the same ! "* So the stories of gospel history, or of the Old Testa- ment, or of heathen mythology, have been treated over and over again : still original conceptions of their hackneyed scenes have been and are produced by great men. The style of a poet or a painter may, indeed, be founded on the antique ; but it does not follow that his conception and exe- * French Revolution, i. p. 8. 136 ORIGINALITY IN ART. [CH. VT. cution of a subject is not original. Can we doubt the ori- ginality of Milton whilst we acknowledge his imitation of ancient models ? or do we question the originality of Mi- chael Angel o because he studied each muscle of the Torso ? On the contrary, the true originality of genius is more par- ticularly shown under such circumstances : in the hands of an ordinary man the result of such study is servile imitation of the external character; whilst the great master moulds not the marble, but his own mind, ac- cording to the type which he has set before him. The one reproduces a more or less imperfect repetition of the individual object, whilst he probably endeavours to con- ceal the plagiarism by varying the accidents and alter- ing the combinations which surround it; the other creates an instrument which he can apply with fresh force and increased power to every object, however fami- liar and common-place. It is difficult to be original under any circumstances ; and there is no quality the search for which is more apt to lead its votaries into error and confusion. A large portion of the world are eager to show their apprecia- tion of original genius by hailing as such that which is odd or exaggerated ; and there are always artists and authors who, conscious that they cannot profit by the models of established excellence without the risk of ser- vile imitation, burst out into worthless singularity or whimsical caricature. Some masters stand alone, and strike us as if they might have developed their own genius independently of all that had gone before. Such, perhaps, were Shakspere in literature, and Rembrandt in painting ; but the origin- CH. VI.] OKIG1NALITY IN ART. 137 ality of many great and profound minds has been shown in the power of assimilation, without sinking into copying, quite as much as in the creation of a new style or charac- ter of art. The distinction between original genius and second-rate powers is nowhere more visible. Raphael incorporated in his own works the gentle beauty of the Umbrian school, and the character of the old Christian types : he appropriated the principles of these early masters, and applied them himself to nature ; he taught himself to see as they had seen, and he did not by this process stifle the originality of his own genius. On the other hand, we have lately been in the habit of seeing many attempts to reproduce this same early character in art, which have, for the most part, ended in convey- ing an impression of direct imitation, rather than of ori- ginal power on the part of the artist. It is easy to pick up the husks, but not so easy to re-create the principle which shall germinate anew, and produce fresh fruit of the same kind. I have made these observations on the originality of artists for the purpose of enabling the reader to esti- mate correctly the genius of Velazquez and Murillo. These painters, especially the former, were eminently original, though they appeared after a long line of mas- ters trained under foreign influence, and although they themselves profited largely by the study of the works of others. For the arts of design in Spain were, as we have seen, fostered by foreign instruction. With regard to Spanish poetry, at the time which is considered as that of its greatest excellence, it bore strong marks of its forced cultivation : but the relics of 138 VELAZQUEZ AND MURILLO. [CH. VI. earlier days have come down to us, and the poem of the Cid, as well as the older ballads, attest the existence of a national school antecedent to the direct influence of Italian cultivation. This under-current of original and native feeling burst forth again in the works of Cer- vantes and Calderon. In painting, the case is unfortunately somewhat dif- ferent. We have already seen that few or no remains of genuine Spanish art can be produced to prove the existence of an early national school, and we have traced the progress of painting under the direct and visible guidance of Italian examples. Great men, from time to time, show themselves among the crowd of imitators, and stand forth as true Spanish painters, of original power ; but the peculiar character of the nation, as well as the greatest excellence in the art itself, was mani- fested late in the seventeenth century, in the works of Velazquez and Murillo. I have thought it right to devote a separate chapter to these two masters : their names are for the most part taken as denoting the whole Spanish school : they are its representatives in foreign lands. It is true that of late years, since Spain has been frequently visited, and since the Spanish Museum of the Louvre has been formed, the names of other Spanish artists have become more familiar, and the public know that the works of these two great men do not constitute the whole of Spanish art. Still they are the worthy representatives of their country ; taken together, they present to us, in their most perfect form, the true characteristics of the school to which they belong. Viewed in relation to each other, CH. VI.] VELAZQUEZ. 139 they are different ; but the very differences between two contemporary masters, rich in the same national peculiarities, and nominally, at least, belonging to the same school, afford most instructive matter for reflection and comparison. Diego Velazquez de Silva was the son of Juan Rodri- guez de Silva and Geronima Velazquez, arid, therefore, according to Cean Bermudez, he would have been more properly called Diego Rodriguez de Silva y Velazquez. His father's ancestors were Portuguese, but the family had established itself at Seville. The young Velazquez was born in 15^, and baptized in the church of St. Pedro. His disposition for art caused him to be placed in the school of the elder Herrera, whose harshness and ill temper soon became intolerable to his pupil. Her- rera's style was rough and bold to an excess, and " the principles of his method and handling are to be traced in all the works of the scholar, improved indeed by a higher quality of touch and intention." * He transfer- red himself to the more tranquil household and feebler studio of Pacheco, from whom he had little to learn except empty academical rules and the precepts of the Inquisition. After five years he married Juana, his master's daughter. Pacheco himself gives the follow- ing account of the match : " Diego de Silva Velazquez, my son-in-law, properly occupies the third place, to whom, after five years of education and instruction, I gave my daughter in mar- riage, moved by his virtue, his purity, and his good * See Mr. Ford's article " Velazquez," in the Penny Cyclopaedia. 140 VELAZQUEZ. [CH. VT. parts, as well as by the hopes derived from his great natural genius. The honour of being his master is greater than that of being his father-in-law, and there- fore it is just to overthrow the boldness of a certain person who wishes to claim this glory, depriving me of the crown of my declining years. I hold it to be no disgrace that the pupil should surpass the master. Leoaardo da Vinci did not lose anything by having Raphael for his pupil ; nor Giorgione, Titian ; nor Plato, Aristotle."* In another place Pacheco describes the mode of study pursued by Velazquez f . He says " H* kept in his pay a peasant boy as an apprentice, who served him for a model in different sorts of action and in various atti- tudes ; sometimes laughing, sometimes crying, without avoiding any difficulty whatever. From him he exe- cuted many heads in charcoal, heightened with white on blue paper, and many others completely coloured (naturales), by which means he acquired his certainty in portraits." In truth Velazquez was essentially a Naturalist ; he acquired facility by painting fruit, fish, and inanimate objects J ; such pictures, in short, as the Spaniards call " Bodegones." The style of Caravaggio and Ribera was that which he first imitated. Two of his pictures of this period may yet be seen : one is the Adoration of the Shepherds, which was formerly in the possession of the * Pacheco, p. 101. f Ibid. p. 437. + See Palomino, iii. p. 479. CH. VI.] VELAZQUEZ. 141 Conde de Aguila at Seville, and has been purchased for the Spanish Museum in the Louvre * ; the other is the Water-carrier, called "El Aguador de Sevilla," origin- ally in the palace at Madrid, now at Apsley House f. The former picture is hard and powerful : the bend of the hand and arm of the Virgin is angular ; the men look like gipsies; but the whole is wonderfully exe- cuted. The latter is a magnificent specimen of breadth and force of truth, in which we see distinctly the genius of Velazquez. When Velazquez was twenty-three years of age the works of Luis Tristan, and of other masters, excited in him a wish to visit Madrid ; accordingly, in April, 1622, he left Seville J. In the capital he was well received by the Sevillians, Don Luis and Don Melchior de Al- cazar, as well as by Don Juan de Fonseca, who held an office at court. At the time of this visit he painted a portrait of the poet Gongora at the express request of Pacheco, and then returned home to Seville. In 1623 Fonseca, at the desire of the Count-Duke of Olivarez, summoned him to Madrid : Velazquez obeyed the call, and painted the portrait of his new patron. He then was allowed to paint Philip IV. himself, and his work * No. 282; compare Kunstblatt for May 23, 1839, No. 42, p. 166; Penny Cyclopaedia, art. Velazquez; Cean Bermudez, Diccion. v. p. 158. f This picture is especially mentioned by Palomino, iii. p. 479 ; Cean Bermudez, v. pp. 158. 178 : it was etched by Goya; compare Meng's works, London, 1796, ii. p. 83. It has been exhibited this year (1847) at the British Institution. Palomino, iii. p. 483 ; Pacheco, p. 101. 142 VELAZQUEZ. [CH. VI. gave such satisfaction, that Olivarez is said to have affirmed no artist had really painted the king before. Velazquez also made a sketch of Charles I., who was at Madrid on his mad expedition of wooing the Infanta. This last portrait has unfortunately disap- peared* : the artist received one hundred crowns for it. The greatest attention seems to have been paid to Velazquez : when he was ill, the count-duke sent the king's own physician to visit himf; he alone enjoyed the privilege of painting his majesty, and obtained the post of " Pintor de Camara," with a regular salary in addition to the payments for his works J. Velazquez afterwards painted a grand portrait of Philip on horse- back, which elicited all sorts of flattering compliments in verse from the poets of the day. In 1627 he finished a great picture of " the Expulsion of the Moriscos by the pious King Philip III. ; a chastisement well merited by such an infamous and seditious race ; since, faithless to God arid to the king, they remained obstinate in the sect of Mahomet, and kept up a secret intelligence with the Turks and Moors of Barbary with a view to a rebellion." * Compare Palomino, iii. p. 484 ; Pacheco, p. 102 ; Penny Cyclo- paedia. I regret to say that I cannot express a belief in the authen- ticity of the picture exhibited this year (1847) as being the long-lost portrait of Charles I. mentioned in the text. In the first place, it is not, in my opinion, by Velazquez ; in the second, it is a finished picture ; and, in the third, it represents Charles as older than twenty- three years, which was his age when at Madrid. f Pacheco, p. 102. + Palomino, iii. p. 485. CH. VI.] VELAZQUEZ. 143 " D. Diego Velazquez painted this history in competi- tion with three of the king's painters, Eugenic Caxes, Vicencio Carduchi, and Angelo Nardi, and, in the opinion of the persons whom his majesty named to judge, he surpassed them all." * His picture was accordingly selected to decorate the palace, and Velazquez was made " Usher of the chamber," with a salary and allowance. In the month of August, 1628, Rubens visited Spain for the second timef ; he remained there nine months. " With painters," says Pacheco, " he had little inter- course ; with my son-in-law alone he became a friend (he had corresponded with him before), and showed much favour to his works on account of his modesty : they visited the Escurial together."^ In the following year Velazquez obtained the king's permission to visit Italy, and embarked at Barcelona on the 10th of August with the Marquis of Spinola. He proceeded to Venice, where he made some stay. The ambassador lodged him in his house and invited him to his own table : the state of the city was such, that when he went out to see the place he was accompanied by a guard from the embassy . Palomino tells us that he drew much whilst at Venice, and studied especially the large picture of the Crucifixion in the school of St. * Palomino, iii. p. 487 ; Pacheco, p. 103. f* He had been there before in 1605, on a mission from the Duke of Mantua. The reader will find a notice of Bubens'a journeys to Spain in the Hand-book of the German, Flemish, and Dutch Schools, p. 236, note. I Pacheco, p. 100. Ibid. p. 103. 144 VELAZQUEZ. [CH. VI. Roch, by Tintoret*. At Ferrara Velazquez was re- ceived with honour by the Cardinal Saquete, who had been nuncio in Spain, and he remained there two days : thence he passed through Bologna without stopping, and went on to Rome by Loreto. Urban VIII. (Barberino) was pope at the time of Velazquez's arrival at Rome. We know that he was far from friendly to the Spanish court, and thwarted its political schemes without scruple : his character was harsh and self-willed f. His reception, however, of Velazquez was most favourable : the painter was lodged in the Vatican, and had unrestrained access to the works of Raphael and M. Angelo, which he studied diligently J. Afterwards, thinking the Villa Medici on the Trinita dei Monti better adapted to his studies, he got the Conde de Monterey, who was Spanish ambassa- dor, to apply to the Grand Duke of Tuscany for per- mission to occupy it ; this was granted, and Velazquez remained there more than two months. The malaria, however, drove him to the ambassador's house in the Piazza di Spagna, where he received all the attention which the state of his health required. Velazquez remained a year at Rome, and whilst there executed the two pictures one of which is now in the Madrid Gallery, and the other at the Escurial the * Palomino, iii. p. 489. f See Ranke, P'apste, ii. s. 542. He is the pope who, when pressed with some old Papal decisions, which were awkward prece- dents, answered, that ({ the decree of one living pope was worth more than the opinions of a hundred dead ones." Pacheco, p. 104. CH. VI.] VELAZQUEZ. 145 Forge of Vulcan and the Garment of Joseph sho\vn to Jacob. Mr. Ford thus characterizes them : "In spite of much truth, character, and powerful painting, they are singularly marked with most ordinary forms. The children of Jacob are the kinsmen of the model peasant, and Vulcan is a mere farrier, and his assistants brawny Gallicians. It would seem that the Spaniard, to prove his independence, had lowered his lowest transcript of nature to brave the ideal and divine under the shadow of Raphael himself." * Certain it is that these pictures show but little trace of the artist's studies in the Vatican, or of the influence of those antique statues which are said to have formed part of his inducement to remove to the Villa Medici f . He also painted a por trait of himself, which Pacheco tells us he possessed. From Rome Velazquez proceeded to Naples, where he made the acquaintance of Ribera, and executed a portrait of the Queen of Hungary, Mariana, sister of Philip IV. and wife of Ferdinand III. Early in 1 631 he returned to Madrid. He found the Count-Duke as much his friend as ever ; and, on kissing the king's hand, he thanked him for not having allowed any other painter to take his portrait whilst he was absent. " It is," Mr. Ford observes, " to the credit of the Austrian dynasty that they relaxed in favour of the fine arts the rigid ceremonial of Spanish etiquette. Charles V. made a friend of Titian, and Philip II. of Herrera the architect."! Velazquez had his studio in the palace, and the king kept a key by means of which he had access * Penny Cyclopaedia, art. " Velazquez." f See Pacheco, p. 104. + Penny Cyclopaedia. YOL. III. H 146 VELAZQUEZ. [CH. VI. to it when he pleased. Almost every day Philip IV. used to visit the artist, and would sit and watch him whilst at work *. He bestowed places of profit on the father of Velazquez, as well as posts in the royal house- hold and the chamberlain's key on the painter himself. " Velazquez now painted the magnificent equestrian portrait of Philip IV., from which the great carver Montafiez made a model in wood in order to be sent to Florence, where it was cast in bronze by Pedro Tacca, and now exists in the gardens of the Buen Retire. "f It was for this portrait that the king condescended on one occasion to sit for three hours continuously];. Another portrait, executed by the artist about tins time, was that of the Duke of Modena. He also painted a Christ on the Cross for the convent of St. Placido, of winch Palomino especially remarks that the feet are fastened with two nails, in accordance with the opinion of the painter's father-in-law . This picture is now in the Royal Museum at Madrid. The celebrated portrait of Adrian Pulido Pareja bore date in the year 1639 : this person was a native of Madrid, knight of the order of Santiago and captain- general of the Spanish forces in New Spain. It is said that Philip IV., coming as usual to see the artist at work, started when he saw this portrait, and, address- ing himself to it, exclaimed, "What! art thou still * Pacheco, p. 105. f Ford, Penny Cyclopaedia. The statue was, in 1844, moved to the Plaza del Oriente in Madrid. J Pacheco, p. 105. Palomino, iii. p. 492; see above, p. 19; the number of this picture in the Catalogue is 51. CH. VI.] VELAZQUEZ. 147 here ? Did I not send thee off ? How is it thou art not gone ? " But, seeing that the figure did not salute him, the king discovered his mistake, and, turning to Velazquez, said, " I assure you I was deceived." This was probably nothing more than a compliment to the artist. In 1642 and 1644 Velazquez accompanied Philip on his journeys into Aragou. In 1643 the original patron of the painter, the Count-Duke of Olivares, was disgraced and banished to Toro, which he never left until his remains were transferred to Loeches the convent deco- rated at his expense by the pencil of Rubens #. Velaz- quez continued to show respect to the fallen favourite ; but his own position with the king does not appear to have changed : Philip did not resent his fidelity to his patron. In November, 1648, the king sent him to Italy with a commission to purchase pictures and statues, as well as to obtain casts of the finest antique works. He em- barked at Malaga, and proceeded by Genoa, Milan, and Padua to Venice, where he bought some pictures of Tintoret and of Paul Veronese for his royal master f. From Venice Velazquez went on to Bologna, Parma, and Florence; he did little more than pass through Rome in the first instance, since it was necessary that he should see the viceroy at Naples, where he had the satisfaction of again meeting Ribera. On his return to Rome he executed the glorious portrait of Innocent X. * Compare Hand-book of Dutch and Flemish Schools, p. 237, note. f One of the works of Tintoret was the sketch of his " Gloria " in the Doge's palace at Venice. This sketch is now in the Madrid Gallery, No. 704. H 2 148 VELAZQUEZ. [CH. VI. in the Doria Palace, which, Mr. Ford says, is the only real specimen of his art now in Rome * ; although, according to Palomino, he painted a good many other portraits there during this visit f . Velazquez became a member of the Academy of St. Luke in 1650 ; and in the following year he returned to Spain, carrying with him casts and moulds from many antique statues. Philip IV. had lost his first wife, Elizabeth of France, and during Velazquez's absence, according to the usual system of the Austrian and Bourbon families for accumulating the stupidity of successive generations, had married his own niece, Mary Anne, daughter of Ferdinand III. Velazquez, in 1652, received the great court place of Aposentador Mayor whose duties were those of pro- viding for the personal accommodation and lodging of the king; duties which Palomino tells us required the whole attention and time of the officer, and which, there- fore, were the last that ought to have been imposed on Velazquez I : posterity was robbed of immortal works by the demands of court etiquette. In 1656, however, Velazquez executed that wonderful picture, now in the Royal Gallery at Madrid, to which Luca Giordano is said to have applied the compliment that it was " the Theology of Painting," meaning that, * Penny Cyclopaedia, art. " Velazquez." f Palomino, iii. p. 501. He mentions, among others, those of the Cardinal Pamfili and Donna Olimpia, as well as a head of the artist's slave, Juan de Pareja, which, when it was afterwards exhibited, excited the admiration of all painters. J Palomino, iii. p. 506. CH. VI.] VELAZQUEZ. 149 as theology was the noblest science, so that picture was the noblest production of the art to which it belonged *. Of the picture itself I shall speak hereafter ; but the story is current that Philip IV. made its completion the occasion of conferring a new and unusual honour on the artist : when he came to see it he took the palette and pencils and painted the cross of Santiago on the breast of .Velazquez himself, who is one of the person- ages in the picture. The artist's pedigree, however, was not such as to enable him to accept the order with- out a dispensation from the Pope, which was obtained, and followed up by a patent of " Hidalguia,'" so that he was formally invested with the habit on the 28th of November, 1659. Velazquez left Madrid in March, 1660, to fulfil the duties of his office in preparing for the accommodation of the royal family in their progress to the meeting on the Isle of Pheasants, at which the Infanta, Maria Theresa, was delivered over as the bride of Louis XlV.f The ceremony took place on the 4th of June. It is curious to reflect with what events and what conse- quences it was pregnant; even the diluvial action of the French Revolution has not destroyed its significance : * Palomino, iii. p. 510. f His name will be found in the list of the royal suite given in the " Viage del Rey Nuestro Senor Felipe IV. el grande a la fron- tera de Francia. Funciones Reales del desposorio y entregas de la Serenisima Senora Infante de Espafta Dona Maria Teresa de Austria, &c. &c. &c., en relacion diaria por mano del Senor Don Pedro Fernandez del Campo y Angulo/' published in 1667. This book contains portraits of the royal personages, and a folding view of the ceremony on the Bidasoa. 150 VELAZQUEZ. [CH. VI. we are at this moment discussing the renunciations of the Spanish crown, the treaty of Utrecht, and the Montpensier marriage. The immediate result, how- ever, of the court ceremony with which we are con- cerned, was the death of Velazquez. He was taken ill on the 31st of July, soon after his return to Madrid, and died of fever on the 7th of August ; his widow, Juana Pacheco, survived her husband only seven days, and was buried in the same tomb *. There are few men of great genius who have passed through life with such uniform prosperity as Velazquez. The fickleness and envy of a court left him unharmed, and even the wreck of his mighty patron, the Count Duke, did not dimmish his favour with Philip, or lower his position. Mr. Ford has truly said " Madrid is the only home of the mighty Andalusian, for here is almost his entire work." " Fortunately for Spain," he continues, " Buo- naparte's generals did not quite understand or appre- ciate his excellence, and few of his pictures were ' transported.' Again, from having been exclusively the court painter, his works were monopolized by his royal patron ; and, being in the palace of Joseph, were tolerably respected, even by those who knew their mer- cantile value. Here, therefore, alone is he to be studied in all his Protean variety of power." f Accordingly the present Catalogue of the Royal * Velazquez was buried in the church of S. Juan at Madrid. This church was pulled down by the French in 1811 ; See Ford'a Hand- book, p. 796. f Hand-book, p. 479. CH. VI.] VELAZQUEZ. 151 Gallery at Madrid contains no less than sixty- two pic- tures by this great master : four only of them represent sacred subjects : one of these is the Crucifixion already alluded to as painted for the nuns of San Plaeido ; another, far more remarkable, is the picture of St. Paul the Hermit and St. Antony fed by a raven in the Desert, in the background the two lions are excavating the grave of Paul, whilst Antony is praying over the body*. The execution of this work is magnificent; Willde says "Velazquez, a surprising fellow! The Hermit in a Rocky Desert pleased me much ; also a Dark Wood at Nightfall."! Among the works of Velazquez, at Madrid, there are eight landscapes, exclusive of the picture last referred to ; one of them is a view of the Arch of Titus at Rome (No. 118); another is a beautiful sketch in the garden of Aranjuez. In fact, as the author of the Hand-book observes, " Velazquez was equally great in portraits, history, sujets de genre, and landskip."J Wilkie re- marks, "Velazquez is the only Spanish painter who seems to have made an attempt in landscape : I have seen some of his most original and daring. Titian seems to be his model ; and, although he lived before the time of Claude and Salvator Rosa, he appears to have combined the breadth and picturesque effect for * The reader may readily turn to this and many other legends of Christian mythology in Lord Lindsay's interesting Sketches of Chris- tian Art. See i. p. 114. f "Wilkie's Life, ii. p. 436 ; compare Ford's Hand-book, p. 750. I Hand-book, p. 749. Strictly speaking, they were contemporaries, though they both outlived Velazquez. The latter died, as we have seen, in 1660 ; Claude died, a very old man, in 1682, and Salvator in 1673. 152 VELAZQUEZ. [CH. VI. which these two great painters are remarkable. " * Again, in writing to Collins, " Much as I might learn from Spain and from her arts, you, as a landscape painter, could learn but little, excepting only from some works of Velazquez who, in landscape, is a brilliant exception to the Spanish school. Of him I saw a large landscape at Madrid that for breadth and richness I have seldom seen equalled. Titian seemed his model ; and I could venture fo fancy that in it Sir George Beaumont and Sir Joshua would have recognised their beau ideal of landscape. It was too abstract to have much detail or imitation ; but it had the very same sun we see, and the air we breathe the very soul and spirit of nature."! I imagine that in this passage Wilkie refers to the picture of St. Paul the Hermit and St. Antony in the Desert ; but some of the smaller landscapes of Velazquez are as brilliant and powerful as ever were painted. If we pass now to those pictures which may be called historical, perhaps the chef d'ceuvre of the master is the Surrender of Breda by the Governor, Justin of Nassau, to Spinola. The feeling and expression of the figures is as wonderful as the technical execution. There is the genuine courtesy of a high-bred soldier in the de- meanour of the conqueror towards his fallen foe, and the whole composition is admirable. The quiet repose of the picture already mentioned, and which passes under the name of " las Meninas," forms an admirable contrast with the subject and feeling of the Surrender of Breda : " The scene of the former represents the dull Infanta Margarita, who is tried to be amused by her page, while her two dwarfs worry a * Life of 'vVilkie, ii. p. 519. f Ibid. ii. p. 524. CH. VI.] VELAZQUFZ. 153 patient dog, which is painted finer than a Snyders." * One of the ladies is offering a cup of water to the In- fanta, who is " mealy-faced and uninteresting ; " on the left stands Velazquez at his easel ; in the background is a mirror and an open door which admits the light, and gives to the whole a general effect of truth and air such as no Dutch painter ever surpassed. The tone of co- louring is sober and cool, perhaps too much so. Wilkie truly says " He (Velazquez) is Teniers on a large scale ; his handling is of the most sparkling kind, owing much of its dazzling effect to the flatness of the. ground it is placed upon. The picture of children in grotesque dresses, in his painting-room," the one which we are now considering, " is a surprising piece of handling ; still he would gain, and indeed does gain, when he glazes his pictures."! Captain Widdrington tells us that he saw in private hands at Madrid a painting by Velazquez of the female dwarf (whose name was Mari Bar- bola) represented naked as Silenus ; and according to him "the result of this curious fancy is one of the very finest works of the master, certainly equal to any, and superior to most of the productions from his easel." J The " Bebedores," or drinkers, is another of the mas- ter's finest works. The humour and feeling is only surpassed by the execution, which in details, such as the bowl of wine, is most marvellous. At the same * Hand-book, p. 751. The word "meninas" means young ladies of high birth, attached to the court as maids of honour, just as the sons of the nobility were as pages. f Wilkie's Life, ii. p. 486. Widdrington's Spain in 1843, ii. p. 19. H 3 154 VELAZQUEZ. [CH. VI; time, the whole picture has the force and breadth of Caravaggio or Ribera *. The number of portraits by Velazquez in the Royal Collection is between forty and fifty, of which seven or eight represent Philip IV. ; and many others are those of persons of his family and court. It is scarcely necessary to discuss the merits of Velazquez as a portrait painter ; in this capacity he is universally known and his excel- lence universally acknowledged. He stands on the same level as Vandyke and Titian ; but to me his figures have greater reality than most of the portraits executed by either of these masters, though he often falls short of the elegance of Vandyke, and is inferior in brilliancy and colour to Titian. There is nothing conventional about the portraits of Velazquez ; every touch has mean- ing, and the effect of the whole is that of nature seen through the clearest medium ; at the same time all is handled in such a manner as to make a perfect work of art. The feeling and the spirit of his subject are admi- rably conceived and perfectly expressed ; disagreeable qualities or features, such as the heavy and stupid look of the Austrian race, or even the deformity of his dwarfs, are made consistent with dignity, or are softened by their treatment in the picture. Wilkie thus expresses him- self in his journal : " Velazquez may be said to be the origin of what is now doing in England. His feeling they have caught almost without seeing his works, which here seem to anticipate Reynolds, Romney, Raeburn, * Mons r . Viardot says that "Wilkie used to sit every day three hours before this picture. Les Musees d'Espagne, d'Angleterre, et de Belgique, 1843, p. 132. CH. VI.] VELAZQUEZ. 155 Jackson, and even Sir Thomas Lawrence. Perhaps there is this difference : he does at once what we do by repeated and repeated touches. It may truly be said, that wheresoever Velazquez is admired, the paintings of England must be acknowledged and admired with him."* Again, in writing to Phillips, he says, "There is much resemblance between Velazquez and the works of some of the chiefs of the English school ; but, of all, Raeburn resembles him most, in whose square touch in heads, hands, and accessories I see the very counterpart in the Spaniard. It is true this master is one that every true painter must in his heart admire ; he is as fine in some instances 411 colour as Titian ; but, to me, this is his weak point, being most frequently cold, black, and without transparency. For handling no one sur- passes him; but in colour Reynolds is much beyond him, and so is Murillo." f * Life of Wilkie, ii. p. 486. f Life of Wilkie, ii. p. 504. If I may venture to say so, I think the defects in the colour of Velazquez are somewhat over-stated in the passage quoted in the text. We are told by Mr. Buchanan " M. Hacquin observed that Velazquez and Murillo have painted their pictures upon the red earthy preparations with which the Spanish canvas has almost uniformly been charged, and which hides their first process. Velazquez, who was aware of these red grounds rendering the shadows too opaque, has often introduced a light colour over them before he began to paint, so as that the ground which came in imme- diate contact with the picture should not destroy the transparency of his colours, which are always light and brilliant, especially in the flesh and in his skies and landscapes." Buchanan's Memoirs, i. p. 342. Mr. Eastlake observes " It matters not whether the internal brightness reside in the light ground, or whether it be reproduced at any stage of the work. A preparation of the latter description, an- swering the same end as the white panel, may consist in a light but very solid painting by means of which the composition may be de- 156 VELAZQUEZ. [CH. VI. I have quoted these passages here, because they refer to Velazquez mainly in his character of a portrait painter, and because they are most interesting in themselves, since they convey to us the impression made by his works on the mind of such an artist as Wilkie. It has been already stated that the first manner of Velazquez was hard and precise ; in time he became convinced that the outlines of objects are not really im- pressed on the eye with such precision, and that the effect of atmosphere is, in some degree, to make them indistinct. He thus ceased to paint objects as he knew them to be, rather than as they appeared, and hence in part his resemblance to the English school. This principle has its perils as well as its advantages, and to it may be traced many of the defects which have cha- racterized our own artists. The execution of Velazquez in his later manner was such, that Mengs truly observed, his hand seems to have taken no part whatever in the production of the work ; the whole appears to have been created by the mere effect of volition *. If we pass from the gallery at Madrid to the Spanish collection at Paris, we shall there find nineteen pictures which bear the name of Velazquez, besides a portrait of the Infanta Margarita in the Gallery of the Louvre. First in the list is the Nativity formerly belonging to the Conde de Aguila, and already mentioned as one of the painter's earliest works ; there is also a sketch for the picture of St. Paul the Hermit and St. Antony, as fined ; and, when such a preparation is thickly painted, the colour of the ground underneath it is obviously unimportant. Materials for a History of Oil Painting, p. 406. * Kunstblatt, for 1839, No. 40, s. 158. CH. VI.] VELAZQUEZ. 157 well as a view of the Escurial and of the Alameda at Seville. The writer in the Kunstblatt justly considers, however, that the greater part of the nineteen pictures in question are not genuine-!'. He appears to ad- mire especially the portrait of the Count-Duke (No. 291); that of Philip IV. he treats as more doubtful. Another, which he selects as certainly genuine and very tine, is the portrait of Dona Juana Eminente (No. 298)| . "The eyes," he says, "of this charming Spa- niard do not look, they speak; the model of her head is wonderfully beautiful : it is a glorious countenance with a most seducing mouth, and a still more seducing smile playing around it." He also speaks of the head of an Inquisitor (No. 294) as thrown off with all the boldness and certainty which characterize the hand of a master. The Infanta Margarita, in the old gallery of the Louvre, is painted in the clear cool tones of the master, and is very fine J. In the Pinacothek at Munich are seven pictures bearing the name of Velazquez ; and in the collection of the Duke of Leuchtenberg, one. Of the former, two at least, that is to say the Beggar (No. 371) and the Flight of Lot from Sodom (No. 392 a.), are not genuine works of the painter. The pictures of Velazquez in this country are probably more numerous and fine than in any country except Spain. The Marquis of Lansdowne has a portrait of the Count-Duke and another of the artist himself, as well as a very striking picture of a royal infant in the cradle ; the two former came from the collection of the * Kunstblatt for 1839, No. 40, s. 158. f Kunstblatt for 1839, No. 42, s. 166. J Waagen's Paris, s. 634. 158 VELAZQUEZ. [CH. VI. Prince of the Peace, and were imported by Mr. Buchanan in 1813 *. Mr. Buchanan states that he also brought over the Venus and Cupid which the Duke of Alba employed Velazquez to paint as a companion to a Titian, as well as a set of six small pictures repre- senting the various dances of the Spanish peasantry; these he says were sold in England and passed into several collections. Where they now are I do not know ; it may be doubtful whether they were by Velaz- quez. Wilkie, in writing to Mr. Wilson, in 1829 (after his visit to Spain), speaks thus of a picture at Edinburgh : " The most striking picture I have seen in Edin- burgh is Mr. Gordon's Velazquez. The head and hands of this are very fine, more complete, and having more tone than the same picture in the Doria f. It is satisfactory to think that one Velazquez, of the finest quality, has been secured for the National Gallery in this country I mean the Boar Hunt formerly belong- ing to Lord Cowley, to whom it was presented by Fer- dinand VII. Whatever injury this picture has sus- tained in cleaning was inflicted upon it before it came into Mr. Eastlake's custody, and no one can look at it without feeling that its beauty and freshness are really unimpaired. The picture is one of that class which is rarely seen out of Spain, and which is interesting no less from the sparkling brilliancy of its execution and its * Memoirs, ii. pp. 244. 246. Compare Waagen, England, ii. s. 77 ; Mrs. Jameson's Private Galleries, p. 312. f Wilkie's Life, iii. p. 24 ; compare Buchanan's Memoirs, i. p. 147. I believe the collection of which this picture formed a part is now dispersed, and I do not know where it is. CH. VI.] VELAZQUEZ. 159 masterly handling, than for the truth and life with which the groups in the foreground reproduce the court and people of the time of Philip IV.* Lord Ashburton is the fortunate possessor of a picture of a similar sub- ject and of the same character. With regard to the other Velazquez in the National Gallery which came from Mr. Angerstein's collection, little need be said ; it does not appear to me to possess any one quality character- istic of the painter. Another very doubtful work is the Conversion of St. Paul, in the Dulwich Gallery ; this collection, however, contains a portrait of Philip IV., the head of a boy, and a small picture of Don Baltasar Carlos on horseback f. At Hampton Court are the portraits of Philip IV. and his Queen, Isabel de Bor- bon sister of Henrietta Maria. With regard to the portraits of Don Baltasar Carlos nothing can exceed the beauty of Mr. Rogers 's small picture of the same subject. Another of great power is in the Grosvenor Gallery. The former of the two has the background (a court and buildings) left unfinished J. The Marquis of West- minster possesses also a portrait of Velazquez by him- self ; another such portrait is in the Bridgewater col- lection, together with a small picture of Philip IV., and of a natural son of .the Count-Duke : this last came from the gallery of the Count of Altamira. The Duke of Sutherland's collection professes to contain a landscape * I rather think Lord de Grey has a small picture containing one of the best of these groups that of the priest and the two cavaliers. f See Mrs. Jameson's Public Galleries, ii. p. 293 ; compare Waa- gen's England, ii. s. 192. I Mrs. Jameson's Private Galleries, p. 262404. Ibid. p. 131 ; compare Waagen's England, i. s. 335. 160 VELAZQUEZ. [CH. VI. and a picture representing the Reception of the Duke of Gandia (afterwards St. Francis Borgia) into the Jesuit College ; purchased, I believe, from the Duke of Dal- matia*. Mr. Hope had a picture of Lot and his Daughters from the Orleans Gallery, which was sold at his sale in 1816 f. I have already spoken of the Aguador de Sevilla at Apsley House; in the same gallery will be found a portrait of Innocent X. and another of the painter him- self J. Sir Thomas Baring had an exceedingly fine portrait of a Spanish officer . The Finding of Moses, which bore the name of Velazquez, in the Orleans Gallery, is now at Castle Howard, and is attributed by Waagen to Gerard Honthorst|j, who ascribes to the Spanish painter a portrait of two children, passing in the same collection under the name of Coreggio. At Woburn there is a magnificent portrait of Adrian Pulido Pareja, which was exhibited last year (1846) in the British Institution, and which is life-like enough to justify the story told above of Philip IV. Another full- length of the same individual is at Lord Radnor's at Longford Castle ; both these have the name of the per- * Mrs. Jameson's Private Galleries, p. 201. f Buchanan's Memoirs, i. p. 146. + Waagen's England, ii. s. 110. Another portrait of Innocent X. was at Luton. Ibid. ii. s. 252 ; compare Buchanan's Memoirs, ii. p. 255 ; it came from Le Bran's collection, and is, I rather think, now in that of Mr. Holford. || Ibid. ii. pp. 408. 414. This, if Waagen is right, is one of the most singular misnomers on record. Mr. Buchanan (Memoirs, i. p. 146) treats it as a Velazquez. It was purchased for five hundred guineas. CH. VI.] 3IUEILLO. 101 son whom they represent upon the picture ; but I can- not learn that either of them has the inscription which Palomino saj r s was painted on the picture belonging to the Duke of Arcos. This was, according to him, one of the very few pictures to which Velazquez put his name #. Lord Kadnor has also a portrait which is said to be that of Velazquez's slave, Juan de Pareja ; it may possibly be the one which the artist painted at Rome, and which has been already mentioned. Mr. Miles of Leigh Court has a picture of the Virgin kneeling with outspread arms, of which Waagen speaks very highly, but says that the tone of the flesh is less clear than that of his portraits f . In the same collection is a portrait of Philip IV. I now turn to the great contemporary of Velazquez Bartolome Esteban Miirillo J. He was the son of Caspar Esteban Murillo and Maria Perez, and, accord- * The inscription, as given by Palomino, was, " Didacus Velazquez fecit. Philip IV. a cubiculo, ejusque pictor, anno 1639." On the picture at Woburn is, " Adrian Pulido Pareja, Capitan General de la Armada flota dc Nueva Espaiia. Fallara (fallecio ]) en la Ciudad de la Nueva Vera Cruz, ano. 1660." The picture at Longford Castle has the name " Adrian Pulido Pareja." Compare Palomino, iii. p. 492; Kunstblatt for 1839, No. 40, s. 157. With reference to the picture at Longford Castle, see Waagen's England, ii."s. 268, who calls it " a first-rate portrait in the force of its conception and the masterly boldness of its execution, notwithstanding the care with which the details are painted." The Duke of Bedford's picture is, in like manner, a most striking one, and Velazquez in all probability painted three originals. f Waagen's England, ii. ss. 346, 347. + It appears that Esteban was a surname : at least the ancestors of Murillo all bore it. Accordingly in the dictionary of Cean Ber- mudez the artist will be found under the letter E. 162 MUKILLO. [CH. VI. ing to Palomino, was boni at Pilas ; but his register of baptism proves that he was baptized in S ta . Maria Mag- dalena at Seville on the 1st of January, 1616. Palo- mino's error may have originated in the fact that Mu- rillo's wife came from Pilas, and that he possessed some property there *. Murillo's father placed him in the studio of his re- lative Juan de Castillo. Castillo removed to Cadiz, and Murillo remained in his native town, painting for the dealers in the Feria or public market of Seville. It seems probable that the rapid execution required for such works as these may have laid the foundation for that freedom of touch which afterwards characterized this master, and which is valueless unless it become the exponent of higher qualities. With reference to the works executed at this time I may quote the following account f: "When Cean Ber- mudez wrote, there were three of his pictures of this period still well known in his native city. The earliest perhaps is that which then was in the cloister of the convent of La Regina, but which is now (1833) to be found in the collection of the Prebendary Pereira. It represents the Virgin and St. Francis with several monks ; to our eyes this picture is flat, and presents little or no promise of the artist's future excellence. The next, which may be referred to very nearly the * I assume that the certificate of baptism proved that the artist was lorn at Seville, since Cean Bermudez clearly implies that it did so, although he says only that it showed where he was baptized. f Foreign Quarterly, No. xxvi. p. 266 ; the article was written by the author when his recollections of Seville were fresh and unimpaired. CH. VI.] MUBILLO. 163 same time, is a Virgin, Monk, and Angels, in a chapel of the College of Santo Tomas. In the angels' heads Murillo has evidently imitated Roclas,/and there are about some of them glimpses of his later style. The face of the Virgin is very beautiful, and her drapery, though rather angular in its folds, well painted. The picture is signed ' Bar meus Murillo,' and the capital M is of a peculiar form, the right-hand line being prolonged into a sort of loop. Another painting, in the possession of Mr. Williams, has the same peculiarity. What has become of the third of the early Murillos mentioned by Ceaii Bermudez whether it was consumed by the fire in the cloister of San Francisco, or carried off by the French we have not yet discovered. The same convent still possesses in the sacristy a whole-length portrait of Archbishop Urbina, of nearly as early a date. It is executed in a dry style, but the head has consider- able merit. Two more pictures, painted probably about the same time, are to be seen in a veiy bad state in a dark corner of the cloister of San Juan de Dios. " Murillo evidently saw the defects of his first master, and aspired to something better; the great works of Zurbaran and Roelas were before his eyes ; and the fact that he imitated them both is clear, as for instance in the very beautiful picture of Christ between the Virgin and St. Joseph, in the hands of Mr. Williams. This gentleman had at that time also, besides several first-rate specimens in the artist's best manner, five landscapes a St. Diego bearing the Cross, and a St. Francis on his Knees, all executed in his early style. In the last-named picture the background closely resembles the tone of that in 164 MURILLO. [CH. VI. many of his more mature productions, and the same re- mark will apply to a St. Francis of the Prebendary Pereira." Where these early specimens of the great master now are, I do not know ; they were all more interesting as affording a means of tracing his progress to excellence, than on account of their intrinsic merits. The house in which Murillo lived in his latter years was in the Juderia, or Jews' quarter : " It is close to the city wall, the last to the right in a small plaza at the end of the Callejuela del Agua. His painting-room, nay living-room, for he lived to paint, was in the upper floor, and as cheerful as his works."* Before Murillo was twenty-four years of age, Pedro de Moya, who had been his fellow pupil in the school of Castillo, returned to Seville. This artist, as has been already stated, had attached himself to Vandyck; his style, as derived from that great man, excited a strong wish on the part of Murillo to travel in Italy, but his poverty prevented his taking any such step. He is said to have purchased a quantity of canvas and to have painted a number of pictures for the market of the Indies, which were bought by the traders, and exposed for sale accordingly. With the money thus acquired he went to Madrid in 1648; there he presented himself to Velaz- quez, who took him by the hand, and obtained for him permission to copy the pictures of Titian, Rubens, Vandyck and others, which were to be found in the Ca- pital and at the Escurial. Velazquez, probably, little thought that the needy young man, whom he then pa- * Ford's Hand-book, p. 260. CH. VI.] MUEILLO. 165 tronized, was destined to acquire a name and to execute works which would be more popular and more widely known than his own. This was the turning point in the life of Murillo;^ the mere reflection of the style of Vandyck had awak- ened the consciousness of his own powers. His visit to Madrid afforded him the opportunity of more extended study, and he returned to Seville, in 1645, ready for the execution of great works. His career, as an artist, may be said to have begun from this time. In the following year he painted the series of pictures formerly in the cloisters of San Francisco ; these were in the first of the three styles which are usually distin- guished in his works that, namely, in which the out- line was decided if not hard, and in which the tone of the shadows and the treatment of the lights remind us of Zurbaran or Caravaggio. The cloisters were burnt in 1810, but many of the Murillos are to be seen in the Duke of Dalmatia's collection. One of these is the picture which represents a saint in the kitchen of his convent, with angels round him ; in another, some monks appear to be pointing out a flame to a man on his knees ; in a third, a saint kneels in the street before a man in a brown dress ; and a fourth is that in which some fol- lower holds the saint's girdle. I presume, also, that the St. Clara, formerly in the Aguado Collection (No. 100), belonged to the same series. In these works Murillo seems to have burst upon Se- ville as a great painter whose existence was hardly sus- pected before; commissions flowed in upon him, and he was soon in a position to many Doiia Beatriz de 166 MUBILLO. [CH. VI. Cabrera y Sotomayor, a person of some consideration at Pilas. This marriage took place in 1648 ; and about the same time the painter changed his style by adopt- ing a softer outline and a more mellow colouring, such as we find characterize some of his best works. In this style are the fine St. Leander and St. Isidore in the sacristy of the cathedral of Seville ; they were painted in 1655* on the commission of D. Juan Fede- rigui of Carmona, who presented them to the chapter ; both the figures are portraits. In 1 6 5 6 Murillo executed the celebrated St. Antony of Padua receiving the Infant Christ, which is still in the cathedral f. "In 1833," according to Mr. Ford, who saw it done, " it was cruelly retouched, and banado or completely daubed over by Gu- tierrez ; Captain Widdrington gives a different account, and maintains that it is uninjured. He adds that "he has always gone away from the picture, not only in admira- tion, but in the greatest doubt whether it be not the first picture in the world." With all possible admiration of Murillo, I consider this praise to be greatly exaggerated. Wilkie, in 1828, distinctly states that it disappointed himj. The admirable pictures formerly in Santa Maria la Blanca, at Seville, were painted in 1665 ; a Last Supper alone now remains in the church, and this, according * Hand-book, p. 255. f The contrast between Murillo the pupil of Castillo, and Murillo the painter of the pictures in the Claustro Chico and in the cathedral, is well illustrated by the story, which I have already quoted, of An- tonio Castillo y Saavedra see p. 110. J Ford's Hand-book, p. 256; compare Life of Wilkie, ii. p. 515; Widdrington's Spain in 1843, i. p. 246; Palomino, iii. p. 624. CH. VI.] MUBILLO. 167 to Cean Bermudez, would appear to be a doubtful work*. The principal pictures carried off were four half circles, the two larger of which are at Madrid. They were taken by Soult, carried to Paris, and brought back to Madrid with the Santa Isabel, which now hangs in the same room with them in the Koyal Academy. The subject of the pictures is the vision of a Roman Pa- trician, which led to the building of S ta . Maria Maggiore, and the narrating of that vision to the Pope : in the latter picture the distant procession has been especially admired. Notwithstanding some cleaning, some retouch- ing and additions in the angles, these works give as high an opinion of Murillo as any thing can dof. The spaces which they formerly occupied still stand blank in the church to which they belonged ; what became of the two smaller ones, which were carried off by the French, I do not know. Even at Seville, however, the Capuchin convent was formerly pre-eminent in the number and excellence of the productions of Murillo which it displayed ; almost all of these were of his best time. In a letter to Prince Dologorouki, dated April 14, 1828, Wilkie speaks of them as follows : " The Capuchin convent contains about fifteen [seventeen] of his productions : it had more once. They are painted in a slighter manner than any of his pictures I had before seen. The St. Francis with the Infant Christ in his arms; the S to . Tomas giving Charity, with two Doctors and two female Saints of the * Cean Bermudez, Diccion. ii. p. 59. f See Ford's Hand-book, pp. 269-736. 108 MURILLO. [CH. VI. Church, are the finest. In colour they are all of a raw character, scarcely glazed at all ; but a small picture over the altar, a Virgin and Child, in his rudest velature, triumphs over every one. These pictures were during the late war preserved to the convent, less by a miracle than by human foresight. The Capuchins, who were uncharitable enough to suspect the rapacity of the French Marshal, had them packed off to Cadiz, where they lay safe during the occupation of Seville, and were after- wards safely restored to their places without either the glory or the risk of a march to Paris *. These pictures are now in the Museum at Seville f, * LifeofWilkie,ii. p. 514. f I cannot forbear quoting Madame Hahn-Hahn's reflections on the Museum of Seville, and the custody of pictures in that city in 1841. " It is wretched to see how these invaluable jewels of pictures are preserved ! Uncleaned " (this is at least some comfort), " without the necessary varnish, sometimes without frames, they lean against the walls, or stand unprotected in the passages where they are copied. Every dauber may mark his squares upon them, to facilitate his drawing ; and since these squares are permanent in some pictures in order to spare these admirable artists the trouble of renewing them, the threads have, in certain cases, begun to leave their impression on the picture. The proof of this negligence is the fact that we found to-day the mark of a finger-nail on the St. Augustine, which was not there on the first day that AVC saw it. We can only thank God if nothing worse than a finger-nail make a scar on the picture ! It stands there on the ground, without a frame, leaning against the wall. One might knock it over, or kick one's foot through it ! There is to be sure a kind of rugged custode sitting by, but if one were to give him a couple of dol- lars he would hold his tongue ; he is, moreover, always sleeping, and yawns as if he would put his jaws out. He does not forget, however, on these occasions to make the sign of the cross with his thumb opposite his open mouth, for fear the devils should fly in such is the common belief. You see clearly that with this amount of neglect and want of CH. VI. J MURILLO. 169 where, as Mr. Ford says, " although the light is better than that of their original positions, yet they lose some- thing by the change. Murillo, in designing them, calcu- lated exactly for each locality, and painted up to the actual light and point of view ; and we miss the Capu- chino cicerone who seemed to have stepped out of one of the pictures to tell us where Murillo went for a model, and how true his portrait ". With this passage I fully sympathize, though I have never seen the pic- tures where they now hang ; it is something to have been in Spain before the character of the land was de- stroyed by the abolition of monks and the substitution order, the same fate awaits all the Murillos here as has already befallen Leonardo's Last Supper, at Milan. These are all collected in two public buildings, in the church of the Caridad and in the Museum. The Caridad was a hospital or charitable institution. The pictures were brought thither from Murillo's own studio ; there are five : Moses, the Feeding of the Five Thousand, the St. Juan de Dios, a little Sal- vator Mundi, and a small John the Baptist ; the sixth, the pendant to the St. Juan de Dios, the St. Elizabeth with the Sick, has been carried to the Museum at Madrid. It is very questionable whether these fine pictures will be still in the Caridad in ten years' time. Nothing would be easier than to smuggle out the two small pictures ! A painter conies copies them does not stand upon a few dollars more or less takes off the originals and leaves the copies behind in their places, which are high up and badly lighted the pictures are gone for ever ! This sort of proceeding is not impossible here, and Baron Taylor's purchases for Paris prove the fact. It cannot of course be done without corruption and connivance on the part of the official guardians ; and after all one has hardly the courage to lament it. The pictures are, in fact, saved they are protected and duly valued; whilst to me it is completely a matter of indifference whether a custode, on account of this sort of sin, suffer a little more or a little less in Purgatory." Reisebriefe, ii. s. 126-8. * Ford's Hand-book, p. 264. VOL. III. I 170 MURILLO. [CH. VI. of bonnets for mantillas. One of the finest of these works is that mentioned by Wilkie, the St. Thomas of Villanueva distributing alms to the poor: in the saint's face and figure there is a wonderful union of dignity and humility, whilst the beggars in the front are admirable for truth and expression, as for instance the boy on the left showing to his mother the money which he has received *. The next picture, as they hung in their old places, was that of St. Felix Cantalicio hold- ing the infant Christ in his arms, and looking up to the Virgin from whom he has received him. The delicate execution and colour of this great work, and the beauty of the Virgin's figure, make it, perhaps, superior to any other of the series ; certainly, in my opinion, superior to the St. Antony in the cathedral. With regard to the St. Leander and St. Buenaventura (the two Doctors of the Church of Wilkie) Mr. Ford tells us to " observe the peeping Coreggiesque boy."f The Santa Justa and Rufina is a beautiful picture. I conceive that the Virgin and Child, alluded to by Wilkie in the passage quoted above, was that which was called La Servilleta, because it was said to have been painted on a dinner napkin ; there was also a very fine Conception. "LaCaridad" is a hospital dedicated to St. George, and situated outside the walls of Seville. Murillo's * I find that this boy particularly attracted Madame Hahn-Hahn's attention as well as mine. " On the right of the Bishop a woman sits on the ground, whose child throws himself exulting into her yms, whilst he shows her the money he has just received, and she looks at the child as lovingly and as cheerfully as if she were not a poor beggar- woman." Reisebriefe, ii. s. 132. f Ford's Hand-book, p. 265. CH. VI.] MURILLO. 171 great pictures for this establishment were painted be- tween 1660 and 1674. Of these Marshal Soult carried off four : that is to say, Abraham receiving the Angels, the Prodigal son, St. Peter and the Angel, and the Pool of Bethesda. The two first of these he has since sold to the Duke of Sutherland. Wilkie says, " They are light pictures compared with the series they be- longed to in the " Caridad ;" have skies for back-grounds ; still, the Return of the prodigal son is an impressive picture, having this quality of simple homeliness in com- mon with many of the figures of Raphael and of Rem- brandt, that they seem as if speaking the very lan- guage of Scripture *. The Pool of Bethesda is perhaps the finest of the whole : the Duke of Dalmatia has just sold it to Mr. Tomline, an English amateur, as it is said,, for 160,000 francs. The works of Murillo still remaining in the " Caridad "" are, "an Infant Saviour, on panel, and injured; a St. John, rich and brown ;" f St. Juan de Dios assisted by an Angel in carrying a sick man ; the Distribution of the loaves and fishes; and the Moses striking the rock. " The latter painting affords the best evidence how nobly Murillo could handle a large subject. It is admirably composed ; for whilst the fine dark mass of the rock, and Moses standing beside it, form a sort of focus, the groups to the right and left make up the whole, and by their details tell the story of previous suffering, and miraculous relief, with the greatest truth and feeling." | * Life of Wilkie, iii. p. 117. f Ford's Hand-book, p. 263. J Foreign Quarterly Review for 1834, No. xxvi. p. 268. I 2 172 MURILLO. [CH. VI. These pictures do not seem to have struck Wilkie so much as some others. He says, " There are left his two great works, Moses striking the rock, and Jesus feeding the multitude. Considering their great reputa- tion, perhaps these pictures would at first disappoint you ; they are far from the eye, badly lighted, and much sunk in their shadows, and have, in consequence, a grey negative effect. The choice of colours in the Moses is poor, and the chief figure wants relief. The great merit of the work lies in the appearance of nature and truth which he has given to the wandering descendants of Israel."-'' Wilkie goes on to say, with perfect justice, " One other picture here, of San Juan de Dios with an Angel, is, in composition and colour, one of the finest examples of Murillo." I confess that to me the picture never restored to the " Caridad,"and now in the Academy at Madrid, is superior to any of those still remaining in their original places except, perhaps, the San Juan de Dios. This picture represents Sta. Isabel of Hungary -j- washing and apply- ing remedies to lepers and poor persons assembled round her. Nothing can be conceived more beautiful and more dignified than the figure of St. Elizabeth herself, * Life of Wilkie, ii. p. 515. f The subject would suit either Sta. Isabel (Elizabeth) of Hungary, or Sta. Isabel of Portugal. Palomino (iii. p. 624) says it is the former : Cean Bermudez the latter. St. Elizabeth of Hungary is the best known of the two, and more usually represented as occupied in this manner. Sta. Isabel of Portugal came of the great Hohenstaufen stock, being the daughter of Constance, wife of Peter of Aragon, and consequently grand-daughter of Manfred^ and great-grand-daughter of the Emperor Frederic II. CH. VI.] MUR1LLO. 173 and these qualities in her figure are brought out in full force by the contrast with the diseased beggars grouped round her, and painted with such wonderful truth as to be almost disgusting. The picture bears the name of " El Tinoso," from the boy with a scald-head to whom the saint is more immediately attending. The S ta . Isabel, like the St. Thomas of Villanueva, formerly in the Capuchins, presents us with the artist's studies of street-nature in full vigour : Murillo has here used the beggar-boys and vagabonds of Seville as acces- sories; in the pictures bearing his name out of Spain they often form the whole dramatis person. It is probable that many of these latter pictures are the works of his followers, Tobar, Meneses, or Villavicencio ; but some, such as the beautiful one with the fruit at Munich (No. 375), are, without doubt, genuine. The taste, indeed, for this peculiar class must have begun early : Evelyn in his diary (April 21, 1690), tells us that, at the sale of the effects of Lord Melford at Whitehall, " Lord Go dolphin bought the picture of the Boys by Morillio, the Spaniard, for eighty guineas deare enough." The pictures in the chapter-house of the cathedral of Seville were executed in 1667 and 1668; they are not equal in quality either to those in the " Caridad " or to those from the Capuchins. Murillo went to Cadiz to paint the large picture of the Espousals of St. Catha- rine over the high altar of the Capuchins in that city. Whilst engaged in the execution of it he had a fall from the scaffold, and was in consequence obliged to return to Seville. Here he lingered, getting gradually worse, 174 MURILLO. [CH. VI. until, on the 3rd of April, 1682, he died in the arms of his friend and pupil, Pedro Nunez de Villavicencio. The altar-piece at Cadiz was finished by Meneses. Mu- rillo left two sons Gabriel, who was absent in America, and Gaspar, an artist, but who at the time of his father's death was in the lesser orders ; a daughter of the painter was a nun in the convent of Madre de Dios at Seville. Murillo was buried in the parish church of S ta . Cruz, in front of the Descent from the Cross of Pedro Campana : the church was pulled down by the French, "who scattered his bones." * Many of the most celebrated works of Murillo have been considered whilst narrating his life, and of those in private collections at Seville so many have changed hands, that it only remains to advert to the principal collections elsewhere in which specimens may be found. The Pioyal Gallery at Madrid, as the author saw it in 1833, did not contain any pictures equal to the first-rate works in his native city, or to the three great pictures in the Academy of the capital. In the Holy Family (No. 43), in which the child is playing with a dog, the head of the Virgin is very beautiful ; but the expression of the child is purely human. The little dog and bird would probably have offended Pacheco's ideas of decorum, nor can we readily admit the propriety of another picture in the same gallery, which the reader will find described by Captain Widdrington f. * Ford's Hand-book, p. 260. + Spain in 1843, i. p. 31 ; No. 315 in the Catalogue. Captain Widdrington calls the saint " St. Bernabe, a monk ;" he is receiving into his mouth the milk from the Virgin's bosom. The legend, how- CH. VI.] MUR1LLO. 175 Mr. Ford tells us to observe particularly the " For* ciuncula" " a large picture which once was by Murillo. As it is advantageously hung it is still very striking ; its history may be useful to those about to purchase " utidoubted originals ' in Spain. It formerly belonged to the Capuchinos at Seville, whose stupid monks ex- changed it for some modern daubs to fill their cloisters, with one Bejarano, a bungling picture-restorer. Although much injured from exposure to sun and air, the surface was then pure : Bejarano began by painting it all over, and then offered it to Mr. Williams for 120. The gem being declined by this first-rate connoisseur, it was pur- chased by Joaquin Cortes (director of the Seville Academy) for Madrazofor 180, on speculation, who worked much on it himself, and then handed it over to Senor Bueno, one of the most daring of his familiars. Finally 2000 was asked for the picture, which eventually was bought by the Infante Don Sebastian for 900. Now, except the outline, scarcely one touch is by Murillo. These facts were stated to me by Bejarano, Cortes, and Mr. Williams." * The Child Jesus as the Good Shepherd (No. 46) has ever, belongs to St. Bernard of Clairvaux. Ribadeneira (p. 396) states it thus " Ita fertur aliquando patulum ejus os lacte de S.S. suis uberibus prosiliente suaviter implesse, atq. bine illam styli suavi- tatem quae cunctis in scriptis ejus sese prodit, liberaliter bausisse." * Hand-book, p. 771, where will be found an account of the Jubilee of St. Francis worth referring to. Portiuncula is the name of a place about a mile from Assisi, where St. Francis rebuilt a ruined church dedicated to the Virgin. See Ribadeneira, p. 472, and com- pare the article in the Edinburgh Review, No. 173. As to the pic- ture, see Palomino, iii. p. 624. 176 MURILLO. [CH. VI. an expression of a very high character ; the St. John the Baptist (No. 50) is rather affected, and inferior to it, The Adoration of the shepherds (No. 191) is in the artist's harder . and more forcible manner ; the child, however, shows marks of his softer handling. In the Martyrdom of St. Andrew (No. 182), on the other hand, the body of the apostle and much of the picture is painted with the lightest possible pencil. Two of the pictures by Murillo in the Madrid Gal- lery are landscapes (Nos. 276, 288). Mr. Williams, also, at Seville possessed specimens of the master in this department, which were freely painted. Palomino tells a story to the effect that the Marquis of Villa- Manrique agreed with Murillo for certain pictures of the History of David, in which the landscape back- grounds were to be painted by Iriarte. Some difficulty arose as to which artist should begin his portion, and it ended in Murillo executing the landscape himself #. The landscape painting of Murillo, however, is not like that of Velazquez : it is conventional, and bears the character of an accessory instead of the vivid, clear, objective feeling of nature which we see in such works as the sketches in the gardens of Aranjuez by the latter master. The new Spanish Gallery at the Louvre contains thirty-seven pictures ascribed to Murillo. The critic in the Kunstblatt especially mentions the Magdalen (No. * Palomino, iii. p. 627. See afterwards what is said on the pic- ture in the Gfrosvenor Gallery, p. 183. CH. VI.] MURILLO. 177 159) *, the Conception (No. 148), and the Annunciation (No. 147) : of the second he says, " The bright glow of light shed around the Virgin, and poured full, as it were, from the higher regions of heaven by the angels, is admirable. The outlines are softened by it ; the tone of colour is rendered more harmonious, and the whole scene acquires a most powerful effect of a magic and misty character. The same sort of result is produced in the Annunciation." f The same writer then goes on to praise the Virgen de la faja (No. 156), which formerly belonged to the Conde de Aguila, and for which Baron Taylor is said to have paid 100,000 fr. It is finely painted, but not ideal in character. He adds that it is pure as when it came from the studio of Murillo. In saying that Murillo painted the Joseph and Infant Christ (No. 152) when he was scarcely sixteen years old, and under the first impression of admiration for Vandyck, the author is clearly in error j. Moya did not come to Seville until after Vandyck's death at the end of 1641, when Murillo must have been twenty-four years of age . The St. John the Baptist (No. 157) is placed on the same level as the works of Coreggio with reference to the chiaroscuro. If theSjSan Rodrigo (No. 176) is the one formerly belonging to the Canon Pereira, it is a * Query, was this picture formerly in the possession of Seiior Bravo at Seville 1 f Kunstblatt for 1838, No. 94, s. 382. J Ibid. No. 95, s. 385. Compare Cean Bermudez, Diction, ii. p. 49 ; iii. p. 207, I 3 178 MURILLO. [CH. VI. very fine picture *. Last of all, it is necessary to notice the portraits in this collection : among them is Murillo's own, being, if I do not mistake, the one which passed from the hands of Mr. Williams into those of Mr. Standish, whence it came into the Louvre. The Maid-servant of the artist (No. 180) is the subject of another; but the finest of all equal, indeed, to the portraits of Velaz- quez i s the full-length picture of Don Andreas de An- drade, with his hand on the head of a large dog : the pic- ture is thence known by the name of "El Perdriguero"\ Wilkie speaks thus of it " Brackenbury's Murillo the Man with the Dog is also in the gallery ; this I saw in the linen-draper's " (Bravo 's) " house at Seville, and the expression of the head strikes me as much now as it did then. It seems to see you while you look at it." The greater part of 'Marshal Soult's Murillos have already been adverted to : it should be said that he has also a most glorious specimen of the favourite Andalusian subject the Immaculate Conception a picture which displays the painter's characteristic excellences as strongly as any other in the whole collection J. * Query, was the St. Diego de Alcala (No. 177) purchased from Mr. Williams ? f This noble portrait was brought to this country by Sir J. Mac- pherson Brackenbury, with other fine Spanish works : it is painful to think that it was ever suffered to leave England and grace the walls of a foreign gallery. Compare Life of Wilkie, iii. p. 117. These Murillos, again, like so many other fine pictures, might once have been purchased by the English government. Mr. Buchanan tells us this (Memoirs, i. p. 40), and in an Appendix he describes the eight principal pictures. Sebastiani's collection, too, was refused by George IV. in 1814. See Ford's Hand-book, p. 883. CH. VI.] MURILLO. 179 Besides those in the new Spanish collection, the old Gallery of the Louvre contains seven pictures attri- buted to Murillo : one of these (No. 1091), of the Infant Christ on the knees of the Virgin receiving a cross of reed from St. John, is very fine in quality. Waagen says of it " As regards light and colour this picture is truly miraculous. The child, catching the full light, has such tenderness in its bright and ruddy golden tone such clearness in the shadows and reflected lights such a flowing softness and roundness, as astonish us : every thing, including the under-garment of the Virgin, which is of a peach-blossom colour, unites in one harmonious tone."* The same author says that the handling of the flesh, in the picture of Peter kneeling before Christ (No. 1093), reminds him strongly of Vandyck. In Germany there are some fine works of Murillo 's, especially in the Esterhazy palace at Vienn'a and at Munich ; in the Pinacothek of the latter capital will be found two or three admirable specimens of his beggar boys ; such as No. 363, No. 375, No. 376. The Old woman, child, and dog (No. 382) is doubtful; No. 383 is probably not genuine. Three or four Murillos will also be found in the Duke of Leuchtenberg's collection ; one of them is, I conceive, the picture of St. Raphael with the Bishop Francisco Domonte kneeling before him, which was formerly in the "Merced Calzada" at Se- ville f . Another of the Virgin and Child with a bunch of grapes is a most popular picture, but I could never Uw,u*$. : iwtf *,>.* -:.fe:R*.-r:il irvj.y t-, ; *-,. > : - ? . ; >tf* **& \ . * Waagen, Paris, s, 636. 'T Cean Bermudez, Diccion. ii. p. 59. 180 MURILLO. [CH. VI. convince myself that either in its conception or its exe- cution it bore the character of Murillo. The St. Antony of Padua, now in the Museum at Berlin, is said to have come from the Alcazar at Seville * : another picture, in the same collection, is the portrait of a Cardinal. The large Virgin and Child, in the Corsini Palace at Home, is an exquisite picture in the artist's second manner. The Gallery of the Hermitage at St. Petersburg contains eighteen pictures of this master, a portion of which, including a landscape, came from the Houghton collection f. It would be out of the question to attempt to enume- rate all the pictures of Murillo which exist in this coun- try ; we have on the one hand many very fine specimens of the master, and on the other a sort of rage has pre- vailed for his works, which has led to the indiscriminate application of his name to productions utterly unworthy of his pencil. It must be remembered too that the successive styles of Murillo differ most materially one from the other, and that the general ignorance of Spanish pictures has afforded full opportunity for pro- faning the names of the two or three masters who hap- pen to be best known J. Under these circumstances, * Nagler, Kiinstler, Lexicon, x. s. 45. f Ibid. ss. 51, 52. A very short time since I went into a picture-shop in London to examine a singular picture of the Virgin in a most elaborately em- broidered petticoat. The dealer had affixed the name of Zuccaro to the frame, on the strength, probably, of the petticoat, which resembled some of those in which the portrait of Queen Elizabeth has been painted by that artist. I expressed my surprise at the name. " Yes, sir," he said, " Zuccaro or Velazquez." This alternative appeared still CH. VI.] MUEILLO. 181 however, second-rate paintings resembling Murillo's later manner, executed with apparent freedom and with a certain amount of mistiness of outline, have perhaps less chance of being originals than some of the harder and darker looking works, apparently unworthy of him, but which from their very want of resemblance to his more popular manner would hardly have acquired the name without some reason. After all, it is the execution itself which must decide the question ; above every thing, a careful examination should be made of the extremities of the figures, in which defective drawing and want of power soonest show themselves. It is here that the amateur must look for that touch of the brush, which whilst it is sure and definite is yet free and unrestrained, and shows that the hand which guided the pencil be- longed to one who felt and understood the details of the form.. The colour of the flesh, too, in contact with linen is very fine in Murillo ; and, as Sir Joshua has truly said, none but great colourists can succeed in over- coming this difficulty, or reap any profit from the con- trast *. The large Murillo in the National Gallery represent- ing the Saviour between the Virgin and St. Joseph, with more strange, and I ventured to observe that there was a difference between the two masters. " Why, the fact is," he added, " the pic- ture came from Spain, and Zuccaro is not a Spanish master, that is the only reason for calling it Velazquez." After this explanation there was nothing to be said, and it was easy to believe that the man had rightly accounted for the name of Velazquez. * Sir Joshua Reynolds's Works, ii. p. 280. See note to Kugler's Dutch and Flemish Schools, p. 228. The remark is made by Sir Joshua with reference to Kubens's great picture at Antwerp. 182 MUBILLO. [CH. VI. the Father in the clouds above, is a fine specimen of the master ; it was painted for the family of the Mar- quis de Pedrosa ; the English government purchased it in 1837 #. Another picture in the same collection is St. John with the lamb, which with its companion, the Good Shepherd, were bought by Sir Simon Clarke, in 1801. In May, 1840, the government purchased the St. John for 2000 guineas, and the Good Shepherd was bought by Baron Rothschild for 3900 guineas. Mrs. Jameson tells us that the picture of the same sub- ject in Lord Ellesmere's gallery is a copy of this, by a Frenchman, Alexis Grimoux, and passed for the original until the arrival of the real picture in England f . The National Gallery also possesses a picture of a peasant boy by Murillo. The collection at Dulwich is very rich in fine works of this master : among which the Flower girl is equal to any production of the same character even to the Boys at Munich. It came from the Colonna collection : both Waagen and Passavant do full justice to its merits J. The large Virgin and Child in heaven is glorious in its colour and most carefully executed. The Meeting of Jacob and Rachel Mrs. Jameson describes as " a most charming * Mrs. Jameson's Public Galleries, i. p. 42. This is the picture with reference to which a deputation were desirous of remonstrating with the trustees on the representation of the Eternal Father. See Minutes presented to Parliament, p. 12. Edinburgh Review, No. 173. The trustees wisely declined the interview. *t* Mrs. Jameson's Private Galleries, p. 110. It evidently passed current with Passavant, who calls it "ein liebliches Bildchen." Kunstreise, s. 58. $ Compare Waagen's England, ii. s. 193 ; Passavant, Kunstreise, s.27. CH. VI.] MURILLO. 183 picture, full of simplicity and sentiment," * and in this praise the two German tourists fully agree. The Cru- cifixion of St. Andrew is the sketch for Mr. Miles's large picture f. Lord Ellesmere has a spirited study of Dives and Lazarus. In the Duke of Sutherland's gallery we find the two Murillos from the collection of Marshal Soult, of which I have already spoken Abraham receiving the Angels, and the Prodigal son. In the same collection is a fine portrait, a St. Francis, two pictures of S ta . Justa and S ta . Rufina, and three small studies in one frame J. The Marquis of Westminster possesses an Infant Christ sleeping and a young St. John ; hut the most re- markable Murillo in the Grosvenor Gallery is the large picture of Laban and Jacob, which came from the Santiago Palace in Madrid. The execution of the landscape is extremely fine, though, as Passavant says, not without a little mannerism . Mr. Buchanan, in his Memoirs, * Public Galleries, ii. p. 492. "h Passavant, Kunstreise, s. 28; compare Waagen's England, ii. s.346. J Mrs. Jameson's Private Galleries, p. 191. Mrs. Jameson (Private Galleries, p. 253) tells us that the Jaco and Laban in the Grosvenor Gallery was the picture executed for the Marquis of Villa Manrique, in which Murillo painted the landscape himself, because he and Iriarte quarrelled as to which should first per- form his portion. The subject, she says, was changed from the Life of David to that of the picture mentioned in the text. I have no doubt Mrs. Jameson speaks on good authority, but Palomino does not appear to have known any thing of this change of subject ; moreover, it was not one picture, but a series of pictures to which the story ap- plied " Y asi el solo hizo las tales pinturas con historias y paeses," Palomino, iii. p. 627 ; compare Waagen's England, ii. s. 127 ; Passa- vant, Kunstreise, s. 66 ; Buchanan's Memoirs, ii. pp. 220. 228. 233. 184 MURILLO. [CH. VI. tells us that three of the pictures from the Santiago Collection were imported by him through Mr. Wallis in 1808. The first was a Virgin and Child, which was sold to Lord Berwick for 2500 ; the second was the picture of which we are now speaking, and for which Lord Grosvenor gave a Claude and a Poussin in addi- tion to 1200. The subject of the third was St. Joseph and the Virgin conducting the Infant Saviour, and it was sold to Mr. Harris, of Bond Street, for 2000. The Marquis of Lansdowne is the owner of Murillo's portrait of Don Justino Francisco Neve, which formerly hung in the refectory of the Hospital of "Los Vene- rables," at Seville. Neve was the canon who commis- sioned Murillo to paint the four half-circles for S ta . Maria la Blanca, which have been already mentioned. This picture, which is at Bowood, is called by Waagen "an especially beautiful portrait."* Palomino says that it was extremely like, and that other dogs used to bark at the little English dog (perrilla Inglesa) at his feetf. Besides this remarkable portrait, Lord Lans- downe has an Infant Saviour, an Immaculate Concep- tion, and a small figure of the Virgin kneeling all by Murillo. I believe that one of the finest Murillos in England is the picture of St. Thomas of Villanueva distributing alms, which came from the Franciscan Church at Genoa. It was purchased there by Mr. Irvine, in 1805, and was sold for 1000 to Mr. Wells, of Redleaf, in * Waagen's England, ii. s. 296. *( Palomino, iii. p. 625 ; who, however, calls the Canon, Don Faustina (not Justino) de Nebes. CH. VI. J MUBILLO. 185 whose splendid collection it still remains. Waagen says that it belongs to the second period of the master, and expresses the highest admiration at the dignity of the saint, and the truth and vigour of the beggars and the poor around him *. The charity of this same saint is the subject of another of the most characteristic pic- tures by Murillo in this country that belonging to Lord Ashburton, and which represents St. Thomas of Villanueva as a child giving away his clothes to the beggars around him. A copy of this picture by Meneses was in private hands at Seville in 1833, and Mr. Wil- liams had the sketch of it. Lord Ashburton 's pic- ture was imported by Mr. Buchanan, having been, like many others, bought from General Sebastianif. Be- sides this picture, Lord Ashburton has three other Murillos, of one of which Waagen speaks as being a most brilliant specimen of the master's colouring. Sir Thomas Baring's Conception of the Virgin came from the Le Brun collection, and originally from " Carmen descalzo," in Madrid ; it is described as a very beautiful picture. The same collection contains a small Assump- tion, a Holy Family, a Girl raising her veil, and an ad- mirably coloured picture of a mischievous-looking shep- herd boy J. Mr. Miles, of Leigh Court, has the Cruci- fixion of St. Andrew, of which the sketch at Dulwich has been already noticed, as well as a Holy Family, * See Buchanan's Memoirs, i. p. 171 ; "Waagen's England, i. s. 159 ; Passavant, Kunstreise, s. 214. *)* Buchanan's Memoirs, ii. p. 265 ; Waagen's England, ii. s. 83. IJI Buchanan's Memoirs, ii. p. 255 ; Passavant, Kunstreise, s. 130 ', Waagen's England, ii. s. 252. Query, does not the Grirl raising her veil now belong to Mr. Holford ? 186 MtJRILLO. [CH. VI. and I believe other pictures hy the same master*. Mr. Munro possesses a St. Antony like that at Berlin, and a sketch of the Loaves and fishes in the " Caridad." Passavant mentions also a Joseph and his Brethren be- longing to Lord Arundel of Wardour two pictures of Beggar boys at Blenheim and a St. Francis Xavier, in the hands of Mr. O'Neil, near Manchester f. Waagen speaks of the figure of a boy at Warwick Castle, remark- able for the masterly foreshortening of the hand, and of two pictures, one a St. Theresa and the other a St. John the Baptist, in the collection of the Earl of Shrewsbury at Alton Towers J. Mr. Rogers has a small sketch of St. Joseph with the Infant Christ, which came from Mr. Hope's collection. The collections of Lord Hather- ton and that of the Earl of Radnor each contain a spe- cimen of the master . Mr. Ford has a large picture of two monks, from the " Claustro chico," left behind by Soult in his flight. Lord Northwick's Murillo, if I mistake not, came from the Santiago collection. Sir William Eden, of Windlestone, in the county of Durham, has three Mu- rillos which he purchased of Mr. Williams : two of them are the Virgin and Child, full-length figures one la Virgen de la Manzana, from an apple which the child holds in his hand ; the other a Virgen del Rosario. The former is in Murillo 's early manner, the latter is the picture mentioned by Ponz as in the Carmelite Con- * Waagen's England, ii. ss. 346, 347; Passavant, Kunstreise, s. 154. t Passavant, Kunstreise, ss. 176. 184. 220. J Waagen's England, ii. ss. 367. 463. Ibid. ii. ss. 207. 268. CH. VI.] MUB1LLO. 187 vent at Seville. The third picture is a Porciuncula, or Vision of St. Francis, in Murillo's strongest and darkest style. But it is impossible to reckon up the works, real or pretended, of a master like Murillo, scattered throughout the length and breadth of England in country-seats. There can be no doubt whatever that numerous genuine pictures exist, each, perhaps, the source of delight and enjoyment to the family who con- template it from day to day, but of which the author or the public have never heard *. I cannot close this chapter without adding a few re- marks and extracts with reference to the style of Mu- rillo, more especially as compared with that of Velaz- quez, and I shall then proceed to say a few words on the condition of the various schools of art throughout the rest of Europe, at the time when these two great painters flourished in Spain. Murillo's later style, that which is most characteristic of his celebrated works, combines softness and vigour with the finest colouring. There is in his heavenly figures a lightness and clearness which produces the effect of a texture wholly different from that of the earthly personages, and the contrast often gives addi- tional value to each separate portion of the same pic- ture. The solid, flesh-like substance of the kneeling * The reader must make allowance for numerous errors in this attempt to point out specimens of Murillo in England. In speaking of the merits of his pictures in private hands in this country I have not given my own judgment for I have seen but few of them but the opinion of "Waagen, Passavant, and others. Sir "William Eden's pictures I have never myself seen. 188 MUBTLLO A^ VELAZQUEZ. [CH. VI. saint, or the crowd in the foreground, reminds us, by its truth and force, of the beggar boys and street scenes which the artist sometimes painted, whilst the glorified beings above hover in a sort of halo of misty light. The execution harmonizes admirably with the subjects. The cold grey tones of Murillo's back-grounds serve to give full value to the mellow colour of his principal figures, and in the painting of flesh as such he never was excelled *. With regard to the comparative merits of Murillo and Velazquez, whilst I entertain a firm conviction that the latter master showed the greater genius, I must content myself by laying before the reader the following extracts from the letters and journal of a far more competent judge Sir David Wilkie. " For handling no one surpasses him " (Velazquez) ; " but in colour Reynolds is much beyond him, and so is Murillo. Compared with Murillo, indeed, he has greater talent; more the founder of a school more capable of giving a new direction to art; he has dis- played the philosophy of art ; but Murillo has concealed it, and we are surprised that art and address can do so much. One wonders, too, that sheer simplicity should be so little behind them. In painting an intelligent portrait Velazquez is nearly unrivalled, but where he attempts simple nature or sacred subjects he is far in- ferior to Murillo. "f Again, he says " Murillo, though of the same school, and of nearly * See Foreign Quarterly Review. No. xxvi. p. 269. t Life of Wilkie, ii. p. 505, Letter to Mr. Phillips. CH. VI.] MURILLO AND VELAZQUEZ. 189 the same time, is a painteiv opposed in almost every thing to Velazquez. If not greater in point of talent, his subjects are more elevated ; his painting and colour- ing more general and abstract at the same time. While the qualities of Velazquez are fitted chiefly for the artist, from their high technical excellence, those of Murillo, from their extreme simplicity, are addressed to the multitude. No painter is so universally popular as Murillo ; without trick or vulgar imitation, he attracts every one by his power, and adapts the higher subjects of art to the commonest understandings. Perhaps that very power tells to his prejudice amongst painters, who suppose the great qualities of art can be appreciated only by the few; but, unless art can affect the unin- stracted, it loses its influence upon the great mass of mankind. 101. (F. %d-,) 62. (^ Greco,) 82. (Joanes,) 71. (Iriarte,) 196. (Zm- arrfo,) 95, 96. (J/rc//,) 99. (Afayno,) 83. (Afa*o,) 194. (Jforafe*,) 56. (A/o?v,) 66. (Murillo,) 41, 174-176. (J\V varrete,} 77. (Omwte,) 98. (Pantoja,) 75. (Pareja,) 194. (Pereda,) 1 33. (Rilalla,) 100, 101. (^H) 201. (72oe- Za,) 109. (Tintoret,) 147. (Tobar,) 211. (/. cZe Tofedo,) 132. (PW^wes,) 145, 146, 148, 151-156. (Villavicen- cio,) 195. (Zurlaran,) 127, 131. J/aeWa, 33, 218. Maestro Jorge Ingles, 31. * Magdalen college, Oxford, (/&- ia^a,) 100, and u. Maintenon, Madame de, portrait by, P. Miynard, 272. 3/aztre jRowo 1 , 227. Malaga, plunder of pictures, 348. (Arlasia,} 90. (Cano,) 125. Mancini, Maria, portrait by P. Mffnard, 272. Manteyna, Andrea, triumph of Caesar, 294, and n. Marat, his relation to David, 331. Picture of,byZ>.,) 114. (Pareja,} 193. (Velazquez,) 141, 142, 145147, 154. Piag&oni of Florence, 6. Piero, Aharo di, 34, and n. Pignatelli Vicente, 214. Pisan, Nicolas Francisco, 38. Pius VII., David's portrait, S34. 338. Piano, Francisco, 213. Plateresque architecture, 48, and n. Poetry, Spanish, 137. Polo, Bernardo, 97. Pont Notre Dame, 301. Pontevedra, no pictures rescued, 349. Pontons, PaUo, 98. Pope, his notice of Dvfrtsnw, 277. Of Laguerre, 293. 363 INDEX. Porcitin cula, 175, n. Port Royal, (Ph.de Champaigne,} 260, 261. Portugal, VanEycJetvv&t to, 31. Poultiers, Pedro I'Hospelin de, 93. Poussin, Nicolas, 232-256. His colouring, 243, n. Interview with Domenichino, 234. Re- turn to France, 235. St. Erasmus, 255. His own por- trait, 243. Picture of Phi- neus, 247, 249. Seven Sacra- ments, 249, 250. Prado, Bias det, 84. Preti, Mattia, (il Calabresc,) 195. Price of pictures, (More,) 65. (Titian,) 51, n. Primaticcio, Francisco, 228, 229. Prudhon, 295, n. Ptilido, Pareja, Adrian de, por- trait by Vdit^ite:, 146, 160, 161, aiid n. Pt'pilcr, j\vtonio, 66. Puritans, influence on art, 7. Q. 'Queen's Collection, (Greuze,) 326. Ralidla, Pablo, 213. *Radr;or, Earl of, (Murillo,} 186. (Poussin,) 253. (Velazquez,) 160, 161. Ramenghi, Bartol. 228, n. Ramon de Peilaforte, Sn., 112, n. *Ramsay, General, (Greuze,) 325, n. Raphael, 46, 48, 137. Razzi, (Sodoma,) 209. *Red!eaf (see Mr. Wells). Renaissance in style, date of its prevalence, 222. Rene of Anjou, 225, 226. Restout, Jean, 302. Result, Jean Bernard, 302. Reuss, (Cesille?,} 25. Reynolds, Sir J., his estimate of the French and Venetian schools, 267. On Seb. Bour- don, 270. On Boucher, 304. Riballa, Francisco de, 99. Ribalta, Juan de, 100. Ribera, Josef de, 102. Richelieu as a patron of art, 231. Portrait by Ph. de Cham- paigne, 260. Riyaud, Hyacinthe, 290. Rincon, Antonio del, 33, 34. Rincon, Fernando del, 35. Rioja, Francisco de, 19. Rizi; Antonio, 91. Rizi, Francis o, 91, 199. Rizi, Juan, 91, 200. Roa, Martin de, 12. Robespierre, his relation to Da- vid, 332. Robert, Leopold, 342. Robledo de Chavela, (Rincon,) 35. Rodriguez, Juan, 32. Roehis, Juan de las,l 06-1 09. His Jesuits, 21. Not the master of Valdcs Leal, 197, n. Roy el, Maestro, 29. Roger of Bruges, and Roger v. der Weyfk, 29, n. *Rogers, Mr., (Fouquet,) 224, n. . (Murillo,) 186. (Poussin,) 251. (Titian,) 87, n. (Ve- lazquez,) 159. Roman, Bartolome, 134. Rome, St. Lorenzo in Lucina, Poussin buried there, 236. Palazzo Doria, (fVa:y<:,) 148. Palazzo Corsini, (Mu- ritto,) ISO. Palazzo Sciarra, (Valentin,) 258. Palazzo Rondanini, (Vernet,) 313. Vatican, (Poussin,) 255. (Va- lentin,) 258. Romeo, Jose, 214. R6)milo, Cincinato, 89. INDEX. 369 Rosso, 227. 'Rothschild, Baron, (MuriUo,) 182. Rousseau, Jacques, 292. Rubens, visit to Spain, 143. 'Rutland, Duke of, (Poussin,) 250. S. Saavedra, Castillo y, Antonio, 110. Sala del Tribunal, in the Alham- bra, 26. Salamanca, pictures known to exist at, 349. Las Agostinas, (Ribera,) 103. Cathedral, (Gallegos,) 37. Colegio del Arzobispo, and San Espiritu, (Bcrruguete,) 49. Sn. Este- ban, (Palomino) 208. Works of Juni, 92. Sanchez, Pedro, 32. Sanchez de Castro, Juan, 32. Sandoval, Archbp. of Toledo, portrait by Tristan, 85. Sans Souci, (Correggio) 295, n. Sansovino, 48. Santa Forma, 200, 203, n. Santander, plunder of pictures, 349. Santerre, Jean Baptise, 284. Santiago, pictures from, 346. Santiago collection, Murillo's from, 183, 184, 186. Santillana, Marquis of, 31. Saracino, 22. Saragossa. Academy of Painting, 214, 215, 216. School of, 60, 62, 92. Pictures collected at, 351. Legend of the Vir- gin del Pilar, 238, n. View of, (Mazo,) 194. (Benavides,) 214. St. Augustin, (Lupici- no,) 92. (Casanova,) 213. Cathedral, (Aponte,) 6l'. (Gal- van,) 96. (Jimenez,) 95. (Lu- picino,) 92. (Martinez,) 97. Raliella,) 213. N. S. de los remedies, (Vicente,) 97. Co- legio de la Manteria and Santa Engracia, (Martinez,) 97. Hall of Deputies, (Mora and Secano,) 93, 98. Sn. Millan, (Es2nnosa,) 95. Sn. Pablo, (Secano,) 98. (Piano,) 213. Sarto, Andrea del, 227. Savonarola, 6. Scheff'er, 342. Schepeler, 23, 39, n. Schlegel, A. W.,onPo?sssm,254. Schlegel, Fred., on Lelrun, 275. On Lesueur, 264. Sculpture, coloured, 52, 53, n. Sebastian del Piombo, 256, and n. Sebastiani, (MuriUo,) 185. His pictures offered to George IV., 178, n. Secall, Geronimo, 97. Secano, Geronimo, 97. Segovia, works of Juni, 92. Pictures collected, 349. Sens, St. Romain, painted win- dow in, 229. Seville, Academia, (Roelas,) 108. Sn. Agustin, (De Vos,) 12. Alcazar, (N. F. Pisan,) 38. (MuriUo,) 180. San Ber- nardo, (Herrera el v.,) 114. San Buenaventura, (Herrera elv.,) 114. Capuchins, (Go- mez,) 195. (MuriUo,) 167, 168. Caridad, (MuriUo,) 163, 169, n., 170, 171. (Valdes Leal,) 198. Cartuxa, (Mon- tanes,) 53, n. (Pasqual,) 13 (ZurbardHf) 129. Cathedral* (Campafla,) 65. (Cano,) 124' (Cespedes,) 105. (Herrera e', m.,) 115. (MuriUo f ) 110 166,170,173. (Roelas,) 106' (Sanchez de Castro,) 32' (Sturm,) 66. (Tobar,) 211' (Fa^ 5 ,)197. (Vargas,) QT 68. (Villcgas de Marmo* lejo,) 106. (Zuroaran,) 129- 370 INDEX. Colegio de Santo Tomas, (Llanos y Valdes) 126. (Mu- rillo,) 163. (Zurlaran) 42, 128. Sta. Cruz, (Campana) 64. (Murillo) 174. Sn. Francisco, (Murillo) 110, 163, 165, 186. (Vazque.:) 105. Hermitage of St. Her- mencgild, (Herrera el v.) 114. San Isidro, (Hoelas,) 108. San Julian, (Sanchez de Cas- tro,) 32. Library, Bible of Alonso el Sabio, 23. Sta. Maria la Blanca, {Murillo,) 166, 167,184. (Vargas,) W. Sta. Maria de la Gracia, (Fru- \ tet,) 63. San Martin, (Her- rera el v.) 114. (Meneses) copy of Murillo, 196. Mer- co(C (Fndet) 63. (Gomez,) 1$5. (Murillo,) 179. (Pa- checo,) 112. (Roelas) 15, 108. (Zurbaran,) 131. Monte Sion, (Cano,) 124. (Castillo,) 110. Museum, 349. (Cas- tello,) 110. (Frutet) 63. (Herrera el v.) 114. (Mu- rillo) 168, 169, and n., 170. (Jloelas,) 106. (Zurlaran,) 130. Preby. Pereira, (Mu- rillo,) 162. 'La Regina (Mu- rillo,) 162. University, (Ca- no) 124. (Herrera * el v.) 114. (Roelas,) 107. Vene- rables, (Murillo,) 184. Mr. Williams, (ttino,) 125. (A/w- riHo,) 163. Sguazze'la, Andrea, 227. Shoe of the Virgin at Burgos, 14. ^Shrewsbury, Earl of, (Cano) 125. (David) 329, n., 336. \ (Moya) 127. (Murillo) 186. | (Sulle>/ras,) 303. (Vtllavi- cencio) 195. Siguen/.a, Padre, portrait by Co- e^'o, 74. Simone di Martino, 220, 221. Sisla, La, monastery of, (Tristan) 85. Slave of Murillo, (Gome-) 195. Of Velazquez. (Pareja) 192. Slavery in Spain, its continu- ance, 193, n. Snare, Mr., his pamphlet on the portrait of Prince Charles, 353. Sobieski, John, portrait by Des- portes, 302. Sodoma, 209, 210. Soria, plunder of pictures at, 349. Sorbonne, 20, n. Soult (see Duke of Dalmatia). Spagnoletto, 102. Spagnuolo, Giocanni, 45. SjMxgntoolo, dei Pesci, (Herrera el m.) llo. Spaniards, arms and seat on horseback as compared with Moors, 28, 29, n. Spanish art, character of, 2, 3, 21, 38, 39, 40. Spoleto, (Giovanni Spagnuolo) 46. Stamina, Gerardo, 25. Stella, Jacques, 257. Stirling, Mr., of Keir, v. Stirrup, Moorish, 28. StolJtard, 300. Sturm, or Sturmio, Ferdnd., 66. SMeyras, Pierre, 302. ^Sutherland, Duke of, (Janet) 230. (Murillo) 171, 183. (Velazquez) 159. (Zurlaran) 131. T. Tnccn, Pedro, statue of Philip IV., 146. Talavera, (J. de Toledo) 132. Taravaf, Ilur/ves, 310. Tarragona, works of art collected at, 349. Tavarone, Lazzaro, S3. Technical rules of art, 267, and n. Tellier, Jean le, 257. INDEX. 371 Tenters, relation to Grcuze, 323. Resemblance to Velazquc.:, 153. 192. Tenorio, Archbishop, 33, 37. Teruel, pictures rescued, 349. (Jimenez,) 95. (Raliella,) 213. Theotocopuli, Domenico, (cl Greco,) 8083. Thomar, (Gallegos,) 37. Thorpe, William, 21, n. Thulden, Theodore van, 228, n. Tibaldi, Peregrino, 91. Tintoret, his resemblance to Hoe- las, 107, andn., 109. Titian, his visit to Spain, 50 51. Pictures in the Escu- rial and at Madrid, 87, and n. Last Supper, 79, 353. Tolar, Alonso Minud de, 173. 210. Toledo, Defective information as to pictures collected at, 350. Carmen, (Anas,) 133. Casa del Ayuntamiento, (el Greco,) 83. Cathedral, (Juan At/on, and old pictures,) 33. (Ber- rttguete,) 49. (Lias del Pro- do,) 84. (Cano,) 117. (Car rabajal,) 80. (Comontfs,) 36. (El Greco,) 81. (Luis de Velasco,) 84. Sn. Juan de los Reyes, (Rincon,) 35, and n. La Ileyna, (el Greco,) 82. S to . Tome, (el Greco,) 82. Toledo, Jiian de, 132. *Tomline, Mr., (Murillo,) 171. Toro, convents of, 351. Torrente, Ramon, 60. Tort, Gidller, 60. Toussaint Dubrev.il, 230. Transubstantiation, 203, 204, n. Trastamara, Henry of, 29, n. Tribunal, Sala del, in the Al- hambra, 26. Tristan, Luis, 85. Troy, Francois, de, 284. Troy, Jean Francois de, 284. Troy, Nicolas de, 284. Type in sacred figures, 78, n. U. Urban VIII., 20, 144, and n. Uibina, Archbishop, (Murillo,) 163. Urgel, Seo de, pictures at, 348. Utrecht, Christobal of, 66. Urzanyui, 95. V. Var/a, Perin del, supposed mas- ter of Varyas, 67. Valdeiglesias, (Correa,) 73. Valdes Leal, Juan de, 197,198. Valencia, school of, v. Pro- vincial museum, 350. Car- melites, (Espinosa,) 101. Car- tuxn, (Carte,) 11 81 Cathe- dral, (Fr. de Neapoli and Arc- fjio,) 47. (Joanes,) 71. Co- legio del Corpus, (Jcanes,) 72. (Rilalta,) 100. Sn. Juan del Mercado, (Palomino,) 207. Orrente, 98. Pontons, 98. Sn. Miguel de los Reyes, (Ri- lalta,) 101. N. S. de los desamparados, (Palomino,) 207. Conde de Parcent, (Joanes,) 72. S ta . Tecla (Espinosa?) 101. Valentin, Mb'ise te, 258. Valladolid, provincial museum, 350. Convent of Sn. Pablo, (Cerezo,) 201. (Juni,) 92. (Zurlaran,) 130. Vandyck, influence on Moya, 126, 127. Van Eycl; John, 225, 226. Vanloo, Carle, 301, 308. Vanloo, Charles Amadee, 309. Vanloo, Jean B., 308. Vanloo, Louis, 308. Vanloo, Louis Michel, 309 ; andn. INDEX. Vargas, Luis de, 20, 67, 70. Varin, Quintin, 232. Vazquez, Alonso, 105, 112. Velazquez de Silva, Diego, 111, 112, 113, 117, 139161. Marries Juana Pacheco, 113, 139. Mode of study, 140. Early style, 140. Visits Italy, 143, 147, 148. Character of portraits, 154. Analogy with the English school, 154. Me- thod of painting, 155, n. Only to be studied at Madrid, 150. Price given for a pic- ture in 1847, viii. His land- scapes, 176. Application of his name to pictures, 142, 180, n. Resemblance to Te- niers, 153, 192. Venius, Otho, 45. Vera Cabeza de Vaca t Don Francisco, 97. Verdier, Francois, 278. Verdegris, use of, as a dryer, blackens shadows, 107, n. Vernet, Carle, 312, 314, 342. Vernet, Claude Joseph, 311 314. Vernet, Horace, 311, 312, and n., 314. Veronese, Paul, 266, 267. Verrio, 293. Versailles, its spirit and charac- ter, 268. (Bon Boullongne,) 283. (Coypel,) 282. (La- fosse,} 285. Vicente, Bartolome', 97. Vien, Joseph, 326. Vienna, Belvedere (A.S. Coello,) 353. Esterhazy Palace, (Ca- no,) 125. (Carducho,) 90. (CarreXo,) 201. (Cerezo,) 202. (J%o,)127. (Murillo,) 179. (Orrente,) 98. (Pa- checo,) 112. (Pereda,) 133. (Vargatf) 68. (Viladomat,) 212. (Zurbaran,) 131. Lich- tenstein Palace, (Le Valen- tin,) 259. Vigarny, Felipe do, 33. Vitjila, 22. Vignon, Claude, 259. Viladomat, Antonio, 212. Villavicendo, Pedro NuTc : (.' ' : , 173, 174, 195. Villegas de Marmolejo, Pedro, 106. Villencuve, near Avignon, (A'. JReni,) 226. Villoklo, Alrar Perez de, 34. Vincennes, (,/. Cousin,) 229. (Dorigni,) 281. Vincent Ferrer, St., 17, n. Virgin, Immaculate conception of, 14, n. Not taught to read, 15. Prerogatives of, 20, n. Her dress, 13. Her feet not usually shown, 14. Instance to the contrary, 103. Mi- racle in aid of a painter, 17. Visions, authority of, 18. Vicien, Joseph, 302. Vos, Martin de, 12. Vouet, Aulin, 260. Vouet, Claude, 260. Vouet, Simon, 231. Vricndt, De, (Floris,) 63. W. Wallis/Mr., imported a Roelas, 109. * Warwick Castle, (Murillo,) 186. Watteau, Antoine, 297, 300. * Wellington, Duke of, (Velaz- quez,) 141, 160. Wells, Mr., (Greuze,) 326. (Mu- rillo,) 184. Westminster, Petrus deHispania, worked there, 24. * Westminster, Marquis of (see Grosvenor Gallery). Wilkie on Velazquez, 151 155. On relative merits of Velazquez and Murillo, 188, 190. On Watteau, 299. INDEX. 373 Wille, (engraver), 291, 302. "Williams, Mr., of Seville, (Ga- \ no,) 125. (Murillo,) 163, ! 175, 176, 178, and n., 185, ! 186. (Roelas,) 109. *Windlestone (see Sir W. Eden). * Windsofr, (Largilliere,) 289. (P. Mignard,) 272. *Woburn, (Janet,} 230. (More,) '. 66. (Poussin,) 252. (Velas- quez,) 160. *Worksop, (Parmentier,) 290. Worms, Edict of, 4, n. X. Xerez, Cartnxa,(Zurljaran,) 1 28, 130. Ximenes, 219. Y. Yanez, Fernando, 54. Yepes, Tristan, 85. Z. Zabelo, Juan, 215. Zambrano, Juan Luis, 105. Zamora, disappearance of works of art at, 351. Zarate, Don Antonio Grilde, 343. Zuccaro, 180, n. Zuccaro, Federigo, 89. Zuiiiga, Manuel de, Conde de Monterey, 103. Zurbaran, Francisco, 127 131. His Carthusians, 21. His drapery, 42. Great picture formerly in S to . Tomas, 42, 128. VOL. III. A BAPTISMAL Oft, MARRIAGE GIFT. NOW BEADY, In (hie Volume, royal ftvo, cloth, morocco, or vellum, THE BOOK OF COMMON PRAYER, ILLU Ml NATED WITH ORNAMENTAL BORDERS, INITIALS, AND TITLES IN COLOURS AND GOLD, FROM DKsrojrs BY OWEN JONES, ABCHITKCT, AND i^wtortcai ^lustrations from tlje arfle: s. d. 8. d. For Eight Lines .... 8 6 A Column, or Half-page .220 Every Line addition: d ..009 An entire Page .... 4 Half a Column .... 1 2 INDEX TO ADVERTISEMENTS. Page. FRANCE. THE EAST. BOULOGNE M< nidi w's Reading Rooms, . 34 ATHENS . Hotel d'Angleterre, 11 TOURS . Gi and Hotel de L'Univers, . . 11 CONSTANTINOPLE Hotel d'Angleterre, ... 22 BLOIS . Fotel de la Tete Noire, .... 11 MALTA . . Muir's Library and Agency, , . 15 LIONS . <*ra'.d Hotel de L'Univers, . . 13 ROUEN . 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CARRIAGES of all sorts. CASHMERE SHAWLS, and other Articles and Manufactures of Goat's Wool. CATLINGS (Violin, Harp Strings, fee.) whether plain or silver Strings. CHINA, or Porcelain Ware, painted or plain, gilt or ornamented, and Earthen- ware. CLOCKS and WATCHES (must have Maker's name, both on face and on works.) COLOURS for Painters, if manufactured, and Crayons. COPPER PLATES engraved, and Copper Manufactures. COTTON Articles, wholly or in part EGYPTIAN Antiquities, Nubian Spears, &c. FRAMES for Pictures, &c. FURNITURE. FURS and SKINS, all Articles made up. JAPANNED and Lacquered Ware. JEWELLERY. LACE, viz. Thread Lace, also Lace made by the hand, commonly called Cushion or Pillow Lace, whether of Linen, Cotton, or Silken Thread. LINEN Articles, wholly or in part made up. MOSAIC Work, small Ornaments for Jewellery. MUSICAL Instruments. PERFUMERY. SCAGLIOLA Tables. SPA Ware. STEEL and IRON Manufactures. TILES. TOYS. TURNERY. WOOLLEN Articles, wholly or in part made up. made up. Plate, Gold, Silver, gilt or ungilt, in addition to 10 per cent., is liable to Is. 6d. per oz. Stamp Duty. LIST OF DUTIES, (continued.) ,. d> ALABASTER, Sculpture of the cwt. 030 ANCHOVIES the Ib. 002 ARauEBUsADE WATER (for the Bottles, see WINE) the gal. 1 10 4 BOOKS, of Editions printed prior to 1801 the cwt. 1 ,, in or since 1801, in Foreign Living Languages ditto 2 10 ,, in the Dead Languages, or in the English Language, printed out of England in or since 1801 ditto 500 (N.B. Pirated Editions of English Works, of which the Copyright exists in England, totally prohibited since 1st April, 1843.) BOOKS, English, printed in England (unless declared that no Excise Drawback was received on Exportation) the Ib. 003 BOOTS, Ladies' untrimmed the doz. pair 060 ,, Men's ditto ditto 14 SHOES, ditto ditto ditto 070 Ladies' ditto ditto 046 CAMEOS for every 100 value 500 CIGARS and TOBACCO, manufactured (3 Ibs. only allowed for pas- senger's baggage) the Ib. 090 TOBACCO, unmanufactured ditto 030 (N.B. Unmanufactured Tobacco cannot be imported in less Quantity than 300 Ibs., or Cigars 100 Ibs in a Package; but small quantities are admitted for Private Use on declaration and payment of a Fine of Is. 6d. per Ib. in addition to the Duty.) COFFEE, Mocha, and other Foreign Coffee the Ib. 006 from British Possessions ditto 004 COINS, of Copper , the cwt. 10 CONFECTIONARY, Sweetmeats, and Succades the Ib. 006 CORDIALS and LIQUEURS (for Bottles, see WINE) the gal. 1 10 4 EAU DK COLOGNE, in Flasks the flask 010 (N.B. If other than the ordinary Flasks 30s. 4d. the Gallon and the Bottle Duty.) EMBROIDERY and NEEDLEWORK for every 1UO value 20 FLOWERS, Artificial, of Silk ditto 25 GLASS, Flint or Cut, coloured and Fancy Ornamental Glass, of what- ever kind (after the 5th October, 1846) thelb. 004 GLASS, White Flint Bottles, not cut or ornamented ditto 001 Wine Glasses, Tumblers, and all other White Flint-Glass Goods, not cut nor ornamented thelb. 002 GLOVES, Leather (not less than 100 dozen pairs can be imported in one package) the doz. pair 036 MACCARONI and VERMICELLI thelb. 1 MARBLE, manufactured the cwt. 030 MOSAIC WORK and Sculptured Stone the ton 10 NAPLES SOAP the cwt. 100 OLIVES the gal. 020 PAINTINGS on GLASS, or Figured Glass the superficial foot 016 PAPER-HANGINGS, Flock Paper, and Paper printed, painted, or stained the square yard 002 PICTURES each 1 ,, andfurther the square foot 010 ,, being 200 square feet and upwards each 10 PRINTS and DRAWINGS, plain or coloured, single ditto 001 bound or sewn the doz. 003 SAUSAGES thelb. 1 SILK, MILLINERY, jTurbans or Caps each 036 Hats or Bonnets ditto 070 ,, Dresses ditto 1 10 HANGINGS, and other Manufactures of Silk for every 100 value 15 VELVETS, plain or figured thelb. 090 ,, Articles thereof ditto 10 STONE from Malta the ton 010 TEA thelb. 2 1 WINE in Casks, all except Cape Wine thegal. 056 ,, in Bottles, ,, ditto 056 ,, and further on the Bottles the cwt. 016 SPIRITS in Casks (no Cask can be imported of less contents than Twenty Gallons) thegal. 15 SPIRITS in Bottles (the additional Duty on the Bottles, as on Wine Bottles.) gtrverttecr. MESSRS. J. & R. M C CRACKEN, 7 OLD JEWEY, LONDON, AGENTS BY APPOINTMENT TO THE ROYAL ACADEMY, AND Agents generally for the Reception and Shipment of Works vf Art, Baggage, Sfc., To aid From All Parts of the World. RETURN their sincere acknowledgments to the Nobility and Gentry for the liberal patronage hitherto conferred on them. They hope by the moderation of their Charges, and their unremitting care in passing through the CUSTOM- HOUSE Property confided to them, to merit a continuance of the favours they have heretofore enjoyed. Their establishment comprises dry and spacious Warehouses, where Works of Art and all descriptions of Property can be kept during the Owner's absence, at most moderate rates of rent. J. and R. M C C. undertake to execute Commissions, for the purchase of Pictures, Statuary in Maible and Alabaster, Bronzes, &c., being in direct cor- respondence with Artists, Agents, and Bankers, throughout the Continent. British Artists resident abroad, having occasion to snd home their Works for Exhibition, cr to be passed by the Academy, will find it advan- tageous to address them to the care of Messrs. J. and R. M ( C., whose Ap- pointment enables them to offer every facility. Parties favouring J. and R. M C C. with Consignments, are requested to be particular in having the Bills of Lading sent to them direct by Post, and also to forward their Keys with the Packages, as all Goods must be examined immediately on arrival. J. and R. M C C. keep Lachrymae Christi and Marsala Wines of first quality, and are the Sole Agents in London to Messrs. S. STOCK and Co., Wine Merchants, of No. 5(J Rue Basse du Rempart, Paris. THEIR PRINCIPAL CORRESPONDENTS ARE: At CALAIS Messrs. I-HARTIER, MORY, & VOGUE. BOULOGNE S. M. Messrs. CHARTIER, MORY, & VOGUE. /Mr. M. CHENUE, Packer, Rue Croix Petits Champs, No. 28. r ARIS (Messrs. S. STOCK & Co., Wine Merchants, 56 Rue Basse du Rempart. HAVRE Mr. A. CJIAUMONT, Mr. THOMAS TAYLOR, Messrs. P .DEVOT, &Co. /Messrs. HORACE BOUCHET & Co. MARSEILLES ( Messr8 . TROCHIER & GUILLABERT. BAGNERESDEBl-^ , , GORRE, (HautesJ- AIME GERUZET, Marble Works. Pyrenees) ) BORDEAUX AIME GERUZET, 44 Alices de Tourny. NICE Mr. JOSEPH NATTA, British Consulate. GENOA Messrs. Gi BBS & Co. ; Mr. A. G. BARCHI, British Vice-Consvlate. MILAN Messrs. BVFPET & BERUTO, Piazzale di S. Sepolcro, No. 3176. CARRARA Mr. VINCENZO LIVY, Sculptor. ^Messrs. W. MACBEAN & Co. Messrs. G. H. GOWER & Co. Messrs. PETER SENN & Co. Messrs. GIACO.MICALI & FIG., Sculptors in Alabaster and Marble. LEGHORN -! Messrs. HENDERSON BROTHERS. Mr. M. RISTORI. I Mr. JOSEPH GUANO. 1 Mr. HENRY DUNN. ^Messrs. BELLA VALLE BROTHERS, Artists in Scagliola. p /Mr. FERD. PEVERADA, Albergo dell' Ussaro. 1SA (Messrs. HUGUET & VAN LINT, Sculptors in Alabaster & Marble. FLORENCE /Messrs. EMM^-FENZI & Co. \Messrs. PLOW DEN & FRENCH. JHr. $lurrag'4 f^antfboofc MESSRS. J. & R. MCCRACKEN AGENTS, (continued). {Messrs. MAQUAY & PAKENHAM. Mr. GAETO. BIANCHINI, Mosaic Worker, opposite the Cappella de' Medici. Messrs. LUIGI PIACENTI & FIGLI. Mr. GIACO. SALVETTI. Mr. J. TOUGH. FUi PACETTI, Picture-frame Makers, Via del Palagio. Messrs. NESTI CIARDI & Co. VOLTERRA Sig. OTT. CALLAJ, and Sig. Giuse. CHERICI. BOLOGNA Mr. FLAVIO PEROTTI, British Vice-Consul. ANCONA Messrs. MOORE, MERELLET & Co. /"Messrs. FREEBORN & Co. Messrs. TORLONIA & Co. 1 Messrs. MACBEAN & Co. Mr. CARLO TREBBI. ROME J Messrs. PLOWDEN, CHOLMELEY, & Co. Messrs. MAQUAY, PAKENHAM & SMYTH. ( Mr. LUIGI BRANCHINI, at the English College. CIVITAVECCHIA.... Mr. T. ARATA. Mr. J. T. LOWE, Junr., British Vice Consul. NAPLES Messrs. IGGULDEN & Co. Messrs. CUMMING, WOOD, & Co. PALERMO Messrs. BROWN, FRANCK, & Co. MESSINA Messrs. CAILLER & Co. Mr. FERDINAND DIMECH, No. 69, Strada Teatro, Valletta, Sculptor in Malta Stone. MALTA.... Messrs. JAMES SOLER & Co., ditto. Mr. PAOLO DECANDIA, ditto. Mr. EMANUEL ZAMMIT. Mr. N. J. ASPINALL. ALEXANDRIA Messrs. BRIGGS & Co. CONSTANTINOPLE ... Messrs. CHARLES HANSON & Co., and NIVEN KERR, BLACK, & Co. SMYRNA Messrs. HANSON & Co. BEYROUT Messrs. C. ROQUERBE & Co. ATHENS Messrs. O. METIVIER & Co. VENICE Messrs. HOLME & Co. ; Messrs. FRERES SCHIELIN. TRIESTE Messrs. GEORGE MOORE & Co. OSTEND Mr. F. A. BELLEROCHE ; Messrs. BACH & Co. BRUSSELS Mr. JOHN GIBBS, Director of the Electric Telegraph. ANTWERP Messrs. S. A. LEVINO & Co., Marche de Zeland, No. 2449. {Mr. A. S. PRESTON. Messrs. S. A. LEVINO & Co. Messrs. COOMAN, BORNS, & PHILLIPPI. Messrs. L. MAYER & Co. COLOGNE Mr. J. M. FARINA, vis-a-vis la Place Juliers. MAKENCE Mr. JOSEPH THUCIUET. (Mr. P. A. TACCHI'S SUCCESSORS, Glass Manufacturer, Zeil D 17. FRANKFORT O. M.... < Madame Veuve J. H. STIEBEL, Zeil D 211. (.Messrs. BING BROTHERS & Co., Zeil D 212. MANHEIM Mr. DINKELSPEIL; Messrs. EYSSEN & CLAUS. {Mr. J. M. DE HERMANN, Printseller. Messrs. MAY & WIDMAYER, Printsellers. Mr. F. STEIGERWALD, Glass Manufacturer. Messrs. L. NEGRIOM & Co. (Mr. F. STEIGERWALD, Glass Manufacturer. SGEN (.Messrs. J. BERGMANN & Co. RATISBON ... Mr. AUGUSTE KOCH. BASLE '. Messrs, JEAN PRETSWERK & FILS. BERNE Mr. AUGUSTE BUES< HE ; Mr. ALBERT TRUMPY. GENEVA Mr. B. RITZCHEL, Grand Quai. INTERLACKEN Mr. J. WYDER. GRINDELWALD Mr. S. ROTHACHER, Fils. HAMBURG Messrs. SCHAAR & CLAUSS ; Mr. C. B. ARNOLD. PRAGUE Mr. W. HOFMANN, Glass Manufacturer, Kleiuen Ring, No. 456. pAUTcmr. /Mr. W. HOFMANN, Glass Manufacturer; Mr. CARL KNOLL. CARLSBAD \ au Lion Blanc. VIENNA Mr. W. Hoy MANN, Glass Manufacturer, am Lugeck, No. 768. BERLIN / Mr - G - F - THODE. \Madame HELENA WOLFSOHN, Schossrgasse, No. 5. . $furrag' f^antrtmofc FRANKFORT O. ML P, A. TACCHrS SUCCESSORS, LATE FRANCIS STEIGERWALD, ZEIL D, No. 17, Bohemian JFancp Railway. The Carriage Entrance r s enclosed with Gates, and is kept strictly pri- vate. The Stabling and Coachhouses are very extensive, affording every accomodation. The Views, in front of the Hotel, are Schlossburg and the Cathedral of Friburg ; at the back, the Railway Station and the train from Basel at the distance of twelve miles, the Rhine, also the Voges Mountains, and about fifteen small towns in Germany. N. B. The English, French, and German Papers taken in. NAPLES. SIGNOR ALBITES (FELICE), A NATIVE OF SOME, 3 Vico Santa Teresella Degli Spagnuoli, Vicino a St. Cedronia, BEGS to inform the Nobility and Gentry that, as usual, he gives Instruction in the Italian Language and Literature, through the medium of either the English or French Language. Madame ALBITES, also a native of Rome, attends Ladies Grammatically, and for Conversazione. References may be made to the chief Foreign Circles in Naples, and to the principal Bankers. JHr. ^ttirrag'tf ^aitfcfcaofc gr&btrttea:. 13 LYONS. GRAND HOTEL DE ITNIVBRS, No. 4 RUE DE BOUKBON. MESSRS. GLOVEll & VUFFRAY have the honour to inform the Nobility, Gentry, and Travellers in general, that this newly constructed and magnificent Establishment was opened on the 1st of May, 1846. It is situated in the most elegant and most fashionable part of the town, close to the Post Office, the Steam-Boats, Diligence and Railway Offices. The Furniture is quite new ; and, in furnishing the Hotel, the Proprietors have studied to unite elegance with good taste and comfort. It is fitted up in the English style, one of the partners being an Englishman. Excellent Table GIOACHIMO BRUSCHETTI, SUCCESSOR TO CASNEDI E PEDROLI. THIS splendid and most commodious Hotel, constructed only with two stories high, has been taken, from the 1st of January last, hy the present sole Proprietor, GIOACHIMO BRUSCHETTI, who for the past twenty years has travelled with some of the most distinguished families, and lived at several periods in England ; by these advantages, he fully hopes he has learned how to conduct a great Establishment like the GRAND ROYAL HOTEL, and to give the desired satisfaction, with cleanliness, promptitude, and exactness of service. Good kitchen, best wines, and at prices exceedingly moderate. The whole of the Hotel has been by him newly furnished with becoming elegance ; well studied arrangements combined with every comfort that can possibly be required. An excellent Table d'Hote daily, in the Magnifico Salone on the first floor, capable of containing above One Hundred Persons. IN THE SAME ESTABLISHMENT WILL BE FOUND A \VELL SELECTED GALLEEY OF OLD PAINTINGS BY THE BEST AND MOST NOTED MASTEBS. 18 MY. $tarrag'g ^antrfcoofc CUSTOM-HOUSE CHAMBERS, LONDON, LOWER THAMES STREET. J. F. CHINNERY, AGENT TO THE GOVEKNMENT SCHOOL OF DESIGN, AND TO HER MAJESTY THE QUEEN DOWAGER. THE Nobility and Gentry who send Works of Art, or other Property, to and from London and the Continent, should consign them to the care of an Agent at the Custom House, in London, to prevent loss or damage. The expense will be the same, whether the Goods are so consigned or not. Mr. J. F. CHINNERY, formerly of the Bill of Entry Office, Long Roe.n, Custom House, has been Thirty Years engaged in this branch of business, and can promise his employers every facility and security. Those who address their Packages to him should direct their Agents to send a Bill of Lading, by post, with instructions as to Insurance. Goods should be insured in London: the expense is less, and the settlement in case of loss more secure, than on Foreign Insurances. THE FOLLOWING ARE MR. CHINNERY'S PRINCIPAL CORRESPONDENTS FOR RECEIVING AND EXPEDITING GOODS: HAVRE ........................... MB. T. TAYLOR. CALAIS ........................... MODS. ALLEGRE BOULOGNE ..................... Messrs. H. RUTTER and Co. PARIS .............................. Mr. E. RUTTER, 10 Rue Louis le Grand. GENEVA ........................... Messrs. MERCIER and REYNARD, 72 Rue du Rhone. GENOA ........................... Mr. A. G. BARCHI, BrUisn Consulate. MARSEILLES .................. T /Messrs HENDERSON BROTHEKS. LEGHORN ........................ \Mr. H. DUNN. FLORENCE ........................ Messrs. PLOWDF.N and B'RENCH. Messrs. PL^WDEN, CHOLMELY, and Co. .............................. \Mr. W. M JACKSON. 3 Piazza del Popolo. VENICE . .......................... Messrs. MUDIE and Co., British Consulate. VIENNA ........................... Messrs ROHRMANN and Co., Booksellers. MUNICH ........................... Meisrs. NEGRIOI.I. BERLIN ........................... Mt-ssrs. ASHER and Co., Booksellers. DRESDEN ........................ Mr. E. ARNOLD, Schloss Gasse. CARLSRUHE& BADEN BADEN, Mr. F. NOLDEKE, Bookseller. FRANKFORT ON MAINE... Mr. F. BOHLER, Rue Zeil D, No. 2fi. FRANKFORT & WIESBADKN Mr.J VALCREDE, Catharinen pforte K, Nos.87and38. MAYENCE ........................ Mr. FREDERICK KORN. COBLENTZ ........................ Messrs. DEINHARD and JORDAN. COLOGNE ........................ Mr. P. J. CASINONE. ROTTERDAM ..................... Mr. A. S. PRESTON. HAMBRO' ........................ Mr. C. B ARNOLD. BRUSSELS ........................ ANTWERP ........................ Mr. BREQUIGNY. Goods must be examined -when they arrive in London, therefore Packages that are locked should have the Keys attached. LISTS OF ENGLISH DUTIES MAY BE HAD FREE. JHr. ^Ittrraj?^ fcxttifbavk gObertteer. 19 DINNEFORD'S PURE FLUID MAGNESIA, NOW GREATLY IMPROVED IN PURITY AND CONDENSATION. "The most convenient form for the exhibition of Carbonate of Magnesia is the solution." Da. NELIOA.N. "Mr Dinneford's solution m;iy fairly be taken as a type of what the preparation ought to be." PHA.RM. JOURN. May, 1846. Prepared by DINNEFORD AND EARLAND, 172 BOND STREET, CHEMISTS TO HER MAJESTV THE QUKEN DOWAGER AND H.R.H. THE DUKE OP CAMBRIDGE, AND SOLD BY ALL RESPECTABLE CHEMISTS. GERMAN BOOKS. WILLIAMS AND NOEGATE, ffierman 14 HENRIETTA STREET, COVENT GARDEN, Have published a Catalogue of their Stock of German Books, the prices of which have been reduced in consequence of the recent alteration of duties. 6^- It may be advisable for Travellers to take notice, that upon all Books which they may purchase upon the Continent, they will pay at the Custom House the old high duties of '2 12 6 and 550 per cwt., unless they have been duly stamped at the Chief Stamp Office of the province in which they are bought, a tedious and expensive process, which may be avoided by purchasing in London ; the difference between the German prices and those charged by WILLIAMS & NORGATE being only the amount of the present low duty, and, in many instances, no advance being made on the original price. 14 HENRIETTA STREET, COVENT GARDEN, LONDON. FRENCH TOURIST'S GUIDE. Eighth Edition, with Three Maps, in Royal 18mo., 4s., half-bound, SMENNE'S NEW FRENCH MANUAL, AND TRAVELLER'S COMPANION: Containing an Introduction to French Pronunciation ; a copious Vocabulary ; a Selec- tion of Phrases ; a Series of Conversations on Tours through France, Holland, Belgium, Germany, and Switzerland ; with a Description of the Public Buildings, Institutions, Curiosities, Manners, and Amusements, of the French Capital, &c. ; also Models of Epistolary Correspondence, and Directions to Travellers. To which are added, Tables of French and British Monies, Weights and Measures, &c. " English holiday travellers about to visit France, witli but a slight knowledge of the language, could not do better than put this work in their pockets. They would find it practically of the greatest use, as it relates to all objects of such excursions." Westminster Review. EDINBURGH : OLIVER & BOYD. LONDON : SIMPKIN, MARSHALL, & CO. 20 jHr. iHttrrajj'g $?atrtft00fe BLACK'S GUIDE-BOOKSTAND TRAVELLING MAPS. In a handsome portable Volume, price 8*. Gd., BLACK'S PICTURESQUE TOURIST OF SCOTLAND, 5th Edition, Corrected and Improved. Containing an accurate Travelling Map; Engraved Charts of Roads, Railroads, and interesting Localities; Plans of Edinburgh and Glasgow; 50 Views of the Scenery on Wood and Steel ; and a copious Itinerary. " A comprehensive, intelligent, and -well arranged Guide Book. We have been furnished with an incidental proof of the remarkable accuracy of the Charts and Descriptions in the personal testimony of a pedestrian, who has traversed a considerable space, book in hand." SPECTATOR. In a neat closely-printed pocket volume, price 3*. Gd., BLACK'S ECONOMICAL TOURIST OF SCOTLAND, 3rd Edition, Corrected and Improved. Containing an accurate Travelling Map and Itinerary, with Descriptive Notices of all the remarkable objects along the several roads, and Four Engraved Charts of those Localities which possess peculiar Historical or Picturesque Interest. "A Work most carefully and elaborately compiled, containing the greatest possible amount of informa- tion in the smallest possible space." SCOTSMAN. In a closely-printed portable Volume, price 10s. fid. BLACK'S PICTURESQUE TOURIST AND ROAD-BOOK OF ENGLAND I WALES. Containing a general Travelling Map, with the Roads and Railways distinctly laid down ; besides sections of the most important Districts on an enlarged scale, and engraved Charts of Roads, Railways, and interesting Localities. " A carefully executed Work, and prettily arranged, with useful Maps." A.THEN.SCM. " The characteristics of ' Black's Picturesque Tourist of England and Wales' are, a more compact and handy form, a more modern style of letter-press, getting up, and illustration, with a very moderate price." SPECTATOR. "A decided improvement upon the old Road-Book." JOHN Bctl.. In a neat Pocket Volume, price 5s BLACK'S PICTURESQUE GUIDE TO THE ENGLISH LAKES, 3rd Edition, Enlarged and Improved. With a Map of the District, by SIDNEY HALL; Charts of the Lakes, and Views of the Scenery; and an ample Itinerary of all the Routes, with the distances accurately laid down, " This Guide to the Lakes has been compiled upon the same elaborate plan as ' The Picturesque Tourisl of Scotland," governed by the same resolution to spar? no cost or trouble to achieve a successful result. It needs no higher commendation. It is a picturesque Guide in every sense. its descriptions are charminglj written its intelligence is ample and minute and its illustrations are admirable specimens of art." ATLAS In a neat portable case, price 4s, 6d., BLACK'S TRAVELLING MAP OF SCOTLAND, Carefully Constructed from the best Authorities, with all the Roads and Railroads accurately laid down. Size, 32 inches by 22|. ** From the care bestowed on the construction of the present Map, and the means which have been used to correct the original drawings, by reference to individuals conver sant with the topography of their respective localities, the publishers are satisfied that i; cotlai will be found the most accurate and beautiful Map of Scotland extant. " A handsome-looking Map, of large dimensions, yet so well mounted, tha pocket book, and admits at the same time of a partia'l examination." SPECT In a neat portable case, price 4*. 6d., BLACK'S TRAVELLING MAP OF ENGLAND AND WALES, Carefully compiled from the Maps of the Ordnance Surveys, and beautifully engraved b; SIDNEY HALL; with all the Roads, Railroads, and other Topographical Information re quired by the Tourist or Traveller on Business. Size, 32 by 22. " A beautifully executed Map of England and Wales, which, after careful observation and reference, w can characterize as being among the most correct ever issued." MINING JOURNAL. *#* Smaller Maps of England, of Scotland, and of Ireland, in pocket cases, price 2*. Gd. each A. AND C. BLACK, EDINBURGH; and sold by all Booksellers. . iHurrng'g ^anflfcoafc ^ftbcrtteer. 21 THE ATHEN>EU M : JOURNAL OF LITERATURE, SCIENCE, AND ART. Price 4?d, or Stamped for Post, fid. Contains : REVIEWS, with copious extracts, of every important New English Book, and of the more important Foreign Works. REPORTS of the Proceedings of the Learned and Scientific Societies, with Abstracts of all Papers of Interest. AUTHENTIC ACCOUNTS of all Scientific Voyages and Expeditions. CRITICISMS ON ART, with Critical Notices of Exhibitions, Picture Collections, New Prints, &c. FOREIGN CORRESPONDENCE on subjects relating to Literature, Science, and Art. MUSIC AND DRAMA, including Reports on the Opera, Concerts, Theatres, New Music, &c. BIOGRAPHICAL NOTICES of Men distinguished in Literature, Science, and Art. ORIGINAL PAPERS AND POEMS. MISCELLANEA, including all that is likely to interest the informed and intelligent. THE ATHENAEUM is so conducted, that the reader however fur distant, is, in respect to Literature, Science, and the Arts, on an equality in point of information with the best-informed circles of the Metropolis. ^ The ATHEN^UM is published every SATURDAY, but is re-issued each Month stitched in a wrapper. Agents: for FRANCE, M. Baudry, 3 Quai Malaquais, Paris ; for BELGIUM, Mr. Browne, 73 Rue Montague de la Cour, Bruxelles. OFFICE, 14 WELLINGTON STREET NORTH, STRAND, LONDON. ROUEN. GRAND HOTlLli'ANGlETlRllE; KEPT BY HIPPOLYTE DELAFOSSE ; THE ONLY ONE SITUATED BOTH ON THE QU\Y AND LA PROMENADE BOIELDIEU. Large and small Apartments. A first-rate Table d'Hote and Restaurant la carte. Charges : Dinner, 3 Francs. Rooms, 2 or 3 francs, according to the floor. This Hotel, splendidly fitted up, is situated in the most pleasant part of the town, facing the Suspension Bridge, close by the Exchange and Theatres, and commanding a beautiful prospect of the Seine and surrounding country. Diligences going to Dieppe and Havre take up passengers at the Hotel, which is the nearest one to the Paris and Havre Railways. There are at both sta- tions Omnibuses in regular attendance, which set down passengers at the Hotel. His Grace the Duke of Devonshire, the Royal Family of France, and many other distinguished visitors of all countries, have honoured this Hotel with their presence on different occasions. Every attention is paid to Travellers by MR. DELAFOSSR, from whom they are sure to obtain all sorts of information respecting the town, and every place that is worth seeing. N.B. The band of the regiment gives a concert every Saturday, in the Exchange, just below the windows of the Hotel. COTiRESPONDKNTS IN LONDON, MESSRS. HOLLAND & Co., CUSTOM HoUSE, FORWARDING AGENTS, 66 LOWER THAMES STREET. H- 22 COGHLAN'S MONTHLY HOME & FOREIGN RAILWAY GUIDE, Through Belgium, Holland, France, Germany (North and South), and Italy, and the English, Scotch, and Irish Lines : to which is added A STEAM PACKET DIRECTORY, including all Steam Vessels sailing between England and Foreign Ports, and the prin- cipal Continental Rivers, with the Hours of Departure, Fares, and other useful Information to Travellers. Collected and compiled by the Author during a personal survey in the Summer and Autumn, 1846. With hints respecting Passports, best Hotels, objects of interest in each place of importance, a0fe 25 CUSTOM HOUSE, LONDON. J, A. GODDAKD, 36 OLD JEWBT, LONDON, GENERAL AGENT FOB THE SHIPMENT AND RECEPTION OF MERCHANDISE, WORKS OF ART, WINES, BAGGAGE, &C., TO AND FROM ALL PARTS OF THE WORLD, Solicits the patronage of the Nobility, Clergy, and Gentry, travelling on the Continent, &c.,in addressing to his care, for passing through the CUSTOM HOUSE, any purchases which they may make abroad of Works of Art, Wines, &c., or any Baggage which they may wish forwarded to them from England : and he trusts, by the unremitting attention which he will ever make a point of bestowing on all property intrusted to him, and by the modera- tion of his charges, to afford satisfaction to those who may employ him, and to ensure a continuance of their favours. J. A. G. requests that parties favouring him with Consignments, will give particular instructions to have the Bills of Lading sent to him direct by Post. J. A. G. undertakes to effect Insurance against Sea Risk on property consigned to him. J. A. G. also undertakes to forward, through his Correspondents, Deeds and other Legal Documents, for execution by parties residing abroad. Agent to Mr. F. MARIA FARINA, No. 4711, opposite the Post-house, Glockengasse, Cologne. THE FOLLOWING ARE J. A. GODDARD'S PRINCIPAL CORRESPONDENTS FOR RECEIVING AND EXPEDITING GOODS: OST ND . . Mr. C. LIEBAERT. CEFBALONIA . Mr. GMO. CORGIALEGNO. ANTW RP . . Messrs. PoLLARTand DDO.TJESNOY. . /Mr. P. R.WILKINSON. BOULOGNE S.Ik I. Mr. A. PAMART. ALEXANDRIA . \ Messrg . JOYCE, THURBURN, & Co. CT 1 TO f MeSSrS.CHARTIER,MoRY,&VoGUB. CONSTANTINOPLE Mr. J. MISSIRIE, Hotel d'Angle- A.LAIS . . \ Messrs. ED. SAGOT & COURVOISIER. terre, Pera. PARIS . . . . Mr. H. BENNETT, Rue de la Paix, SMYRNA . . . Messrs. MALTASS Brothers, and No. 6. ROUTH. VERSAILLES . . Mr. L.DuBoux.Hoteldu Reservoir. BETRODT. MESSRS. C. ROQTJERBE and Co. HONFLEUR . . Messrs. JDLES SATIE and Co. DRESDEN . Mr. MOKITZ MATER, Porcelain BAIONNE . . . Mr. F. J. GRAHAM, British Consul. HAMBURG Mr. F. L. BEHRENS. MARSEILLES . RASBOUK / Mr. CHARGE FILS AINE. ' \Mr. L. A.FONTANA. MUNICH . Mr. F. BREUL, Jun., in tne Bazaar. KissiNGEN Messrs. BOLZANO, Brothers. f Messrs. JOLY-CROTTET, JOLIMAY, master. I and Co. KEH L . . . Messrs. HUMMEL and Co GENEVA . . ' | Mr. Louis GETAZ. HEIDELBERG Mr. L. MEDER, Printseller,&c. C. v Messrs THOMANN and SNELL. 54, High Street, near the Market LAUSANNE . . Mr. RAMUZ-VUILLEUMIER. Place. OUCH* . . . Mr. Ls. MCE. PANCHAUD. MANHTIM / Messrs. HUMMEL and Co. LOCKRNE . . . Messrs. FK. KNORR and SON. * ' ' 1 Messrs. EYSSEN and CLAUS. BERNE. . . . Mr. A. TRUMPY. WORMS ... Mr. STEINER. BASLE . . . LISBON . . . t Mr. BKNOIT LA ROCHE. ' \ Messrs. JEAN PREIS WERK and SON. ( Messrs. CHARLES HIGGS and Co. \ Mr. SILVA, Bookseller, Place D. Mr. G. KREBS, Zeil, opposite the j Post Office. Agency to the Dus- FRANKFOB.TS M J 8eldorf an " the General Steam t RANKroRTS.M. J Navigation Companies. L Pedro, 82, 83. I Mr. F. BREUL, Jun. GIBRALTAR . . Mr.W. I. SMir H ,Jun. VMessrs. EYSSEN and CLATJS. GENOA . . . . Messrs. CDRTI, RISSETTI, and Co. MATENTT / Dr - G> STRECKER. MILAN . . . . Mr. LUIGI RAMACCI, Via del Ma- MAYEfCE. . .^ Mr j HEININGER, Furniture rino, No. 1139. Manufacturer, opposite the BOLOGNA . . . Mr. FLAVIOPEROTTI, British Vice- Theatre, D 135. Consul. (Messrs. C. TESCHE and Co., Wine LEGHORN . J Mr. H. DUNN. . 1 Messrs. T. PATE and SONS. ^ Messrs. Gio. GALLIANI and Co. Merchants, Depot for the Spark- ling Wines of the Rhine and Moselle. FLORENCE . / Mr. LUIGI RAMACCI. ' \ Messrs. MACQUAY & PAKENHAM. Messrs. DEINHAKD and JORDAN. Rr>Nw / M r - JONAS CAHN. ROME . . . . Messrs. FREE BORN and Co. BONN . . . ( Mr. F. BURKART. ClVITAVECCH A Mr.J.T.LowE,Jun.,BritishVice- COLOGNE . . . Mr. C. F. HEIMANW. Consul. AIX-LA-CHAPELLE Mr. N. WERGIFOSSE. AFLI-.S . . . Mr. CHARLES VANOTTi,5 Cappella Vecchia. AMSTERDAM . . Mr. A. M . DE HART, Repository ] Porcelain and Curiosities. VENICE . . . Messrs. TATAM and MUDIE, British (Messrs, J. C. RYKS, and Co. Consulate. Messrs. L. MAYER and Co. CATANIA . . . Mr.RoBERT JEANS, British Consul. f Mr. G. MCIR, Bookseller. Messrs. VAN DER HOOP, THOOFT and Co. MALTA . . . \ Mr G. ZARB. Mr. A. S. PRESTON. 26 DOVER. W. J. HOLLYER'S LONDON HOTEL, ON THE STEAM-PACKET QUAY, CLOSE TO THE RAILWAY TERMINUS, THE CUSTOM-HOUSE, & ALIEN-OFFICE. W. J. H. confidently hopes, by the adoption of VERY MODERATE CHARGES, Combined with every attention to the Comfort of the Visitor, to obtain the patronage and support of the Public. H. M. Mail- Packets, the fastest Steam Ships afloat, sail for Ostend and Calais, from the Quay adjoining this Hotel. A COMMISSIONER AND PORTERS ATTEND EVERY TRAIN AND PACKET. FRANKFORT ON THE MAINE. FB. BOEHLER, 26 ZEIL STREET, NEXT DOOR TO THE POST-OFFICE. EXTENSIVE MAGAZINES, Containing the best copies of the Statue of DANNECKER'S ARIADNE (Beth- mann Museum Frankfort) in Bronze, Berlin-iron, Biscuit -china, Ivory, and Ivory-stucco. Fancy and useful Articles in Stag's Horn of his own Manufactory. This Manufacture is peculiar to Germany ; the Material is wrought up into every imaginable object of use and fancy ; such as Arm-chairs, Chairs, Tables, Ladies' Work-tables, Lustres, Candelabras, Candlesticks, Paper-holders, Screens, Lamps, Watch- stands, Trinket-stands, Snuff-boxes, Cigar-cases, Cigar-holders, Pipes, Light-boxes, Whips, Walkingsticks, Hunting Whistles, Powder and Shot Flasks, Hunters' and other Knives, Buttons, Writing- cases, Inkstands, P'aper Weights, Pen and Pencil Holders, Seals, and every other requisite for the Writing-desk, Tea-boxes, Card-cases, and Whist -markers. For Ladies' Toilet: Broaches, Earrings, Rings, Bracelets, Bodkin-cases, &c. &c. Great Assortment of German fancy Articles, for Ladies and Gentlemen, and of Paris Clocks, Bronzes, and Porcelain. Depot of the veritable Eau de Cologne of JEAN MARIA FARINA, Place JULIERS, of COLOGNE. Articles for the Toilet, especially a great variety of Ladies' and Gentlemen's Dressing-cases. Agent for the Export of German Articles to America. 27 In one thick vol., the Ninth Edition, much enlarged, price 16*. MODERN DOMESTIC MEDICINE. A Popular Treatise, exhibiting the Symptoms, Causes, and most efficacious Treatment of Diseases; with a collection of approved Prescriptions, Management of Children, Doses of Medicines, &c. Forming a comprehensive Medical Guide for the Clergy, Families, and Invalids, in the absence of their Medical Adviser. By T. J. GRAHAM, M.D., &c. " It is evidently the result of great professional talent, experience, aud judgment; the author everywhere appears conscientious and candid. One object is prominently evident a sincere desire to benefit hU suffer- ing fellow creatures. To recommend a work like the present to our readers, is only to manliest a proper regard for their welfare." LITKRARY JOURNAL, FEB. 1843. " It is altogether deserving of permanent popularity." LONDON WEEKLY REVIEW. Simpkin and Co., Paternoster Row ; Hatchards, 187 Piccadily ; nd Tegg, 73 Cheapside. Sold by all Booksellers. Also, by the same Author, 11*. boards, Fourth Edition, ON THE DISEASES OF FEMALES: A Treatise describing their Symptoms, Causes. Varieties, and Treatment, with numerous Cases, and a Medical Glossary. Including Lying-in. " It contains a mass of information indispensable to those for whom it is intended, and surpasses in value any other book of its character."- BLACKWOOD'S LADY'S MAGAZINE. LAYS FROM THE GIMBR1G LYRE, WITH VARIOUS VERSES, BY GOEONVA CAM LAN. London : W. Pickering. 1846. "We are disposed to hail with very con- siderable satisfaction this scholar-like per- formance. Not only are many of the Poems founded upon the national history, and illustrttive of the national superstition*, which are thus made more accessible to the English reader, but several of the more interesting questions connected with the Principality are treated of in the body of the work, and discussed with a zeal and warmth which are refreshing ; more espe- cially so, as they are tempered by sound judgment, and expressed with elegance and ease." The Ecclesiastic of March,} 847. THE FINEJIRTS. SKETCHES OF THE HISTORY OE CHRISTIAN ART. BY LORD LINDSAY. Three vols. 8vo. 31*. 6d. "One of the most laborious and erudite pieces of research on the subject of the Fine Ans that has appeared in the English lan- guage. Lord Lindsay's classification of schools and artists is, perhaps, the most unique and valuable of its kind that has ever appeared, and proves the extensive knowledge, discrimination, zeal, and in- dustry of its author." Athenaum. JOHN MURRAY, ALBKMARLE STREET. MAUiND'S BOTANIC GARDEN AND EKU1TJST; With faithfully coloured Engravings of FLOWERS, directions for culture, &c., is now enlarged, without increase of price, by the addition of Engravings of Apples, Pears, and other FRUITS, their history, qualities, culture, &c. The Floral Register, Dictionary, &c., are given in it as usual. 'Ihe commencement of the volume by the number for January, 1847, affords a con- venient opportunity for all who are fond of Fruits and Flowers to begin taking this complete assistant to the garden. May be ordered of any Bookseller. Large, Fruit coloured, \s. 6d. ; Small, Fruit plain, Is. ; Gardeners' Edition, without Fruitist. (id. The volume for 1846, complete, handsome boards, gilt edges, 20a. GROOMBIUDGK AND SONS, LONDON. Mr. Ed-win 3L.cc on Continental Baths, &c. THIRD REISSUE, PRICE 6*., THE BATHS OF GERMANY, With notices of the French and Swiss Baths. Also a New Edition, HYDROPATHY AND HOMEOPATHY Impartially appreciated. WHITTAKER AND Co. THE FREMGH GENDERS. A NEW and EASY METHOD of LEARNING the FRENCH GENDERS in a few hours. By J. ROWBOTHAM, author of " A Practical French Grammar," c. New 1-dition, revised, Price Is. GRANT & GRIFFITHS (Successors to J. HARRIS), Corner of St. Paul's Church- yard, London. Murray's and other Guide Books, Map*, Diction- ariea, and Interpreters for Travellers. 28 $lr. fltorajfrf fgairiffioolt BONN ON THE RHINE. MR. SCHMITZ, IF BEOS leave to recommend his Hotel to English Travellers. The apart- ments are furnished throughout in the English style ; the rooms are car- peted, and the attendance, as well as the kitchen and the wine-cellar, are well provided. The STAR HOTEL has been honoured hy the visits of the following Members of the English Royal Family : 1846. June 18. H. M. ADELAIDE, QUEEN DOWAGER OF GREAT BRITAIN, accompanied by His Highness PRINCE EDWARD OF SAXE WEIMAR, LORD and LADY BARRINGTON, SIR DAVID DAVIS, M.D., REV. J. R. WOOD, M. A., CAPTAIN TAYLOR, &c. &c., honoured the above establishment with a THREE DAYS' VISIT. 1818. May. H. R. H. the DUKE OF CAMBRIDGE and Suite. 1825. March and Sept. H. R. H. the DUKE and DUCHESS OF CLARENCE and Suite. 1834. July. H. M. QUEEN ADELAIDE, accompanied by the EARL and COUNTESS OF ERROL, EARL and COUNTESS OF DEN- BIGH, EARL and COUNTESS HOWE, &c. 1836. Aug. H. R. H. the DUCHESS OF GLOUCESTER and Suite. 1837. July. H. R. H. the DUCHESS OF CAMBRIDGE and Suite. 1839. Nov. H. R. H. PRINCE GEORGE OF CAMBRIDGE and Suite. Nov. H. R. H. PRINCE ALBERT OF SAXE COBURG GOTHA, ac- companied by PRINCE ERNEST OF SAXE COBURG GOTHA, and their Suite. 1840. H. R. H. the DUCHESS OF CAMBRIDGE, accompanied by the PRINCESS AUGUSTA OF CAMBRIDGE, and their Suite. 1841. H. R. H. the DUCHESS OF KENT and Suite, accompanied by His Serene Highness the PRINCE OF LEININGEN. H. R. H. the DUCHESS OF CAMBRIDGE and Suite. H. R. H. PRINCESS CAROLINA OF CAMBRIDGE. 1844. H. R. H. the DUCHESS OF CAMBRIDGE and Suite. H. R. H. PRINCESS MARY OF CAMBRIDGE. 1845. June. H. R. H. the DUCHESS OF KENT and Suite, accompanied by H. S. H. the PRINCE OF LEININGEN. MR. SCHMITZ begs to add, that at no Hotel on the Rhine will be found more moderate charges. 29 BOOKS FOBJTBAVELLEBS. SKCOND EDITION. With Frontispiece and Woodcuts. Post 8vo., cloth, 14*. A TOUR THROUGH THE VALLEY OF THE MEUSE; With the Legends of the Walloon Country and the Ardennes. By DUDLEY COSTELLO. SECOND EDITION. With a Coloured Frontispiece. Small 8vo., 6*. NOTES OF A JOURNEY FROM CORNHILL TO GRAND CAIRO. By MICHAEL ANGELO TITMARSH. SECOND EDITION. 2 vols. post 8vo., 14*. THE IRISH SKETCH BOOK. By Mr. M. A. TITMARSH. With numerous Engravings on Wood. Svo., cloth, Price 11s. TRAVELS IN THE STEPPES OF THE CASPIAN SEA, The CRIMEA, CAUCASUS, &c. By XAVIER HOMMAIRE DE HELL. Svo. cloth, Us. LIFE IN MEXICO. By MADAME CALDERON DE LA BARCA. 180 Woodcut Illustrations. 8vo., clqth gilt, 8s. 6d., or morocco gilt, 14*. SYRIA AND THE HOLY LAND; Their Scenery and their People, Incidents of Travel. tationcrp, & JFancp 58 RUE DE L'ECU, NEAR THE PORT. THE READING ROOM is new and spacious, and supplied with the English and French DAILY and WEEKLY Newspapers; also Irish, Scotch, and Indian Papers, Magazines, Reviews, &c. The London Morning Papers are Received on the Day of Publication. NEW WORKS of Fiction, Biography, History, Voyages and Travels, are added to the Library immediately on their publication. The Visitors' Address Book is kept at the Library ; also a Register of Houses and Apartments to be Let: which may be inspected gratis. MURRAY'S HAND BOOKS FOR TRAVELLERS, GUIDES TO PARIS, BOULOGNE, &c. The Publications of the Religious Tract Society and other English Books at the Published Prices. Depot for Farina's Genuine Eau de Cologne. FRANKFORT O. M. Genuine Old Havanna Cigars and Tobacco, ALL SORTS OF TEA, COFFEE, SUGAK, r# plaimra, Hum, arvacfc, 3$vant*|> t , ortnals, &c. IMPORTED BY GEORGE KBEBS, ZEIL D. 207, Opposite the Post Office and Hotel de Rusaie. MR. KREBS is the Agent of the Rhenish, Dusseldorf, and General Steam Navigation Companies. The fullest information will be given respecting the Arrivals and Departures of the Steamers and other Conveyances in com- munication with them. Passengers and Goods Booked to any place on the Rhine, and to London. CUSTOM HOUSE AGENT IN LONDON, J. A. GODDARD, 36 OLD JEWRY. 35 ONE VOLUME, ROTAL 8vo., CLOTH, MOROCCO, OR RELIKVO. THE ILLUMINATED PMIER BOOI, WITH ORNAMENTAL BORDERS, INITIALS, & TITLES IN COLOURS & GOLD, AMD HISTORICAL ILLUSTRATIONS FROM THE OLD MASTERS, DRAWN BY G. SCHARF, JUN., UNDER THE SUPERINTENDENCE OF L. GRUNEll. The Embellishments of the present Edition consist of I. THREE HUNDRED ORNAMENTAL BORDERS, SCROLLS, VIGNETTES, &c.; and SEVEN HONORED INITIALS. II. EIGHT ILLUMINATED TITLES. III. FOUR ILLUSTRATIONS OF THE CEREMONIES AND SERVICES or THE CHURCH. IV. FOHTV HISTORICAL ENGRAVINGS, to illustrate the Gospels. CHRIST'S ENTRY INTO JERUSALEM ...... ANO. I>A FIESOLF. ST. JOHN IN THB WILDERNESS OVBHBECK.. CHRISTMAS DAY THE NATIVITY RAPHAEL. STONING OF ST. STEPHEN KAPHAEL. ST. JOHN EVANGELIST RAFHAEL. FLIGHT INTO EGYPT ANG. DA FIESOI.E. ADORATION OF THK MAGI RAPHAEL. INFANT JESUS IN THE TEMPLE OVERBECK. CHRIST HEALING THE BLIND PODKSIN. MARY MAGDALEN RAPHAEL. JUDAS RECEIVING THE MONEY ....... ANG. DA FIESOLE. THE LAST SUPPER RAPHAEL. CHRIST BEFORE PILATE OVBRBKCK. GOOD FRIDAY-THE CRUCIFIXION RAPHAEL. CHRIST BEARING THE CROSS . . RAPHAEL. THE ENTOMBMENT EASTER DAY THE RESURRECTION RAPHAEL. RAPHAEL. THE GOOD SHEPHERD Ov DAY OF PENTECOST ....... . RAPHAEL. THE ASCENSION . . RAPHAEL. MIRACULOUS DRAUGHT OF FISHES RAPHAKL. THE WIDOW'S SON OF NAIN OVERBECK. TRIBUTE MONEY . NAKKE. THE RAISING OF JAIRUS 1 DAUGHTER OVERBECK. ST. ANDREW .... RAPHAEL. ST. THOMAS'S INCREDULITY RAT HAEL. ST. PAUL RAPHAEL. CONVERSION OF ST. PAUL RAPHAEL. PRESENTATION IN THE TEMPLE . . FKA BARIOLOMEO. ANNUNCIATION OF THE VIRGIN RAPHAEL. ST. MARK FHA BARTOLOMEO. ST. PETER RAPHAEL. ST. BARTHOLOMEW RAPHAEL. ST. MATTHEW RAPHAEL. ST. MICHAEL . . . RAPHAEL. ST. LUKE OVEREECK. ST. SIMON AND ST. JUDE RAPHAEL. "Tliis gorgeous publication has at length reached completion, and is a magnificent specimen of the very perfection of artistical taste and skill. If we had not the substantial proof before our eyes, we could scarcely have believed that the common printing press could have thrown off impressions in which the nicest tints of shade and colour are pre- served with a delicate accuracy not surpassed by the life-engrossing, laborious productions of those good old transcribers in cloistered cells of the past." MORNING POST. LONDON : JOHN MURRAY, ALBEMARLE STREET. 36 X.EZTS Polyglot "Washing Books (To save Travellers the trouble of trans- lating their Wash- ing Bills) FOR LADIES. Ditto FOR GENTLEMEN. English Sf French. English | Italian. English 4 German. English 8f Spanish. English $ Portu- guese. Is. each. PASSPORTS Mounted upon a material not liable to be torn, and inserted in Morocco Cases, with Coronet, Arms, or Crest, and Name, stamped in gold, thereon. Ambassadors' Signatures obtained to British Secretary of State's Passports. COURIERS, or TRAVELLING SERVANTS, can be obtained at PORTABLE PHOTOGRAPHIC APPARATUS, WITH INSTRUCTIONS FOR CSB. Foreign LETTER. PAPER, Extra Large Size, VERY THIN, Is. per Quire 18s. per Rm. JOHN LEE'S GUIDE DEPOT, 440, WEST STRAND, TWO DOORS WEST OF LOWTHER ARCADE, Where an EXTENSIVE COLLECTION of GUIDES, HAND-BOOKS, MAPS, DICTIONARIES in all Languages, and INTERPRETERS useful for Travellers upon the Continent or elsewhere, and every information concerning PASSPORTS, can be obtained. MURRAY'S HAND-BOOKS, rendered convenient POCKET-BOOKS by J. LEE'S limp Morocco binding, at 2s. additional charge. MOROCCO and RUSSIA PORTABLE ROLL-UP CASES, containing every essential for WRITING. Jtfloore's German Interpreter, With the exact Pronunciation in English on a separate column, price *s. VIZETE1LY BROTHERS AND CO., PRINTERS AND ENGRAVERS, 135 FLEET STREET. MR. MIT. ENGLAND ISLAN 1 DAT3S A' Showii Post f THE SA 7 Witl Eur CHILD w ii TtS. LIF (TUBES, A] ' to CIRCULAI , ESQ. Post 8v 0,1 itures amidst BUAJJMOND HAY, cial, Political, , Esq. Woodcuts Remarks on the S