Diego

Velazquez
HIS TIMES.

CARL
PROFESSOR AT THE

JUSTI,
UNIVERSITY OF BONN.

TRANSLATED

BY

PROFESSOR

A.

H.

KEANE,

B.A., F.R.G.S.,

AND

REVISED

BY

THE

AUTHOR,

WITH

FRONTISPIECE
WOOD

OF

VELAZQUEZ'
AND A

OWN PLAN

PORTRAIT,
OF THE OLD

ETCHED PALACE

BY AT

FORBERG;
MADRID.

FIFTY-TWO

ENGRAVINGS,

LONDON:

H.
II, KING

GREVEL
COVENT

"

CO.,
GARDEN,
W.C.

STREET,

i88q.

FOGG

MUSEUM

LIBRARY

HARVARD

UNIVERSITY

.Yj

PRINTED

BY

HAZELL,
LONDON

WATSON,
AND

"

VINEY,

LD.,

AYLESBURY.

PREFACE.

IN
*'

this

English
and

edition His

of

Professor the fact hands the

Justi*s great
text

work

on

Velazquez
to

Times'* and the

has the will

been

closely

adhered have

throughout through
of

that

proof-sheets perhaps
At the be
a

passed

the its

Author's

sufficient time of it

guarantee
was

fidelityto
necessary other have will

original.

same

not

thought

to

reproduce
of

number

pieces justificatives and

which the work would which

documents been

various

kinds,

by
and all

needlessly encumbered,
be and have sanction. found sufficient for

references

to

doubtless historical

practical bearing
also

purposes.

Some the the will

be

descriptive
here and But

details there
in

not

directly

on

argument
Authors found the of

been other

omitted the

with

all has

respects
been

text

intact, and
vivid

nothing
the

certainly
central artist
of

curtailed whether

by
as

which

picture of

great
or an

figure,

man

striking personality
in
any way

astounding
few

originality,might
and

be

impaired. by
the

The Translator

explanatory
in all
cases

other

notes

added

are

duly

certified.

Special
fulness has

care

has

been

bestowed the

on

the risk of

Index,

where

been

aimed

at,

even

at

redundance.

QiOo^z

vi

Preface. It here be mentioned the

may

that,
late

although the

work

was

dedicated
never

by permission to
to
see

Emperor
was a

Frederick,

he

lived this the

its

completion.
had

There

specialfitness
so

in
as

dedication, which
year

suggested
then
Crown

itself

far

back
to

1883, during the

that occasion this

Prince's of of

visit Art

Madrid. been than Prado

more

On

illustrious friend the of works the

had

profoundly impressed by
any

Velazquez

by

of

the

other

treasures

world-renowned

Museum.

A.

H.

K.

CONTENTS.

FIRST

BOOYi.--L\TRODUCTORY.
PACE

Introduction
. .

The

Galleries
" "

7 ^ 16

Biographical
Seville The Poets

Data

and Art

Literary

Circles

21

Mediaeval The

25
.

Mannerists de las de Roelas Herrera

30

Juan

35

Francisco

38
42
"

Francisco
"

Pacheco of

Art Book

Painting
of Portraits

47
"

*"

49 50

Venetian El El The

Painting
Mudo Greco

50
51

Toledan Orrente Maino Tristan

School

54 54 54 55

SECOND

BOOK.^VELAZQUEZ'

YOUTH.

The His

Family
Student Years

59
61 .68

National The The The

Types
Water-Carrier Old Woman and and

of Seville
Omelet

69-72
72-3
73-4

Mendicant

Globe

Religious
St. The The The The The Madrid Two

Subjects
in Paimos and

75

John
Woman

76

Dragon
;
.

76-7 78-80

Epiphany Shepherds Journeys

to

81-3
the Court

83
88
oi

Appointment

viii

Contents.
PACK

Art

Circles and

93

Court

Palace, Madrid

96
104 113
120

PhilipIV
Olivares
,

Charles The

Prince

of Wales Painters
. .

Italian Court Caxesi Nardi Carducho Carducho's

121

123

123
124 Work
on

Painting

126

The

Expuhion

of the

Moriscos
. .

129 131
133

Rubens Influence The

in Madrid of Rubens
on

Velazquez
ox

...

Bacchus

(The Borrachos

Topers)

139-46

THIRD

BOOK."

77/^

FIRST

JOURNEY

TO

ROME.

Eastward In Venice Titian Rome Art The His In and

Ho

149 -15'

Tintoretto

153

in the year and Artists

1630
Masters
,

156 158
160

Pictures Own

of the Twelve
...

Portrait

163-4
164-6

the Villa Medici

Triumphal Arch of Titus Forge of Vulcan Joseph's Coat Naples: Mary of Hungary
The
...

167-8 168-73
174-5 175-9 179

Jusepe

Ribera

FOURTH

BOOK."r/^^:

DAYS

OF

BUEN

RETIRO.

Official Duties
. .

Buen Park The The

Retiro Views Fountain Surrender and

187 189 196

'97-9

Hunting
The The The The

of the Tritons of Breda Hunting-pieces

199-209
209 212-8 218-20
.

Boar-hunt

Stag-hunt Three Royal Sportsmen Master of the Hounds

Cano in Madrid
"
. .

220-4

224-6
226
. .

Alonso Murillo The

in Madrid
....

229

in Crucifixion
at the Pillar

San

Placido

Christ

236-41 241-8

Contents.

IX

FIFTH

BOOK.--POR

TRAITS

OF

THE

MIDDLE

PERIOD.
PAGE

Velazquez as

Portrait Painter

251

Female The

Portraits

262

Sibyl
with
a

265-6
Fan 266-8

Lady
J nana
The

de Miranda Duchess

268-71
271-2

Isabella The Two

of Chevreuse of Bourbon
Little Maidens

272-5
275-7

Celebrities

and

Obscurities

277

Quevedo The SculptorMartinez MontaHes Cardinal or Borja, Borgia Francis Duke d'Este, of Modena
Admiral The Count
Adrian Pulido

277-81 281-4 284-91

291-4

of Benavente

295-8 298-9

Portraits

of Unknown

Persons

299

The Marquis of Castel Rodrigo

301-3

The

EquestrianPortraits The Equestrian Portrait of Philip IV, The Fraga Portrait EquestrianPortrait of Prince Balthasar EquestrianPortrait of Olivares The Portraits of Philip III. and Queen Margarita of Austria
.... .... .

304

305-9
309-11 31 1-3

313-6 3"6-7

Last

Portraits

of Olivares

317-9

Julianillo

319-21

Prince

Balthasar

Carlos

321-8
321 322 324 325

The Child
The The The Little Rider Little

Sportsman

Little Wooer

Town The The

Views: Fortress

Saragossa of Pamplona

328-31
^331-2

Conversation

333-6
333 334

Group of Cavaliers Two Groups of Courtiers

Contents.

SIXTH

BOOK."

ry//:

secoxd

journey

to

rome,
PACE

Journey in Venice Pictuie-dealing Naples in 1649 in 1650 Rome Velazquez'Relations to the Juan de Pareja
Occasion
Innocent The X.

of the

339
. .

340 343 345

Roman

Artists

347
352-4

Antiques
and Colonna
"

Metelli

354-62 362 364

SEVENTH

BOOK."

Z/I5r

DEC/DE.

The The

Last

Years

....:...

Office of Palace

Marshal

(Aposentador de Palacio)

Administration The The The Cross of

of the Galleries

Santiago Completion of the Escorial

**

Mcmoria

"
"

EIGHTH

BOOK.-/f'6^/?A'5

OF

THE

THIRD

AND

LAST

PERIOD.

The

Style 0/ A us iria Theresa The Infanta Maria The Princess Margaret The I nfaf it Don Philip Prosper iMst Portraits of Philip IV. The Family Portrait {Las Meninas Family Velazquez' Portraits of Velazquez The spinners {Las Ililanderas)
Queen Mariana Dwarfs, Buffoons
Don and

Third

389
39S-402 402-5 405-10
410-2 412-3
;

The

Maids

of Honour^

414-22

422-5 425-7 427-33

433

Jesters

Cristdbal de Pentia

438-40
440-1 442-3

Juan de Austria

Pablillos de Valladolid
The The

Marquis

del Borro

443-5
445

Dwarfs Sebastian El Primo de Morra

447-9

448-9

Contents.

xi
PAGE

Idiots and El El The

Imbeciles de Coria de Vallccas

449

Bobo Niho

449-50
449-5
'

Philosophers Esop Menippus Ugly

in Art

451 451-3 453-5 455

The

Mythologies.
Mars

457

Mercury
Venus

and

Argus
the Mirror the Last Period

with

458-61 461-2 462-6 466 466-9 4^9-74

474

Religious Paintingsof
The The The The

Coronation Anchorites
to the

of the Virgin {SS. Paul Pyrenees^

and

Anthony)

Journey
End

47^ 480 480

...

Velazquez* Successors
Carreno Coello

481

Index

....

485

ERRATA.

Page
"

87,
96,

line

5
2

from from

end,
top,

for

Charton, Coffington,

read read

Churton.

for

Cottington.

"

FIRST

BOOK.

INTRODUCTORY.

INTRODUCTION

"

THE

GALLERIES

"

BIOGRAPHICAL

DATA

"

SEVILLE

"

THE

l"OETS

AND

LITERARY

CIRCLES

"

MEDIAEVAL

ART

"

THE

MANNERISTS

"

JUAN

DE

LAS

ROELAS

"

FRANCISCO

DE

HERRERA

"

FRANCISCO

PACHECO

"

VENETIAN

PAINTING

"

THE

TOLEDAN

SCHOOL.

DIEGO

DE

SILVA

VELAZQUEZ.

A
The

HUNDRED mentioned
muster

years

ago of

the

name

of

Velazquez
and

was

still in and Buen

rarely

this of the
the

side

the

Pyrenees,
seemed

least

of

all

Germany.
no one

roll

great

painters
in
an

long
of Madrid

dosed,
and

suspected lay
with

that

in the

Far

West,
of

the artist

palaces
who He the

Retiro,
to

concealed the

credentials of
the

possessed
had

full claims

rank from
but

foremost

great

masters.

doubtless of

passed, painters, place

Palomino,
was

the

"Spanish
for of
a

Vasari,"

into
to

dictionaries
him

it
the

reserved

Gernian

painter painting.

give

his
"

proper whose
dreamt

in

general

history

modern
of

Raphael
masters,

Mengs
and

writings
of
with
a a

tain con-

critical dawn
of of Art

estimates

the

classical their

who combined

new

by

fusion
who

of

diverse remained of the for

he he

qualities,
one

study
of

the

antique,
"

but

himself his
survey

of

the

last

and

feeblest
in of
a

the found in

Eclectics

during
not

royal
had

pictorial
at

treasures

1761,

himself,
presence
In

without of
one

emotion, who,
Saxon
even

least

the

eye

painter,

the

of

all called
to

had
the

hitherto

met,

least he

resembled

himself.
in and "The

what
a

this

''natural
whom
as

style"
like

discovered

Velazquez
Gerhard
best cicerone

superior
"

those

"

Titian,
leaders
in

Rembrandt,
that

Dow

he

had the

hitherto

regarded
wrote

the in

field.

models of of

of

natural

style,'*he
are

1776

to

Antonio in
are

Ponz,
their
the

the

Spanish light
and

Art, shade,
of

"

(he the

works

of of

Diego

Velazquez,
effect, which

knowledge
most

in

play

aerial

important
truth." What of

features

this

style,

because

they

give

reflection

of

the

Mengs

here

states

in

his

own

way

had

already
year,

been

the IV.'s the

sion impresCourt

contemporaries.
exhibited the
then the

When,
of

in

the
slave

jubilee
Juan
report

Philip
in

painter
at

portrait

his
to

Pareja,
of the

Pantheon Andreas
new,
was

Rome,

painters,
present,

according
declared alone
was

the
all

German,
old
or

Schmidt,

that

else,
And

whether this

painting;

this

picture

truth.

statement

doubtless
I

Velazquez.
more

implied
expresses

in
ideal

1650 making

than

at

any

time

before

or

since. his

Moreover,
own

it

the

of the

master
same

himself, and
remark

probably in
when

words.

We

hear

artists
the

the

to-day
which

contemplating the
left behind in

of portrait the From

saw
*'

then

reigning Innocent
as

X.,
own

Velazquez

Capitalof Art,"
the Doria first

he
on

had
me

his

portrait twenty

years

previously.
I first

impression made impulse to

by

this remarkable
my
own

work, which

in the
as

Gallery in 1867, dates

the

interest in which

Velazquez, as
have resulted

well

the

journeys and

researches

in the

present work.
is
one

Velazquez
any end

of those
to

individualities that brook

sum

no a

comparison with single sentence

Charles
a

others.

All attempts
or platitudes as

up

such The

persons

in

only
of

in

hyperbole.
Charles

Court ''Were

painter of

III.

regarded him
birth

the

first of

naturalists.

painting but
would who became the

second
tionably unques-

Creation,"says
be

Blanc,

"

then

Velazquez

the greatest of
late in

painters." To

Waagen,
to

acquainted
of
the

with

his

works school

in

he appeared life,

represent

realism

Spanish
of

all its one-sidedness, but refrain from

as

also in its greatest

"

perfection.
a

Still this critic cannot

adding
with the

Nay,

so

far

as

it is of

question
of

reproducingmen
and

they are,
to

utmost

vividness the
rarest to

conception,
an

with

the greatest truth

form

and

with colour,
not

mastery
pronounce him the

free absolutely
the

broad

treatment, I do
has
ever

hesitate
called

him first of

greatest painter that

Thore

lived."

Beul^

and colourists,

the

le plus peintre painterof painters(lepeintre qui

flit jamais). Piety

well and

mysticism have
of
strict

been and

as specified

the
true

and peculiar of its But who

are a

dominant

characteristics
as as

Spanish Art,

this may

be

subject-matter
will maintain her

of the
can

of religiosity

its exponents.

that
her

Spain
with

rival

Italy in religious painting?

We
and seek

Where for

Giottos,
on a

Fiesoles

and

Peruginos?
Madonna

in

vain

monument

level Lamb Dante

the

Sixtine
or

the
as

Disputa,the
we

Adoration for
a

of

the

in Ghent
or

Titian's Asunta, just

seek

in vain

Spanish
calibre is

Milton.
that but

Spain
what

has

her

solitary Murillo,whose painterssuch

far before
as

mental Carlo

comparable to
Sassoferrato of
;

of devotional

Guido,
is the

Dolce, and
association

places him

these

happy

homely
What

national types, local

colouringand

in play of light

the traditional

and material,his naturalism,

genialchildlike
depth
of

character.
so

fascinates of

strangers in the Spanish religious paintingsis, not

and feeling

much

their wealth

symbolism
These

as

certain
were

touch

of

and earnestness, simplicity,

downright honesty.
for

artists

far from of
a

subjects a pretext making religious

introducingcharming

motives

Introduction.
different order ; but, with transfer whimsical such mediaeval
a

3
never

artlessness, they
environment.

hesitated the

to

subjectsto
of

Spanish mostly
to
an

Hence

frequently
"

character

these

Spanish
even

ecclesiastical attractive

paintings,which
their

although seldom
"

and repulsive,

through

genuine

led qualities has occasionally In the fifteenth century the influence the
we

exaggerated view
the

of their artistic worth. the

find the retablo of

paintersof
"

provincial
similar the But
a

schools,

under
even

Flemings, already betraying

bounds these

tendencies,

within

narrow

of

Gothic

"

Art. of

intruding
national
to

Italian

spirit soon
For

arrested

beginnings

genuine

school.

fully a

century

the

Spaniards
the

devoted

themselves

idealism,with
works. very

the

result

that with followed

the

much

pains they produced nothing but

to

indifferent
now
was

Then

reaction
The

opposite system,
the

but

with
to

different artistic powers.

to

invariable

effect of this system

as

give
of

scope

as individuality, pointing,

it did, to Nature
an

true

source

and inspiration,

placing talent
of
a

on even

independent footing. rugged type, who,

with the round of the

But
one

these very

Spanish
never

masters,

pure

and

exception
and
to
"

travelled abroad, nevertheless

notion

made

world,

created
the

the

of what

is called the
us

Spanish

school. of

They belong
Ranke
:

epoch epoch,
this

of
so a

PhilipIV.,as picturedto
saddened far
more

in the words

Leopold

His

by

failures and political

financial maladministration,
earlier times."

has otherwise Of

than Spanish complexion

was

group

Velazquez

the and skill, may be

most

consistent
truest

in

principle ;

he

possessed
from the the
one

the greatest technical material

he standpoint,

the

painter's eye.
as

Hence,
not

unreservedlyaccepted
the
most

only
of

almost

purely

secular

Spanish painter,but

Spanish

Spanish painters.
For of the
over a

century the
a

Spaniards possessed a state, in machinery

of which
was

the modem

sense

term,

but

state

the

still

clogged by
the

the persistence
the

of many

elements

of mediaeval

culture.

From

friction of

jejune
arose,

modern
if not

trained classically the

intellect with

this world
most

of dreams

there and

.only good work, assuredly the

of all modern its Don lacked
the

incomparable
book of
circulated

of Spanish, if not entertaining

imaginativeliterature.
this the

In those
as

days
an

no

anti-chamber
"

Quixote)

innovation

amongst

young

founders generation,
like

"School

of the

Seville." mother

Miguel Cervantes, who,

of all science,and where is truth of
who there is

Leonardo, historyto
be

called

experience
'*

declared

holy,
his

because

it is

true, and
mind
a

^ God,'* possessed

in

richly endowed
'*

large share
corner

what commonplace rationalism, But such

a

Schlegel called
corner

the

prosaic

in his

poetic soul."
*

prosaic

everywhere

Don

i. 21 Quixote^

; li. 3.

4
crops up

Velazquez.
in

Spanish poetry
trots

and

culture.
ass

By

the

side

of

the

pale gaunt
The

steed
romances no

of

romanticism of vagabond

the

of

practical popular
even

wisdom.

life (gusiopicaresco) are, of the

in their trivial details, created

as

exaggerated fore-runners
of South
of

realistic novel

by

the

present

school old

French

writers. and

Dramatists,

such

the Lope, glorified and Court

"

ideas

honour, love,
But
ever

loyalty in
embodies
manners a

subtle

entanglements
and

in

language. sparkling
"

Calderon,the poet
was
"
"

of the age

of the

poet if
also
a

poet

not

only
and

the

of spirit
scenes

his

epoch,
in
can

but

pictureof
chronicles
comes

contemporary
and

dress, of
which
no

the be

streets, in

parks,church,
this

palace
"

picturethan

better

gleaned from
Whence

and

memoirs.

feature of the

Spanish
soil

character and

Is it an
or

heirloom
be

of their Iberian

a forefathers, product of

climate ?
have been

is it to

sought during Arab,"

in

that

that interchangeof qualities

may

brought
?

about
*'

their
says

protractedstruggles with Dozy,

**

their
no

Eastern

oppressors
a

The

has

little

fancy
*

and

invention,but

for preference
and

the real and

but

positive. The
they invent

Arabian

poets describe what

In

they see
Cervantes

ence, experireligion painted

we see

nothing."
books

the

same

way

calls the

knight-errant poetry lying

allowed
the

Had (libros mentirosos). would

their
have
as

Arabs

to

have

painters they
Alhambra
is

probably

hunts, festive sports, and portraits,

in

picturesof
"

manners,

such
as

the

Hall

of

Justice in
The
has
same

the

painted, however,
of

I believe,

by Spaniards.
which painting, with
the

trait

still characteristic any

modern

Spanish

been

freelydeveloped without provided itself

for
observe

specialconnection
with

past.
case

In any
as an

this feature

at

the

rightmoment
in

an

eye

organ

endowed exceptionally
we seem

photographing visible phenomena.

nature
as a camera

''With

Velazquez
in his inmost

to

obscura"

By
He what

his official

position completelyrestricted
soul, interested

in in

the choice of his subjects he his

seems,
was

only

problems. optic pictorial

grasp

often the

attracted time He
till
to

by
was

what

was

difficult to

and
as

reproduce, but
the

at

same

of daily occurrence,
tasks upon

familiar

all-diffused
not

sunlightitself.
been attacked less rein

thus

imposed
of

himself

which

have

again
have the

quite recent
the

times.

Yet, for all that,few

turned also
to

others

given
with

play
human

fancy, or
few
for

such

little account
less

of immortalizingbeauty ; opportunities the

have

shown which

sympathy
us

yearning of
his

nature

that

unreal

consoles

for

the realities of life.

But

portraits, landscapes, hunting

^

scenes,

all that he

ever

did, may

Hisioire

des Musuhnans

d'Espagne, i.,13.

6
inward
the
"

Velazquez.
aspects, in
the the

glow

of

the

complexion
and

and the

the

revelation

of

in will,

breathing,throbbing glance
Sir of

depth

of character. mortal like the imvivid

His

works,"aptlyremarks principal
creations

J. C. Robinson, "...
such and the

Shakespeare, are
as

with replete endures

to

intense and
remain
in

that, as realism,

long

the

world

they

in evidence,
as

they
earnest

will
as

probably
at

commend

themselves of their

observer

complete
mind
with in

the first moment

common

production. The
almost
at

of Velazquez pictures the

have

this in
a

with

photographs, that they impress

to

such

powerful sense represented."

the
;
one
*

of

as actuality,

suggest

to

the beholder of human

their after remembrance action

the

having assisted

the visible passages

Hence
treatment

life-work

of

Velazquez readilylends
say that each

itself to

monographic
ment. treat;

might
have

even

separate work
more

invites such

Others others had

at

doubtless

handled

far

themes weighty and edifying

have

possesseda highermeasure
more

of the creative and and

we

faculty ;

others have

their command with

the

penetratingtones
of the Venetian
nay,

ravishing harmonies.
Netherlandish know scarcely

Compared

colourists
even

schools,
one

Velazquez appears
But

prosaicand jejune ;

with

fewer attractions ^or the uninitiated.

one

qualityhe possessed in
he is
new

pre-eminentdegree.
as

In

each

vidual indi-

work
For

and

both special,
the

regards invention
this
"

and

technique. philosopher
and

the

historical

student

productions of
are

Home

Secretary of
artist practical

Nature," as Ch. Blanc calls him,

contemporary
man

records ; to the
; for the

they exhibit,as they

are

in

mirror, his chief theme,

their details

while stimulating, alike. works calls

possess the
no

satisfy anatomist,sportsman,
that
a

cobbler His Palomino

in

high degree
of
be

which qualityof originality

''canonization" connection
can

work

of
with But

Art.

In

his

great

historical

paintings
in him their

detected

earlier what his

models, and
tinguishes disand

they have,
uncoloured of observed
the

turn, remained
all

inimitable.

eminently
artlessness

from

other His the

most

originalpainters is
two

truth to Nature.
situations of

are picturesque masterpieces

memories For wise other-

trivial and
based
on

limited nature.
an

is impressionof originality upon every and

overwhelming subjectivity
^^.i^

stamped
The

feature of the enthusiasm

to

composition.
with
not

interest

which alone such

we on

contemplate
a

Art

works historic
even

of the past would

appear

depend

yearning after
the

knowledge,
somewhat

or

on

the

of practical utility
our

studies ; it must
on

be

independentof
'

attitude in the idle discussion

superiority

Memoranda

on

Fifty Pictures (London

1868),p. 43.

The
of old and
modern

Galleries.
declare the old

Art.
to

Painters from the

that,as
masters.

regards technique they

In
any
case

have

nothing more

learn

their Art The charm of

'

differs in of

this respect from

mechanical

Arts, for instance.

the old monuments

lies in the. here

"

embodied

specialmanifestations
conditioned
recur

spiritualand
relations relations is each for Art. in
us a

physical humanity
time, culture,
and
race

which
"

being
no more

by
can our

certain those
tion atten-

of

can we

than rivets

themselves.

Hence

what

seek
our

and
common a

what

complete representationof epoch

value is exhibited and
the

nature^
way.

which

in

successive lies the Hence which

is

only
times

in

fragmentary
of mediaeval

Herein

indispensablecharacter
our

Greek

plastic
Art,
human

the

tendency
a

of

towards

Christian
of

embodied

peculiar and
and

irrecoverable

phase

sentiment The created taken

a as

times for
a

of Cervantes

Murillo, when
and

in

Spain specialforms
of
of

were

specialmaterial
if special,

conditions

ways

thought^ may humanity,

in

also

be

somewhat
and
not

limited, phase

entitled to records of

niche

in

its

pantheon,

merely

to

page

the

historical finds. The Galleries.

have have had
never

Velazquez
more

and

his admirers of his works

the

rare

good fortune

that

the

important half they

were

been

but stillremain scattered,

where

originally produced.
Prado Museum. Thanks

They have, migrated only

to

from

the

palaces to
colours, the
of curators

the

the

slightdeterioration
from
the of
to
"

of the

dry
be

atmosphere of Madrid they

are

and

long exemption
a

meddling

of the old type,

to

also in

state

that leaves preservation

nothing
artistic

desired.
of

We

are

thus
land

enabled and
"

follow, step by step,

here
as more

an

career

fortyyears,
in For

where

people
serve

characteristic
to

and

than persistent
text. to
us

northern
can

regions
remove

commentaries
and

the

authors

life alone of Art.

the

dust

stiffness

imparted
literature active

by

time

works

Contemporary records, chronicles,and

the

enable
career

also to
all

conjureup

epoch

and

very

surroundings of
and outward how

this

in

its lifelike details of characters

circumstances.

In the

and writings, despatches,

seem

poetry of the
on

times,

often

do

we

meet

which descriptions, the

do

stereotyped

the

paintingsof Velazquez !
table-lands
how

In

treeless valleysof broad, solitary,

we

the

Castilian their

often
spheric atmoor

recognize
tones, in
streets

those

landscapes,with
he
his
towns

clear, deep

azure

which of
out

places his glowing

some

; equestrianportraits
or

in

the
to

narrow

peasant

mendicant, who
I The

seems

have

stepped

of

one

of

Velazquez'

frames

Museum

itself

8
forms the

Velazquez.
a

chapter in
he

this commentary. which and

he

Here
the
some

we

behold

the

very
the had

society,
Italian himself

the hills, that

parks, in
admired
him

moved,

productions of
of which he

brush

studied, and
enrich have
the

brought Only
churches

with
a

from

Italyto
works But

these

collections. the
at

few

important

perished in
stormy
times

of conflagrations the

and

palaces.
many,

during

beginning of
their way is

this century
to

apparently all
For
a

in

found private collections, of his life-work his

a

foreign lands.
of this

complete
knows this

survey

knowledge
Let
no one

needed

dispersed second
that he

half

of

productions.
he

flatter himself
works
at

unless painter, the Madrid

is familiar with Museum

must

the

present in England.
as

Although

always
of

remain

unrivalled

possessingall the five great historical and

many

equestrian
classes of his Duke in
of

it still lacks subjects,

remarkable these
as are

and pieces, the

common

even

whole

representations. Amongst
Andalusian

everyday by
the

scenes

period, such
the

the Church
now

Water-Carrier, owned
such dignitaries, in Frankfort
his ;
as

the

Wellington;
Doria the great

types

of

Pope
one

the

Palace, and

the Cardinal

and, with
children

exception,
Belvedere with

of portraits

Spanish
in

and ladies,

Venus. solitary

The

Gallery surpasses
all the

Madrid of tender
have

delightful picturesof
and radiant of
in

endowed

softness

years,
gone

their hunt

bright adornments.
and

Lastly,to England
and, last,not
best The in the

the

scenes

the

riding-school,
to

least,the

few of

genuine
In

sketches. original in

specimens
show
to

Velazquez
no

foreignlands
case

are

not

be

sought

great
museums

collections.

other

do

the

much with

administered
the

public

greater disadvantage compared

London National

results of ruined

privateenterprise.The
Boar-hunt,
as a

Gallery contains
the doubtless

only the

two

of Philip IV., and ordinary portraits of his

Shepherds, which
possesses
some

production

youth
can

and

imitation

value, but biographical

of

which For
the
some

pretend to give an scarcely

little

adequate
been

idea

the

master's

Art.

time, however,
at

it has

here

more

worthilyrepresented by
all

of gift
as

the Christ
well
on as

the

Pillar.
and

Although nearly Zurbaran, have

London
a

portableworks

of

Velazquez,
had

of Murillo

during the present century appeared although English amateurs

taste

the market, and

in the

mostly in
Burnet

already

previous century acquired

Wilkie
and the and had

for

Spanish

Art

although painterslike
writers still
none

served ob-

the kindred
and these

spirit animating Velazquez

had of first

British the seemed

portraitists;
of
to
a

although English Spanish

the

proclaimed
works
we over

excellence

masters,

their best When

destined
ourselves

enrich

London

National
of

Gallery.

picture to England,

general

exhibition

the

Velazquez

scattered

such

as

that

Biographical
of

Data.

9
have

Manchester,'we worthy
to

see

how

easily London
with better

might
the

acquired a Spanish
The
an

collection Nor has

a

compare

that of Madrid

itself. Continent. Louvre easel

a

have

things been
a

managed

on

and replica,
a

very

indifferent one,

of the

Royal Sportsman,
St.

and painting,

small

sketch; the

Hermitage,
but the Munich from
two

Petersburg,besides pieces;
the Dresden

replicaof Gallery Lately

the

Pope's Head, nothing

from
one

doubtful

three

Modena; portrait of
Museum
rare,
a

even

Pinakothek
the

scarcelyanything
of Schleissheim. ladies.

except
the

Olivares

Castle

Berlin
are

has few

acquired

notable

of portraits the Madrid

very

Drawings Library
character

very

only having
estate ;

reached
some

National remarkable
to

from
are

Valentine also

Carderera's collection

of

in the of

bequeathed by Cean

Bermudez

the

Instituto Asturiano

his native

town, Gijon.

Biographical

Data. Vincenzo of the Carducho's in paintings

Velazquez' name
de

first appears

in

print in
is made

Didlogos
the

la Pintura
of

(1633),where
But

mention

royal
occur

palace
in

Madrid.

the earliest

trustworthy accounts
de

of his life

his father-in-law's

(Pacheco)Arte
of
his
at

la Pintura

1649). (Seville:
would

The
to

description here
derived from

given

first Italian the time.

in

journey

appear

be

letters

written detailed the

Sixty-fouryears
the Museo
at

after his death

appeared
this
as

Palomino's of

biography
was

Pictorico in
the

(1724).
so

But

biographer 1678,
and

painters
Court

already
he also

work

Madrid

early
saw

had

been

painter since

1688.

In

palaceshe
of de

everything left behind

records
as

by Velazquez ;
memoranda

availed

himself

the

public

well
with

as

the

of artists who,
could

like Juan from

the

had Alfaro,
stream

associated of unbroken
little

him.

Palomino
in

still draw fact and

copious
have

and tradition,
a

point of
all

subsequent
additions

writers

done The and of into

beyond making
was

few

corrections
of
our

to his memoir.

Museo

the

only source Spain

in

information the

regardingVelazquez
The
in
account

his associates

outside

down it
was

to

present century.
into

Velazquez'
French in

life contained 1749;

and is
a

translated

English
1

1739;

into
mere

German
summary

(Dresden) in
of
this

78

1.

D'Argenville's
Antonio

Biography (1745)
introduced
a

account.

Ponz

few

of paintings into descriptions Bermudez

such
as

his Art

Journey (Madrid:
the memoranda
Diaz

1772)
of
'

et

seq,

Cean

utilized for those of

the

his Diccionario

contemporaries,
"Aucun
mus6e

painter Lazaro
une

del

Valle

excepts le

mus^e

de

de

leurs

tableaux

(Velazquez

et

Murillo).'"

Madrid, n'offre W. BUrger,

aussi

Tresors

dArt

splendide collection en Angleterre,

(Brussels: i860).

lo

Velazquez.
of which
are

(1659),copies
Discourses in 1866 of

still extant another

in

private
section

collections.

The

Joseph Martinez,

contemporary
contains
a

published colleague, bearing

the
on

by
not to

Valentine

Carderera,also
century
and

this

subject.
But till the take Art.
a

present

was

it

possible for
this

name

of
monwealth com-

Velazquez King
the

prominent
Two
events

defined clearly contributed

to

position in
result
: one

the One

of Ferdinand

was

VII.'s the

decision

(1819)

to

bring together in
and few San

museum

paintings in
had
was

royal palaces of
part
wars

Madrid
to
a

Ildefonso,where
the

they
other

been the

only casuallyaccessible dispersion of

after abroad tht
now a

privilegedpersons;
works Even what

of of

Velazquez'
the

throughout
had

France

and

England
its way
and

empire.

alreadyfound
in France

first attracted attention. Austrian hitherto

Many
the

paintings
Dresden
else

Italy,in
false names,

the

imperial palaces,in
been of Rubens. its The

Gallery, and passed

the under
in

elsewhere, had

partly inaccessible,or right name.

that especially Palace had

alone

of portrait

Pope
Since

the

Pamfili

retained

then In and

others, besides
the Paris
and

have specialists, London Art

become

acquainted with
he Art has become
as a

Velazquez.
well-known

circles
to

familiar

name,

quite as

attractive

students

to

and connoisseurs, dealers,

collectors.

The and
was

lead
a

was

taken

by England,
the

thanks

to

the
even

general love
in the

of travel

to

for preference

Spanish

school

which

last century

already represented in private collections.

we owe

The

first readable

graphy biowho

to
1 81

Sir William
and

a Stirling-Maxwell,

Scottish

baronet,
in the

was

born the

in

died

in

1878.

It first
and

appeared
afterwards

Annals

of

Artists This
he
we

of Spain (London:
writer
not
was a a

1848),
of

in

separate

editions.
because

gentlemarf of
be

the

grand style, not

also because

only
less doubt-

did

make
seem

trade
to

his books, but in the

taste

in their

company

always
to

moving spoiled

best

society. He
British well-trained

appeals
he In
a

the

somewhat the

of of
a

the

public, but
historian. ing interestsuch
a

always quotes
small and space

with he

conscientiousness the most

as

gives us

but always out-of-the-way,

be

such curious,details,

could

brought togetheronly by
and
"

whose bibliophilist,

Spanish librarywas,
Ford

still is, without stuffed with

rival in
not

Europe
William

"

an

olla

podrida^ as

calls it,

savouries,

the forgetting
was a

national still far

garlic." Yet, although a

more

skilful

draughtsman.
and
man

Sir of

of He
and

a historian,

heraldic
over on

writer

than letters, of grand

connoisseur. ceremonials

lingers rather
festivities than

graphic descriptions
artistic processes, such

State

Biographical
as

Data.
numerous

i i

Prosper

Merim6e

missed

in young
of

his

notices.*

These
more

Annals,
than with

composed
an

while

still quite a of those

man,

are,

after all,nothing

elegantre-hash

Palomino
same as

and

Bermudez, brought

served
out

up

English sauce,

the substantially enlivened the broad

Fiorillo

in

Gottingen
wtII

(1806),only
and travel, versed. A
better

by

the

lights and

shadows

of his which

impressionsof
he
was

by

in perspectivesof history,

connoisseur

than

Sir

William, although
Ford

now

regarded
in

as

somewhat
all

was optimistic,

Richard His

(1796),the genialcompanion
of Spain,
work

of

travellers in

Spain.

Handbook its

first issued
one

1845,
in

is

altogether incomparable of
and
on a

kind, the
with

of

deeply

read

ancient based of the

best

modern

authors, seasoned
of the
on

humour,
with

sarcasm,

sympathy atmosphere
also the

knowledge
His

people,saturated
in

the very

land.

article

Velazquez

the

is Penny Cyclopcedia

in the

English language.

also translated into German : biography was Stirling-Maxwell's (Berlin G. and Brunet with Raisonne into W. a French, Catalogue by 1856), BOrger by (pseudonym of T. Thord), 1865. But while that work is based mainly
on

book

knowledge, the Apen^us

a

of Theodore

Thord

are,

on

the

contrary,

altogetherinspiredby
critic of old
was even a

study

of the

themselves. originals

This
on

unerring
the

and

modern

who painters, in the

mostly hits
method of

the

rightnail

head,
and

recognizedinnovator
himself animation
took
to
a

estimating paintings ;
of those
are

the Art

fact that he

passionatepart in the descriptions.He

and his works.
was

struggles of modern.
one

merely adds

his

born
more

who painters,

work

only with
many

the pen,

causual
'*

aphorisms
words
"

trustworthy than
force

learned

His

winged
first

have

the

of irresistible conviction, because

are

they express

impressionsalone,

impressions which
the

too

often

counterfeited

by the cacoethes scrtbendi of

monographist.
In

similar

apposite notices
articles contributed

French

literature is Blanc

by

no

means

poor,

though
The

here it will suffice to

mention
to

Charles

and

Th^ophile Gautier. by
now

valuable the

the Gazette

des

Beaux-arts
have

Paul been

Lefort,
Since

best 'French
an

critic of

the

Spanish school,
the

brought together in
the year have also
based

illustrated volume.
the

i860
on on

of fellow-countrymen
the

now

highly esteemed
for
a

painter
archives.
and

their part taken the

preliminarysteps
stowed
were

complete
national in

biography,

originalmaterials
ago

away

in

the

Some

twenty years

monographs

and prepared,

1870

1874 partly promised,by

*

three collectors of documents Mondes^ 1848, xxiv.,p. 639

favourablyplaced
et seq.

Revile

des

Deux

1 2

Velazquez.
undertaking such
that
works.

for

Still these
been

researches But
a

have

not

yielded
to

the

results

might
come

have
to

expected.
so

few

references

special painter
with would the

paintingshave
himself. the Yet Murcian

and light,
to

far not

singleletter of the
with

he

is

known

have de

corresponded
Villacis. memoir
more

Rubens

and

Don painter, the

Nicolas

An
on

important find
the

certainlybe
The

recently

discovered

paintings in
doubtful.

is its authenticity but unfortunately Escorial, Don bibliophilist, distinguished

than Zarco

Manuel in

del Valle, the Documentos

king's
at

librarian,has
number
same-

for
more

the

first time

published
in the
to

the

ine'ditos 2l He the

of the time

important records
a

palace archives.
some

promised

work

which
the

was

contain
a

able extremely remarkof very

rare

for documents, utilizing books of the seventeenth

notices studies

purpose
as

number information

printed

century,

well

as

regardingunknown
rendered

paintingsfrom
For these

by contemporaries.*
the

greatest services

have

been

by Don
Arte
en

Gregorio
want

Cruzada
"

Villaamil the
and

(born 1832,
Art

died

1885), editor Spain, now

on

of El

Espafia (1862-70)
of

only
author

journal in
the has

defunct
as a

through Spanish
rare

support

"

of

memoir

Rubens the

Diplomatist(Madrid:
books
the

1876).
this
on

He

republished
are so

extremely
the

of Carducho

and

Pacheco, which period;

had

important for
we owe

study

of

Spanish painting of
the documents in Ucles. Order
on

and

to

him of
to

the

publication
the

(1874)of
of the based

Velazquez'patent begun
nine of which
took and
an

from nobility Issue

a

archives

Villaamil

life of the
me,

painter,
when
torn

documents, original
who
a

sheets

lie before

this
from

energeticman,
his friends

also

active

part in

was politics,

by
Don

sudden

premature

death. the

The of its

first part of the

copious Catalogue of
de

Prado

Museum,

model

kind, by
a

Pedro

Madrazo enriched

Kuntz with
the

(Madrid: 1872),contains,
some

besides

biographical sketch
and

fresh

data

from

the for

palace archives, careful

the

of descriptions
account

useful paintingsspecially
in

costumes,
this
a

an

of been

their

vicissitudes

the

royal palaces.
Pedro articles

For

volume,
thousand

which

has

followed
Isabella

by
II.

no

others, Don
Numerous Illustrated
to
a

received this

gold pieces from

in his Gems review
now

by

fruitful writer in the Paris

may

of Paintings in
are

the

Journal,
in

and
work
a

LArty

all preparatory for which

comprehensive undoubtedly

which

be

expected,and

he

is

highly favourable
The advocate in

position.
and

Don bibliophilist,
on

Francisco

Asensio,of Seville,has
in

communicated,
'

memoir
incditos

entries Pacheco, the original

de

the Church

Documentos

para la Historia

1870, p. 398. Espafia, Iv.,

Velazquez.
pen.

Spanish

But

after such

intervals and
our

of hesitation
at

he

was

still drawn

towards

this
the

favourite

object ;
In

thus,

last, was
alone has

almost
a

reluctantly

produced
the

present work.
of
a

days

he

rightto attempt
has originals,

biography
a sure

painterwho, by
for their
all the

unwearied

study

of the has

laid

foundation examine and

appreciation.The
known
to

author

endeavoured
scattered

to repeatedly
over

works

him, includingthose
who have made

Russia, Italy,

especially England.
of the
time

Those
labour

similar
to

researches
the eye,
or or

will best
to

judge
an a

and

needed
no

merely

train selves, them-

form
in

estimate

of works
to

often

of

importance in
some

else

few

lines

justifythe rejectionof
and the like for
on

doubtful

piece. Although
of repose
on

the the

study
midst laws

of archives of
our

are

us

mere

intervals selves, themcase

in

proper

labours of the

spent

the

works

the

and
at

technique
times
been

Art, yet

in

the

present
to

these

intervals
one

have

greatlyprotracted. Thus,
to

mention of the

only
the

point,autographiccopies had
which
in

be
may

made be

of

the

inventories

royal palaces,from

conclusions the

formed of

regarding

industry displayed by Velazquez

arrangement
of

collections.

The

Spanish correspondence
Modena,
and elsewhere
many in

in

the

archives

Venice,
some

Naples, Florence,
letters
to referring

Italy, contain,besides
often his throw
a

the master,
circumstances whom his

data which in

surprising lighton
The
seem,

persons
an a

and

mentioned

biography.

life of like

artist, in
mere

epoch
some

was

so

largelymirrored,would
correct

ment fragof in that

temporary conis

of

lost
such

manuscript, unless
be

bearings be
in historical least
to

taken
but

epoch.
be

But

bearingsmust

sought not

works,

and despatches, diaries,

to

comedies,at
him

if

something
learn

better

written
travels

than

mere

threadbare itself gave

introductions
an

Art

History. something
be
to indispensable

His of
a

in

Spain

opportunityto
in its turn should

the

land

and

the

people,and
his
well

this becomes

full

understanding of provinces
of the
as'

productions.Velazquez
as can

there

studied Madrid

in

the

in
now

the
be

capital, although
seen.

outside the

scarcely any
of
a

of his works imitative

If truth

be

first virtue consists

work

Arts, the
are we

specialenjoyment
to

of which without

after all in
what dames the the

how recognition, artist had before

form The
no

judgment
dons in

knowing
the of banks

his

eyes

their ruffs,and
on

in their Manzanares often

and hear
so we

are farthingales,

doubtless
and kin

longer
have

met

the

but

their

kith

undergone
we

little
never

change.
seen

We

things called unnatural, only because

attribute to the
as

have

them,
the

artist what
were

lies in

his

subject.

We
a

trace

descent

of motives,

if

they

the

traditional secrets

of

guild,

Biographical
whereas

Data.
to

15
We call certain

they
of the
mere

were

all the

time

patent
or

everybody.
are

conceptionsstiff or copies
seems as

crude, affected
native

which ideal,

yet downright honest

southerners it is
to
us

reality. The pantomimic

throb

of the gesture-speech

and

mannered

action,only
a

because
our

agitated
scapes landat

with

the
are

of life.
to

Thus,

by

recent

bungler

master's
are

likened

hanging draperies,although they

in the Castilian

recalled

every A

step by
word
on

all travellers the

highlands.
of the
contents.

and disposition
an

arrangement

The these

history of
may

artist

is, above
ease

all,the

history of
even so

his

works

; and

with fails
or us.

the In

greatest
the

be
case

determined,
we are

where fortunate

outward
as

evidence Rembrandt Murillo. But

to to

present

not not
are

with with

Ribera, for
main
to

instance,
in

but

also

so

helpless as painting could

The

changes give
year

his

Art pictorial month

"

firmly established.
lead
say

pretend
chance
!

and

for
and

every
even

only

self-deception. How
"

seldom

then

one

might
"

only by
evidence attention of
but

are

our

deductions of the

confirmed so-called
of
or
"

The
too

determination certain
are

by subsequent development directs

on

extrinsic
the

to forcibly

changes
a more

styledepending
less inner

the

periods
artist's

which life, which

in all have

cases

of
do

similar character, typically

essence

little to

with

the

of

the

genius.
Our

woodcuts, executed

by
on

R.

Brend'amour,
Laurent's
these

are

based, apart
and

from

drawings by artists, mostly masterpieces; supplemented,

old

J.

photographs
intended

Braun's

where

failed, by lithographed copies,

cuts
are as

copper-plates and

etchings.
a

These of
It
was

merely

as

illustrations, affordingsuch
could
a

measure

help
not
even

the
my
were

reader's intention
the
means

imagination
to

not

very

well volume

dispense with.

produce
available.
a

sumptuous
book
a

after present models,

a

The for
the
own

is the of his

production of
where pictures, exhibition. A

writer the

who

wants

readers,not
a

text

volume

author such
as

points,like
this should

showman stand
on

in

fair, to
merits.

work

its

SEVILLE.

Naturae

gaudentis

ct

lascivientis LUDOVICUS

opus. NONNIUS.

generally MANKIND surroundings

more

takes

or

less

interest

in have
or

the

outward
a

drcumstances behind

and

of persons

who

left

deep
of

impression
their about

them,
or

either

as

public benefactors,
objects of affection.
mountain
rest ;
we

because
are

great achievements
their

simply as
where

We

curious

and birthplaces graves

the early associations,

air that

they
life ;

have

breathed,the regarding

they
take

have

found

seek

tion informain

their

forefathers, their

teachers,
account

and

companions
natural

and

biographies now
the
case

usually
of men,

of

this

tendency,
in

in especially

whose

activityhas
devoted the
who
to

been

displayed city of
and

the realm
The and its

of

fancy.
the

present section will accordinglybe

to society,

Seville
teenth seven-

the and

changes
to

of taste

between artists
as

fifteenth flourished
as,

centuries, beginning
the in have and
case

the

leading
all this

about

the

of

the

latter. such
our

Were
a

well well

known have

for instance, in omitted. But

will

of

Florence,

section

might
number few

been

the
to

of life-history
be

painter a
to

of

persons any
to

and clear

things

mentioned, suggesting
be

readers them
the

associations,
themselves
A

it would
a

scarcelycourteous
order
to

to

expect

provide

with should
the

small

library in nothing
in
to

complete

picture.
and

good

book

contain

that

is not

perfectlyclear
do
not

from intelligible

context

itself. Seville
was or

What

former

times

we

yet need
monuments. court

to

discover

in still

musty
survive

records, Jaber's

conjecture from minaret,

and

ruined
the orange

There of
the

famous

mosque.

Seville.
with
as a

17
alcazar
and

the

puerta

del

perdon ;
the

Don

Pedro's

garden
in

still serving

the stupendous cathedral, which royal residence; lastly, local tradition

canons

according
the
see

to
to

the
erect
us

resolved
the

during
of

vacancy
tower

somewhat
such
a a

in the

of spirit church

builders

the

of Babel.
upon
us as

"Let

build

huge

that

shall posterity

look

fools/*

is

anyhow

happy
a

Andalusian

invention,expressed with
to

thorough Spanish
a architect,

humour.
of many

It is

structure, so
canons

say,

without
deans

founder
and

or

work

generations of
of

and artists. that

archbishops,aided
Columbus
;

by

colony

foreignand
monuments most

native
show

These fairest and

-long before
in times the and
any
as

Seville in
the

was

the of

town flourishing

kingdom
envy

language

Alarcon, thought

"the
more

paragon

of of

the

of

cities."

Navagero
the best

it

like those

Italythan
Serrano

other the

place in

the State, and

it is described

by

the

Florentine
its commerce

metropolis of
the

province,and
in Seville the had

through
7, from
of

generallyregarded as
herself the her wealth of

richest

city

Spain (February
elegance
her the

1637).
prided
of her
a on

of old

and her

devotion,on
benevolent nobles. the of her

dwellings
been

and
women

munificence
and

on institutions,

beauty

the

bravery
had breathed

She

had

not

always hardy

city
and
the

of

Sybarites,but
the

long

fostered

spiritof
is the in

the

conquerors

from

north, as
de

in the

chral sepulHere died

of the

of the effigies recumbent in the

Riveras
statue

Ponce

Leon

in the Afan
de in

University.
Rivera,
the
words
wars

of year

founder, Per
age;

who

1423,

105th
in the "who

of his

and

who,
"

"consumed inscription, the

son,

his life in service of

the five

service
monarchs

of God, in the
;

against

Moors,
Seville

and

here
the

also

that* of his wars."

Diego Gomez,
had

spent his
a

whole

life in

Moorish have

become
says

universal
"

emporium.
meet
a a

"It in for

would Madrid

been

as

great

a as

wonder,"
a

Alarcon,
Seville
or

to

woman

that did In the

not

beg

cavalier of
at

in

without
tons

taste

trade."

early
two to

period ships
their miles the
cargoes above north ;

400
the

500

ascended Torre de

the Oro.

Guadalquiver to discharge
The tides mounted and
to

Molo,

the

which Seville,
cloth

exported oil, wine,

sarsenets

oranges,

lemons

of

gold, stout
that

and

velvets

Castile ;

while

thousands Thus with exclusive entered

banners

were

still employed in the

about

silk
the

industry.
century
became the

it

came

during
the

sixteenth
the

wealth
the Silver the
seas

lated accumu-

unheard-of
outlet

rapidity,when
with this
arms

city

great
Fleet

and

of trade from the

New

World,
Here
over were

and

first

and

cleared
bore

port.
of

painted
all the

flags and
of
2

which

Spain

high

the

8
The colonial trade

Velazquez.
was

globe.
while
seas. even

regulated by
a

the of

Casa the

de
commerce

O)ntratacion,
of the
and

the great

merchants the

enjoyed
markets

monopoly
of the old

They
those

controlled of
the

Mediterranean their time

"

marts,
to centre

north, whose
the

dealers

brought
at

wares

this of
a

commercial world-wide all the confines and

metropolis of empire.
in
**

Peninsula,
Thomas
but

that

the
is

Seville,"says
the
now

Mercado,
the central

the

capitalof lay
on

merchants

world
she

recentlyAndalusia

still

the

of the globe, value

has

become

point."
;

Revenues
and
were

customs,
commerce

of

land, the

population, all

increased There

this thus from

universal

attracted

quite new
classes old
:

social groups.

developed three sharply defined

colonists and
remnants

(i) The
on

natives and

descended

of the

inhabitants,nobles
or

people; sedate,
labour,
"

brave, wealthy, livingon wandering

streets

their income the

are

their
whose

manual

never

abroad

(2)
"

foreign traders,
still recalled

colonies

German,
of

Flemish, French,
;

Italian

by

the

corresponding names
Moriscos.
'*

loafers ne'er-do-weels, (3)the idlers, trained the bands

was

and

gamblers,who
the

occasionally
With in these

supplied
elements
river

for

the

wars

against

place

thronged
ensued in

to

and, overflowing,

as

China, the

itself became

inhabited." the life and

very

A ''The

gradual change
treasures

aspect
the

of

the of

city.
all

of
it

India," remarks
a

"attracted Ziifiiga, all that the world

trade

nations,and with
Art
and

superabundance of reign
by
These of
the
were

most

prizes in youth
of

Nature."
is

The

coincident Philip 111., chronicler the times

as

with

the

Velazquez,
these
water

indicated
set

preciselythe

epoch

when

changes
mark

in.

of great foundations,the tells us,

were

high

of the
to

of enterprise. "Presently,"he spirit itself in all

"another

world

began
of

reveal

departments."
in

These

the

halcyon
twice

days

Seville. State
whole the

The year the

regarded Seville,where,
sustenance
common

the.words landed,"
In
as

of

Lope,

"

of

Spain

was

its universal seventeenth "the

help
arrival

and (socorro) she

hope
of the

of its cities." for the

the

century

suppliedtwo-thirds Europe,
and which

currency
us,
"

Peninsula,and by
in

of her
of

galleons," Ziiniga tells

are now

is

eagerly awaited
interested where and
and

all the
them
"

nations than for

are

more unfortunately

Spain

whither Seville,
met

most

comes

least

bides ;
was

the

were Spanish pistoles

only abroad,
with

Spain

herself

compared

to

the Arcadian
"

ass,

laden de

gold
*'

but

feeding on gold
with
was

thistles.
the and bosom

But,"

says

Pedro

Medina,
the

this

reward

of the build

true

faith, just as

the Lord

provided Solomon
unbelievers

gold

silver to of the

the

Temple,

that is, to

gather

into the

Church."

Seville.
In those

19
still close
to

days

Church

and

'Change

were

neighbours.
on

Before
space

the

lonjawas
on

finished,the merchants

used

assemble

the open

raised
were as

steps before the cathedral.

of

In the

neighbouring streets Rodrigo Sangre,

her Caro.
the

auctions

held in the

silver ware, the

all slaves,textile fabrics, cabinet-work, paintings,

temple of

goddess Libitina,says
was

Amongst
Don

the
in

charitable institutions the founded city,

the

Hospitalde
de

la

largestedifice
ducats

by
house

Dofta Catalina
had

Rivera, and

son,

Fadrique.
on

This munificent works. Seville Moorish is the

was

fiftythousand spent altogether

catholic into

pious
her

also

very

city.
convents.

After
"

the Her

conquest

palaceshad
devotion the
to

been the

converted

greatest privilege
the
was

Queen

of

Angels,
of

that

belief in
doctrine mediaeval

Immaculate here first the

Conception,
advocated."

dogmatic

definition
three

which

Seville

possesses those the could

colossal

paintings of
their

Madonna, which, by
are

whose

faith is stronger

than
such

archaeology,
as no

still referred Christian

to

early Christian
boast

period,
Italian

therefore

other

nation
all

of

possessing.
humanistic she

Yet, despite
poetry,
an

this, and
all the rage,

despite the
Seville had Her

culture

and

at

that time

remained, as
with
balsamic

still remains,
with

Oriental essentially
and

city.

marble-paved
laden

courts, enlivened

fountains

flowering plants and

the Arabian

perfumes, seem
the In

like glimpses of
maze

tales to the Northerner gaze

at

penetratingthrough
their open

of

narrow

lanes
we

to

them
an

through
echo
the

porches.
These

the
nor

popular
has

melodies

stillcatch

of the

Arab plaintive

strains,
dances seemed

dancing yet
and the Eastern
with

disappeared
taste.

from
to

churches.
at

feasts,masks, quite
stood

processions have
In work inlaid
and the

strangers,

all

times,

in

the apartments of

disposed round
finest Indian
of gorgeous and

the courts
and

cabinets

cedar, rosewood, ebony

ivory,
from

with

tortoise-shell Chinese the

walls

precious metals, the

with
a

work

Goa;
Round

enamelled
ran

vases

tropicalbirds
lustrous

plumage.
Mexican
with

glazed

tiles of

sheen, Flemish
the floors filled with Christian
and
were

and tapestries Persian

Cordovan
And

leather
now

hangings,while
museums are

covered

carpets.
are

the
rarer. a

these
edifices

splendours
down
to

which
the

daily growing
century
Moorish
were

Even mixture
arches.

the

sixteenth

of mosque

church

with

Gothic

portals and
But

horse-shoe
de

Fadrique Enriquez
the Moorish and Gothic

Rivera's the most

Casa

de

Pilatos memories followed

to

(1533) had
by
the

ciated asso-

stylewith

hallowed had
been

of Christendom. Italian
the

The

Arab

architecture been

Renaissance, which, however, had

unable

resist the

of spirit

20

Velazquez.
for
a

place,and,
But
all this

time,

ran

riot

in

and figurative
severe

ornamentation. phantastic
even

yielded at
was

last to

Herrera's

and

jejunecinquecento
Now

style in which
seen

built the of
a

Temple

of Mercury.
the

everything was
of
the last

with

the

eyes
were

Vignola, and

achievements

five the

hundred

years

forgotten. Lope
the
most

admired

the

cold

Monument Seville.

of

Holy

Week

(1559?) as
of

noteworthy objectin triumphs

of
"

even Still,

in the eyes

the
over

new

the generation,

earlier

times
of

shed

poetic glamour
Nor had had the

the

which city,
Art

Tirso

calls the

Memphis
for

Castile."

spring of
school

creative

yet

run

dry, and

the Andalusian

capital
and

in her

of

paintinga

precious

giftstill in store
that time
her

Spain

humanity.
Seville banks
were was

also

city of pleasure. At

plainsand
than
at

river

laid out found

her

in

gardens

to

far greater

extent

present.
the

Navagero
and

still thinlypeopled,with is

manv

gardens
their

within

walls ; this Venetian orange

enrapturedwith
de

the

parks
the Vista.

and

quicksetcedar,
of Eden owed
the

myrtle hedges, and

and
to

with especially Buena

gardens
Yet

of the
more

Carthusians Nature than

St. Gerdnimo

they

to

Art, and stretched

far into the

country.
was

From

western

eminence,

where

begins

the
"

Ajarafe,a
the brush of readers the
or

prospect
of
the

commanded, which,
skilful

according to Rodrigo Caro, despair of reproducing."

the
avenues

most

painterwould places
as

For
or

Spanish
of

comedies
stream

such

alameda

of
the

Hercules,
son

margin
the

the of
;

planted
Calderon

with

by
Seville and

of

Columbus,

garden
adventure hundred

the

alcazar,become
tells Here

again
us,

animated

with
every

scenes

of romantic
witnesses
a

for, as

night
off

fresh

intrigues.
the
"

lived

was

carried Aleman the

by

the devil

Don

Juan Tenorio,
of

Sevillan

Scoffer."
of

Mateo

calls it the green

It

Mother the
to

Orphans
are

and

the

Refuge spoken
the

Sinners, while
as

halls

of

alcazar the

elsewhere and

of

the

School

of Love.
the

lay

close of

Exchange,
and

"here
no

of poetic descriptions seemed devotion

to to

gardens

Admetus

Alcinous

longer
from
boats

be

fables; it is the women's

mundane

Exchange" (Tirso). To
to
cross

pass

pleasures it
was

sufficed

the

bridge of
with

leadingto

the

Triana,which
houses,
the met,

the

foreignquarter,
streets.

laid out

beautiful
were

gardens, pretty always

by
the

and

well-kept
here

Here,
many

also,

the

gambling-houses and
were

posadas (inns),where
because their

distinguished guests
associate undisturbed freely, the

to

be

people could
Here

the

police or
churches the

neighbours.

were

workshops
shed

of
a

potters and
over

glassblowers,whose
and

widely spread productions

and also

lustre But

many

palaces of Spain
Heaven Moloch

Portugal.
claimed his victims.

besides

Queen

of

22

Velazquez.
and wit

read in the sixteenth with the of qualities

seventeenth

centuries. softness
was

Pacheco

credits his

verses

{agudcza)and
facetious Pacheco

(dulzura).
del Alcazar
a

Of these writers, the most

the he
**

Balthasar

(ob. 1606),
his

Martial
notes

of Seville."
of all the
some

confesses

that, like

Spanish Boswell, Amongst

took

poet'ssayings at
turned their

their interviews.
songs. the

are compositions

bold surprisingly

bacchanalian
attention
to

These

erudite

poets also
been

risingstage.
de

The
a

popular drama goldbeaterof composed

Menander" of Latin
and
some

had

founded
numerous

in Seville

in

1544

by Lope
secular
**

Rueda,

that Latin

and place, and

and religious de de

pieceshad
the

been

in

Spanish by Juan
Francisco
the

Malara,
Medina

Andalusian

(ob.

with jointly 1571),

At

(ob.1615),teacher
have been

Greek.
lines

request of PhilipIL he composed in Madrid

four

(1566)

for Titian's those

of

/urie.
de been

His

comedies

as

as forgotten completely

Gutierrez

Cetina

written (ob. 1560), of

in

prose
some

and

verse.

More

fortunate have

the dramas

Juan
to

de la

Cueva,

of which

stillhold their ground.

these writers
wrote
was

the pedantry of Still,

mainly confined
to

their
which

mythothey

logico-classical apparatus.
called themselves Damon

They
and

canzoni io ; but

each

other,in

Vandal

in their

dailyintercourse they They

to
were

betrayed none
men,

of the usual features of the humanists. in the full stream land and
sea, pray,

selfmade
could

moving
on no

of those

times. stirring

They by

fight,
Yet shows
men

command

attend mortifythe flesh,

affairs. public Pacheco German

they were
of
even

and Philistines,
reverse

the sketch

given of
common never

Herrera
to

characteristics the very letters.

"

of those

Italian and

He

detested

and hypocrisy, those the who

acceptedgiftsfrom
;

the great,

withdrawing
such

from

offered them

he

drank

no

wine, never
the

indulged in
where

gossip about
took

private life of others, and

avoided

places
them.'' for

place. He
they

disliked

beingcalled
the

poet, althoughhe

his polished

and compositions carefully,

consulted

friends before whom

he read

He

died

before

were

and published, del Alcazar much

they would
served the

have in Don

perished but
Alvar
as

Pacheco's

affection. Cetina

Balthasar
was

de Bazan's the

galleys, and

'*justas

quiver of
''

Mars

lyre of
the

Apollo."
pen, A
race or

"

Never,"
pen the such

maintained lance."
men was

Don

Quixote,

has

the

lance

blunted

the

type of
of
a

Argote

de

Molina
from

(1548-98), sprung
the conquerors years, he
were

from Cordova. in

ntatamoros

who

claimed

descent of
and
a

of

After

distinguished militarycareer
de

thirteen museum,

opened

his

house, Cal
mediaeval

Francos,an

armoury

where
his

depositedthe
Here
he

treasures Spanish literary

collected

during
which

travels.
was

began

historyof

the Andalusian

of nobility,

it

said that his

Literary
assertion
alone

Circles.
The

23
adorned
he
a

sufficed to attest

fact.

placewas by

with

logical mythothe from

subjectsand
services
of

of portraits Coello ; he

for which celebrities, here honoured

had

secured

Sanchez

was

visit friendly

Philip II.
Attention of
was

also

paid to
in odes

national

collections familyhistories, antiquities,

proverbs,
first

even

romances,

glosses,and
on

coplas. Heart-stirring songs Lepanto,on

Don

Herrera

gives us

the battle of Saint But

and

Sebastian's in his here

de

disastrous
sonnet
on

expeditionto Morocco, on
the abdication of Charles V. from inspiration of
or

Ferdinand,and
it is

Medrano

noteworthy that they

did

take their

the Psalms

the

Prophets,as

also Luis

Leon, greatest
Indifference

Spanish lyric poets.

aversion
as this,

from

ecclesiastical institutions humanistic

austere

was

no

teristic characde

feature of Castro

it was

of other

circles.
and

Archbishop

of (ob.1600), althougha prelate

as

character

strict religious

principles, appears antiquary Maestro

intimate Welcome the

the

Maecenas
de

of

paintersand
was

poets ; the Latinist and

Francisco
to

Medina

his secretary, offered honours

Rodrigo
and the
and

Caro

his

and associate,

Herrera

he in vain

preferment. musician,
licentiate
not

guests in the
de

archiepiscopal palace were

of

Guerrero
the
canon

painter Pablo

Cdspedes
best

Cordova, and

Pacheco

the (theuncle),

Latin

poet in Seville.
most ten

In this

it is capital

surprisingto
the

find the

pulpitorators
describes friar

numerously representedamongst
them
a

theologians. Pacheco
the Carmelite

celebrities, amongst
de

Christian

Demosthenes,
to the

Juan

Espinosa,for forty years

The hours between
resources

preacher
de

cultured

and

ecclesiastical circles.
his

Augustinian prior Pedro

he

Valderrama, divided
administrative executed wanted Him."
to

fourteen

working
in in

study,preaching,
undertook Seville.
one
*'

duties

and

building.
structures

Without

and

great monastic
build
houses

Malaga, Granada,
one

He

for

God

order

day

to

receive

from

Amongst

so

many

ascetics

and

eloquent preachers we

meet

only

one

profound scholar,Benito
To him
in

Arias

Montano

(born1498),
eleven

"

master

of Biblical

and thoroughlyacquainted with erudition,"

and living

dead

languages.

Philip II. Antwerp,

entrusted he

the

famous
hours

to regia) Polyglot Bible {Biblia

which,

devoted

eleven

of

dailywork,
due
the

and

which

was

printedin Plantin's
To Hernan

office there.
son

Colon,

of

Columbus,
the

was

idea patriotic
a

of

in perpetuityto bequeathing

city and

cathedral far

chapter

library of
he

twenty thousand
collected

volumes,
his travels

which, although
turned

from

wealthy,

had

during

throughout Europe.
also
on

In such

institutions discussion

the

were Arts; here^all

2 A

'

Velazquez.
the German visited
he

familiar with the de

sort

of copperplates

and

Italian schools. himself coins

Francisco
a

Medina

(ob.1615), who
and the
other

had

built Italy,

in the suburb and

of secular

where hermitage, memorials

besides collected, of persons

was

paintings,
times. Of
was

printedbooks
him
Pacheco

and

contemporary
a

paintersays:

^'He

not

only

connoisseur, but
choice
in

unrivalled and
far
most

in

explainingand
the most

Art works, estimating

in the

of the best
this

apt expressionsin the

refined

Spanish language,being

respect

to superior

{cultos) speakersof his time." opportunity to depict

But
even more pletely com-

Unlike battles of

the poets, the

no paintershad fortunately

giants and
the poets

romances

of

the

Psyche type.
the de

than favour

they

had
As

renounced Hernando

hitherto Hozes*

current

speech
in

in

of the

foreign idiom.
of the

held

that,since

the
the

introduction old

Tuscan

measures, had
so

everything hitherto composed

that few any and
now enlightenedspirits

Spanish metrical system reading,so

the

lost favour

longerthought it
talked of
to

worth

artists leading

the local Gothic

barbarism

swept

away de

by the first visitors

Siloe himself

Rome.

Even
as

the

Renaissance
a

style of Diego
transition. the
that

they accepted only

of
state
was

marking
Cervantes which
was

period of
remarked

Of

Jauregui'stranslation
was

the Aminta
as

reader

in a

happy
Tasso in ihem

of doubt

to

the

and original poems under

which

the version.

also said to have

to

kept

Herrera's
of the
on

his pillowin order So also

admire

lence the excel-

Spanish language.
the

worked Spanish painters

with

the
the

Italians

frescoes

of

Trinity
can

dei
a

Monti,
trace

the

and chancellery

vestibulum

of the Sixtine

Chapel, nor
them.

of national

Art

be detected

in the parts executed

Rome.

by

Some,
of

like Ruviales, settled

permanently in
full of

The

paintingsof
and banished from
tone to

the

leaders from

the

new

style in
could

Seville

are

borrowings
to

reminiscences

Italy.
in

Herrera

all expressions requires

be

which loftypoeticeffusions,
the

impart
Latin of

familiar,
poets
Italian

commonplace
became

thought; and foreign

way idioms the

fact the from

Spanish
the

of these and

overladen
In

with the
same

taken

languages.
Art in

rich

local

colouring
this

mediaeval We seek motives Utrecht

vanishes
vain
tones

from national

the

pictorial productions
and

of

period.

for

types
which

for locally distinctive characteristics, well

have

and
or

in works

might just as Velazquez

wane.

been

paintedin

Florence. Still in the

were

youth
had
*

of

these
a

stars

of the

ment firmaItalo-Spanish

alreadyon
taste

the
been

Quite
In

new,

yet fundamentallyan

older, already

national

awakened.

Calderon's

days

sonnets

Ticknor, Historyof Spanish Literature, i., 496.

Medieval

Art.

25
of

passed
memories

for

and old-fashioned,
and

he

could
*

speak

the

**now

slumbering

of Boscan

Garcilaso."

MEDiiEVAL On

Art.

enteringAndalusian
of
scene more

the territory

traveller's first impressionis that

change

has

taken

place.
North

The

prospect

is

more

coloured, more

animated,
been

more tuneful,

if the Spanish frontier had only now as cheerful,

the

crossed.

Nor

could
of

Spanish.conquering
nature.

races

escape
was

the

irresistible influence followed

used

this southern
in

The

re-conquest

closely
still for the

and by colonization,
sense

and Spanish poblacion

commune.

puebloare
was

terms

in the
to

of

township or
to be

Still time

needed

climate
,

tell on with

the character

and of the settlers,

still more

for the

painting
for the
planted trans-

introduced

the Church

transformed

to

perfectinstrument
the
it
new was

expressionof
their Asturian them
can

South

Spanish thought.
to

Doubtless

masters
even

had

magnificentlanguage
But
the crude

Andalusia,

said with

the

accent.

which artistic productions in this connection.

they brought with

We
are were

claim scarcely

consideration

seldom

scious con-

before Murillo's
in softer

epoch
warmer

and that features, figure colours

were

attitude

expressed

that lines,
so

here

or diffused,

that eastern Moors. reached its and

fancy

had

not, The

to say,

re-crossed

the Straits with

the

banished
rulers

great

architectural before

epoch

of

the

Arab

acme

scarcelyfifty years
years

their overthrow, and

for the hundred

fifty

Saint following of Church

to

Ferdinand's

Christian Conquest (1248),

Art lived in the

shade The

the

purified mosque
build in

1171),and (finished
well
as

its minaret
small

(1184-96).
and

occupiedthe largeas
a

the

numerous

mosques,

continued

Christian-Moorish

style. (tnudejar)
founded

The

Castilian

kings in the
Triana A

same

way

took up their quarters in the sumptuous the old lines. St. Ana,

royal Moorish
X.,
in

palace rebuilt
suburb

stillon is the

by

Alfonso

the

only important structure

stamp
was

built in the
to

northern mosques

style. by
the

northern

and of
a

Christian few
meagre

imparted
elements.

the

introduction barbaric

Gothic

The

extremely rude, halfArts. plastic be found in the

level of the

ornamental

statuary is explained by the fact that in

room a was

the Mohammedan Of the the

traditions

scarcely any
of this
the

left for the

trace

Art pictorial

period
Madonna.
the

dim

may

large

wall

painthigs of
in

Despite
Rocamador

both repainting, in

Virgen

del Coral

and St. Ildefonso's,

*

St. Lorenzo's, as

Que aunque
No Las Del
est^
en

uso,

hoy el dar un soneto dispertando

memorias. ya dormidas Boscan y Garcilaso.

Calderon,

Antes

que

todo

es

mi

dama,

i.

26
well the

Velazquez.
as

Antigua
time

of

the

cathedral,still betray their

century.
These the
rare

descent
monuments

from

the have

Gothic
at

paintingof
same

the

fourteenth

the

numerous

analogies in
there

large
the of

statues,

which

for

churches

of

this
In

style were
Seville
in

probably prepared by
exist
two statues

general contractors
the

themselves.

Madonna,
which
date

the

Virgen
the

de

las of

Batallas the

ivory,and

Virgen

de la To

Vega,
the

from also
its
to

time

Conqueror,
Alfonso

Ferdinand

III.

same

style
is indebted

of belongs the reliquary

first
a

X., the so-called Tablas

the

Alfonsinas.

For

monument sepulchral

of real artistic worth

it
was

cathedral of

northern

sculptor ;
Lorenzo followed

erected

to

the

memory

Archbishop Cervantes
boldest

(died 1457),by
Then conceived

Mercadante
the year

de

Bretafia.
one

in

140

of
"

the the

projects ever
of
a new

by

mediaeval

cathedral

chapter
from French

erection

Gothic execution

cathedral, of
attracted
and
taste
a

hitherto
stream

unrivalled
of
masters

magnitude
other

(1403-1508). Its
from Low
to
were

provinces and yield

to

abroad,
German
from

henceforth
and

the

Moorish The

and

began

influences.
The work of

painters on
Sanchez,
Danchart
to

glass

exclusively
the stalls Mercadante.

the

Netherlands. the

quaint
Nufro

and

partlybizarre
a

reliefs of

(1475-78), are
In the

discipleof
1482 and

giganticreredos,designed by
the the

in

completed
the

in

1526,
when

Italian

stylealready begins
Domenico whole Aleman. the latest

obtrude took the

itself towards

end,
The

Florentine
the

Alessandro

part in
in

the work.

finest Pedro

piece in
Fernandez

composition is

Pietk

the upper

part, by

According
most

to

researches,Pedro
chief but

Millan

stands

out

as

the

distinct
the

personality.His
in 151
in
1 ;

work,
the

no

doubt, perished with

del

the

fall of
statue

Cimborio Madonna thousand

are

Virgen

Pilar, is the
is

noblest
truest

of

the

Seville,while
in the

the Child

perhaps
In

the
a

of the Gothic

many
taste

bambinos
statues

Spanish
the
two

churches.
west

highly
of the

the he

adorning
the

doorways

cathedral.

But

supplied also
Santa is Paula.

models
a

for the

figuresof

Niculoso's
the

Robbia-portal in
Art and of three for The in

Such

remarkable for this

interminglingof

nations

both characteristic,

cosmopolitanemporium
is still

Spanish

Art

generally.
of

predominance

Netherlandish

elements

more

perceptible early
in

painting.
The

Flemish

oil process nowhere

no

is known
was

to
so

have

penetratednowhere
to

so

as

into

Spain;
from and

else

it

rapidlyassimilated
so numerous

the

national

taste, and

other

quarter

were

orders

received

Bruges

Antwerp.

Medieval
Thirteen
years

Art.
the Ghent executed
soon

27
Luis altar-piece the first de

after imitator

the of

completion of Jan
van

Dalmau,

earliest

Eyck,
He and
was

Spanish
Fernan

in oil-painting

Barcelona
and

(1445).
Salamanca,
Annunciation

followed

by

Gallegos in Juan
de is decorated

Zamora

somewhat in the former

later in Andalusia
mosque

by city
her

Cordova,
with the the

whose

of that

eastern

splendour.
entertained three Netherlandish Dierick Bouts

Isabella

Catholic

paintersat
the

Court,
in her

and

a Crucifixion, triptychby

is still preserved

royal chapel at Spain.

de with

Granada.

Other
we

Flemings
see

also

crossed
manner

Pyrenees painting,
In

and

settled in

In their works

the native

of

combined Palencia

Spanish types
Flandes with
not

and

costumes, buildingsand
the tables ; he high-altar
in

landscapes.
had of Isabella.

Juan
at
we

executed the master

previously
In

long

been

work

Miguel

the

service
a

Andalusia of the church

los

meet, if
at

Juan himself,at
the St.

all events remarkable

fellow-countryman eight pieces in

of St. Salvador
are now

school of the

Bruges,
of

painterof the John

at

the
de
at

Knights

Marchena.
the

Still later Francisco Church

Cobos, minister
founded

of Charles

V., enriched

Ubeda,
the

with by himself,

six Flemish

which triptychs,

in

sacristy.
The

discovery in 1878
of

of

well

attested
de

reredos

in it

the Church

of St. the

Julian at Seville, by Juan

school
true

Sanchez
its

Castro, makes
in
a

probable that impulse.

Seville

itself had

beginning

Flemish

With

had foresight Stirling-Maxwell of

already called this' artist the

authorities
means

Morning
ness correct-

Star

the

school. term;

Recently
but
a

some

have

questionedthe
more

of line
of

this

school

nothing
influences

than the
same

an

unbroken
town
or

artists

working
no means

under
an

common

in

and district,

by

unmixed

pedigree.
been from
to

Before
to

the

discovery of
to

Sanchez the

it

would,
a

at

all

events, have
school of Art

rash

attempt

determine
whose

stages of
is

Sevillan

scattered
remote

monuments,
lands. Peter
as

origin
To Sanchez
from

partly doubtful, partly

from have that
must

referable
the

judge
the

triptychof
his
same

Madonna

with well his

and his

Jerome,

derived
At the

oil

technique as
between

naturalism

Flemings.
and

time

clumsy drawing and

is

the His

accuracy St.

delicacyof
the

his

prototypes
church
we

the

interval

considerable.

Christopher in
the

same

{1484) may
a

still be

recognized,
brow,
and

despite
full

repainting.
a

Here

have

hard, curly-haired, peasant's

narrow

head, perhaps

Guadalquiver boatman,
round beard
come

with
and

skull,low

occiput, large and

and

black
and
to

eyes

arched
A

bones eyebrows, large cheek-

thin lips, has also

receding chin. light in

the

by piece,the Burial, Cepero Gallery.

his

son,

Pedro,

Lopez

The

28
disconsolate Piet^
in

Velazquez.
the

Sacristyde
works of

los

CdliceSy by Juan Nuftez,probably

Nether-rhinish imitators St.
in

his son-in-law,rivals the

the

of Dierick

Bouts, in
the

its

dry painstakingand
his

ascetic in St

severity. The
Anne's

Bartholomew,
the cathedral

central
a

figure of
and

reredos

Chapel
of
a

(1504),is
black
the beard

thorough Spanish monk,

hair, and smugglers
conquest
and

with
a man

heroic

features,full
the
man

flowing
came

fieryglance,
of

stock
who

whence may

the conquistadores,
the

toreros,
Granada.

have

wielded The

sword

at

the

impulse to
of

master

the outward and

phenomena,
did
not

the

after straining
very

closer imitation
the age.

the whole the

all its details influence

an

lay in

the

culture

of
to

Assuredly epoch

northern it to

give
extent.

this

tendency

Spanish Art, but

In this

it furthered appears
a

incalculable
many

personalityin nothing Jerome

to

respects distinct,Alejo except

that in 1508
reredos. he

Fernandez, although of
was

his life

is known

summoned

from

Cordova

paint and
in

gild the great

the Convent
of

His

chief work

in Cordova, the St.

a

St. Martha, has

be

but disappeared,
at
name

survival
the

of his

early period may

Peter,
now

perhaps
museum.
came

the
From

Christ
the he

the

Pillar with of his

to

Penitent

in

the

brother been

Jorge
a

Fernandez German.
preserves

Aleman,

who

with

him,

appears

have

Low

The from of the

the

Cathedral
life of

of

Seville The

four
at

of
the
"

his

lai^e pieces,scenes
Gate,
dark

Mary:
and

Meeting
in the
in

Golden the

the

Birth

Christ, the

Presentation the

Temple

in

sacristy near

high altar;
Earlier

Epiphany,
in them been

the

large sacristy; all works

German the

unique
while school declared
studied the

of their kind.*
observers

detected

the

manera

alemana,

or

style,
Seville
to

Germans

themselves
bold
**

have of the

recentlyreminded
the

of

Florentine in

by
to

the be

flow

draperies; now
To
me

figuresare
seems

purely Spanish."
influences.
to
a

this Fernandez traits

are

have

under

Flemish

Flemish
every

the

and colouring,

honest
but

adherence
not

Nature
certain

in

already free detail,

The of the Birth
her

from

ness, petti-

without

stiff*rigid harshness.
coif

pale maiden, Christ)

But
seems

with
to

the
have

green

gold-embroidered
him from Madonna those

(in

accompanied
this friction of
to

Antwerp

; in her

bearing features,
in

and

side

glance

cannot

deny
groups

pedigree.
artists,the
and
more

the has

intellectual conformed
world
"

motley

of
more

painter
to

the south.

local
The

taste, and
vistas

yielded

the which

new

of

the

through
afforded
room

arched
of
set

halls,before

his
the

An

opportunitywas they
were

for the

first time
to

inspectingthese
apart for repairs.

picturesin

year

1882, when

removed

the

30
ages

Velazquez.
in

statuary

and

painting
is

before

Michael
says

Angelo
is not

was

pronounced
art
or

"abominable."
is spirit, in called

"Whatever Flemish." The

ugly/'
name

Pacheco,

"without
even

of Fernandez
nch

mentioned Pablo
old

Pacheco's

work, otherwise
shows that
a

so warm

in

personal references.
of Fernandez
and his him

de

Cdspedes, also, who

Art, considers
was

archceological feeling for

merit wood
was

tian Chris-

the
and

chief

compeers the

their skill in
were

gilding
"

painting
from

carvings.
to

For

old

times of
our

only

the

ashes

which

spring

the

Phoenix

day."
The Mannerists.
into Seville

The sixteenth

Renaissance

was

ushered
that time

during

the firstdecade
was

of the

century.

At

Michael

the

Florentine

occupied with Francisco,from Fadrique

richest

Archbishop
was Pisa,

Mendoza's

monument terra-cottas

(1509),while
in the Robbia the
monuments

Niculoso
1

turningout bespoke
of the

style. In
of
his

5 19 Don

de

Rivera

in

Genoa

parents, the
But
in

example
decade Riafto
we

Italian

sepulchral style
the with

in

Spain.
the

the

third
de

already meet
his this

plateresque style of
those

Spaniard Diego
and
a

and

associates,treated

perfect mastery
sumptuous great

stamp

of

individuaUty. To
decorated with

period belong

buildingsso
and sacristy,

richly
the

sculptures,the
middle Italian
of

townhall, the

royal chapel.
But
not

till the

the

century

do

we

meet

with

groups the

of

paintersof
About The the
new

the pure
same era

school,who
somewhat

break
their

completely with
in
and where Castile,

past.

time

the Jesuits made

dawned

appearance

in Seville

(1554).
Alonso
are

had

earlier 1520,

Berruguete,who
described still held So in
had
as

returned

from

Italy in
who

Caspar
the

Becerra

"the

extraordinary men,
there."

banished

barbarism

that

its

ground
the

wrote, in
on

1585, Juan de Arphe

great
monstrance.

when Villafafte,

he

was

engaged
extraction^
of the

Seville
for

His

family,of
the
to

German

three

generations
of

been

occupied with
free scope Gothic
late

work goldsmiths'

great cathedrals
three

Spain, giving
"

their inventive the

facultyin
the

successive
and

styles
the

the

German,
the

of plateresque

Renaissance,
The de

neo-classic.
group

last of the

Arphe
and

broke

with

styleof Diego picturesque

to

Siloe and

Covarrubias,of
Bramante Thus these
as

whom

the latter, although said

never

have

been

inspiredby
or

Alberti, could
which

quite forget the modem,

not

Gothic.
be

works,
of
a

did certainly

lack

unity, came
statements

to

stigmatized

mixed

style (mezcla),Arphe's

The

Mannerists.
down
to

31
Escorial

regarding the changes

until

of

taste

the

style were

accepted
three

the present century.

This books

"Spanish

Cellini's" didactic poem, the

Varia

Comensuracion^in

(1585),became

gospel of aspiresto
culminated

the

Spanish cinquecento,preaching
and arbitrary
the
to

the rigorous regularity,

eschewing
He

of the

phantastic, sobriety
the the
vessels

in the ornamentation. human

teach down

from right proportions, the

sacred

figureand
whose his

architectural works

of

Church,
were

splendour
of

in those

giganticmonstrances
became

which

best family's

title to fame.^

The

study

proportionand
a

of

the

nude

the

guiding

star

of

^
J

painting ; the
had

beautiful became from

function of numbers.
the

Alonso ancients
"

Berruguete
ten

brought

Italythe perfectproportionsof figure. He

Becerra, who
; and who
at

facehe
was

lengths to
Trinity

the whole

first met worked

also

with

opposition;but
the

supported by Caspar
dei Monti
de

had had

with Vasari

in the chancel

of

in Rome Valverde's

prepared in Rome
artists flocked
and life,
to

drawings
and

for Dr. Juan This

was

Anatomy (1554).
the
a

the

lime

when

Spanish

Rome

Florence, where
settled "All

they spent

part of

their

even occasionally

permanently.
the

painting, produced by Spain in sculpture and Mute,' Master Campafta, Vargas pride Berruguete, Becerra, Machuca, the
great
men
'

of

our

after passing the city,

more

best

of their life in incredible efforts in leave

out

Italy,

strivingwith
of and

than the

human way

to spirit

behind

an

eternal

memorial

themselves, chose
their school."^ And Pablo him de
also

pointed

by

Michael

Angelo, Raphael, Prometheus,

had
never

Buonarotti Cespedes glorified

to

as

the

new

comparing
before
been

Pindar

grace

such
never

as

that

of
be

Raphael
seen

seen,

he

thought,and

would

again
so itself,

Correggio's

brought down figures seemed fain mxist yield to his." He

masters,
"

from

heaven
also

that
the

"every brush Zuccari, his

But Michael

doubtless the
of

calls

both

true

of depositaries

treasures

of

this

Art."

Angelo
little

is still the great

in all three and less

luminary

the

globe,far
sits not
at

the excelling his

ancients,

peerless

arts, and

"whoso

feet shall

acquire

vigour

grace."
properly the
But vessel word the
not

"

The up

monstrance to

is

in which is used where

the

host
as

is fixed

when vertically for the

more

held
or

public adoration,
under lock and

the
on

here,
the
to

elsewhere,

less is

conspicuous "tabernacles" kept

are

altar

monstrance

itself with

the

host nacles
"

key when

exhibited

the
"

congregation. These

taber

sometimes

very

large and
1.

sumptuous

objects. Translator.

Pacheco, El Arte i., 41

32
Nevertheless
on

Velazquez.
the first introduction
appear
on

of the
scene

new

stylemore
Seville. The

foreigners,
northern
were now

mainly
followed
this
manner.

Netherlanders,

the
carvers

in the
same

and stonecutters, glass painters,

of the

Gothic

period
But

by

stream

of

paintersfrom
from 1534,
church ; in

region.
de

even

before Italian de

irruptionsome
For
had many

painters on
years,

glass had
Arnao

already adopted
Flandes pompous
and

the

Arnao

Vergara
full of
detected

supplied the great

Italian of

windows,
the

compositions
be

figuresafter
for

models

Lazarus,
well

for instance,may

the influence

Sebastian

del

Piombo.
as

But

varietyof subjects and

the

as styles,

execution, all
as

were

eclipsed by Campafta
eighth
in

Brussels

artist Peeter

de

Kempeneer,
Pacheco,
those

known
he

Maese in his

Pedro

Seville,where, according to
in

died

ninetystyle,
as a

year,

1588.

He

was

one

of

who, after passing through

their native

schools, during their painterof

1530.
"

Italian travels
circumstances.
at

developed an
He the

individual

constantlymodified
decorative

according to
the Then he

first appears Charles

V.

triumphal arch
studied the

entry of
Pacheco of his old

into

Bologna,in
many
so

and antique, None the

still possessed adhered But

in

of his

learned

pen-and-inkdrawings."
the of the

successors

in closely, especially reredos whose

of the

draperies,to
Mariscal of the that

statues.

his

the masterpiece, of
^'

we (1553),

recognize a deep study

so near.

Raphael, to
Presentation
of the his

lines few in Virgin,"

school

approached
a

The of the

Mariscal
was

Chapel, is
that
to

monument

culture

beautiful

by which

Art

at true

time

dominated. of

Of Don

native

gifts he
and his

remained

most

the Art
are

portraiture, by
the inferior

Pedro

Caballero

familyin

the

Predella

still admired

Spaniards as types
to Holbein

of the
of

genuine old

Castilian

nobility.Although
of delicacy

in firmness

touch,in greatness and

alone
he

characterization,
in

they far surpass

the

everythingelse produced
of

in Seville is

during that century

the Sevillans the

development
At

portraiture.Here
in Santa

thoroughlysatisfactory.
in

the

same

time

Campafta appealed most

Cruz
are

to effectively

his

Descent

of

the Cross

in (1548),

which

old Flemish In the

true

severityand
German of his
of

Michaelangelesqueforms spirithe
is
more

blended. peculiarly assimilated than the

cosmopolitan

has

here

the ascetic sentiment In the

course

neighbours;
well for

he

Spanish
also

Spaniards.

four-and-twenty years
as as

he

paintedaltar-screens
the local Art
and

for other Andalusian

towns,

and Carmona, Ecija, the

in the Cathedral

of Cordova.

in Nevertheless,

opinionof
to
"

critics, something of the dry

Flemish

style still clung

Campafta
the that is,

lacked the "good manner" "Romano-Florentine"

fellow-countrymen. They of the free, broad,animated outlines

"

his

school.

This

school

has

its

analogy

in

contemporary

The
its literature;
source

Mannerists.
with

33
and simplicity

is

Raphael
himself

his divine it from

incomparable
"

majesty ;
This
'*

but

Raphael

learnt

Buonarroti,the
Luis de

Father

of

Painting," superhuman
buena
manera

in the nude.
was

brought
entered

from

Italy by
with the

Vargas,

the

who Light of Painting,"

had "His did

Rome

hordes
was

of the Constable
fresco

of
a

Bourbon,

in

1527. which

greatest giftto
not

Seville

painting,"
His mural
traces

gift, however,

pass

to

second

generation.
a

paintingshave
"

for unfortunately,

the most the

part, perished, only

few

surviving of the
for

colossal

figureson
and

Giralda, figureswhich
"

at

that time
the

grandeur
of that he

of drawing

of expression passed nobility

for

chief

ornament

the

city.

His

Last

Judgment,

in

the

Casa

de

Misericordia,

shows

over-estimated

his powers,

this indifferent botchwork

being

comparable to scarcely
His

similar essays
the

of the Italianized he
the

Flemings.
himself
as a

Shepherds
in

in

cathedral, where

still describes
most

tyro {Tunc
and under is rich

1555),is nevertheless discebantf reallybeautiful

to

free from

mannerism,

and

noble of

heads, possibly because

Rome.
to

painted
may

his
been

still fresh

reminiscences the scope

But
sensuous

Vargas'
beauty

success

have
names.

partlydue
At the
same

he gave attitudes
his

under
are

mystic
and

time

his

and

expression
crowded. in

cold His

his features artificial,

who Villegas, also

borrowed,

compositions
as

pupil,
in

imitated
a

Raphael's bambinos,
reflex of the
master.

the

Holy Family
in

St. Lorenzo, is but The General

a

weak

reader

alreadysurmises

what

kind of masters

are

here

question.

regularforms, indifferent
to

meaningless faces, postures disposed with

arrangement

view

display anatomical
to obtain

the knowledge, foreshortenings, difficult In

in space

calculated of the

problems
the

in Low

ordination complete subperspective,

colouring.
attract to

Italyand

Countries

many

of these what

works their

would

fail to

and attention,

it is difficult to
"

understand
of

contemporariesfound noteworthy
on or original,

admire

in these
every which

restorers

"

painting.
was

It is further Italian
to

that almost

importantwork
the Ghisi

based

on

an

the

by copperplate
Marc

its composition was

were

transplanted
known and

Spain.

The

engravingsof
mentions

Antonio of the

and

well

and Lucas

popular ; Pacheco
A somewhat

the works
that

Wierix, EgidiusSadeler

Kilian,while C^spedes tells us

later de and

after Spranger were plates artist He

was was

spread broadcast.
the in

remarkable f)ersonally
"

Cordovan

prebendary, Pablo
first time who Italian,
far and
more

C^spedes (1538
years in
close

1618).
Malaga
and

twice
de

Rome,

the
an

for

seven

intimacy with
the

Cesar

Arbasia,

later executed

frescoes in

Cordova, works
broad

displaying
space

invention
those

and

in character, especially

effects of

than light,

of his

Spanish contemporaries.
3

34
The second
time

Velazquez.
Cdspedes
went
as

friend and

supporter of the unfortunate

on

Archbishop Carranza, probably by

the way

accused

of

heresy, and
devoted Art

his return with

to
an

got

ordained,
in the

of
and

precaution.
and Araceli,
and

He

helped Zuccaro
himself
treasures

the

frescoes

Trinity dei Monti

intelligent study of
The
name

Christian antique. and and

modern
man

in Rome.

of this

learned
earnest

highlycultured
sonorous

is most
a

favourablyknown
on

by

the

genuinely

strophesof
that

pqem

painting.
we

The

fragments rescued
his

by

Pacheco in the

suffice to show

in this work In he painting

have

lost the best didactic

temporaries con-

poem

Spanish language. by
such features
as

is

from distinguished

heroic figures, dignityof attitude, powerful, But he seldom realizes his

own

vigourand depth in conceptions, as,

in the

colour and shade.

spiritual Chapel
books

for instance,in the of Cordova. tell

one us

in Holy Conversation, who

was
"

St. Ann's from

Cathedral

Those that he

draw
the

their

judgments
"

will best that four

probably further
manner

great imitator of Correggio's

and
. . .

of the first colourists in will say that his

Spain

(Pacheco). Those
Seville

only use

their eyes
in the

largepiecesin Cordova,
Madrid
and

(the
His

ies Allegoi
more

and chapter-house), its

(Academy)
wearisome
which in Rome

exhibit

Roman

influence

in especially the
'*

far-fetched manner"

aspects.
had

stumbling-blockwas
him.
and

grand

with

bewitched

His faces

deep

studies

in this

atmosphere resulted
with
not

meaninglessgestures
conscientious
not

artistically grouped,
of Nature.
to
"

and dreary generalities

avoidance It is

Do head

you

know

that the

need portrait

be like ?
was so

enough
at

make

according to
on a

rules

of Art."

He

annoyed
he

the

praise bestowed

splendidvase

in his Last had

Supper

that

effaced it, perhaps conscious

a

that the

thoughtlessadmirer

unwittingly
weak

uttered

bitter truth.

C^spedes
aspects.
culture

shows

us

these
were

in Spanish cinquecentisti

their strong and ideal

Their

studies and

thorough
But for
time

and

their scientific,

their lofty,
devoted
to

universal

refined.
no

their whole
a

energies were

leaving them generalities,

their physiognomies, and pretentious,
was

glance at

the realities of life. all borrowed, of Nature.

Their

mimic

Art, their groupings were

part without
a

artificial,
home

for the most

breath
national

Their

Rome,

and

they thus
a

failed to grasp

the

spirit.To
of the of

vers later obser-

they appeared in
of

higher lightas they were

the associates

glorious epoch
an

Charles
was was

V.,

and

in truth

well suited for the Court and

emperor ;

who
who

surrounded

German by Italian,

and Spanish captains

statesmen
were

ubiquitousin his world-wide

and under Garcilaso, whom and itself,

dominions, in
Machuca

whose

suite

the

poets Boscan

planted a heavy
from him.

sance Renaisthat

palace in the Alhambra

the decorative

Berrugueteplayed such pranks

named

styleof the period has

been

The
Still symptoms manner"
met
are

Mannerists.
that
even

35

not

wanting

from

contemporariesthe
of commissions

"

good
ferently indif-

with

but

qualified approval.

Accounts

in Valladolid, executed, Berruguete'squarrel with the Benedictines troubles with the chapterof Toledo,the spiritual El Cireco's to prepare retreats

for their work pagan

hearts

"

all went of

to

show
not

that

the

artists

returningfrom

the

semito

schools of their this

Italycould

without

much

effort find their way

the

fellow-countrymen.
those
names

To
some

period belong
as

which

have

become in

as

famous

for

imperishableworks
Art.
de

for eccentricities
and

unexampled

the

historyof
reredos,

modem

Bemiguete's grimaces
caoutchouc

convulsions

in the St. Benito

Juan

Juni's uncouth ghosts and

distortions,Morales'
forms
"

El vampire figures, frightful last in countless and

taste
was

Greco's show
and may
overcome

these

repetitions
"

how how

rapidlytheir stock of readily they could

have

acquiredknowledge
upon the

exhausted,

trade

of simplicity

their

public. They
of this sort
to

also possibly

endeavoured

by powerful attractions style.

of the ItaUans
sooner or

the indifference shown while under the

for their learned

But

depressinginfluence
reaction
to
was a sure

they lost
to set

all

sense

of the national

the spirit,

later

in,which

led in the seventeenth

de the

century

revival

of the

Spanish feeling. Felipe

imitation
as

Guevara, a contemporary
bane
At of

of Charles

V.,

had

alreadyindicated
rested

Spanish
of

talent. sixteenth

the

close of the
a

century this vapid Art

as

only

on

the

weak The
best

shoulders

few
of

laggards,such periodwas
were

Pacheco
tomb

and

Alonso

Vazquez.
which
In the this
a

last achievement

the

the

of

in PhilipII.,

features of the
structure

three the
was

Arts

with displayed jointly

were

poetry.

ambitious young
the
a

best

statues to

executed

by

Martines form

Montanes,

who sculptor, school

sense a

destined the next

and
a

transmit

under

another and

of the spirit

moribund

to

century.

His

groups

breathing figures,
monotonous,

classical

of form
new a

pensive earnestness,

if somewhat Italian

still exhibited the

and

national charm

foreignto the
combined

stylethrough gold.

of application

in oil colours brightpainting

with

Juan

de

las

Roelas
died

(Born
The
chief

about

1558;

1625).

energy

of

this

not

appreciatedpainter,who yet sufficiently

in Seville of Flemish

according to Palomino, was

in the first two decades
"

born

parents,
He gave

was

displayed
Bermudez
and
position com-

of the seventeenth he understood the

century.
laws of

Cean

the

impression that
better than

draughtsmanship
be
more

any

other Andalusian."

It would

to

the

point to

36
say

Velazquez.
that he
was

the

first real His

painterthat
in the

the sixteenth

century
are

had

given

birth to in that and

works of

region.
his survive his

beginnings and

earlydevelopment
to
"

obscure,

conceived

characterless, frostystyle of the

the
refined
taste

mannerists.
of the artists

But

known

masterpieces appeared even

to
was

of the

last century

be

by distinguished
the first to combine

Venetian naturalism

ing, colourwith

great vigour and

grace."
elements the

He

mysticism,the
to

two

whose
next
a"

fusion

imparted
But

its

special character
appears Yet
to

the

Sevillan

of painting in

generation.
was

this in

stylehe Italy.

have

acquired later
Flemish

life, and,
and
to

said,of
is
a

course

in his

forms,in
and

his sentiment
way, and

techniquethere
this

blend peculiar

of the
be

Spanish
due his

foreigningredientmay
elements every of

perhaps
devotion him
in
a

lack of full He

recognition.
all the

handled
and

popular
almost
times but
some

Spanish
broad

with
new

rare

invention He
some

great

success,

pieceshowing
Teutonic

aspect

gives us
of
an

at sturdy,

coarse,

and figures
a

well-nurtured

faces,

Andalusian

also of

cast.

His

subjectsare
the and

full of life, pervaded

solemn
even

by

an

alike cheerfulness, irrepressible

scenes

displayed in

events

of

Scripture, the familiar

His round

of

the

Holy Family,
and

in

paintingsof martyrs.
country

angelic choirs, fair, blooming,

white shoulders The often full arms,

roseare

crowned

maidens,

with and

intoxicated with his precursors,

as

music, light,
as

festive joy.

grim
of

asceticism

of

well

as

the

sober, timid
before

earnestness

successors

such

Zurbaran

and of
our

other

laymen, pale
Roelas

the

thoroughly
first Sevillan
of and

Rubens-like

cheerfulness

clerical artist.

But,

what

is most he

important,
even

was

the

painter in
His

chiaroscuro, which
system
and is

made

the characteristic feature banishes

the gray,

his Art. black

quite peculiar. He
the chief in figures

brown,

shades,
blue

models

warm

tone, either
as as scene

yellowishor reddish, with deep crimson,

a warm or

vivid, saturated,transparent colours,such

violet,
now

orange,
a

in then

the he

direct breaks

play
flood the

of

now light,

silhouette in
with
a

tone halfmiddle clouds.

; and

through
of

the

broad

sunlit

distance,over
In
his

against a

heavenly lightburstingthrough the

cast

chiaroscuro, in
as

grand
a

of

his

which figures,

are

crowded the

forward softness
for akin

if in too the

confined

space, recalls

in his rather

in draperies, simpledignified the school of

of

flesh tints,he

Parma, Schidone
somewhat

instance.
to

Only
northern

his

genial, national,unaffected

is simplicity

the

spirit. works, the

But, strange
four Scenes
he
to

Roelas'

earliest dated
in

in the

Life of

the
a

Virgin,
trace

paintedin 1603
his

where Olivares,

held say,

have living, the

same

scarcely

of

peculiar manner.

remark

appliesto

his

38
copperplate engravers.
a

Velazquez.
The
a

child

Mary, on

her mother

Anna's

lap,studying
the

miniature

codex,

in

dress and star-bespangled sky-blue,

littlegold crown,

roses,

and fruits,

with forget-me-nots,

sweetmeats,
for him

on

the
censure

sideboard, is
of the

work
and

(now

in the

museum)
He

which calls

earned

the the

bigoted lacking

jealous Pacheco.

it skilful in

colouring,but

decorum But

(ii., 198).
Roelas' and masterpiece, the best
the

paintingproduced
reredos of

in Seville before

Murillo, is the central piece in

Church. University) It would
be

grand

the

Jesuits'(now
it is

but for its p)erfect

into

complex character,for
one.

reallycomprises (\vc separate subjectsrolled

a

Still the
in
a

Mary

embodiment delightful

of tender, dignified womanhood, of

some

liquidgolden
of

tone

suggestive
To form

more

of

Rembrandt's

female

than portraits

Titian.
an

adequate idea day.

Here
the

of

Roelas*

inventive

powers

and de

execution Barrameda
nine above

one on

should
a

visit the Church

of the Barefoot
are over a

Friars in San
dozen

Lucar

brightsunny

of his

works,
the

the the

high altar,treating legendsof

;
a

most

diverse

subjectsfrom
are a

Gospels

and

the saints.

Amongst

them

ing Baptistof manly beauty preachhis fate ;

;
a a

youthful St.
surrounded
to

Laurence

joyfullyresignedto
a

powerful

dead

Christ
her

by angels ;
headsman
went to ;
a

lovely Madonna Agnes

and
over

St. Catharine

bending

neck

the

St.

and

other

martyrs. post of painter

In 161 5 Roelas
to

Madrid

competed for the vacant

in
at

the

king.

But

he

was

passed

favour

of the wretched the chief

to

portraitist

Bartolom^ the Court

Gouzalez, portraiturebeing painters. Of

Roelas
no

that time
known

occupation of

are portraits

exist.

Francisco

de

IIerrera

(1576" 1656).
While Roelas
seems

to

have

at

all times

been and
a

caviar

to the

the general,

versatile Herrera and

the

oil elder,architect, fresco,

etcher distemper painter,

copperplate

engraver,

is

apparently still
time of

popular
a style,

favourite. rdle which

"

The
seems

Spaniards regard
to

him

as

the creator
in the
"

of their national

have

been

firstdiscovered

Raphael Mengs.
threw created

He

was

the

first," says
to

Cean
our

Bermudez,

who

in Andalusia

off that timid manner,

a new

which

paintershad
Fomidun

so

long adhered, and

Hence
his

style which

reveals

the

of spirit

the nation."
nuevo

in portrait

the Biblioteca Colombina created

bears the
a new

legend :

del esfilo proprio

genionacional (" He
this

style adapted to

the national

genius").

Then

clue \vas

followed

Francisco
up

de

Herrera.
"Not
a

39
of Italian imitation, no

by

critics at second
to

hand,

as

thus:
"

trace
"

concession school
a

the Art
was

of the past ; the

and

again :
'

The

emancipation of
in

the

of

Seville

thought of

his life."

Even

his

youth already
naturalist from

wild

he misanthropist,
scorn

educated

himself

in solitude, a pure

the first, full of In the latest

for the

narrow,

petty theories of the school of Vargas.

like titamCf genius^marvel
"

of history

the school terms about.*

^nd

Michael
"

Angela
vigour
We have with

are

stillfreely bandied
"

He

alreadycontains
rude first who
there

all in himself

Caro Velazquez,Murillo,
and

althoughin
He
was

somewhat
the

form, but stillwith

threw

the

stamp

of

genius.

open

the

gates of naturalism."

begin to
to

understand
at

this bias when easel.

"

we

read

how

Herrera
reeds

is said to and

gone
a

work

the

He

drew

with

charred
the

painted
who
he

brush. house-painter's
had

Once the
and

when
canvas

left in

lurch
a

by

his

as pupils,

occasionally happened, he
daubed worked This
it
over

prepared by
and

housemaid,

with

besoms

brooms,

before

the

paintwas
"

dry,

in his

and figures of

draperies." patriarchof
of the
man. own our

sketch
the

the

modern For

*'

impressionists may
Palomino the
and

be
was

completed by
so

character and

according to
children entered
"

he

stern, harsh
as

ruthless
on

that his His

fled from
a

paternal
his
son

roof

from
went

hell

earth.

daughter
him
"

convent,

Francis

to

Italy, taking with

6,000 pesos

His (dollars).

skill at

and escaped from justice by takingrefuge engraving he misappliedto coining, he for in the Jesuits' which of St. College paintedthe altar-piece. Hermenegild, When

PhilipIV.
the skill should

visited this church

in

1624
him

he heard
*'

of the occurrence,
man

and
so

sending for
much

thus delinquent
not

addressed What
a as

The

who of

possesses

misapply it. only beware

of

need

is there

gold

and

silver ?

Go

! You

are now

free ;
to

of

relapse."
his greatest work, the Last in
a

Coming
in the
must not

what

is vaunted St.

Judgment
he

parish church
have
been

Bernardo, although
his element,
we

subject of this sort

in entirely his

feel ourselves

disenchanted, if

to altogether

disadvantage.
is the the

Here

the chief group the

Heavenly Assembly, Judge

the in the
centre.

large semicircle
But

in

the

styleof
held up

Disputa,with

His

right hand

is

the saved, while blessing of that wrath

left encircles

the

Cross, the expression

as

showing nothing
seems

of Buonarroti, which, the

even

Pacheco
is the

remarks,

eager of

to

destroy and
Court
Gazette Narciso

consume

universe.

He

gentle Son
to
one

of Man In the

Raphael's creed,
we

shown
at
once

in the

head

inclined

side. the

Heavenly
* "

recognize Roelas' Pentecost, only

dcs

Beaux-arts^ 1859,iii"169 et seq. Sentenach, La Pintura in Seinlla, 1885.

40
shadows
are

Velazquez.
darker,
and
the

glance
at

more

strained, the
but trivial, all
never a

types

more

varied,

always vigorous
them
are some

true,

times

vulgar. Amongst
certain in

strikingheads, while
of their
makes the eager

betray
as

individuality.
on

The

deep

earnestness

gaze,

all

hang

suspense
as

the
were

Judge
On

of the

world,

stillness of this awful

moment

it

visible. the other

"

hand
a

the group

lower

portion is disposed
sinners ranks

of

somewhat

more

summarily
the

to

the left

of wretched

and

devils ; to the
summons.

right

ekvt

marshalled the

like

soldiers in serried

awaiting the
Michael

In front stands

tall, knightly,somewhat
most

St. prosaic

with

uplifted

the sword, altogether

prominent
Bermudez

of this figure

throwing the rest section,

art

into the
the

background.
of the

Cean

praises

*'

the

of the the

composition,

contrasts

figures,the well-balanced

groups,

elevated, philosophic

expressions."
The
and colouring The
a

chiaroscuro

are

those

of

Roelas, only somewhat

left divides the
vast
more

more

vigorous.
and less

light penetratingfrom
outline
to

the

tableau

gives
Several

sharper
out

the

figures;the colouringis
executed in

pasty,

softened,eked
other

with

brown

touches. the
same

remarkable

paintingsare

style.
idea

Such almost
of

is the

hitherto

neglected St. Ignatiusin the University, breathingthe

of the Herrera
the

fanatical devotion

pious Spaniard. These

established universal

works

give an
as

the manner,
assures

by

which
'*

his

and, reputation
of all competent

Jusepe judge."
seemed

Martinez To

as,

earned

esteem

to

Herrera's Palomino, his oldest biographer{Museo iii., 314),

and
to be

Art

with powerfuldrawing quiteItalian, The truth would

came

vigorouschiaroscuro.
that Herrera derived his

therefore
to

seem

stylefrom
was

Roelas, who

Seville,and

attained
no

when perfection
one

the former teacher and

in his thirtieth
but

year

(1607).
agree

Doubtless

calls them

pupil;
was

how

far
to

they
Herrera

is shown such
an

by

the fact that

Roelas'

Pentecost

assigned

by

experienced critic as
him

Bermudez.

There

is

in Herrera nothingspecial

except his temperament.

gave
as self-confidence, soon as

But

accordingas
to

success
a

he

knew

his public,he revealed all bounds fresco He

be

nature

impatient of
executed

all

and restraint,

graduallyfelt
home

irksome

shackles.
he

Perhaps
some

he

felt

more

at

in the

in which technique,

works

that have
seems

long perished.
hit upon
a

also

essayed a simpler process.

in the
case
manner

At

first he

to

have

chiaroscuro
works
masses

of
was

Caravaggio,possiblywithout
the

having seen proof

he of

his

in any
of

he

first who

in Seville

applied the
A

abrupt
this is

shade Pentecost

peculiar
in the

to

the

Italian naturalists.

the

large

which Lopez Cepero collection,

exception-

Francisco ally signed

and

de

Herrera.
work in that
manner

41

dated,

as

if

fearinga

might

not

be

recognized as his.^
From
a

Palomino
in his
case

it was

known

that at first Herrera

a

paintedgenre
towards
be
to

subjects,
tavern

taste

associated Such have

with

characteristic
are no

tendency longer
the

and

gypsy

life.

profane

scenes

found

in

Spain, where
Herrera's
of

they
so

disappeared in
Musician
in
"

the

region of
Czernin's
man

unknown.
a

Yet work

Art is
"

that it has been striking Blind

to possible

recover

notable

this class

the

Count
old

Vienna collection, rustic lyre {lira

(No. 64). holdinghis

head of

The
as

are figures

half-length an
amongst
the

playinga

such rusticd)

is still found hat towards

with
a

the

Savoyards, his
movements

youthfulguide
his brown under his many

slouched

whose wayfarers,

goggle-eyes follow
thick
and and Dutch

half-furtive glance from half-plaintive,

It is in in quite-

black

hair.

his
and

pasty manner,

with

unsoftened firm grasp from

any

dauby
with
work

touches

hands

faces, but

executed
be

with

such

distinct kind.

technique as This,
with

readilyto
the the

distinguished
St. Basil, of Herrera

of the

tremendous works

expounding
known
to

his

doctrine, in the
outside

Louvre,
the

are

only
in

exist

Spain

on

Continent.

Realistic

tendencies walls of the

on

always

found

ample
In St.

scope

the monkish

legends
the life of

coveringthe
the

cloisters.

Buenaventura, besides the figures

scenes

still preserved

the

Herrera ceiling,
are now

painted four
in The

from

titular saint,three of which

Grove The the

at

Watford, brought
monks' heads
of and

thither

by

the
the

Earl

of

Clarendon
of
are

from

Spain.
from

attitudes

in

convent

the
here

gloomy church,
realized

group

the

local

hidalgo family and

naivete) executed
the loose The round Penitent
in

others
a

shimmering yellow and peculiarto

in old

unparalleled greenishgrey chiaroscuro,with

is also
have
a genre essentially

the

life with

contours

this artist.

Peter
an

the

Seville Cathedral

piece. "He
kill
a

looks like
in
a

peasant who
is
now

might

had

the misfortune
hell.
are

to

somebody
black
two
a

and passion,

overcome

by
there

the fear of

Under

bare

brow, and projecting

eyes
; but

between
hard in the

prominent cheek-bones,
is
no

planted
and
lend

small

in such

features

scope

for sentiment.

The

huge

canvases

Seville

Museum,
of his

SS. later
*'

Hermenegild period,and
old

Basil, give

forecast those
born has

of

the

extravagance
which

to plausibility must

legends

Cean

heard

about

who painters,"

have

been he

eighty years
his way

after Herrera's
to the

death.

Mainly through public. They

these

works

found

hearts of the modern

A/i

Catdlogo(Sevilla: i860), ^^rrera. i^ij

Nr.

548, 7' 5"

9'4".

42
are

Velazquez.
wild daubs These in which wretched
he
casts

off the
cannot
nor

rules of Art
even

as

maniac with
can

does

his

clothes.

scrawls neither

be

credited effects
can

direct
be covered disa

colouristic

for qualities, Nor

colour
any

chiaroscuro

in them.
more

is there

and expression,

nowhere
cast

be

seen

Christ. vacant, insipid the observer

The

powerfulunstudied contemplatesthe
executed
"

of the
a

alone figure

reminds

that he here year

ruins of

great talent.

In his seventieth

(1646)he
Cana
and but

his most

comprehensive pieces, springingfrom

and Fishes. Loaves
can

formerlyin the
the

Archbishop'spalace Marriage of
his

the

Manna,

the Water

Rock,
we

the

the Miracle
still

of the

Here
to

see

that

changed
of

powerful hand
The

give motion
at

only
one

the colossal, to

assembled staircase

multitudes.
the

fourth of these works Beneath

a

time

hung

on

the

Madrid

Academy.

mighty

broad-branching oak upwards

as

is seated

the

Saviour, His

He

blesses

with
the

sacramental
are

large bright eyes turned are solemnity. The disciples happilysuggestedin

to

disposedclose by, while depressionof

Towards
died in the middle

five thousand

the

slight
he

distance.
career

the close of his

he

was

again drawn

Madrid,

where

1656.
was

Herrera

not

the

"discoverer Roelas

of

new

for style,"
an

his true,

genuine
to

styleis merely the language of

different freedom
to

spoken by
the works

artist of
on

fundamentally
that We fail even

character.
which

Nor

did he lead the school of Seville

of

the road

is

alreadyrecognizedin
of figure those

Roelas.
as

find in his

productionsany
realistic than
of the

such

fierce energy

the St. James,

few
traces
were can

any be

heads

more

in the St.

Andrew,

while

discovered

delicate and No Sevillan

a

manifold

lighteffects
be

which

at

the

command
manner.

of Roelas. Nor
was can

paintercan
to

who indicated, genre

adopted his
as a

he

be called

naturalist, despitehis
his model. He

for pieces,

rule he

too

impetuous to keep
own are

mostly depictedhimself,
to

paintingfrom

his

brain. unable
to

we Altogether manner

assignany great
hears
a manner

worth

this so-called free

as

{libertad y franqueza). One

essence

it spoken
like any

of

if it

were

the

very

of

Art

yet it is only
At
most

other,and
it lends

one

easily
an

adopted by
indolent

imitators.

it is

Spanish, because

itself to

habit.

Francisco

Pacheco.

(1571"1654.)
While
a

Roelas

and of
was

Herrera

were

seeking
Luis

new

paths,Francisco
but
a

Pacheco,

fellow-student
man,

Herrera

under

Fernandez,
moribund

very in

differently
teachings,

constituted

still defending the

times

his

Pacheco.

43
however

writings, and^ as
that he order
was

he

in fancied,

his ears,

not practice,
nor even

without concessions

foreboding
to

preaching to

deaf

without

the

new

of

things.
names on

Of

the

the muster-roll

of of

Spanish

Art

few

were

probably less
many-sided his
an biographer,

handsomely
talents may

endowed
otherwise Art

by

the

genius
been, for
At

painting,however
was

have

he

also

poet,
the

and archaeologist
a

theorist. who

times he seemed of Art creative

A

gives one topics.

will

impressionmore
to
use

of

reflecting amateur,
the brush
to have

by

Nature

formed exclusively
But

the pen studies

rather than
appear
as

in his treatment in him

a

his abstract
was as

awakened
was

impulse which

irresistible
an a

the

instrument

defective.

dogged
efforts

undertook

endless

with struggle

the obstacles

presented by Nature, and

fostered

apart from

painfully
but
an

acquired
obstinate

skill his

persevering methodic
was

produced nothing frequent public

betters and

which self-reliance,
and

by

his

versies, controscious uncon-

which

emboldened undertake he His him But

him, in emulation
the
most

of his

of the

risk,to
which

breakneck have
sufficed

enterprises.
to

Yet
pause

spark
before

of

that wit

lacked

would

make

him

such have

attempts.
rendered

unimaginative,slow
competent
he
to execute

and small

petty

spiritmight
still-

anyhow
life and
which

or portraits,

genre

pieces.
others
a

possessed nothing
their

of that

self-knowledge,
confine

enables

to

recognize
less

natural
field.

limitations,and

their efforts to

narrower,
never

ambitious
risen
to the to

Possibly he might
for which position
and

have indebted
the

the

surface,but
To

for the
his

social

he
his

was

prominence enjoyed by
like
name.

family,
Church
which

especially by
followed The

uncle,

licentiate of

this

humanist, and dignitary,

were

poet, he owed
favour of the

the ecclesiastical connections Duke

of

by

the

Alcaic,
even

the

"

Maecenas
verses

of

Seville." from have

biassed

judgment

of

friends,and
soon

enthusiastic
doubts he

real poets and felt about his

distinguished patrons,
own

stifled any

might
is

powers.

Brought
Old himself
in

up

amid

the

local monuments
never

and

memories

(hisvery

name

and Iberian),
a warm

having

travelled

abroad, Pacheco

eagerly devoted
artistic and of
;

to antiquarian researches,to spirit patriotic

as

decorative

productions,such
This
he him

the

unclassical
into

polychromatictreatment
his friend
Montanes

wood-carvings. against gold

his and
whom

brought
the

him

collision with

defended

the

painting of
which the

statues

in by specialists

this line instead in the

of by
use

themselves. sculptors
colours
to

But
he

in the

exclusion
to

of

of lustreless
ran

intended
taste.

introduce,
earliest

reformed
of

polychromy
his

counter
were

popular

The
the

specimens

technique

Nuftez

Delgado's John

Baptist in

44
St. for

Velazquez.
Clement's, and
the Portacoeli, the such

productions of
of the the
were

Mofttanes

as

the

St.

Dominick
the small

Crucifix

Carthusian St.
the

Monastery (in
in

of sacristry
most

and cathedral), of these works

Jerome
two

Santiponce.
Casa
young

But

the

remarkable of St.

noble, lifelike heads

in the
as a

for the

statues

Ignatiusand (1610).
damask
of

St. Francis
Then he tells

Xavier
us

Professa, now
man

Church University

how

(1594)he
the Indian and
in

paintedfive crimson
with ga/eonSf the
arms

and banners, thirty

ells long,for fifty

a

the

monarchy

and

Santiago as

matamoros^
of

had
the

also

hand

in

the bronze-coloured

of figures

the tomb

Philip11.

cathedral. Historical

painting he began
their

with

the life of St. Ramon On this

of

Nonnatus

of the his

Calceate friend

Friars, for
lldefonzo
drew

cloisters.
one

he the
more

worked

with jointly
and

Vazquez,
and

of
more

the

last

Vargas

Mohedano Pacheco.

school,who
To both

composed

and freely
"

than skilfully

the

subjectwas pieces by
"

congenialenough
slaves.
two
are

scenes

from

the

life of stirring

this heroic

rescuer

of Christian

Of

the six

Pacheco

in the Seville

that of Barcelona

the

Callingof
on

the

young

Museum, and one in Shepherd Ramon by the Holy

and which the
he

Virgin,the
Rescued
nerve

Embarkation

the

Spanish Coast,
essays, in

Return strains
a

of

the

Christians.
to

These

feeble
are

every

keep

pace

with

Vazquez,
the tend

characterized chiefly
a

by

stiffness in

the

figureswhich

betrays angels who

tyro, by
the

botchy composition,and during

the

heavy

draperies. The
themselves
like

flock

vision, conduct

the

*^

young

ladies"

in

provincial boarding-school.
he

The

Embarkation

alone,where

Asensio
was

fancied
in he

recognizedin
better than

boatman

the

of Cervantes, who portrait

scene.

Seville
succeeds

in

1598-99, is thoroughly
ever

beach a genuine lifelike,

more

Here

did

the

skilful but
In

affected

Vazquez.
the of hospital
to

1616

Pacheco
in the

painted for parishchurch

has Irene,

Alcaic

de

Guadaira
The
scene

St.

Sebastian,now
the Christian tended

dedicated
is

that saint.
cover

where and

soldier after his agony

sought under
times
been

of the darkness

by

the matron,

several

treated

by distinguished mangled deeply by

the of the

painters. The body

agitatedwomen
Delacroix.
suns a man

night, the
martyr
here
was

dread in
a a

atmosphere of

the persecution,
care a

of the young
"

deadly swoon, worthy

our

the eager
a

theme

of

Schidone,

a Spagnoletto, even

How

is it handled In in
a a

by

Art

reformer, unwarmed
of the Alcali

of Andalusia? in fresh
linen

tidyspacious chamber newly

made

Hospital lies
a

bed, holding a soup-bowl,of

blue

46
any attention. in the It is

Velazquez.
paintedin
could
a

full

with brightclear tints, light orange

and

and

blue, and
contrasts.

blue, yellow angels*draperies'

how
a

pink forming
on

the

chief

But

vecino de Sevil/a, as
to

he calls himself

the title?

page

of his
what

book, give birth

such

marionette

figureas

this Gabriel

And

features of
was now

are grave-diggers

these others !
at

Pacheco

nearly fortywhen
for
and the the

he

last decided beheld

made
a

to

visit the his

Court

(1611); and
Italian Vincenzo
time

first time Escorial.

and in

he He Toledo

of originals friend of the El

admired

Italians in Madrid

Iberianized
at

Carducho;

visited
ways.
one

Greco, who
The his

that

had This

already fallen journey

had

into preposterous him

more

for

than

result.
shut

tenacious
eyes
to

man

of

was principles

still too

much

of

an

artist to brush
seem

such tion inven-

influences.
is
more

Henceforth

and his palette

manner a

transformed

; his

natural; his stony

treatment

becomes

quickened;
robust

his

sharp,

smooth,

meagre the

yields to
of portraits

broader,

more

impasto style.
detects

Already in
coloured
a warmer

four

small

the

under predella

the stillharsh, brick-

Death

of St. Albert
a

(1612),in the
of

one Lopez Cepero Gallery,

tone,
he
a

fresher
a

conception,speaking eyes.
and painting, henceforth of Art. the
most

Now
the

opened

school

his house
''

became

to

last

for trysting-place ''was

a

artists and

friends of

His

studio," says
Sevillans

Rodrigo Caro,
and His

formal

academy
knew

cultured

strangers."
self-confidence
to

henceforth

no

bounds,

and

it cost

him

not

qualm
In

grapplewith
he in

the Last

Judgment, most
Church

difficult of all religious subjects. authorities theological

of St.
on

his book

gives us
1614

four certificates from

for the Convent many

this dred hun\

work, executed
ducats. the heathen

for Isabella,

seven

He

introduces

departuresfrom
Buonarroti's

the traditional treatment

as

figures that deformed

accessories of
this of
on a

work,
of

well

as

phantastic
The
of

mediaeval

such

as

the

yawning jaws
he

of hell, were

expunged.
remind
one

arrangements

Master

of Ceremonies

Doomsday

Overbeck, when
with homilies

Sunday morning Symbolism

entertains the visitors to

!
to

his studio

the

of his Cartoon

The
of with

Archangel

Michael

(1637), transferred through

He
lived touch.

London

after the

lution Revo-

1868, attracted
hardness till the of

attention

its powerful
to
see

colouringcombined
of

his old

the

risingstar

Murillo,

having survived
of representation Pacheco's
own

1654, and Virgin

consequentlywitnessed
under the

that artistic event, the

true

features of
the
at

daughter of Spain.
the

Purisima

in the los

picturewith

of portrait the

poet Miguel
of
a

Cid

(in

the
"

Sacristyde
a

stood Cdlices)

antipodes

his
nun

new

embodiment

swollen, sleepyface long,wearisome, repulsive,

of

Pacheco.
Pacheco's branch
been
*^

47
familiar with that
a

Art

of Painting'*
"

Those

ih^

personnel of
as

this

of literature would
a

might
write

guess
a

beforehand Like

such painter
that the

has

just
in

described this
was

book.

everything else
however old age.

he

took

hand
to
see

longwinded
the
are

which affair, his extreme

be

he had
In

good
it

fortune

through phases
severe

press

in

this

work lifelong

various

naturallyto
tendencies

distinguished. Thus, previous century, creeping plants

the work
not

while
later

mainly
and central

follows the

of the like

the round

views

of principles
stem.

naturalism

twine

that

Pacheco's
master

Arte

de

la Pintura also of
a

was

only by
with

of
its

painterand thoroughness
referred to ;

of

technique,but
for

scholar, as

shown

and taste

quotation.

For every

pointthe
of

best

authorities

are

questions of ecclesiastical
cowl ;

are archaeology

discussed is
a

his friends of the

; the

the

section

on

the

worship

images
the

theological essay
Meldndez

scholastic doctrine of ideas he takes from On

the

Jesuit Diego

(i., 224).
by

question of
are

the social status

to

definitions of of paintersthe juristic

been
more

honour

appealed

no

topic has
the

warmly
On

discussed

than Spanish painters

this delicate
of

pointof
Income-tax

their classification with

ordinary
and
more

artizans reference honestum.

in the

schedules
to

Papers.
to

aesthetic notions
on

is made
But
even

the

old
own

rhetoricians,as

Cicero

decorum
the

in his
"

department
**

he

prefersquoting
from Italians, also

instructive Leonardo
were

passages, down
to

the

authority, of
and

the

Alberti
Van

and

L. Dolce
the

Paolo

Pini. the
are

Dtirer

and

Mander
scraps

translated,while

dryness of
in which

subjectis

relieved

by

of

didactic and

descriptive poetry,
the
of
a

occasionally preservedprecious
of odds and

fragments
bears the

of the Andalusian
book

poets.
is
no an mere

Nevertheless

compilation

ends,

but

stamp

work

by

artist full of interestingmatter,

for the
numerous

critiques, Spanish

and

sentiments.

It is

valuable specially

notices of

artists, giving an
current

insight into
the

the party Of such

many

the burning questions and spirit,, controversies oblivion

we

opinions of
and

times.

should

otherwise ultra-

know

nothing,into absolutely Know-nothings

warmer

profound

have

fallen the himself

a

Radicals

of those and
more

days. Here, being

coloured.
In
a

partizan,
we

his language becomes

often

word,
read clear

while

have

scarcelypatienceto
more

look
so

at

his

we paintings,

his

book

with In

the increasinginterest,
its pages
we

that it is written in pure,

a man

Spanish.

make

the

of acquaintance

at

once

limited and

and

many-sided,

narrow-minded painfully

and of the

liberal, cosmopolitan
who

humanist a patriotic,

yet in the confidence

of the

Inquisition.Those
if

have

spoken slightingly incapable

book

merely

show

that,even

they have

read

it,they were

48
of it. appreciating
how

Velazquez.
The
was use

made

of it in the
that

present

work
it
"

will
as

make
as

it
it

evident

mistaken

the

judgment

pronounced

erudite

is useless."
At
"

the

same

time, the section

of

on

which
"

Pacheco

himself

placedmost
His
was :

value aim
to

sort to

of
be

canon

religious painting
was

is full of eccentricities.
;

was

indeed as critical,

his nature
name

his

highestambition
Petrarch
to

be

thought worthy
In St.

of the honoured

given by

Homer

Primo

delle memorie piiior

some

antiche. such popular legends,

as a

of the most

those

of St.

George
for many.

and

of

his critiques Christopher, undoubtedly sound that truth is above

note jarring

He

maintains
*'

Art,

nay,

even

above

the wants

of the devout^
be

Religiouspaintingsare
. . .

books

for the

but people,
are

they should
too

truthful

books. of

the leadingartists Unfortunately

far
the

fond

of the freedom of
reason.

their

conceptions,impatientlyshaking
we see more

off

yoke

In

their St.

works

ingenuity than child,so

free
"

tact." religious

That

group

of
later

Anne

teaching her
and

lovingly handled
because

by Roelas,
her and

and

by

Rubens

is heterodox, Murillo,

from

conception Mary supernatural

DQrer

alreadypossessedreason, knowledge,"
never

natural contemplation, will,

no

and

therefore

needed

teaching.

He

praises

who

for having restrained exposed Mary's holy feet, thanking the Inquisition

this licence.

But

if he

here He

deprives us
the
'*

of much
bill of

he that is beautiful,

gives
up

us

pensations. com-

knows
the used

fare" of the repast served

of his
own means

to Christ

by
the

the

Angels
the

in

wilderness
at

(one

paintings) ; he determines
of authentic
in the flesh.

instruments

the

scourging,by
if he had
seen

relics ; he

describes
A

Apostle Paul,as
at

him

glance

the

religious paintingof
was

the next

period suffices
of
a

to

show This
was

that this

pretendedreform
person
to
never

merely
that

the it

stillborn whim
was a

pedant.
that

worthy
destined

imagined Spanish by
a

this

very

freedom and
cause
"

effect

in

Art religious

profound
The

genuine
of How
!

morphosis meta-

still animated

freshness. never-fading
for the this

religious
are

painting he
competent

considered
to

lost

risinggeneration. testimonyof mine

have !

many
no

merely
!
"

understand

Alas

hope

of

improvement
of

could Naturallythe Inquisition

not

confided This
was

the

office of in

inspector
i6i6, his

paintingsto

more

trustworthy person.
de

happened
for
was

colleague being Juan

of
an

Uceda with
as a

yet

no

one

less suited

the

position
him

inquisitor.DUrer,
looked
next
on

whose kindred
and

life and

works

he

intimately

he acquainted, and

to spirit, repeatedlyreferring

rankinghim

after Buonarroti

Raphael.

Pacheco.
His "Book

49
Pacheco's essays in the

oj Portraits"

"

Far

more

are satisfactory

of portraiture.His department with the Court likenesses may further mentions

and portraitists, be

few extant
from

specimens in
Cocllo of the

oil show
he

familiarity
learnt how He he

Sanchez

had

completed
one

in the absence
and de

139). subject(ii.,
of portraits, But
the

hundred

miniature fifty
as

which

regarded that of his wife Maria

part
of his

Parama of

the best.

most

useful he
he

life-work

were

the

busts

of which distinguished Sevillans,

a

thought of publishinga
devoted
had and
to

selection

of about time

hundred.

He
to

tells us

how

their
one

preparationthe
hundred
was

that others

give
The

recreation.
some

He

collected
in
1

and

seventy,

amongst

them

women,
"

599 the collection verdaderos

roughly completed.

title-pageLibro
varones
"

de this

de descripdon

retratos

de ilustres y memorables

bears

date.
The

sheets
pen

are

drawn
in

with

black

and

red

chalk

in rich

borders

sketched
were

with

and such
in

ink
as

the

current

Renaissance

taste.

The

models

woodcuts
are

the
manner

Basle

edition of the of Ottavio

E/ogia 0/ Jovius

(1577); but
however
more

they
he

much

the

Leoni's
which
are

drawings, which incomparably

social his

became

acquaintedwith
was

later,and
for

lifelike.

Pacheco

well

suited of

this work
A

by

positionand
There

highly
to

developed "organ
ecclesiastical element also and
seven

veneration."
which

marked

is given preference

the
are

comprises three-fifths
a musicians,

of the whole.
a

poets, three
swordsmen

two painters,

surgeon,

cannon-founder,

two

from

the

wars

of Granada.
on

All from
an

are

not

equallyauthentic,and place."
Others

his

own

confession
not to

he drew them memory,

same

several
of such
most

mere

descriptions (ii., 143),''in

seem

order

deprive
from

honourable from The

the

to
are

have

been
to

made

however

sketches, and

all

reduced

exactlythe
the
expense

size and the

form.
and

publication possibly failed

engravers. drawn
anecdotes.

through
from But

of

plates

lack of competent short

The

biographies are

well

chosen

and
we even

thoroughly
should for
some

trustworthy data, reports and nothing

these such
we as

for Pacheco
and
some

know

of contemporary
are

poets except their verses, him.

When

of

indebted

to

compared

with

of his successors,
that and here

the erudite

Nicholas

Antonio,it must
real

be

allowed
in

Pacheco

is still the artist ; he

not

gives us

rich portraits,

colour

characteristic,
several

meagre After

articles. dictionary his death the work But for

a

appears

to

have
it

been

distributed amongst in
a

of
one

his

admirers. with

long

time
was

lay hid

convent, until in 1864

secured for

volume

articles fifty-six the advocate

and brought to light M. Asensio

eight

hundred

duros

by

Francisco

of Seville.

50

Velazquez.

Venetian El seemed

Painting.

Mudo,

"

Even

in

mediaeval

times the

magnetic pole of Spanish

seen

taste

alreadyto lie rather towards

to

the north-east, as with

for instance What and

a

in its series

relations of

Gothic
and

as

compared

Italian architecture.
like those

cathedrals far
!

foundations, some
the sixteenth

of Salamanca
the

Segovia,

continued Renaissance scales

seem

into When

century,

despite
in

already intruding weighed, the Romanesque

of North their

the
more

tendencies oscillating towards

paintingare
than

to incline

the Netherlanders

not only rivals,

in the

fifteenth but
their

also in the seventeenth

century.
schools
a

For

this

reason

affinities

lay
when

more

with
see

the
what

Italy than they

and make

with
at

the

Romano-Florentine. after them

the

We

sorry

exhibition
were

and

time

Buonarroti
come

and in
contact

Raphael
with

carrying all before

Parma than
its it in has Cisalpina^

; but
crowns

they no

sooner

Venice Gallia and

success

their efforts. distinct its

North

the Italy,

old

ethnical has
never

elements

from

those with

of

Tuscany
South

Rome,
and
was

while

disowned well
as

kinship
In

France

Catalonia

paintingas
the

in

speech.

those

regions Nature
and action
to

preferredto

colour ideal,

to

draughtsmanship, grace
to

beauty,
Valencians became

pictorialperspective illusion
Ribalta
and

architectural had

symmetry.

The

his

pupil

Ribera

visited Parma;

the Sevillans
;

familiar with the amid the

of teachings

the Lombard of Romanism

MichaelangeloAmerighi spoke
to the

the first who

predominance
from
Venice.

heart of their

came fellow-countrymen

The
son

relations of the had

to

painterof
brought
secure a

Cadore
number

to

the of

{Imperor Charles
the San Lorenzo.

and

his

(since 1530)
also

masterpiecesto
for

palace.
Titian's
on

Philip

sought

Paul

Veronese could
not

religious paintingsin
the group

the

Escorial
to

fail to
In

produce
the year

their effect

of artists banished Titian's

that wilderness.

1575, almost
the first time

coincidentlywith
cultivated The Navarrese
as

death, Venetian

style was
the

for

in

two

independent places in Spain.

of the native

most

noted

painters in
of

Escorial

colony

was

the

Juan Mute,"
Rome.
of

Fernandez from
the

Navarrete
dumbness

LogroAo (born about

which
he
was

known 1526), Lilce

the

"

by
had

earlyafflicted. period of Philip

of Christ II.

those

Andalusian

Romanists The the skill,

of the
'*

he

passed

the he

best

his life in
as a

Italy and specimen 905),

Giulio
series

little

picture which
"

showed

his

delicate

clearly paintedBaptism
school,
or,

(Prado,
of
a

is

quite
large

Raphaelesque
now

if you him

will, that
to execute

Romano.
of

The
works

king
for San

(1569)
Lorenzo
"

commissioned

statuesque

figuresfor

the

most

El
part

Greco.

51

severely

drawn

and

modelled, with
cold like

well-thought-outattitudes highlands.
the

and bering slum-

hard foreshortenings,
sense

and
was

his native

But of

his
the

of

colour

soon

awakened

by
While
the the

arrival
model

aged
St.

Titian's

Last

Supper

and

St. Laurence.

his

for

the

Jerome (1570) is Michael

Zuccaro claustro) with the the
years
a

Angelo,
Cort's
manner

and

for

Holy Family (in the Scourging

the famous
he

upper

C. (after

in print), of
an

surprisesus
of Thorns Scene
; in

Passion

piece

in

the

the

Milanese

Crown

Burial

of St. Laurence

also is

echo

of

Night
now

Jesuits' Church, of
age he

Venice,and
his

in the
own

Escorial.

Although

nearly fifty

abandoned

the change laboriously acquired style,

being
which

most

conspicuous in
executed thus
at

the

six

pairs of Apostles with

the

hillylandscapes

he IL

for

the

side altars of of his

own

Escorial

Church
better

(1575-78).
painter
than

Philip
those

found
a

in

one

subjectsa
abroad. He

brought
its found Greco,
seen
"

heavy expenditure
Art
has
scarce

from

But,
died
in

'*

alas ! life has

reached
one was

goal, and
A

begun."
his

1579, and

no

strong enough

to

stretch

bow.

El
eye

proof of
welcome
was

the

attraction
to

Venetian works

Art of El

had

for the At

Spanish
the
very

is
a

in the

given
visited
as

the

Greco.
the

time
the

Navarrese

for the first time

was

painting in
Cretan studied doubtless
in

Titian who

manner

in

Toledo Escorial,

by

Greek,
the

like Antonio

Vassilacchi the fountain

of Milo, known head. He

was

Aliense, had

Venetian

styleat
a

and traditionally,

regarded as justly,
a

is always pupil of Titian,although his signature

Greek, with

Latin

lation trans-

of hroUi. for and have

but the

his This

Christian artist
is

name as

OeoroKoirovKcx; Kprj^i Kyriakos : AofjurfviKo^

remarkable
for

his

rare

genius, pictorial
for the

and

impulse given by
studied
a

him

to

as Spanish painting,

unexampled Biographers

in fact hitherto there

debasement pathological him

of

his

later

manner.

only

from

the time

of his arrival in works

Spain (iS75)"
his Italian Venetian the

still exists which

number
rank
aware

of authentic with of the best

belonging to
of

period,
school

works

productions

Nobody

being

his existence, these have

ing works, notwithstandfor

their

peculiar physiognomy,
even

long passed They

in
more are

Titians, Paul

Veroneses, Bassanos, and

animated

Baroccis. bold

partly partlyportraits, resembling

colouring.
of solid in the
line

Gospel

scenes

in
in

lines, and

the attitudes

Tintoretto, but
Vistas of distant
a

richer hills

and individuality the

beyond
of
are

marble-paved piazzas and

He is also
what

palaces
Michael

give

them
as

strong
seen

Venetian
many

accent.

influenced

by

Angelo
The

in

the

figures,and

old is stranger still, and

Byzantine

reminiscences

betrayed in
occurs

his invention
on a

grouping.
of the Man Blind

Greek

of El Greco signature

Healing

52
from his

Velazquez.
Birth,in
of the Parma in

Gallery (No. 280), of

the
a

which He

modified

but

unsigned replica exists

the

Dresden

collection. of

often

depicted
the of

Cleansing

the

Temple,
now a

large specimen
in

which, formerly in
of

Buckingham
creation

is collection,

the

possession
But

the

Countess

Yarborough, catalogued as
is the

Paul

Veronese.*
on

his most

comprehensive
Manfrin
ment embodi;
to

Disrobingof the Saviour

Barocci. His resignation, three
the

Calvary,formerlyin the
stands

and assigned to Gallery,

of

Christ

in the
eyes

centre,
turned

an

sublime

large brilliant
female
to figures, tower
on

upwards
man

the left lower borer

down

noble

the

right a
and

with

the

stoopingover
red

Cross.

Behind
armour

up

the heads

busts

of the
man

thronging troops, seizing His

the Venetian That
he

their

captain in
on

Christ's

righthand,
find
a

the

mantle

His
in

left.
studies
an

It would

be difficult to than this

work

of

school
was

richer that

of character

Disrobing.
from the

at

time

eminent

is portraitist Clovio

evident

of half-length

the

miniature

painterGiulio
a

(ob.1578), in the
So also the That unkno"\Ti Museum.

Naples portrait
career

Studj,which
of Clovio
in

in Parma

passed as
a

of portrait the

himself.

study of

the Boy Blowing lighteffects,

Coal,in
to

Naples

suppliesa conjectureas perhaps have

calls himself introduced
a

El Greco's

hitherto

Italy.
He
may

himself

as

of fellow-countryman

the

aged

who Clovio, in
on one a

Macedonian.
a

His

skill
the and

at

miniature

is revealed

of his best small

early works,

of replica architecture In
"

Cleansing of
ornamental

the

Temple
Mr.

with sumptuous scale, Richmond. collection,

in details,

Francis
we an see

Cook's
in the
man

the

alreadymentioned
with

largepiece Angelo, finger

whom
to

rightcorner

four

half-figuresthe aged Titian,Michael

a

old

and (probably Clovio),

young

man

index

pointing to
he Pacheco
who

his

face,possiblythe
In
any his
case

artist

himself
had

those indicating rich in

felt indebted.
made

his

youth

been

and experiences,
a

acquaintancein
author

old age of
a

calls him
on

"great philosopher,"

full of wise and architecture. In 1575 he

made

sayings and
his
in
16

treatise

painting, sculpture
he he with

appearance 14.

in

Toledo, which forty years

churches

never

again
an

quitted, dying
almost the halls of

there

During

these

displayed
in the

boundless

the activity, filling

Castilian

altar-pieces,
earliest

and prelates
manner

cavaliers with

portraits.But
which first,
of the

only

is his
"

Venetian
del Greco.

preserved.
the driving whereof Traders the

The
out

apparently brought
There
are

By

Christ

Temple.

about
"

32

in this figures

four picture, Collection

are

picturesof Titian, Raphael,

G, Duke Villiers,

etc."

CaUt"

logue of the 1758;,p.

3-

curious

of

Pictures

of

of Buckingham

(Xondon:

54
His
was popularity

Velazquez.
doubtless

partlydue
models
to

to

his children's and envied

on

women's

heads, for which

he

had certainly heads

be

the banks

of the

Tagus.
and
set
on

In the round

of his children

and

maidens, thrown
eyes, and

backwards

long necks, with deep gleaming black

full round poutinglips, artlessness

are

chin,

warm

ivory tone,
with budding

childlike

exuberance

happily
of his

combined

passion. Unapproached
their unfathomable veil ; here
we

is the

charm p"ensive
some

pale female heads, with

some mantillas,

dreamy begin

eyes,
to

in their lace
the

in the convent dames.

understand

poetic

fame
As

of the fair Toledo

enthusiasts precede the religious

was a

creative innovators
masters

of the
in the

this times,

Iberian ized Greek

precursor

of the

that

arose

following

century.

The

Toledan

School. El Greco
be
a

Although
Those

at all times

teacher of

high repute,
appear for
we

had

no

followers. him
for

recognized as

his

pupils would
or

to

indebted

to

nothing but
From
any

the elements

of the Art

impulses of
this master. Murcia other

free perfectly of

order.

the aspect of their works

alone

should

think scarcely

associating
1570, died
at

of them Orrente,
"

except the feeble Pizarro

Pedro Orrente the
of

with

Montealegre in
one

(bornabout
to

1644

in

Toledo) is
a

only

who,

besides

also styles, have

times

exhibits

Venetian
In the is
a

physiognomy, which
same

anyhow

he appears

acquired
de and

in Toledo.

apartment
the Miracle

for which

the master

paintedthe
the
then
more

Cuadro

las Vestiduras

seen

of St.

besides Leocadia, But

were

Shepherds

the

Magi, with
Bassano
nature

shado\vylikeness
vein, whose
the pompous

in all to Veronese.

he discovered akin to his

in the

piecesa
than chiaroscuro

popular harmonies
lines of Paolo.
was

homely
works

The

taste

for

landscapes,
these
"

pastoraland
Bassano
"

pieces
number

long

almost

fed by exclusively Hence

our

of Bassano, whose
came an

is

legionin

Spain.

Spanish royal
and

also into great repute, and

ornament indispensable

throughout that century his little

to

pieces were
retreats
even

every

boudoir

up

to

the

themselves.

They

have

been

taken

for works thinner

even more

by
and

his prototype
more

by Titian, although
by
a

his

colouring is Many
we are

and delicate,

neutralized
monotonous

yellow
; in

tone.

diversified

than

his

models

them

rarely miss
rural

invention, good landscape

and of

observation motives, thoughtful he especially the Dutch. Maino,

"

of

freshness life,

fancy.
course

To

cattle

does

more

than any justice

others,always

excepting
Venetian

In

El

Greco's

two

other

both pupils,

Toledans, the

Tristan.
influence died out. from
rare.

55
friarJuan B.
the Court
ease

The

works

of the Dominican

Maino, who passed

very

the Convent

of St. Peter the

to Martinez

Martyr
was

to

of

PhilipIV., are
the is

According
over

he

fond of His

and

and evidently comfort, four

now

h'ngeredlong
pascuas
Prado others
in

his

productions. church, one

When
the

masterpieceswere
collection

large
in the the

his convent 2166

of

which, the Epiphany,

was

(No.
were

c).

national

broken there wealth

us

up

distributed
at most

amongst

provincial galleries.Here
vein, and
the varied

is

nothing
colour Greco.

Venetian

except

the naturalistic small

of

in the costumes.

The

angelicchoirs
best
at

alone

remind in

of El

Very
with

remarkable

is the

apparentlyindependent
and pupil,
nearer

contact

the general effect

course

Caravaggio

in this artist's first and it must

manner.

Of
be

Martinez that
even no

calls him
one

the Lombard's

all

events

admitted

approached Caravaggio
for

than

this

Spanish Dominican,
armoured

to

his fondness Watch His

a

yellow draperiesand

superb

soldiers,as

in the

by

the Grave.
at

excellence

is attested by portraiture
in Don

one

or

two

specimens,such
the

as

Man light-coloured
pass

Sebastian's
a

collection, which, but for the signature,

The of portrait

might

for the work

of
his

Dutchman.

JuristDiego
like
a

Narbona, engraved from

drawing
has

by Maria

Eugenia
Luis have

de

Beer, looks

Velazquez.
Tristan.
"

More

attention

been

drawn is said

to to

Tristan

(born about
his best favoured
not

1586, died

whom 1640),

El Greco

himself
rareness

regarded as
*'

pupil, although,as according to

no

shown

by

the

of his works,

he

was

his worth
can

by Fortune"
in him and

{Martinez^185). beyond
in
some

Of

ever, his teacher,howslim

trace

be

detected small

the somewhat
nude

proportions
the

broad

chests, and

heads,
The of

studies

powerful
in books

muscular is

development.

of picture

his artistic character

current

purely fanciful.

Instead

his consulting
him

somewhat
a

inaccessible authentic critics of El

works have Greco which

very

thought (Stirling-Maxwell generallydrawn

and
were

worth from
some

trip to Yepes), the laudatorylanguage picturesin ground

the of

their conclusions
as

the

Velazquez, again
His in

well

as

from

apocryphal
to

Madrid,
those

in their turn chief work

attributed in

him the

on

conclusions. of St. Clara

even

Yepes,

of altar-piece

the Convent

Church

Toledo, the
somewhat

Beheading
crude

of the

Baptist in the Carmen

in the

Descalzo, and

the

St. Francis

Louvre, give

clear idea of his Art, which, while agrees Now

a

different

enough

from

prevalentfancies,

with the altogether whereas Mudo

A and

judgment
EUGreco

of the old writers. in

our

opinionwere
illumines in into the

Tristan colourists,

was

chiaroscurist.

from light glaring

above

sharp outlines

the chief

whose figures,

blackish shadows

fall away

dark

background. Only

56
he

Velazquez.
does
not

understand

the

art

of forms

massing
and

his colours, and

as

is

altogether
of
the
no

to partial

stronglyaccentuated
have
and
a

colours,

well

as

lighteffects.
and
even

His

histories religious invention somewhat of

a

national
are

trait of earnestness
not

nobility.His
heads
means

attitudes
and

but lackingin facility;

remain devoid

vulgar

insignificant, yet
and
grace.

the
we

women

are a

by

certain refinement

In him

notice the

period

of transition, abandoning the

but

learned

draughtsmanship of contemporariescalled
he had studied

mannerists,

without

to takingdecidedly

naturalism.
him
a
"

In accordance

with

this Tristan's
even

second

Martinez Caravaggio," But

was

maintainingthat
in

under
when

Ribera.
Ribera

his chief

piece was

executed

Yepes

in the year

i6i6,

still in the service of his Tristan

father-in-law, turning out

chiaroscuro

second-rate

works.

That

developed
*'

his

thus style quite independently,

a

the Sevillans, shows anticipating

was

that,althoughnot
"

very

still he important,

not

an altogether

obscure

as artist,

he

has

been

called.

favourable Sandoval

opinionof his
in the winter

of is conveyed by the half-figure portraiture

hall of the

Cardinal the
best

Toledo

apparently chapter-house,
The artist's px)wer of

piece in
is shown
in the

that

stately galleryof
pose

prelates.

observation and
lost in

in the

of the

bishop, to the archhead, perhaps peculiar of the

quietpenetrating gaze

largeblack
even as a

eyes

of the

man

thoughtduring the sitting.Strange that

no

Tristan portraitist accurate,

shows careful which

trace

of the Venetian
on a

process.

He

gives us, however,

enamel-like worked

drawing
the

general model, with

uniform

in carnations, in with
a

shades, the minutelypaintedhairs,are softening by the northern

of the portraitists

delicate black,as

olden time.

SECOND

BOOK.

VELAZQUEZ'

YOUTH.

599"1629.

THE

FAMILY

"

HIS

STUDENT

YEARS

"

NATIONAL

TYPES

"

RELIGIOUS

SUBJECTS
ART CIRCLES

"

THE

TWO

JOURNEYS PALACE,
COURT

TO

THE

COURT"

THE

APPOINTMENT

"

MADRID"

"

COURT

AND

MADRID

"

PHILIP

IV.

"

OLIVARES

"

CHARLES,
THE MORISCOS

PRINCE

OF

WALES

"

^THE

ITALIAN

PAINTERS

"

^THE

EXPULSION

OF

"

RUBENS

IN

MADRID

"

FLUENCE IN-

OF

RUBENS

ON

VELAZQUEZ"

THE

BACCHUS

(THE

BORRACHOS

OR

TOPERS).

DON

FADRIQUE

DE

RIVERA.

The

Family.

DIEGO
in
two Bernini,

RODRIGUEZ
the
same

DE year

SILVA
as

VELAZQUEZ

was

born

in Seville and

1599,

Van

Dyck,
de

one

year and

after Zurbaran Alonso Cano.

after Sustermans, three

the
son

before Calderon Silva

and

He

was

of

Juan Rodriguez
on

Dofia Gerbnima of St. Pedro of St.

quez, Velaz-

and

was

baptized

June

in the

parish church
de

by
in

its

the licentiate Gregorio de cure'f

Salazar, Pablo
the

Ojeda

Magdalena's
the

parish standing sponsor.

house, No.
It
was

He

probably saw
father

lightthe day
of ancient

before

8, Calle de
an

Gorgoja.
came an

old
at

tradition that his

one

Portuguese
for services
further fuller

family, which
rendered that
his
to

time but

held which

renowned high position,

the Crown,

had

long
to

fallen into

poverty, and
But

grandparents had
from

removed

Seville

{Palomino).
of St.

information

regarding this family was

the records

first disclosed
of the Order

of by the publication

the officialdocuments

Jago

in Uclds.
came

Diego Rodriguez de Oporto

mother where to Seville,
was

Silva and
was

his wife Dona

their
son

Maria

Rodriguez
of Dona

from His
de

born

Juan, father of the

Both

painter.
Catalina
as

daughter
members

of

and Juan Velazquez of Seville, de Buenrostro.

the

Zayas, daughter of
or hidalgoSy

Andres of

families ranked

Sevillan Zurbaran

inferior
been

and nobility, from did

branch

according to
fact which

familiars of the
a

had Inquisition

chosen

both,a
not
use

passed as

descent. proof of spotless

They

however
to
a

the titleof Don,

His

paternal

ancestors

belonged
of that
or

of the Silva
e

family, widely According to

had
mained re-

spread throughout the Portuguese provinceof

the

Minho

Douro.

testimonyof
miles from

some

nobles

kingdom, who
ancestral

after the revolution

to Spain,their so/ar loyal

or seat, Quinta de Silva,lay eight

nine

Oporto, and

three from

the Benedictine

Monastery

of TibSes

6o
The of progenitor
as
a

Velazquez.
the Silvas descendant
at
was

the

Spaniard Coimbra,
in the
son,

Don

Guterre of Leon. about

Alderete He

de

mentioned Silva, Ferdinand the

of Don of

Fruella, King
and

assisted 1040 him

Great

the capture of

the year from da

settled in the takes

was

neighbourhood
of Torre
of

Valen^a
His Alfonso

"Tower,"

which

the

name

de

Silva.

Don

Payo
founded

Guterres
or

Silva,

Governor

Portugalunder
of Tibaes many

VI.,and
noble

built the great north of

Benedictine To this

Monastery
counts.

(1080) nearly four

Portuguese

miles

Braga^

branch

belong
1660

families,including some

marquises and
About
in

the year

some

relations of the
as

Sevillan
as

Silvas held

were

settled

Oporto, where
honour.

they

ranked
us

and cavaliers, he
once

such in the

certain

posts

of

Carreno

tells

that

met

palace a

Calatrava

knight, Morexon
his cousin. It therefore

Silva, who
that

intended

the visiting

callinghimself painter,
is Silva \ yet

appears

our

painter's proper
the

name

Diego
himself

adopted Diego
de

that

of

his

mother, Velazquez, although usually signing

Silva

Velazquez. Probably
old

change
name

was

due that

to

some

family foreign
that in

arrangement

the substituting The

Sevillan the

for
name, the

of

the
even was

immigrants.
the
case

practiceof
in

taking
uncle in

mother's
to

and

of
any

maternal
common

grandfather or enough
Diego

addition
and

father's rise

Andalusia,

often

gave

to

serious

complications.
The
recovery borne
name

Velazquez
and

had

been

famous

since
the

the

days

of
It

the
was

of Granada
one

of the

in conquistadores

New

World.

by

of those

founders Cistercians, is made

was

of the Order

of Calatrava

; and

of

him

honourable

mention of Cuba

is the Acta
a

Sanctorum The

; the conqueror

and

first governor
whence in 5,
was was

also

Velazquez.
and

personal name
the

Velasco,

derived
very
common

the

patronymic Velazquez by
both

old

genitiveending
in the
latter the

in

Spain

Portugal, assuming
Vasco,
etc.
on

country

the

successive

forms

Fa/asco, Vaasco,and
;

analogy
the
the

of

Pelayo, Payo; Dictionary of paintingof painterof

The

Melendez^ Mendez
occur

Venegas, Vegas^
and five

In

Spanish
most

Artists

five Velasco

Velazquez,

But
to

of all is the distinguished the the Pentecost old

whose Velascus,
in

signatureis attached
of

the great foremost with

the

Santa

Cruz

Coimbra, perhaps

the

Portuguese school, though scarcelyidentical

Vasco, is considered Latinized
to

semi-mythicalGrao
name

Diego

be

form form

of

Jago,

or

/antes,in
our

Portuguese Thiago, and signs some

The of his works.

Didacus, a
have lacked

with

which

artist

Lastly Rodriguez is
appear
to

the Gothic
means;

Roderick, the

family does

not

painterhad

62

Velazquez.
his creative power. But
was

vigour of
the studied that he his

this
now

rough

and

vehement
to

soon spirit

scared him he

finely-tempered Diego, who

five years fully had remained
and

entrusted
became

Pacheco.

With

then in Herrera

i6i8
a

his son-in-law. would

Assuming
have

with

twelvemonth, he

entered

academy

in his thirteenth year and the

(1612)
shortness of his it has apprenticeship that he in which
:
"

Despitethis earlyage
somewhat Herrera

been
to

assumed generally

since the time of Cean

manner particular

was

indebted

for the firstimpulseto that of modern

are

he stands

alone his

in the annals

painting.
to be

Thus

Ford

writes

The

of principles

method [Herrera's]

traced

in all the works and intention

to
some
"

of his

pupil,improved
likeness The it had

indeed But
between

by

of touch higherquality

(Penny Cyclopcedia),
objections.The
vague

as plausible

this may
is of
a

be
a

it is open very
the

both

manners was

general
times, and
of El of

and

character. Herrera

freedom

of hand

trait of

long before

the delighted little is to

Castilians
seen

in the works
this
''

Greco.
the

During
in the hard

his first decade

was

be

of

freedom
and

brush,"
find
reverse

which

in

fact

graduallydeveloped in Madrid,
his career, under

strictly speaking
At

second

half of
a

conditions. special

first we
very

modellingand

drawing
first works
towards

closely adhering to the

dashed figures
on

model, the
to

of the free contours

of Herrera's

the
a

canvas

in his

impetuous way.
nature

Dido's special
riotous

give the impressionof

How
could such

cool,deliberate
in

directed altogether relations and

the outward seizing

a

phenomena

their broad be

niceties.
"

thoughtfulstudent
was

assisted

by

the

Michael

Angelo

who of Seville,"

still producingnothing but his

nameless

beings of
clouds
and

undefined
suffused

character with

after

prototype, giantsdwelling in the

Here
an

? cloud-lights
in any
at
case

observer
that he

of Nature
was

ran

and against a visionary, Herrera.

of his his
own

it was
seems

fortunate
to

repelledby example
with

To

us

Herrera

most
saw

have

helped him
more

by the

genre

in pieces,
bent.

which

Diego

tendencies

in accordance

natural
were

But

the

greater artist always the

"

better
to

teacher
*

here
had

might
he

be

appliedthe
by
the

: figurative expression

From

horse
on

ass."

He

been
roan

thrown
now

Andalusian fiery

steed ; but
road

mounted
to

his sure-footed Even

jogged

quietly along the weary

Pacheco

mastery.

Lope

in his Laurel

of Apollo makes

the lesser
Herrera

: light

Y adonde

es

sol,Pacheco
men

estrella.

Probably no
than these
two

more

constituted diversely
One
was a

were

ever

thrown
other

together
a

Franciscos.
to the

born
"

painter,the
From bad

highly

^Answering

: Englishexpression

to worse."

His
cultured much With
more man on

Student
so
on

Years.
little a

63
he

of many the all was

to

parts, but
than

painterthat
took from

prided himself productions. life-breathing

in the
can

orthodoxy

the artistic worth

never

of his
a

Herrera reference

spontaneous, while Pacheco

verse.

out single step withthe

chapterand pupil
kind he
was

Whoever

passes

canvases

of will

the

to

the

father-in-law's Richard

wooden that

saints Pacheco

Prado
had

Museum
no

surely exclaim
on

with

Ford

have

influence of any At
that

Velazquez'style {Penny Cyciopcedid),

still elated
at

time of

the he

laudatory notices
undertook
to

of his

just

completed Day
and
one

Judgment (1614).
what had
the
not

Then

the St
as

Sebastian,
the

wonders

young the

Diego thought
man

himself miniature of

work

progressed. Why
contemporary
frail bark charm Pacheco
manner

worthy

kept to the
his

of painting

which celebrities,
the

lay within Later,when

he

depth, instead
he be

launchinghis
little rival

on

high seas
more

reproachedwith impartingso might

the first in that

and

beauty to
to have

serious

in which subjects,
to preferred

Raphael,
coarse

is said

repliedthat
more

than second Did

in the
learn

delicate from

style{Palomino),
Pacheco

Diego
he

then

nothing
at all

except how
'*

not

to

do

it?

How
as

could Palomino ?
at

in fact remain

five years

in that ?

golden prisonof Art,'"

he

calls the father-in-law's

academy
in
but

Was

servingonly for
held

his

Rachel Even could

that

time

there

were

many need

Seville who recall the

"

that

nothing
on

come

of this Pacheco. in which

the

We
are

cruel but

lampoon
Pacheco

his
so

Crucifixion

faithful

told that

not

love

had

sadly crucified the Saviour."

Quien
Tan Vos Mas
os

puso

asi, Seftor,
tan
seco

desabrido, y
me

direis, que

el amor, Pacheco.

yo

digo,que

Herrera, who
whom painter,

in

his old
once

age

again
from

met

in

Madrid

the

now artist,

Court

he had

driven
was

his studio, appears of his

so

to have

expressed
in his
the

himself At
least

to
a

the effect that he

entitled to the merit

education. pupil's

protest by Pacheco

(i., 134)
works

may less

be
to

interpreted.But
considered book
to

deciding this point Pacheco's

method
most

have

be his

than
us

of

teaching. Fortunately on
details from the

this method

gives

ample
As

down general principles

the

technique of
less he

every

pigment.
a a

teacher

at

all events and

Pacheco

was

no

pedant. danger of
a

The his

was

himself uniform

creative master

the less the stylist,

imposing any
in archaeological

system
wares,

on

his

pupils.
a

He

was

certainly

petty dealer
One

but

otherwise

large-minded person.

scarcelybelieves

64
one's eyes
*'

Velazquez.
on

readingat
is here
to tie down

the conclusion that

of his

laboriously composed
said
and

method
no

But

all that claims

said and
to

might
and

still be ways

proved, by

means

these
may
we

laws

those

to reach striving

the
and

summit
better. in

of the Art. We write

There

still be
ourselves

other have

easier methods, possibly

and practised

only what wishing

a

found
on

recorded

writers, without
Pacheco
was

to

impose
as a

burdens

and

yokes

good heads."
well wish

Thus
to

teacher

such

richlygiftedpupilmight
of like training,

find. Here
also

Diego

had

the

advantage
*'

severe

the great

Italians of the

cinquecento ;

for

Drawing

is the life and

soul

of

painting ; giants vulgar

is the outline, drawing,especially

no

hardest ; nay,
courage

the Art

has

speaking strictly
; here

other

Here difficulty. have

a

are

needed

and

steadfastness
can

themselves

in which lifelong struggle,

they

never

for

a a

moment

lay

aside

their arms."

Without
are

drawing,

painting is

nothing but
daubers and

craft;those who

it neglect

bastards of the Art, mere

blotchers

(cmpastadores y ntanchantes).
The
masters

painter must
we see
"

aim

at

in perfection

all details.

In the works and

of the

much and

draughtsmanship,much
anatomy,
much purpose

consideration and

tact,much

depth,knowledge
discrimination in

truth in the muscles, much finish in the parts, Art

in

in the

kinds of cloths and silks, much different

drawing

and

colour,much

beauty

and

in diversity

the

much features,

and foreshortening

much perspective,
care

in adapting the light to ingenuity effects

the place;in short,much

and

in discovering those and disclosing diligence

pointsthat
Here
we

are see

most

difficultto be mastered." his

how
"

unimaginativenature
in all

leads

him

also

to

some

quite
her better."

realistic maxims.

I adhere
my

thingsto

Nature, and

if I could
be

have

before uninterruptedly

eyes the

for each
usual

detail it would

all the

Accordinglyhe departed from

the from

Sevillan

method, which
the

recommended

draperiesto
small

be

painted from
After

the

and lay-figure,

figuresthemselves
he made studies

models. plastic selected models from

the rough sketch settling

in oil from

for all the chalk

heads,taking the
with

costumes

alwaysfrom
But he
not to

the extremities life,

drawings

heightened lights.
in

prepared
the In the should
seem

the

picturebroadly, without
touch.
most

using nets,

order

sacrifice picture
should
"

freedom of
stand
move.

colouringthe
out

important element
from
a

is the
near a or

relief

The

from

its

frame, lifelike
contour

far view, and

to

Its

vigour and
charm

exercise such

powerfuleffect
as as

on

the

eye

that it may

compensate

for the lack of such

importantfeatures
he goes
so

beauty
to pronounce

and (ofproportions)
with it,

of colouring. Hence

far

Alberti and

Leonardo, the

most

essential part of the Art

(ii., 9).

His
Nor
was

Student
at

Years.
of the

65
elementary course
he

he

an

for Eclectic,

the conclusion prepare

to
our

recommends
*'

students
to

wishing to

themselves

by copying great models bent, in preference

always
some

select the
one

stylesuited
laid down

and disposition

that of

master."
are

In these
was

words

to principles

which

in fact
not to

practical application
but to his

given by Velazquez, who

Some if he remarks The had
on

here conformed of these

the works

the precepts of his teacher.

precepts apply as

nicelyto
in

compositions
Pacheco's connection.

as

himself

written them.

portraitureare
the

speciallynoteworthy
*'

this
most

like portraitist,
a

poet,

is born."

The

first and
a

indispensablequalityof
however, which
of the
we

portraitis
should
who A
seem

undoubtedly resemblance,
and which

quality,
time

is

of slight worth, artistically Defects

not

lies within
at

the reach
same

amateur. not

be

disguised, though
a

the

need

imitate those

to have

sort

of

craze

for

accentuating

conspicuous deformities.
for those
vague,

good portrait paintershould

are exclusively as a

be

something more,
a

who

cultivate this branch

rule satisfied with that their works

to

characteristic details, so generalimpression, neglecting all

a

have

familylikeness.
those his

We

should

make

it a

pointof honour
in it are of
men

study the

good stylein colour,vigour,and

even

relief; then
the
us

will the

afford enjoyportrait ment both perpetuated both

he
were.

to

unacquaintedwith
for it tells subject,
seem

original ;
what
manner was

the

painterand
From
all

this it would had

to

that Thor6
for

right when
relation

thought
of his

that

Velazquez
The

thank

Pacheco

the

delicacyand
Critics

accuracy

drawing.
and

prevalentmisapprehensionregarding this
due
to
a common

of teacher

pupil

appears

prejudice.
from the

partlyoccupied in

the golden grainsof sifting educate

the eye

true

Art

for the

genialand

masterly that by

of the times, so sandy deposits they acquirea corresponding for

less commendable contempt for the qualities artist must fancy the rising also be educated What

gallerypaintings. They genialteachers.

the great masters often secured school and
not
can

similar had
were

But with

historyproves
many of their

the contrary. and pupils, mechanical

as

littlesuccess results

what

excellent The

by slow,
several
; yet
no

methodic, and
such instances, work of his
was

guides I
to

Spanish

show

Luis known

Fernandez, teacher Cean,

while

of Herrera does

Pacheco
even

Palomino

mention

him

in his lives of the

painters.
also

Pedro

Cuevas ofeylas

(1568
"

1635),of
a

whom
number

nobody
of the

ever

saw

nevertheless singlepaintings members for teacher

case

educated

large
But

most

guished distin-

of the feeble who

Madrid

while school,

Cano Murillo, how

and

Moya

had the

the

Juan

del Castillo.

analogous strikingly

of

Rubens,

soon

left the

rough

but

intellectual Van

Noort,although
5

66

Velazquez.
a

undoubtedly
to

kindred
van

and spirit,
a

attached

himself

permanently

and

mately intione

Otto

Veen,

and scholar,poet, allegorist artistic

gentleman, but
akin him
savage
was a

apparentlynot
Of future
all the

to win likely

sympathy

!
were more

in Spain assuredly none early painters

than

to

the

Velazquez

El Greco.
man

Pacheco, who

had

visited

in

i6ii,

recognizedthe genius of the {crueles borrones).

but

despitehis horror
that Michael
young the

of those

scrawds

El Greco's doubt
as

assertion gave

Angelo
Toledo

good

man

could

not
was

paintno
at

Velazquez

food
as

for reflection.
was

El Greco himself
that

in his time

in popular a portraitist

Velazquez
found

afterwards throw

the Court.
on light

Nothing, however, has opinion the

younger had

hitherto been

might
The
case

any

the

of the elder artist.

is different with

El Greco's

pupilLuis Tristan, regardingwhom

tradition. continues
:

Palomino

has

an

apparently well-founded
from Italian
he paintings

After
"

speaking

about

derived inspirations
eye

But his

[Velazquez']

had his

most
own

sympathy
nature

for the works in the

of Tristan, whose

tendency harmonized
the vividness of his abandoned

with

both

of the singularity

ideas and

inventions.

On

this ground he In any

proclaimedhimself
case

his imitator and

the Art of his teacher.

he had

ever that,howearlyenough perceived

not

learned

it might
to

be, such lukewarm

nature lofty

and drawing did painting of

on was

suit

him,

being opposed
It is whom
with

his
to

enamoured
comments

greatness"(Museo iii., 323). by

the writers,to

amusing
one

read

the

this passage

exception
bow.
to
ensure
"

Tristan

absolutely unknown.
and

Some,
dismiss
been

like him his

go that

Cumberland, Viardot, Adolphe

with
a

Siret

Madrazo,

shrewdly
of

courteous

the Velazquez' praise,

him
a

honour

having
based
so

model, suffice
somewhat passage.

name." lasting
an a

Others, who

requiredto
on

deeper into
What Let
may
manner us

the

matter, evolved
of
man was was a was

prioriTristan
who El

this Tristan

could

please
run

Velazquez ?
wild
: so we

see

He

pupil of
a

Greco, the Venetian

or

assume

that he

sort

of tame

refined El Greco.
Venetian

This into

artist, says

Thor^,
Tristan shown
and

''introduced
was

the
measure

technique of
the

the

school him
"

Spain,
El

and

in

link

between the

and which of

Velazquez," as
continues St. Jerome with

by

the

portraitin [reputed]
In

Prado,
small

Greco

anticipates Velazquez."
red

the

sketch
and

the open

ground

he

sees

"

the

free touch him.

bright

grading
Even his Art
El Greco

of

which colours,"

Velazquez
saw

borrowed

from chief

who Stirling-Maxwell,

Tristan's

work, scarcelydescribes
to

when quite correctly, in

he

says

that,although not
was a

be

compared

with

of invention, stillhe originality

better colourist ; but Greco's which

not
a

first good survives

productions embody Again

the full Venetian

that of his

of tradition,

trace

in Tristan.

he states

splendidcolouring Velazquez

His
learnt to transfer
a

Student

Years.
his whereas palette, than
no

67
painter

few
more

brilliant tints to
averse

at first, was especially

from

brilliant colours

Velazquez.
even

this Lastly, but let anyone Adoration

work

writer

calls Tristan's his

his Madonnas types vulgar,

coarse; in the

compare

delicate, graceful, earnest, lovelyMadonna

with the

of the

Magi
same

in Sta. Clara

homely

housewife

in

Velazquez'

the treating Not

subject
from
in which

now

in the Prado.

till his return free touch, he

common

Italy(1631) do Velazquez'paintings gradually

a

acquirethe
But who artist,

resemblance

may

be detected

to

El Greco.
young

till then

had

followed
with his

the

system

of the

naturalists.
a

The

in

contemporaries had
the

bent

for

chiaroscuro,
was

probably

discovered
manner.

in Tristan
And may

only fellow-countrymanwho
to

vating cultiand

this

if
also

on

his way

Madrid
his

he

visited

Toledo

its chapter-house we But

even

readilyunderstand
also
the how

for Tristan. partiality

then this

he

had

already developed his first style.

we

From time

instance

may

see

Spanish paintinghad
Italian naturalists.

at

that
in

independentlycome
been

upon

track of than
a

the

What

Italyitself had
became

nothing more by
an
"

brief, stormy
to

episode conducted
her

by

adventurers, and

followed
a

equallytransient
gave

interlude in other countries,

in Andalusia
be

golden age,"which
this

Spain much,

best

painters.
the the

But, it may impulse from

artist "who He in several
one

asked,was
? Italy

Spanish
seems

naturalism

called into

being by

Pacheco

to

imply

as

callingRibera
of

at

present stands

supreme

in the treatment

colour" del

84). (ii.,
constant

times refers to

Caravaggio,that
his son-in-law. all

valiente imitador When

"

and natural^

placecoupleshim
to

with

recommending
Thus
did

adherence

Nature
with copy of

in

things, he
success

adds

Miguel Angel
of St.

Caravacho, by
and And the the
my

and
a

what

is

seen

in his Crucifixion

Peter,
heads lifelike

although it is
side
rest

; thus did the

Jusepe
of

de

Ribera,

for

his

and figures

all

Duke

Alcaic's have the for

same

great

paintings seem
of
also

although they painted,

is

neighbour Guido
way, his time

Bologna.

son-in-law, who
because he

going

stands

apart from

others,
Of

has Nature

always
at

before that
who

eyes" (ii., 15).

in Andalusia
Ribera

any

of originals known. his return

and
are

Caravaggio
Duke of

nothing
his

is

otherwise had
after

The

Osuna,

drew

from

obscurity,
to

from
the

Naples (1620) brought

church collegiate the chief work
in this known

that artist's works

his

family seat,
Here

to

local
be

containingthe family vaults. being

Seville
in
a

they

still to

seen,

Crucifixion.
date
16

But

Velazquez'Epiphany alreadypainted
Ribera
seems

style bears
in

the

19, and works

the

to

have

first become
successor

through

the

brought
stimulus

thither
to the

by
new

Osuna's

Alcaic
come

163 1.

Consequently

stylecannot

have

from

Ribera.

68

Velazquez.

National On
are

Types.
essays
a

the

young in

painter'sfirst independent
Pacheco's work.

few

particulars
a

contained

Regarding
cautious
not
come

his

former would

pupil, now
doubtless his heart.
have

distinguishedCourt
sent

painter,this
press
to

writer

nothing
have of

to

the

that had
the

from directly

His

remarks
scenes

reference life. end

bodegones^thai is,kitchen
previous century They comprised
the element birds
and

and

other familiar

homely
the in

Towards

of

the

these
not

subjectshad altogetherdue
from the

become
to

popular
the

a Seville,

circumstance

apparently

the and

growing luxury
kitchen

of the times.

scenes

tavern

street kitchen,

figureswith

of still life strongly accentuated, fish. The

table-ware, dead utensils,

realistic themes
more

revivingimpulse to
the

grapple with
"

led paintersto closely

and
are

study of
such

this

Nature," which
this class

lay
Dutch

most

conveniently at hand,
or
**

from called.

studies

arose

of works, had

pieces
the
was

"

as

they
same

Fifty years
their
master

previously the
in

through

tendency developed
Van Mander
a

in which kitchen-pieces,

Pieter Aertsen The

accordingto
van

mixing
to

his have of

colours.

Michael portraitist studies. The

Mierevelt would
in

also

appear the

begun with
the
lower

such

pleasure taken by
the

observing
"

ways

classes often

is illustrated

minute of the

descriptions Newgate
mere

in the

popular romances,
type.
Their

degeneratingto
appearance

romances
was

Calendar" coincidence.

simultaneous

assuredly no
by Mendoza
Alfarache artist
was

Excluding the
the
'

Lazarillo de Tormes, work of had

1

small fore-runner the Guzman

year

(iSS3),
by
the

first and Mateo

best

this

kind,
Perez

de
our

Sevillan This
was

Aleman,
in
de

appeared

the very
de

bom.

followed

605 by
the

Leon's

Picara

Justina,Vicente
to

Marcos Espinel's

Obregon (1615) and

of

many

others. La

Anyone wishing
Mancha would

portray
found The who comic with
a

the model

adventures
in these

immortal

knight of
seventeenth
morals

have

bodegones. paintersof
works
rests

Dutch

cabinet for
a

the

century
and

were

virtuosi,
The

catered element the

wealthy public of
their but

loose

refined

taste.

in

partly on

the But

contrast

of the

subject
Not
ware

profound
at
once

cleverlydisguisedArt.
attention with

in those

earlySpanish
truth.
a or

pieces what
trace

arrests

is their bare

unadorned

is to be

seen

of

dishes majolica

their metallic sheen, silver

more

Art
works

cabinets,and
of

they are

much altogether
or

akin

to

the earlier Dutch

coarser

Brueghel, Beukelaer
more

Aertsen,in
varied

which than

social life appears

in the

and

less attractive, but

direct and

later school.

yo
shades."
the

Velazquez.
This

judgment
oflF

of the

"

greatest painterof the century

was

"

increased Later Madrid after the Duke of

of reputation
was

the work, which

then

engraved by

Bias Amettler. from flight

; but
to

it

carried

by King Joseph Bonaparte presented by Apsley

House.

in his

with together
rout

the Bourbon both

now were

Gethsemane jewelsand Correggio's Ferdinand VII.

of

Vittoria

the

Wellington and

are

in

THE

WATER-CARRIER

OF

SEVILLE.

The the young him

chief

a figure,

'*

was Corsican,"

well certainly
value
as a

known may

and in Seville, have

artist who
as

soon

detected

his

model,

induced

to act

such

"

for

consideration."
had in 1574 been became
on

After the malarious of Hercules

Laguna
and

transformed
the
resort

to

the Alameda

by

Don

Francisco
on

Zapata, it foot,and
the

of the nocturnal enlivened

was

promenaders
to

in coach

was feast-days

with

minstrelsy. The
the

watering of

dusty ground
of
a

in

summer

entrusted

guild of aguadores under

the control

(constable). alguazil special

The

Water-Carrier.
attracted Corsican.

71
the colonial trade
to

They
and

were

mostly Frenchmen
them
was our

by
In

Seville, they
the

amongstthe

return

for their services

year

enjoyed
excellent

of supplying the privilege

houses

throughout the

with

water

brought
in

in

pipes jarson
the

from

the
asses.

''Archbishop'sWell,"

and

conveyed
The

round

largestone

pack-

impression produced by
with its

pictureis heightened by preciousspringwater

summers.

the somewhat land thirsty

Oriental patriarchal of Andalusia

years

association of the

in the

sultry African
before
a

Our

Corsican,some resting
on a

fifty large by by
the
an

of

age,

stands

low
to

table, his left hand

a

earthen

jar
lad

with

stopper

attached

string.

With

his

righthe
table is
seen

holds
a

its foot the of

tumbler elegant chalice-shaped

of clear
over

water, which
the

some hand-

fair

complexion stooping sideways charming

but motive. Between like age

takes
in in

the shade

stem, altogethera
a

both

drinker
mug.

of

black-haired, his face half buried

earthen Ovr

water-vendor which

is

figurewith stout, soldierly given by

the

full chest His wide

coarse

and

erect

to carriage,

full effect is

side view.

brown

doublet back fat

on

hangs
cheek

without

folds in almost

conic

shape, the

sleeve

pulled rigid, wedgethe

and

the clean shirt-sleeve beneath. displaying

and

Despitethe accumulated
hard and

neck, the
marked

leather-coloured

face is somewhat small

with

high brow
beard.

by prominent bumps,
nose,

deep set, narrow

mouth, and

slit eye,

almost

straightbroad-ridged pointed
Such is the

contracted

shaped
The

profile. by
the from lightfalling
but

stiffbronze
a

profile, sharplylit up
to

left,
the

presents
of

contrast striking

the

buoyant
their bend.

noble figure, and

stillsoft features
and lights,

the

handsome

youth

with

accidental

reflex

charm

of the foreshortened

sideward

This
the

first thoroughlyoriginal work of

is stillexecuted the

altogether accordingto
a a

system
is
no

presentingthe
and

figuresin

lightfrom
effect of

dark

background. owing
and the

There

scenery, and

the whole

gives the

tenebroso^ although
to

the shades

gloomy parts have become somewhat of priming with ochre still prevalentduring practice
toned

deadened

this first period. All is

down

by

thick varnish. of the

In the

the light

treatment

is pure face

very

and solid,

the touches This

full brush

in the Corsican's

as plastic

with

Spagnoletto.
any

weather-beaten Our

brown

face is of
sure

tone leathery

without

of colour. variety

artist's broad

handlingwith fewest
littleattractive

possible through
for

modelling touches Although pleases by

the lack of colour

is here

alreadyfully developed.
are so

the details and

scanty and
of the

rendered

worthlessness truth of

the material,

nevertheless picture This is seen,

its absolute

form, texture

and

tone.

72

Velazquez.
smock,lookingas
if it had stood his friend

in the tattered doublet,or instance,

in fair weather

and

foul half his life long ; in the wooden

as

the yellow jar table, the soft grooves bably pro-

with

its circular for

lines

it left the

potter's wheel, and rotundityof

to

fasteningsome

ring ; lastlythe
the vast
and

sparklingcrystalglass. Nothing
the jar
serves

is

pictorially superfluous. Thus

the figures, the dark tumbler surface.

to

throw

off the before How

more

shirt-sleeve

collect and

reflect the

light
little

highlyprized were
studies

these from

bambochadas, even
the minute

when

they

were

than

is evident of.^

which description

Palomino

thought them
"

worthy

Two

poor

persons

eatingat

scanty board, on

which

are

sundry earthen This,probably

faces.

vessels, oranges,
the other In his
a

bread,etc. ; all treated with remarkable Apsiey House,

is seated
a seems man

care."

in picture

to

be in

study of foreshortened
little chocolate
over

dark mouth

rocky cave
a

young

applying to vanishing profile,

a

brown

bowl, which

perhaps
his the
arm,

contains
seems

; his

companion, takinga
with
an

his

head

resting on
and

dosing platesand
three plate,

the

table,
A
on

siesta after the meal orange

on

wash-up
mortar,

of
a

dishes.
saucers

jug
an

top,

an

overturned with
straw

upset
scene
*'

dish,

green

flask in
an

covering altogetheran
"

unattractive

broadly treated
A

earthy,inky tone.
and

poorly-clad youth, counting money

him
a

tottingup

with

his

fingers ;
an

behind

diverse dog sniffing

fishes
two

on

the table ; close

one

by

lettuce and

upset kettle ;'to the left a

bread
on a

stall with

stands,on
white
some

of which
a

herringsand glazed oil

but

white

cloth ; have
a

on

the other been

a

two

and plates

green
was

cruise."
at

This

must

pieceof

merit, for it

signed;
to
a

that time
In

alreadyin

very

bad

condition.

the collection of the

Mauro violinist,
to

Dalay, who
Parma time

had

gone
was

Spain piece
Maria

with with

Elizabeth
two

Farnese, and had returned

a

in 173 1, there

facchineon

table with the

"

cost

at

that
at

thirtydoubloons.
was

Louisa

presented Goya
Drouot in

the "Youth

Supper/' which
engraver,

afterwards the

sold for 2,930 H6tel

francs with

collection of the

V.

at Peleguer,

1867.

The

Old

Woman
X

and

Omelet,

(39
This kitchen of piece, Sir
same

46 inches).
manjier
as

periodand

the Water-Carrier, has Francis Cook

latelypassed
Richmond

from

J.

C. Robinson's

collection to mentioned

Esq.

of

Hill.

Perhaps
*

this is the third

his Museo

by Palomino, allowing

See

Pictdrico, iii., 322.

The
for its
an

Woman

and

Omelet.
master's
r.

75
is unmistakable in

in inaccuracy

his

description.The
clear

hand

complete agreement
The

with the Water-Carrie

us a

picturegives
and

insightinto

the
a

young

artist's sentiment^ such

method
an
"

capacity. Probably
of Andalusian

never

before had

Spaniard stooped to
few

unpromising subject. The fixings by

"

narrow

the smoke-begrimed kitchen,

modest Nature

an

household,the peasant's
very

productsof
and
a

needed kitchen

the

frugalsoutherner,a
up
a

old peasant woman,

meagre than

repulsive
scenes

lad,make

picturemore Brueghel.
in

like the

the fat

of

this class The

two

by

old Peter stands

woman

before profile holds

a

the

red

pan

on a

the

in fire,

which

eggs
as

are

spluttering ; she
listens with The
open

third in her left and

to

ladle in her

right
in
are

hand,
on

she

mouth

the
one

lad,who
familiar

is

probablyreporting
to at

his

purchases.
inns
"

chief

figure is

enough
who

guests
heart

Spanish
kindness

one

of those

fussy,grumbling
stranger with

old dames,

itself, taking to
at

the

almost

motherly devotion,but
his

sneering
She open white has

his

Spanish,and unintelligible
eyes with
worn

bemoaning
browner
an

wandering
nose

ways.

sunken

short expression, all the has

crooked

under
with

the the brow

brow, long upper

toca.

lip, complexion
on

by

contrast

The

lad

the

other

hand

African
nose,

type

"

low

projecting from
But
he

below, high cheek-bones, showing

to
more

flat

protruding mouth, light from

cut

chin, not retreating

is withal
over a

advantage
but
a

in the

above.

steady, smart

young coppery

fellow,his hair
well

and straight

combed The
to

his forehead, his hands

shaped.
white
was daylight,

of his kitchen,presentedin inventor}'

subdued The

the

painterquite as
the

importantas
knife,the
red

his

figures.

empty

brass

mortar

and

pestle on

table, the

yellowy shining
wine, the
pan

copper

utensils,a plate of
oil-can with its green

onions, capsicums and

the glazed coating, littlebasket
on

brown

white

enamelled

with
are

blue all its

flowers,the

scales,the
the
scientiousness con-

the of
a

wall, the melon,

genre
no means

etc., With

reproduced

with

painter. Nothing

all

prosaicminute

accuracy and there

rare

the treatment surface with

are no a

is

by

a firm full brush trivial,

giving contours
by the artist ;
have
no

few strokes.

has been
the

foisted in fire

studied
;

for lighteffects, of refined

which

might

offered

chance

nothing
or

vulgarityand
or.

unseemliness,

professional
studio;
no

modelling

picturesque costumes,
;
a same

figuressmacking
It is
a

of the

condescension radiant with In the

nothing but downright honesty.

of and impressions
is
to

realistic

but piece,

halo

memories

of land and

people.
and

collection

another
our

piece, the
An
a

Mendicant

Globe,
the

attributed, wrongly however,

artist.

old toper, laughing with

observer, places his

four-handled

wine-jug on

largecrystalglobe,emblem

74
of his
scene

Velazquez.
philosophyas
in the
manner

reflected in the poetry of Hafis. of Teniers

"

The

globe

mirrors

pretty landscapewith
a

high vaulted sky,

with
a

distant

horizon

and

woodland, in
This
manner

front
work

straw-thatched

tavern

jovial

party

at

the table outside.

shows

in all its details how

a

Velazquez
touch
on

did not
a

paint.

The

feeble

of
the

applying

thin short light,

dull brown

ground points to
cavaliers that this may

period of
one

Dutch

with decadence,

which

the dress of the It

so

standingon
be

side also with

a

corresponds.
the

happens
a

compared

Spanish

manner

of

such treating
our

subject. The
out

Rouen

Galleryhas
to

there assignedto painting

master, but regardingwhich

now

critics, usuallyso liberal towards

of their
way

apocryphal
face
across

works,
however

apparentlygo
has been certainly A

be

hypersceptical.The
conceal
a

sadly daubed, seemingly to

with

rent

the cheek.
to

gaunt

stands figureof pronounced Spanish type, half-length,

the

right,but

frontingthe spectator
his side. On little props the

laugh, and scoffing

in

left
a

arm

planted insolentlyby supported by by.

To this four

the

table
a

front

stands
two

globe
close
stretched out-

disposed in

and circle,

books with

globe

right hand

from points carelessly

above
even

an index-finger, a coarse

extremely expressive gesture,

Here
his
we

indicating
a

Spanish expression of contempt. philosophy

hair.

have

therefore
and

cynic,

whose dressed
The under nose,

however

is belied

by

costly costume
Small

carefully

head

corresponds

with

the

attitude.

piercing black prominent

hair

eyes

bushy eyebrows,
full of the

narrow

receding forehead, very

rows

Roman

mouth, showing

two

of white

teeth,black

neatlycurled rightarm
with

in the fashion

the gaunt thick upturned moustache, altogether period,

face of

MOnchhausen. and

He

wears

wide

lace

and collar, This

on

his

folded yellow cloak, thin

above

modelled
shades

with
and

great

care.

combined

the

the deepened impasto^ all the

but preserved carnations (the hands),

frankness

of

contour, attitude and

modelling, agree
free from
the

with

the

Water-Carrier.
A which corresponding piece, work

however

is not

doubt,and only

partlycompleted,is- the "l^

A 14s. to Sir

which

passed from
from him
a a

Earl of Clare's sale for

J. C. Robinson, and
about
three

to

Mr.

Salting (29x
dish with

23

inches).
his
own one

lovelychild
which
as

years
a

old,in
before

stripedfrock, perhaps
silver

daughter, is
of she distance

seated

behind
to

table

grapes,
in

holds

her

mouth.

The Behind

little epicure is
to

gazing
a man

the

if

trying its
with
a a

flavour.

the

right is
bend
a

looking
of grey,

forward,again
the

side and

somewhat His

foreshortened

of the face,and blend

glance
and

of

true

guardian.
that

nearly finished head, bushy eyebrows

and

white

red,

belongs to

type of

depressed nose.

Religious
The white
green, and

Subjects.
on

75

child's touches the

head and

is rich

sketched lightly

the
a

brown in

ground sepia;
a

with
a

broad little

shading,almost
are

like

work

besides of red

warm

flesh-tones

represented only by
passes
over

trace

on

lips
One

nose;

the

string of

the

little cap brown is

her

fair locks.

hand
some

only
toy.

is visible in The

broad

contour, the other

half

apparently holding
a

table-cloth

only

suggested by
head with

white

horizontal-

touch. treated Similarly

is the

study of

female

firmlyclosed
de the

eyes,
to

apparently Raczynski

blind

from

birth, a
The

gift from

Don head

Francisco
is sunk brown
on

Asis

the

nobly shaped high eye-brows,straight nose, narrow upper

over obliquely

collection.

breast, with

dark lip,

thick locks

falling
more

the than
some

forehead. the

This

modelled, with study is excellently

noticed,
A

colour

tones

pieces

hitherto

similar

head of

has

been

recognized by (17X
12

amongst

the

to figures

the left in the View

Zaragoza

inches).
Religious

Subjects.
century supply
If it persisted
be reduced the
to

The

annals

of Seville at the beginning of the seventeenth

to the

eloquent contributions
in the
a course

of the downfall history

as same

of

Spain.

it was

then

pursuingit seemed

if the

citymust

Theban

wilderness III.

before the close of the

century.

Under

feeble

Philip

{eltercero

santo)and
and the world

his favourite, Lerma, the monastic

ments establishor

increased for Christians firsttwelve monasteries.

in number

magnitude
their very
saw a

more

than

ever

before
too
narrow.

since ; The

in living

cities became of
no

years

of the century
took

the

foundation

less than

nine

new on

They
*'

placeas

rule after
as

long and

obstinate

resistance

the part of the

as municipality,

well

of the

who archbishopand chapter,

always
purpose

raised
and

mountains

of difficulties." But

from

monkish

tenacityof
of affairs.

pious widows'

gold there
his

is

no

redemption.
to

Artists, however, might well resign themselves

Even the
young entrusted
arose a

this state
a

Diego began
with under

as independent activity

Church
we

painter
may
the At

forthwith
presume

honourable

commissions. of

His

first works
saw

the patronage destined

man

Pacheco,who
the

doubtless
a

in them

opening of
that time Pacheco's

career

to

revive

gloriesof
taken
some

Luis

de

Vargas.
of the
a

the young

must

himself have
at
once

such view of his*future.

way
to
one

good

connections
here
an

smoothed

his

most

and influential cloisters,

his

were firstlings

associated

with

cult which

in Seville had On

justreceived

extraordinary development. Nativityof Mary,

on a

September 8,
the

161 3, the

Dominican

friar had

fended de-

opinionof his Order

the Immaculate

and Conception,

the irritation

76
thus upon caused had stirred up
a

Velazquez.
popular movement,
de Castro which
a was

eagerlyseized
mony testi-

by

the

clergy. Archbishop
and
to

ordered

processionin
for weeks

of this doctrine; all the mulattoes It

was

even parish churches, convents, brotherhoods,

negroes send
an

organized festivities kept embassy

the
to

up

together.
to urge

resolved

the

king
The

imploring him
were

the D.
to

definition of the Mateo music

dogma by
de Leca and

Holy

See.
de

envoys

the Canon had

set

Vazquez
the lines

Bernardo

Toro, the latter of whom

this quartet mission least went
was

composed by Miguel
and low.* 161

Cid, and
the
at

dailysung
a

in

the streets from Paul

by high
V.

Anyhow

reallyprocured
so

Brief

(August21,
this time
to

7), which

far

as

to

interdict

the open It
was

advocacy of
about

the less

pious belief.
the

that,acting on

precedentof
at

his teacher,our

artist resolved The the Calceate which city, From

lay the

tribute of his brush

the feet of the Purisima. in

a

friars

occupiedone (Carmelites)
War of

of the stateliest foundations and plundered, is

now

during the
the

Independence was paved

with staircase led up

barrack.

great cloisters
marble

of Genoese flags
to

marble

and

rich encaustic which

to whom
were

tiles a broad
two

the

for chapter-house,

ordered
appears

: John companion pieces on

-the

Evangelistin Patmos,
the

the Woman
as

the Crescent

pursued by

Dragon
the

; and

the

Woman

herself chosen riots both

the emblem
x

of that mystery.
are

During

tive destruc-

pieces(54
rescued

40

which inches),

first mentioned and

by

Cean

Bermudez,
entrusted. to
still are. Now
to

were

by

Canon

Lopez Cepero,

eventually(1809) familythey

the

Englishambassador, Sir Bartle

theme
a

Frere,in whose only with

there

this

was

a even

which

could

be

treated

strict adherence with

scope
more

else tradition,

work superior For

of Art

might expect
was

to meet
no

oppositionthan
the pictorial
first essays

approval.
not

poeticinvention
Hence
at
a

for his like

time had with

scenes

yet

come.

beginnerwho
side stood
not
a

had
a

made

of low here

and life, have

whose

censor

his The
some

father-in-law,must

felt himself

little embarrassed. the first artists in

subject had
famous The Immaculate The
at

moreover

been

already handled
at

by

paintings. Conception was Gate, or

the

that time

figured only in
ages,

the

symbolic
of the

way.

historic the Golden the

of the middle representation

the

meeting
no

parents

precedingangelic annunciations
For these
en

longer

correspondedto

of the times. spirit

^

was

substituted

that Vision

Todo
^

el mundo Reina

general

voces,

escogida,

diga
sin

que

sois concebida

pecado original.

78
The

Velazquez.
heavenly and
to

earthlybackground
colour
artist

is

now

quite decayed
to closely

and

effaced,

owing
the

the

ground

working through.
conforms vision
was

In the second

also the picture connection

tradition.

John
in

Evangelist in
art
as a

with

this
as

had

been

represented
island of
is
seen

mediaeval
in

venerable

old man,
a

he

stillpainted by Memlinc, but The This Patraos

in the
as

the

sixteenth

century
for
de

as a

curly-hairedyouth. landscape. by
the several Italians.

supplied the paintingof

that of in
our

motive

rich wooded

Martin

Vos, widely known

such copperplates, As in this of the

Jan Sadeler,and
canvas

engraved also by
to

John plate,
His

also

is seated

the
but

right at
with

margin glance are

from
the

picture.
back
in

left hand the

lies on

the open holds

book,
a

the index
and

raised finger
turned

in attention ; and
suit purhis

upliftedright
to

pen.

Head
seen

upward

the

clouds

where
woman

is

the

seven-headed
stars

dragon, who
firmament

of the

sun-clad

sweeps

the

with

upcurled tail.
As in the of picture
"

the

Woman,
man

here also
the

Velazquez has
sensuous

chosen

model
"

for

the chief

figure
low

young

with

hard

features of the black

Dark

Continent;"

narrow

forehead full red

goes

under

short-cut

thick eyebrows hair,

also black, strong beard.

events at

jaws,

lipsshowing irregular teeth, small

even

dark
at

Thus

our

Sevillan

farther
;

than

Caravaggio, who
Ribera, whose
has

all
are

always chooses always

hand of

well-bred

models To

farther than

types

least

powerful build.
a

this
over

stripling Diego
his shoulders. the

given a

coarse

white

tunic,and

thrown known

violet mantle the

The

from here

foregoing and

followingabundantly
manner.

authenticated

works

already reveals
and of

its characteristic

With

broad,full brush
are

the outline

of for instance, modelling, touch. It is

the extremities, that the

executed

with

perfect firmness
thin
for

noteworthy
fall in

hitherto

employed

in sharp straight or parallel draperies, falling

stout

broken

lines,are
folds.

already exchanged

fabrics,which

broad, heavy

The

Epiphany,
1*25 Prado

(2-03 X
This is the work It bears
that

metres.) Gallery
but

in the
date

first reveals
it reached

the the

master

(No. 1054).
collection

the

1619,
with

whence

royal

is unknown. power

Compared
of tone, dark
orange

his first

guished productions it is distinThe former is pasty

by great
and his

colouringand
green ; the

chiaroscuro.
and

of dull, almost favourite

sombre

steel blue
robe has

wath contrasting
a

yellow and

Virgin'sred

crimson

tint

The

Epiphany.

79

merging
than been any

in

violet.

The

shades, undoubtedly due

The The

partlyto time, are

darker

occurring in subsequent works.

for their several
in

have types, all portraits, the draperies, especially

selected carefully
are

parts.
manner

mantle,

treated

the

substantial

of the

Water-Carrier, and

THE

EPIPHANY.

the

page

behind
same

the

Ethi6pian king night scene,

On

has

quitethe

pose

and

expression of

the

youth

in the

work.
as a

It is conceived

the cold

yellowishlightof earlymorning
seated
on a

just dawning

on

the

horizon.

Mary,

somewhat

elevated

8o

Velazc^uez.
the there right,

platformto
of the

falls a
cape

which sharp light, of the their Child.

is The

reflected by strongly subordinate from the

the snow-white

linen ioca and

position
source

worshippers is
shown

emphasized by
on

turned position

of

as light,

by

the shadows
is of
a woman more

their faces.
"

The blood

Madonna

beautiful type than in that first essay of

nose

full-

pretty peasant-

contracted and
narrow

but intellect,

still

genuine
on

Spaniard, with temples;

still gave mother's
a

nobly
dark

curved downcast

plaitedblack
of the charm her
a

hair

the

but
to

the

lashes eyes
one

betray none
;
nor seen some

that Roelas
trace

such

soft modest
one

has

glance

any

of

joy, and
in the

fancies

has of
gown

such

figure thus
with the

seated

of

morning

vegetablemarket
is
a

little provincial town.

season

The
; the

folded richly hands

are

thick robe

winter
to

in harmony
the

bony, strong enough

bullock

guide

plough,and,
holds with

if needs

be, to quite

seize the
an

by
in

the horns.

With

both she

the Child the

erect,

ordinary child
never

in accordance swaddling clothes, could

endure The

of injunction babe

Pacheco, who
naked
an

the St.

sight of
to

the newborn

exposed
with

to

the winter

night.

Joseph
hard

the

rightlookingforward
a

air of Had

also presents curiosity

the

of forbidding profile these Michael

peasant.
of his

anyone could
poor

reproached
and

the

artist with

lowly types Angelo

his

Holy holy

Family, he
persons
to
were

probably have lowly.

he

with replied But

had

that these

anyone

maintained

incompetence

handle
we

elevated
see

types

might

have

pointed to the two

These
are,

kneelingkings. speaking, strictly

he

Here

at

once

that he is in his element

his earliest authenticated with the dark

one man

in their treatment portraits, with ruff in the Prado Since

the

completelycorresponding
did
not

(No. 1103), if
Campafia no
somewhat

sit for actually had been

seen

of the two. Seville.

a

time of in

such
stout

portraits figure,
man

in

The
or

younger

a front,

might
behind

well represent the

dean

archdeacon

of the old The

those

stock; the old

is
a

generalof
As

some

order. religious
are

Ethiopian also
of

prince
of

after his kind. devotion the

their lineaments

their genuine hidalgos,

also reflects the

the passionless, almost dignity,

gloomy phlegm

high-bornSpaniard.
The

composition is pressed quite forward,probably to

even so

secure

space
are

for

such

large figures ; by
the
to

those
to

to

the extreme
too
narrow.

right and
And
as

left

sected inter-

frame,which
in

is made

appear

the Madonna the

same

is made way
the

stand out

well in front
as

by

the unsoftened
were

in glaring light,
the

king
In

front looks

if he

intrudinginto right and

left.

scene

from

without. the
been

the

lithographedcopy
farther
to

in the the

the pictureis wider,and gallery Has the

side

figurescontinued

original

cut ?

The

Shepherds.

8i

The

Shepherds,
66
our

(91 X
chosen by Probably those figures the

inches.)
young

artist to personate St.

to

John

and

Virgin may
of

not

have

deh'ghted greatly people long accustomed

form and

associate felt

holy persons
the need
a

with

elevated

expression.

He

may

at

last have with he

a

guide,who
the
treatment

combined of

of artistic views similarity Such

a

certain in

reputation in

religious subjects.
not

guide
his
"

found

Jusepe Ribera, whom,

he at all events for

if he did
once

actually acquirefrom
as a

him

naturalism,"
is shown

at

least took

prototype.
the Valencian
in

This

by

the appearance

of types remarkable This for

to quite peculiar
as

in the Adoration

of the

Shepherds,
to

the

only

work

which

Velazquez
was

descends con-

imitation.

work, the

of which authenticity Baron In

formerly
Conde del Louis

questioned,was Aguila,in
for
whose

bought

;6^4,8oo by
the

Taylor
National

from

the

palaceit had always

collection
to

been. London

1853 it passed from

Philippe's Spanish ;f2,050. Mary,

with the seated
on

Gallery (No. 253) shepherds,all

radius.
A

the left, uncovers

on

the Child the crib within the

for the
a

eyes,

Joseph'sincluded,being centred
a

narrow a

girl

basket lad

of doves

approaches in
the flute.
also
a

from twilight

door, while

quiteto

right a

plays on
was

Although
refined the than

this

night scene,
of the

and

although
are

the elements
somewhat

were more

suggestiveof low

models,
and

nevertheless

the types

here

in the

Adoration

Kings.

The

impasto
more

is

thinner,

colouring richer
more

the brighter,

shades

clearer and

the coloured,
sition compothe

expression
more

animated, the types of the

better rounded

Holy Family nobler, the

the

artistic and
a

off in

background. pedestal.
from has he

To

left

stands The
care

the shaft of

largecolumn

with ornamental

intention of
on

doing something
it

is also evident special

no

the uniform

bestowed
so

the execution.

With

other

work idea

apparently many-sided
is

taken

much

pains,and
hesitation.

certainly gives a good

Sassoferrato in
more

of the Yet
there

thoroughnessinsisted upon
nor tiresome,

in his father-in-law's studio.

nothing
the

any

himself could not blended delicately

in the

have

modelled

face and

hands

of the Madonna life

are

transitions.

His

studies of low
of

also evident

enough
have

bread-basket, the bundle

straw, the
no

fowl, the sheepskin, the

at
on

lamb

bound

by
The

the trim

legs, all

of

which with

one

that

time head

could

so

depicted.
of Berchem.
such

peasant girl

the doves

her

reminds

one

When

Stirling-Maxwell suggests

that

figuresmight

have

been

82
modelled him. the

Velazquez.
on

gypsies
Richard

of

the is

Triana
not

we

cannot

entirelyagree
but life,

with

This

shepherd
hence

group

taken

from

from literally copy calm

mouth

Spagnoletto ;
The noble

Ford

called the

itself a painting with mantle, the

of Ribera.
downcast

of Joseph wrapped figure

woman,

in his brown with

look, the genial old

the

youth
in

scrofulous

(often

repeatedin Ribera's

John

the

the Baptist),

with his fluteplayer

is

roguishsmile

(a reminiscence
was

of his

earlyyears enough
is
to

Parma), all this

Here

but to Seville, foreign

at

all times Madonna of

familiar alone

Ribera.
own.

The evident

his peculiarly the

the intention The

is most
more

her high above raising fulness than the She is

a

surroundings.
however
in

features have stillbe of

elevation and

which foregoing,

may

preferred
with life, hands

by

many.

well-shaped, healthy woman

face, and
delicate skin. wrinkles wrinkled rounded with off without the

the bloom

largerand
with intended
to

fuller oval

The
or

smooth, white
knuckles
coarse are

flowing Unes
contrast

obviously
of the
ones

awkward,

red the

hands

shepherds,the
of the youth.
was

withered

yellowone

of the old woman,

strong boyish

For these hands

he had

apparentlyfour different models.

a

Byron

not

the first to

recognizein the hands

test

of aristocratic blood. understand his prototype.

manner

Yet

in the Madonna precisely had very

Velazquez failed to
and noble
in style

Ribera

frequentlypainted the shepherds

a

after the Seo

of

Correggio (1630); in

very

pure

the

Valencia picture,

(1634); in
in the the
coats.

the

and Escorial,

again shortlybefore
us

his
race

death of

(1650), now
from in

Louvre.

Here

he

introduces broad

to

rude
sons

shepherds
not

neighbouring Abruzzi,
His

stalwart another

of

Nature
as

sheepskin
alone
to

Mary

belongs

to

quite

stock,
act

appears

in the fine lines of her features.

In the very

of

the exhibiting flashes

across

Child her

the

shepherds

thought, incomprehensibleto them,

far from of
her the

mind,

her transporting

present,
eyes.

as

indicated The the

by that

still ecstatic

upward glance
even a more

large dark

Valencian, constitutionally
had Sevillan,
been

uncompromising
sun

realist than

warmed

by

the ideal In

of

Italy.
we

Velazquez'Madonna
the

miss

this trait. This

matron handsome, stately to live

stillremains her domestic

wife. carpenter's practical

also

Accustomed

absorbed immediate

in

here duties,

she
the

has

no

thought beyond
if

the

present.

She

carefully wraps
somewhat

as child,

dreading the cold,the

with their animals.

while

a sharp and casting

embarrassed

glance (thecomers

of the mouth born Newto

towards contracted)

the peasants
are even

pressingforward
exhibited
it
to
as gracefully,

heirs to

throne
not

thus do

those
seen

entitled officially
in

be

present.
the elbow

She
!

does But

the

sharp angle of
these

although a

mechanic's

wife,she

is still

superiorto

Velazquez*
rude

Journeys
presence

to

Court.

83
way
to

in catnpagnuoliy

whose But
on

she

cannot

give
the

her
can

flowing over-

motherly joy.
uncover

the very
a

night of
fond

Nativityhow Correggio
a

she

the

Child

without the

giving him
an

glance?

felt the is this

Here difficulty.

impression of
in with

ordinary visit to
in

young

mother

completed by
time
and

the

depicted babe accurately Surely we

here

swathing clothes, anyhow

the

comfortablytucked lovelygold
the

his pretty but

touch

still quite stupid littlehead lowest the

curls.

depths of
of

realistic

crudityin
prose

of the representation

Nativity. By
or a

side of this
composers

Spanish hymns,

the last

Academicians,a Mengs phrasemonger

of

Rotari, are

if somewhat In that in
the his

of the
presence

order. often
we

youthful productions how

an

fail to understand When

came

first essays of voice

the
"

artist is
was

frequentlymost
in the

unlike himself I from Madrid

this Adoration the

Shepherds
no an

Louvre,

warning
^

that

connoisseur

would

attribute
not
even

this work
a

to

the

Master
of him."

; it must

rather be

earlyZurbaran, and
varnish
; the

good specimen

The and

paintingis
as we see

now

impaired by
ox

red parts have and the chief

become

dull

flat,
What

in the

thrust in between
the
to

Mary
their

shepherds. religious pieces

as

interested specially

painter in
have

these two

of

his

youthful period seems

The artificialsource of

been

character

nocturnal

subjects.
suggest
too
some

surrounding night
in cold, the colouring

and but

sharply
for such

projected shadows
the tone
too

might lightis
in

light ;
the

of the

white

and

shaded

parts

while thick-laid,

the

light it pales.
concerned
even

The

crowding
an

forward

of the

figuresalso,excluding all
seems

softeningof contrast
was

by

atmospheric medium,
the

to

imply
most

that

he

only
at

with

employing plastique,

the

vigorous

methods,

the risk of

probability.

The After the

Two of

Journeys
his five
even

to

the

Court. Pacheco
master.

completion
had

years* apprenticeshipwith
closer

(1613-1 8) Diego'
Pacheco had
to
a

formed

relations
one,
not
so

with
de

his

daughter, apparently an
that

only

Juana
be

Miranda,
and

and

it occurred future
to

him
a

the

opportunityshould
young man,

lost of

entrustingher
weh
to

such
*'

well-conducted five years

full of

promise
married

connected. my

After

of education

and

training I

him

daughter, induced April 23, 1618,

by

his

and youth, integrity

and good qualities

the

prospects of his great natural

on

genius" (i., 134).

same

The
on

nuptialstook
first

place

in St.
"

Miguel, the

year

the

day

of which

Correo

28, 1838. Nacional,]wxif:

84
Murillo
was

Velazquez.
christened
occurs

in St.
name were

Magdalen's

Parish

Church, Seville.
born
in

Amongst
de

the witnesses The

the

of the poet and

two

licenciate Francisco

Rioja.

issue of this union

on

both daughters,

Francisca Seville, 1621.

christened

May 18,
was

161 9, and

Ignacia on

January
to

19,

Sponsor

for the latter Such

a

Juan
in

Velazquez de Silva.
was

connection

scarcelycalculated
young
man now

inspire any
his nineteenth

thoughts of
year, and of domestic

vaulting ambition possessed of

than the
no

the

in

independent means.
of future of
a

During

those

early days

bliss his dreams

career we

greatness

probably conjured up productionsof

be

nothing higher
five the

artist. provincial those

extant

Yet

when

consider his

his first four

or

years*industry in
their

native

town,

it becomes

difficult to escape for

from

impression that, however genuine

national the young
to

applauded they might

still the
had

noveltyof style and pressed itself on

for him
so,

stamp,

question must nothing better

next

have

whether artist,

the Fates works

in store
or

than in well

keep executing such

after all

for the

fiftyyears

works
very

which

subject and
event

representation scarcelyharmonized
well calculated

together.
Then future. the occurred All
an

to

suggest
excited

new

plans
the

for the

restless

and

were aspiring spirits

to

utmost

by

unexpected death

of

PhilipIII.

(March
on

and 31, 1621), accession

and
on

the sudden
son

change
of

of officialsand then

administrative

system

the

of his

PhilipIV.,

in his fifteenth year. and

van

All the current conferred and Sanchez

often

exaggeratedreports
acted

advancement rather

favours special A. Mor

Court

from Titian, or painters

as a

Jan

Eyck, to
to

now Coello,

powerful
with

inducement The
so

to

try his fortune in this direction.

financial and
as

road

political bankruptcy has rarelybeen paved

under

many

good
envoys

intentions all at Mantuan

this
the

new

administration.

The

despatches
in the about

of the words

first echoed Bonatti

may
:
'*

general impressionexpressed
are

of the

Such

the
!

revolutions
"

brought

by

this death The

crown

that

one

Mondo exclaim,

nuovo

prince,whose
to
even

quick

and

was early developed intelligence

patent
the

to

all,had
and

the last been in his

excluded

by
at

the been

Duke

of

Uceda

from

Cabinet,
His
assumed

private life had

resentment

subjected to
hear how

irksome

control. Lerma father

of pent-up feelings
a

the influence of the favourite had

to

very

decided

form

when

he

his

dying
his this

bitterly reproached himself

and remonstrated

for his government, for of

or,

rather,non-government,
himself and

with his Confessor

having deceived
declared

king. Presentlyan
Lerma and
all his

storm all-devouring

burst upOn royal indignation

following. The

young

monarch

that he intended

86
the Four Nails,
may

Velazquez.
This intimate who friend, had
soon

on

followed

Velazquez
on

to

Madrid,

have
now

pronounced being taken.

the decisive word

in the consultation

the

importantstep
It may influential attached welcome
be

supposed

that the father-in-law, a

not

man

so

widely connected
to

in

was circles,

sparing with
those who

introductions
gave

Sevillans artist Don

a a

already friendly
del

to the Court.

Amongst

the young Luis and

in

Madrid

he mentions littlefurther is

the brothers

Don

Melchor

Alcazar,of whom

known, althoughbelongingto
century.
are

familywhich
not, however
to

produced several
to be

celebrities in the sixteenth with

two

They
the

are

confounded

of like name,

who

often referred
in

in the Art

of Painting, and
Melchor

whose

biographiesare
in

given
a

Book

of Portraits. good Jesuit

in the

del Alcazar, born attention The

1502,

was

whose jurist, distinguished his brother

sons was was

styleattracted the
Balthasar. Luis know

of

and PhilipII.,
seven

matist epigram-

eldest of Melchor's died in 16 the fact

1 3.

the learned here

del Alcazar, who

But he

of the Melchor
also
was a

in

questionwe
died his oblivion

nothing beyond
in

that

poet, who
rescued
and the

thirty-seventh year
one

Madrid

(1625).

Pacheco

has

from

of his poems served

as

dealingwith

the anecdote

of Zeuxis

five maidens

who

models

for his Helen.

Of great service to Don

Velazquez was
y

the introduction to the influential Sevillan and

maestro

Juan

de Fonseca

Figueroa (ob.1627), canon importantoffice of

been had position

de escuela at in the cortina, had

and who the cathedral,

also held the

sumi/ierde

king'shousehold.
to

The

filledby several

clergymen,who
to

look after the

to prayer-books, to accompany

instruct the the

as weekly chaplain

the hour of ba/daa

Mass, celebrating

king to

the

chapel and
times.
to

stand But

by the

and drawing chin, raising

the curtain at the proper

although of
Colonna

purely ceremonious
was

this office, character, owing

persons

the influence it commanded,

case

entrusted
was a

only to

in the of distinction;

of Ger6nimo

it

to stepping-stone
was

the cardinalate.
sent

Figueroa afterwards
year
to

entered

the Duke

and service, diplomatic

that very

felicitate the young

win
over

of
to

Parma,
the

the secret

of object

the mission

being to
with the

the Italian

princes
of the

in Spanish side, especially

to
remove

connection

the

question of the Valtelintentions he

even

and lina,

any

anxiety regarding
He
was a

plans and
de

Spanish

Government. other
to

friend of

and painters,

painted
the

himself, amongst Steps were

as

of a portrait things, procure the young

Francisco
artist
an

Rioja.
to

taken

introduction
on

king,

the

simplestmeans
at

of

rapidadvancement.
in failure.

But

this occasion

the efforts

of

Velazquez'patrons
Meanwhile
de

ended

the request of Pacheco which

was

he

of painted the portrait for

the

the

poet

Luis

G6ngora,

probably

needed

portraitgallery.

Velazquez
The
now

at

Court.
but

87
it is the is
a same

work

was

much

praised in

the

capital ;

whether This

that

hangs
and

in the

Prado

(No. 1085) is
at

doubtful.

well drawn, but characteristic

dry
marks

meagrely painted head, injured and

manner a

showing

few

of his

that

period.
of

Although

prebendary of the Cathedral

been

Cordova, G6ngora, n'^w

at

in his

sixtieth year, had littleadvancement

for thirty residing years

a

the

Court,but

hitherto ^vith

beyond
Marini the

de capellania

honor

procured for
name

him
to

by
the

Lerma. inflated first

Yet

he

was

the

of

Spain,
The casuist

and

givreshis
a

{culto) style of
head with

period.
a

is portrait
or

character

study
of
a now

of the
"

rather of order, suggestive

than penitenciario

poet

long

powerfulcranial
nose

development,high arched
at

forehead

quitebald,
with
a

long

hooked

very

prominent
the
comers

the root, serious

closed

mouth

soured

expression in
these

drawn
to

downwards,
No the
one

thin mustachio, will look

long
or

chin projecting in simplicity of the

curving

round

the

nose.

for grace

heavy, stem
overcast

with features, with the furrows

suspicious searchingglance
work.
or

blinking eyes
and
seems

of serious mental erotic poet, of

the

Such inflated

however, may traits,

accord

with

the satirist and of

the

imagery
There

labyrinthineplay
to

thought
by

current

euphuism. long deferred

as

also

be

an

air of

the depression, this

result of the "New

expectations of
calls him.* Meanwhile

Court

favour

endured

Seneca,"

Lope

Fonseca

did

not

lose

sight of
from in the

his young the

friend's interests. he
a

Probably immediately
broached from A
sum

after his return

Italian mission
came

again
letter

the

and subjectto Olivares,

at

spring of 1623
request

Fonseca,mviting Diego
of ducats fifty shut which
was

the Minister's
the

to return

to

Madrid.
the

granted for house, and

travelling expenses,
''in

whereupon
order
to

father-in-law the renown" house. In the his

was same

up

accompanied him,
resided and

witness

he

anticipated.He boy
in his tenth

boarded

in

Figueroa's

year Alcalde
to

year
;

also he

came

to

the
a

with capital
and painter,

the father, confided

of Abil^s in Asturia
care

wanted
de

to be

the

of the

then

popular

Pedro

las Cuevas.
to

Forty
of

years

later this artist, Juan Carrefto de

Miranda, succeeded
his

the honours

Velazquez.
Our artist

painted

the

portraitof
Edward

patron

Fonseca,

which

has

There
:

is

good replicain England.

an

Charton's
this

book interesting
at

on

G6ngora belonged
It

(London
to Mr.

has 1862) Reeve. Art with

excellent It
was

engraving from
then

which replica, Sir W.

as

that time

Henry
to

said to have
was

passed

from

Hamilton's of portrait

collection in Gondomar.

Naples
agrees

the

writer the

Ottley,and

sold

the

exactly

Madrid

picture.

88

Velazquez.
very

disappeared. The
Count with him
to

evening of
to
"

the the
one

day

on

which'it Don

was

the finished,

young
it off

PeAaranda, chamberlain
the the

Infante hour

Ferdinand,carried
seen

palace.

Here

in

it was

by everybody,"the
was

prince and Diego

should first to

*^a king included,

rare

recognition." It
commission the

decided
more

that

paintDon weighty
reference

Ferdinand,but eventuallyit
himself.
matters

seemed however

desirable deferred

paint the king

to

This then

was

.owing
At

the

occupying

king.

These

grandes

had ocupaciones last

on

probably to
the the

the visit of Charles time to sit for

his
a

Prince

of Wales.

August
met

30 with

king found
his

life-size equestrian Infante had

not

which portrait,
the Olivares,

approval of

Majesty, the
that

and till

latter

in declaring

emphatic way
raised

the

king

then been
now a

painted at

all. with

*'

His

Excellencythe high

Count-Duke his

had [Olivares] of

first interview

him, and

hopes,reminding him
alone He should
bade

the

honour

and of his fatherland,

promising that

he

paint his
him

Majesty,and
his

that all other Madrid."

should portraits

be removed.

bring

familyto

Thereupon Velazquez completed

from

the
was

in picture,

which

"

all

was

painted
three-and-

Nature,even
It
"

the
was

landscape."
of

It

five ells high and about in the Calle

a-half wide. St.

publiclyexhibited
admiration I
it
can

Mayor
of

over

against
of the

Felipe,

to

the

the

and Capital,

envy

those

of profession,
were

which
on

bear witness" Pacheco and

{Art ofPaintings i., 134). Sonnets

composed by
Later, when

by

Juan

Velez
de

de

Guevara,

and

long
and

encomium

the

Ger6nimo Sevillan,
it
was

Gonzalez other
to

Villanueva. Rubens

eclipsedby
work
seems

by equestrianpictures
have
no

by Diego himself,this
and least of all
and

been

little more

thought of,
from the

by

the latter, who

could

the somewhat longer appreciate

we

dry

hard

of his first essays. style

to

In 1686

find it removed

royal apartments
in palacto)^ the

the

Court

marshal's

official residence its frame. fire of

to
recover

de {aposentador
no

Treasury, and deprived of

it

Afterwards 1734.

more

is heard

of

it,and

probably
later

perished in the king

One

would

sacrifice many willingly

of the portraits

this work.

The His with

a

Appointment. followed in the

same

receptioninto

the

king'sservice

year

1623,

monthly stipendof twenty ducats from the funds of the royalpalaces. chemist and surgeon also included, and accordingto Pacheco were Physician,
was

specialpayment
received another three

promised
ducats from
an

for each
to

separate work.
expenses,

He
a

further

soon

hundred

defray

besides which

pension
however

of

three hundred

ecclesiastical

for living,

the

Velazquez'
necessary His
was

Appointment.
from
two
seven

89
Urban VIII. till 1626.

dispensationwas
in the for his

not

obtained valued
at

Pope
hundred years The of the

residence
also

citywas

ducats,and provision
received three
taryships, secre-

made each

who father,

within

one yielding
on

thousand the

ducats. floor

studio

of (pbrador) in the

the

Court

painters stood Compared

to

ground

palace
to

prince's only fifty

quarters.
sums

with
were

allowances

hitherto

made

Court

the painters,

awarded

Diego

considerable

; E. Caxesi
not
more

had

received than

thousand maravedis Our he had

maravedis,

say

;^IS, and

Gonzalez

six thousand

yearly.
still in artist, been received the
but his

twenty-fourthyear,
the remarkable Court. been
a

had

alreadyreached motley
his

his

goal;
of
saw

into

if somewhat

series

portrait paintersto
some

Spanish they
had rather

Amongst
Italians and

predecessorshe
V. had

great names,
the
to

in Netherlanders, Charles

whose

company Titian

Spaniards cut

sorry

figure.
the had the

compared
had

Court Apelles,

painter to
of the

Alexander
but

Great

; others
some

caught it,

only

his

pale,ill-formed, icy mask,

the

Titian
on

breathed

life into

depicting
shrewdness

coolness

captain
worlds.

the battlefield, the

penetrating

of

the greatest statesman

master

of the age,

Olympian imperturbability

of the

of two

Philip II.
had after The
seen

had

constantly employed
crown

the

painterof Cadore, who, however,

; hence

him

only as

princeat Augsburg
a

the of

portrait painted youth

and from and
age.

the battle of
true

Lepanto (1572)was
of his former of whom, free

fanciful blend
were

chroniclers pictorial

Court

Anton almost

Mor
free grace

Alonso Italian

Sanchez

Coello,the

although

had influences,

something

of the

and dignity, breath,

of Venetian conversed
so

cavalier of a portraiture. He was with the otherwise almost familiarly the of suspicions the

the true

Spanish

type, and

inaccessible

monarch

that he awakened in

Inquisition.His
well suited he that

cooler tone, his infinite minuteness

the
to

the details of the costumes, Three he

has

formal

and
to

pomp-loving

court.

several

times
us

was

invited,

once

London,
the Court

bride paint Philip's

also left
a

king's sisters
of his

and

and nothing beauties,

treatment

gives us
The

higher

idea

and delicacy in the Prado.

manifold

of character

than these .lifelike now portraits

Portuguese thingswere
and

Sanchez

Coello,respecting whose legends of

the characterless
are portraits

influence in

at

Court

incredible
poor

related in the
a

was painters,

a reality

hanger-on

somewhat his

artist.

At

first he

adhered

to Mor, closely
some

from

whom

not

without distinguished readily He individuality. then took

;

experience, only they lack

Venetian
are

animation have

and

to

manner,

and

his heads

passed occasionally
he

for Venetian

yet these

less valuable

than others in which

affects

Dutch

style.

90
His laborious For the

Velazquez.
pupilPantoja de
and stiff royal
was
a

la Cruz

was

the

soulless and

the painfully lifeless,

painterto
sort

the Court

of the weak-headed and (ob.1610), whom colleagues Gonzalez Latterly of

same was

PhilipIII.
followed

period he
Bartolom^

of anachronism
one

(1617)by
found

Gonzalez,

of the

three

Velazquez
had

installed at the time of his the

appointment.
a

again cessor prede-

painted

family

of

Philip III. in palace.

to

series the

eleven

large full-figure
to

for the portraits

Pardo

He

bears

relation

his

that the latter did the portraiture

same

Coello
course

and

Coello
that

to

Mor, marking
respects
was

in Court indicated

downward

in other

by

the

themselves. royaloriginals
was no

IV. Philip

but only a better,

more

ill-starred ruler than

to

his father;

still the revival of the national

life drew who has

the Court
been

the greatest

portrait
alone.

painterof Spanish blood,

Carrefto and Del
were line,

one

since

rivalled

by Goya
the

to Mazo, Court painters

the last shadow

king of

Habsburg

themselves

but

shadow

of the

Velazquez.
custom

The his

present monarch

kept
had

up for

of extreme been

with familiarity

painters, the
to

precedent
He

which all times absence for

had
access

established the

by
had

his
sage pasvided pro-

sinister

grandfather.
the atelier f with

at

through
in

secret

even

in the

of
every

the
room

artist,for he
the

himself

skeleton Bernardo

keys
in

palace.
his his

One

day,
Cosimo

the

Florentine

Monanni the

tells

us,

his

fellow-countryman
all

Lotti, also

engaged
and
cut

Treasury,
could
no

found

things

so

displaced that although an

He

engineer he
noticed

longer find
of the
os

bearings.
ausage

opened
para
look

little box
been

that

half

his Florentines

had {salsicciotto) mitad In

nosotros

off,and
la otra
a

by
chair in

its side

royal autograph :
Yo el

La

iomamos,
was

por limosna
reserved fact he

la dexamos, for his

Rey}
he

Velazquez's studio
on

Majesty, that
every

might
"

comfortably,and
"

came

almost such

day.
and

Scarcely

credible

seemed
so

to
a

the

aged

Pacheco treated his

friendliness But

with affability, presence

lords

which

great

monarch

him.

this constant

of the
more

king could not

to

fail to influence than

to

for, style, says

When
were

Martinez, visiting making

to

look

despatch
As

good workmanship.
part found
maxim

his

painters Philip
their
were

II. for the the

most

that

they
had

far too do
as

little progress.

great

of

Spanish royalty was done, duty,

the
who

predecessors and
regarded
as

the especially fulfilment of And

we a

emperor
ruler's

such in

relations all

the

should
anecdotes

things resemble

his forefathers.

see

how

same

recur. constantly

"

Half

we

the other take for ourselves,

we

leave you

for charity. I

the

King.

Madrid.

Madrid.

Velazquez became
As He
a

and

remained he

tillhis death besides

citizen

of (vecino)

Madrid.

servant

of the

king

received in the

his

stipend a

free residence. later

as

had

his

studio,of course,
an

palace

itself (east\ving), and

palace marshal
eastwards
on

officialresidence
; but

in the Casa

del Tesoro

abutting (Treasury)
in the
stood

the Alcazar he

his

privatedwelling was
in

city.

The

house de

which

occupiedat
such

all events
and

his fortieth year

to
one

in the Calle Yta.

to

Concepcion Ger6nima,
II. conferred he activity, house second of his

belonged
the

Pedro

de

When

Philip

unusual
to

on privileges crown

householders free control

over

encourage

architectural floor of every Madrid.

to

reserved

the second

; hence

the

large number
lend
to

of one-storied his courtiers the like. off the Calle the

buildingsin
and

Such
members
name

stories he would
or council,

officials,

the The

of embassies
runs

and

of that street

still exists ; it and takes

de

Toledo, in

the

heart

of mediaeval founded

Madrid,
Dofta

its title from

Hieronymite
year in

Nunnery,
1

by

Beatriz

Galindo,called La
are seen

Latina, in the
monuments

504.

On

either side of the

high
to

altar her

the and

marble that of

the

Renaissance Ramirez.

style erected
The

memory,

her

husband

Francisco the
was
"

facade

of the convent, in the late Gothic

the

styleof kind, lately

del

Catholic

Kings," noteworthy as
a

only

work interesting Hazan. the Plaza

to

of the

erected The

by

Moorish
to

the architect,

neophyte

painter's way
This Calle

the

palace lay through

thence

Mayor
the

opened
Palacio.

by Philip III., and

was

by

the Calle

Mayor

Plaza

the

great artery, the favourite resort

and

of fashionable

fair ladies society,gallants,

adventurers

of

all kinds. here

were

Here,

says

Alarcon, the Sevillans themselves

the

forgottheir Alameda,
where India, has fortunes
no

was

the India of
"

old world, that is,a reversed The Madrid from

a

rapidly
in

lost. is
;
at

of Velazquez' time

undei^one
of the about

essential

change, as Antwerp
Even la

evident

glance

at

the sprung

great plan
up

place prepared
the central

only new
that time and
was

quarters have
the Puerta Prado
was

round

core.

del Sol the

was

alreadycalled
in

the

"Ombligo society.
it had

de

Corte,"
Madrid
a

the
a

evening promenade 1561.

from
in

of select Till then the

This been

creation of

PhilipIL, begun
But the

small

mediaeval
an

rescued town, finally

1083

Moors, who
now

had

held with

it

as

outpost of Toledo.
In

transformation

proceeded
the second in the

giant
of

strides.
was

Pedro
one

de page

Medina's

for description
to

1 548, when

royal palace
edition

building,

is devoted

Madrid,
are

but

that work

(1595) seven

additional pages

added.

92
For its good fortune Madrid On his first visit Charles V.

Velazquez.
was

indebted felt the

on

to

its salubrious

climate

alone.

had

beneficial effects of the pure and constitution,

dry

atmosphere of the
resolved is said
to take to
owe

breezy table-land
his residence
name,

his gouty This

thereupon
Madrid from of the the
rounding sur-

up

there.
was

atmosphere,to
the woodlands chosen

which

its Arabic
range,

tempered by
the extensive

winds

Guadarrama

and
In

still more
the

by

district. residence
any

sixteenth
; at

century

it

was

as

summer

and

health resort This is

present its climate is the least salubrious

to

of

in

Spain.

mainly due
to

the destruction

of the

which forests, become riverain

had
so

alreadydisappearedin
scarce

the time of
be issued

PhilipIV.
for
"

In 1640 fuel had

that orders
had

had

the especially replanting, the French the

tracts,and

given

rise to the

saying that
built of
utter

think of the past,

the Italians of the

At

the Spaniardsonly of future,

were

present."
as
we

first the houses of

mostly

mud,

still

see

in the

towns provincial

and Castile,

with such

of sanitary conditions neglect

that

Madrid

had

the

of being reputation and

built

the filthiestcityin

Europe.
thus beast

theless Neverthe

the nobles
new numerous

of Toledo

Valladolid themselves But

towards gravitated gradually and residences,

"

where capital,

they

attracted
"

retainers and such

artizans.

supplies
under

for

man

and

had

to

be

brought from
than

distances that After with

even

was PhilipII. living

already Strangers
at

dearer

in Rome. resumed

Philip III.'s temporary

haste
were

return
successor.

to

Valladolid,
all the

buildingwas
flocked

feverish

under
run

his

thither ;

many-storiedhouses
that Ghent. here In

up

with

balconies

windows, and let out

hence
the

in flats to families
one

whollyunacquaintedwith
farther from

each other; than

remark from

was partition

another

Valladolid the

similar
on

hyperboliclanguage
all round,
so

the poets describe ing last-

rapid transformations
except change.
*'

going

that

nothing seemed
carried
on

The

great man,

scarcely dead, is
a

forth in the

evening,and

no

one

has

time to throw

handful

of earth

his

grave."

Despitethe
possesses the

lack of character

in the architecture of modern

Madrid, which
St. Ger6nimp,
a

only one

threatened noteworthy church,the recently

Spanish
in its

of the seventeenth capital

century possessed at least

first struck
moats.

special
its perfectly

charm

cosmopolitanaspect.
towers thirty

What

strangers

was

open hundred

without condition,

walls,gates, or

The

old enclosure with its

the town
one

and

had

as disappeared gradually

expanded

in

all directions; hence

no

G6ngora
The

compares

it to

the
no

Nile,the

tolerating
with the

banks confining
and

for its flood-waters, the other

walls for its overflowing

streets

houses.

growth of this upstart

its national
A

coincides capital

time when after

Spain itselfoutgrew
a

and

natural which

limits in its its

tions aspira-

universal

monarchy.

Court

sends

viceroys to

94
Florentine fountains.

Velazquez.
sculptorRutilio Gaxi,
and who had

designed several
of

of

the

Madrid

Monterey palaceson
still
a

Legan^s,
scale and

both with

kinsmen

Olivares,had
The offices
rare

fitted up

their

grand
to

princely splendour.
with its

latter, Spinola's
for his heart
and

son-in-law,had clung
his secretaires and Count

reluctantly accepted high

Madrid residence choice also

abroad,
clocks other

mirrors,its
Art
treasures.

marqueterte work, paintingsand

Monterey
of his

(Don

Emanuel
to

de

Fonseca
a

had Zufiiga)

taken

vantage ad-

positionin Naples
of Michael

make

rich collection of silver ware,

as

gems,

tapestry, paintingsand
of the cartoon
taste

other

such objects,

the

red-chalk

pastel

drawing
The Flemish

Angelo'sBathers.
embraced armour,

of collectors also

Venetian

glass,cabinets, Specially
of

illuminated tapestry, medals,copperplates,

shrines,costly breviaries,
instruments.

ivory prints,
connoisseurs of
an

carvings,musical
patrons of Art.

and

mathematical the

is Carducho's interesting
and
to

descriptionof
In
a

circles and

conversation

certain unnamed

house

they gathered

evening

bespeak
"much

or

exchange paintings, drawings,models, statues,

taste

therein
"

displaying

and

knowledge,"
best

and

appreciationof
well of

and originals Palma, Bassano,'' by Raphael,Correggio, Titian,Tintoretto,

of

livingpainters. Here
who
were

assembled such of

the

as painters,

as

persons

condition here damascened of

had
seen

fancy for
*'

refined and

entertainments. weapons of

Besides

ings paintglobes
in

coats

mail

famous

armourers, and

daggers,rock glass."
Don The articles of

crystal work, writingdesks,pyramids

host,
we are

jasperand
with

told,

was

on

one

occasion made

engaged
an

arrangingsome

exchange, about Enriquez

the

which
de

he

had

ment appointCastile. bronze

Juan

Alfonso

Cabrera, Admiral

of
two

They comprised an
statues

six original by Titian,

heads
had
was

by

Anton

Mor,
him
a a

and

and small culverin,

scene

admiral There

left with also

seen

good copy

of

Bacchanalian from

by

Caracci.

Madonna in him

by
have

Raphael
that restored up

the Convent

of the

Barefooted

Carmelite
to

Nuns

Valladolid,
and

belonged to Monterey, and

in

which

he wanted

take with which

Italy.
and other

This

was

the

Madonna

della Rosa

stilloften turns

in

Spain
were

in Valladolid

(Prado, 370).
Madrid
made of

Nor

opportunities lacking in
with estimates
to
were

for

procuring good
which
rest

specimens.
the
sale with

Inventories
what

from legacies,
the

family chose
fixed

it desired
to

and retain,

exposed
Such record
An

for

public 1608,
these

pricesattached
of death the of

each the

article.
on largest

sales took

place even
of of

after the decease

some

royalpersons,
in

being

that

years is

after the

Philip II. (1598).

account

almomdas

given

highly interesting diary of

Count

Harrach, who

Art

Circles
century
less than

in

Madrid.
twice ambassador
at

95
the

during

the

second who

half of the mentions

no

was

Spanish
the

Court, and
Besides with vivid of and
an

twenty

auctions,nearly

all of

within nobility,

the

space

of five years. of vanity, or in servile virtuosi,

those who

collected from motives

were

compliance
left
us a

the

there fashion,

also

genuine
true

Quevedo

has

of description Art

Juan

de

Espina who, accordingto him, was

a

the beau refined

ideal
taste

patron, and

moreover

philosopher, displayinga
and
tact

thorough knowledge, perseverance

had
an

in his

of researches, disregard open

a

price (he
and such

income

of five thousand

an ducats),

house

for artists
as

scholars.
even

Often

plunged in deep thought he passed for

the

and magician,
an

on figured

stage.

"

For years

his house

was

epitome of
our

the

marvels

of

Europe, visited nothing to

of of

by

strangers to the great honour

of

nation, for
of him." the visit of
2.

they had
The Charles

often year Prince

to

tell of

Spain except
to

their reminiscences coincided March remarkable 7 with

Velazquez'removal Wales,
de who he
'*

Madrid from

remained

till September zeal all the

According
however volumes intended secured the

Lope
be

Vega

collected with

ings paint-

that could

had, valuing and paying Espina to part

to

for them

excessive

prices." He
had

failed to induce of
to

with the gem Leonardo

but had

of his collection, the two de Vinci.

years

manuscript with drawings by bequeath them

the

The later from

owner

the

king ; They

fourteen

they were
the sale of had also with

by

Earl

of ArundeL Leoni

come originally

effects of
a

Pompeo

(ob.1608) where
a

Andres Madonna in
vain

Velazquez
and

procured
escudos At

small
on

Correggio
copper.

foot

high
"

the
two

Child

Joseph,painted
; but

The

prince had
and Villamediana's

offered his

thousand

the
time

king bought
the

it himself de

presentedit to
auction
was

royalguest.^
on.

that

Conde
at the

still going
shot in

This
on

brilliant wit

had

of instigation whether
or

the
on

king
account

been

his coach

August
He

21, 1622, it was

uncertain
venom,

of his satirical poems

the young he

of unparalleled audacityand queen.

had been six

of his rash

with gallantries

years and

in

Naples

and At

Florence,whence
the

had

brought
mediana him in The cabinet
'

back

arms paintings,

antiques.
thousand

departurefrom
*'

Madrid

of Fernando
gave

de him

Azevedo, the newly appointedArchbishop of Burgos, Villaa

Titian worth

escudos,
Fures

in order

to

remember

Burgos." princeoften
and visited Don Gerdnimo
y

Mufioz,in
him

order to Charles

see

his

original drawings by
Ferd.

from the great Italians;

In
a

received

Khevenhiller, Annaies

X., 333.

MS.

in the
"

British

Museum,

Observations
as

" paintings in England^ 1650 concerningpictures in the

6* 52

this sketch

is mentioned

being

possession of Mr.
Petworth

Bayley,togetherwith

the

School

of Love.

Perhaps

it is the

pictureat

(Waagen,

Treasures,iii., 43).

96
a

Velazquez.
a

of eightpaintings and gift

number

of artistic weapons.

From

Crescenzi's the Contest He also

collection he later received of the Muses showed

scenes

a painting by Rosso, throughCoffington

and
taste

which Pierides, for

cost

him

four

hundred

ducats.
were

some

and Spanish painters,

in his collection

included

of stilllife by the

highlyesteemed
of the works
as

flower

painterJuan by
St.

Labrador Pedro

(ob.

1600),besides the Adoration

Shepherds,a nightscene
in and Corpus Christi, shrines tapestries, decked

Orrente.

of seeinggood Opportunities

were possession private

also afforded On
on

such feasts, by the great religious

John's.
set

such
the

occasions

the balconies

were

hung

with and

were

up

ground
and

floor visible from

the street

with flowers,green the

branches,

hangings and paintings,

danced.

lights ;

before

these shrines

people sang, played

THB

OLD

PALACE

OF

THE

ALCAZAR,

MADRID.

Court Meantime

and

Palace,
a

Madrid.
member
to

Velazquez
His

had

become
was

Spanish courtier,a
confined with
the

of the unruffled

royal household.
stream

existence

henceforth

the the
in

of this Court
between

which life,

flowed

of regularity

heavenly capital, Aranjuez.

and all

bodies

rural For
"

palaceand country seat, feasts and ceremonies partiesand hunting in the Pardo, Escorial, Balsain
the

the

and

Spanish king knows

our

day by day

what

he has to do

throughout his
"

whole

life." Thus

artist also had for ever

his personal freedom resigned

his the

leisure, except only during the episodesof

was

Italian main

journeys.

Here

quick
To

life and

wearisome

and strife,"

result disenchantment,

de desengaflos

palacio (Calderon).
served

those who

him,

down

to the

some sentries,

thousand

persons

in

IcL%J\^eijncD

The
the king all,

Alcazar.
in

97

gave

lodgingand

board

palaceand
medical
a

city.

In the

refectories

they dailyreceived
ice,bread
and

their rations of meat, fuel. The

poultry, game,
million

fish, chocolate, fruit,

was

oil,lightand
the whole

attendance
escudos

also

partly
wax

included, and
tapers alone
The
or

establishment

cost

the yearly,

some

sixtythousand
it is

ducats.

Spanish Court, wrote

a

Boisel about

1660, is
and routine the Court

no

Q)urt
a

in the French The

English sense;

private residence
to

leads and

retired life.

Habsburg dynasty retained Burgundian

and

the last the

arrangements

of the

Court, which

differed

greatlyfrom
In the

simple and
of these of

hold housefrugal

of the old Castilian

successors

sovereigns.
of
on

Philips,
Good

"

heirs
and

of the

house

Burgundy,"
took

the Court

Philipthe

Charles

the

Bold

stilllived

in its administrative his meals One

system, its love of pomp, apart, the queen

and each
even

its offices and

titles. The

king

princehad
called the
were

their separate establishments. Casa

in de

quarter of the premiseswas

Borgofia;
Such

all the way

palace expenditure and

; the
was names

account-books
offices
were

kept

the old

Burgundian

of the Court

partly Burgundian.

especially
in
the

the offices

general term
of
p.
on.

sumiller de

(chief
cava

as chamberlain, steward, etc.),

sumiller

corps (lord
de la

sumiller de cortina (see above, chamberlain), and so sumiller de paneteria (headcook), (butler), These which offices,
the
were

86),sumiller

not

bought

but

presentedby
served
even

the king, were

as a

the

goal of
the

ambition from

of various

classes,and

bait to allure the old school

nobles

their castles to the

capital.The Philip II.

"

Spaniards of
of this
the

felt at Court
to

first a certain and life,

irritation at

the introduction of

foreignand
Cortes
of

costly
is

in the fifth year the

Castilian house

ventured
so a

with expostulate with

;

king, declaring that

the

Your
were

Burgundy
to

surrounded

excessive
consume

outlays that they

the

enough royal
revenues.

conquer

kingdom
worst

they

greater part of the

But
customs

the
of

is the harm
are

and

injuryto
the it

State, that the usages

and
so

Castilewasted

and forgotten,

Spanish people'sstrength is
can now serve

weakened,
like the

and

drained

that

your

Majesty only

with its heart's blood." pelican The

its broad
name

of the old Alcazar been

our was

of Madrid
its endless
a

will often
passages

recur

in this narrative ; and

recrossed

steps have

worn,

crossed
were

for

full generationby here

hero ; his

great part of his works

here
was

destined

for

its apartments;
career.

workshop;

prosecuted his artistic

familiar knowledge those artists and after

Hence

the desire will often make

itselffelt to But
as

acquiresome
none

of this
scholars who

long
lived

vanished and

building.
within

of
the

associated

its walls

took

trouble, even
7

98
the fire of November based description, old
24,
on

Velazquez.
1734, to leave
a

ing the followpictureof it to posterity,

and the

travellers' notes inventories,

fragmentsof
I.was
the

an

plan,may
This is the
received

not

appear

quitea

thankless
tower

task to

our

readers. Francis enacted

in the palace,

north-west conqueror

of which
was

confined,

and

the visit of his where

was

where

tragedyof
in

Don

and Carlos,
to the

signed the
Louis
same

will of the The

last

Habsburger, leaving
Bourbon, erected
end of the

the throne 1737

grandson of
on

XIV.

Palais
at

by J. B.

Sacchetti
the

the

imposing site
in

the west

city,

doubtless

excels the

old structure

unity of design and

is poor
to

sumptuous

style ;
also

still it lacks Since ceased

The it has
to be

national

character, and
its

in

historic reminiscences.
museum, it has

surrendered
one

treasures pictorial

the

of the

noteworthy sightsof
Madrid
the

the

Spanish metropolis. night of

Moorish times.
and

of the origin
the earliest in the

Alcazar

is lost in the

From
hunted
"

days
Nuns V. side

Castilian their

tarried in Madrid kingsoccasionally

on

Pardo

; but
"

palacestood

the site of the Convent

of the

Royal

Barefoot

founded (Desca/zasreales), The

Alcazar
was

by Princess

Juana,

daughter of Charles
on

only a stronghold or citadel, protected

towards
1

the west

by

the

escarpment
In

the

Manzanares, on
held
out

the

other

sides

by

moats

and

ramparts.

109

it had

againstthe
the western

Maroccan

forces under
been

and Tejufin,
as

since

then

the grounds under

slopehave grand
Under
n'ca walls

known

the

Campo
Cruel

del Moro
in

(the

*'

Moorish

Camp").
we

After of

its reconstruction

by

Peter

the

the

fourteenth

century

read
towers.

State ceremonies, and

the

from

that

period dated
French
bade

the strong round

pomp-loving Juan
here
were

II. the
the

Castilian Cortes
envoys.

assembled

in the

Sala

and (1419),

received

At that time its stout It

was

witnessed

brilliant

and gatherings under

defiance to the enemy. whom

the theatre of the

its final form.

events disgraceful
was

Henry IV., from

four hundred ''Catholic stood
a men

it received

It

held

in

1476 by
year the

againstIsabella's
the

forces under

Infantado.

Next

Sovereigns" entered
last

placewithout
the

the Alcazar, which inhabiting

siege when

held

by

Comuneros This

(1520-21).
took stronghold
the the usual

mediaeval
at

form

of

with large quadrilateral, with

and
one

round
turrets

towers

anglesand

inner

courts, outer
rows

passages

projecting
of

terminatingin
with
the open
terraces

pointed roofs, many

and dwellings of the court. insurrection

of small

large

windows from

the balconies,

halls

lookinginwards
the emperor

and

lighted
it

After

the quelling

of the Commons
he
never

had

partly

rebuilt to suit modern This reconstruction received

or

but requirements,

inhabited the actually

palace.

enlargement
its

was

continued under

during the two

following
structure

reigns,and

finishingtouch

Philip IV.

The

lOo

Velazquez.
State Council Chamber and

the Portugal and Flanders, Aragon, Italy, all of which

others,
name

lay on

the

ground
marble

floor.

From
were

these the court the

took the

of

El Patio de las
A

behind Covachuelas,

which

royalsummer
and

apartments.

broad
to
came

of grey flight the

steps with

slender

blue

gilded balustrades
S. M,; cuario

led up First

State apartments {cuartoyaposento de private

alto).
Bur-

in the north
and

wing, the long

guard-room
This north

of the

Spanish,German,
the upper terminated

gundian guards
of the
court

Walloon

bowmen.
narrow

lay between

loggia
in the

and
tower.

the

which gallery,

north-west Then

followed

on

the

west

side

the

spaciousState
with

apartments

of

the

audience consultaSf Here

the

and president's room. chamber, banqueting-hall, reception

Cortes envoys

assembled, the king consulted

and

the Council of the

of

of

Castile, Fleece,

received

cardinals,conferred

the Order the oaths

Golden

appointedthe wing
been
the

Knights of St. Jago,received

the

and viceroys

captains-

general, presided at
were

Maundy
to

Thursday
the

rites and

the like.
west

In the west

royal winter
It led

apartments,

for which

the old
or

galleryhad
which

partly closed.
an

south-western

golden tower,
of the south

commanded Between the old

unexpected view
and the gallery,

of

cityand surroundingplain.
State apartments in the side
ran

the court

the modern

south

longestapartment
also Sala Pieza the
de

palace (a

hundred

and

seventy

by

five Castilian thirtycalled

set apart feet),

for feasts,masquerades and

on

public banquets, hence

a

fiestas publicas. Farther

was

stood

square

vaulted

saloon,the

de las Fun'aSf which of ceiling which

was

already included
with Titian's of

in the

queen'sapartments,

and

decorated

four

from figures

Tartarus,formerlybelongingto Queen Mary

the

Hungary.
not

The
very

Italian visitors in the reignsof

PhilipII. and PhilipIII. do

the interior.

speak
the

favourablyof
love

general impressionof
Venturini remarked whole
whereas edifice,
were

They
was

noted
a

Spanish
contain

of gloom, and in the

one.

that there the Roman

not

single
not

good apartment
a

palaces did
and

singlebad

Many

in fact low and

quitedark

all badly

planned.
Eastwards this last
annexes

followed

the kitchen, bakery, and

treasury

(Casa del Tesoro),

artists.

comprisingthe
a

dwellingsand
survived.
rooms.

studios of the Court The whole

Of

these

not

has vestige

contained building

altogether

some

five hundred What

one

inhabited
like more

would

to particularly

know

is the

styleof prevailing
the

decoration pictorial Such

at the time of

Velazquez'receptioninto
to

royalpalace.
of the The

knowledge inventory of

would

enable
the

us

judge
doubt

of

the with
a

transformations his

interior effected first

during
this

reignof
dates
no

PhilipIV.

co-operation.
these

king

from

time when

changes

The
had of

Alcazar.

ioi

already begun (1636). PhilipII. and

At

Nevertheless

descriptions dating from

inference
that

the
to

reign
1623

from

the year

1599 lead to the

down

the essential features of the old arrangements that

as

stillsubsisted.

time

the

figured or
sumptuous

were pictorial tapestries, paHos htstoriados^

regarded
actual

the most

mural

decoration. with cloths

as a

In the middle

ages

the

Spaniards hung PhilipII/s

of

their best

apartments
considered

painted in water-colours,
sort

wall-paintingbeing
time looms the for

only

of

makeshift.
but the

In

alreadyexisted; tapestry-weaving
were

ments requirethe
of

royal palaces Bruges

supplied
Brussels.

almost

exclusivelyfrom
accounts

workshops Spanish
and

of Arras,

and

All

contemporary
silk and

Portuguese palacesspeak
galleriesand halls,
frescoes of

of the Flemish This

gold tapestries
had the
were

decorating
advantage

chapels.

style of
more

decoration

over

being movable, and

These

the

specimens costly
at

reserved carefully

for grand occasions.

treasures, which

the death

of Charles the amazement

"

II.

were

cataloguedunder foreigners.Gramont
those

were entries, ninety-three mostly serial,

of

describes

those of the
and mentions

royalpalaceas
their number

far finer than about On

of the

French

Crown,"

as

eight hundred.
great festivals such
as

Corpus Christi.
with of which
the

or

an

the autO'da-fe\

courts

and

halls of the

palacew^ere

hung

disposed round tapestries Treasury and

from
even
even

temporary
of

shrines,for
Toledo
and

the ornamentation

the churches

the Escorial

were

laid under

contribution. schools

The

hangings represented
van

all the
to

changes

in the

Flemish

Roger
later.

der

Weyden
and

the

introduction

of the consulted

Italian cartoons, and

; there
were

All tastes

requirements were
and of

symbolic representations, religious

and

scenes moralities, allegories,

from

the

Passion

the lives of the

Apostles
of

Patriarchs,Roman
the

the subjects, history, mythologico-erotic

great deeds

royal
the

house, the
and
so

of Charles expedition forth. fifteenth centuries Italians ; it received

V. to Tunis, the

campaigns
here

Archduke
In

Albert

fourteenth introduced died out

and

fresco

painting had
been have
account

and

there been

by

its greatest

development under
taken
up

PhilipII. and
with
the

under

PhilipIV. style.A
and

Had

his attention not

of building

the Escorial in this

PhilipII. would
somewhat

probably
confused which
the

decorated
is

the whole

of the Alcazar

given

by
the

Carducho

of the treatment Cincinnato idea of

of the west

wing, for

king employed
on

Italians Romulo
A

Patricio Caxesi
mural

alreadyengaged
But
the

the

Escorial. the
rooms

good

these and

paintings is given by
Tower of the
as

some

of played dis-

in the Pardo itself most

Palace

in the Escorial. Golden with

Italian taste

sumptuously
with

in the
and

Alcazar, where alabaster;"

and

the walls

were

coated

gold

stucco

"white

I02

Velazquez.
one

where Ovid. well

as

of the
was

rooms

was

paintedwith

scenes

from

the
and

Metamorphoses of
Italian works,
as

Here

also the

French of Castilian, library

of Aristotle, Attila, Scanderbeg (theAlbanian Cicero, portraits many

hero),
was

Magellan and
In

prelates.
system
of contemporary
to

the decorative

architects

Httle attention

People appear paid to easel-painting.

with had
the idea of

have

become only gradually

liarized fami-

their apartments embellishing lock and

with such
gems,

works, which
other

hitherto been

mostly kept under

the

key,like

and coins,

cabinet objects. costly The

inventoryprepared at

death here

of

PhilipII. shows
as

that this custom the contents of the

stillprevailed. The the

casa

are paintings

described

amongst

the guardajoyas(crown-jewels chamber), del tesoro

contaduria under

and (exchequer) heads

"

They (treasury).
former

are

classed

two

devotional the

and subjects old Flemish

a

the portraits,

of being mostly triptychs, altar-pieces which Isabella works the Catholic

are

of school, votive pieces,

already
"

possessed
Dolorosa

large number.
Ecce Homo
on

The slate
were

few
or

Italian

by

Titian

the

and

touchstone,the St. Margaret with

also in the

the

Dragon,
of the The

the Fall of Man.

Many

chapelsand
of the

small oratories

palace.
numerous

members portraits represented

royal house, famous

best

princes of
of himself them
were

the

times,a
Moro and

few

captainsand
Coello.

court

the buffoons,

being by

Antonio Titian,

Sanchez

In the

Treasury were
V. with
on

those masterpieces

Venetian the also

Titian's portraiture, Infante

Charles
V.

horseback,Philip
the

with

Diego, and
made

Charles the

dog.

Amongst
van

some

antique heads, and king had

of such
a

fancy
but

works

of Jerome

Aeken,
A

of which

the

complete collection.
which few have
when

very
to

largenumber
enliven
the

of paintings, and

survived,also
the

served
were

passages

in galleries

summer,

tapestries
deeds.
scenes,

removed.

But

these

were

chosen

rather for their

or

for interest, objective of

the

purpose

of instruction

and

amusement,

in memory

great

They
views

and comprised battle-pieces, of cities and

hunting triumphal processions,

traveller in 1599 mentions well
as

the like.
and of

German

the great las

cities of the

empire
Don

as Flanders,

Country

Seats

by Jorge de

the Battle of Viftas,

Mtlhlbergand
Sebastian
and

Crossingof
his
and

the Elbe ; the Battle of Alcacer

Quibir,where
^

the portraits Portuguese army perished, Don of

of the

king, his uncle

of

Ferdinand

Carlos, Kings Hesse,

the

Emanuel

and

Sebastian Pedro his

Portugal, the
and
some

Landgrave
Venetian into

conquistador Don
V. ;

Melendez,
into

beauties ; also

Battles of Charles

Entry
*

Rome,

and

Alba's

Portugal.^
MS. in the British Museum.

Travels

of Diego

Cuelbis

of Leipzig,1 599.

The
A

Alcazar.
the

103
and

largenumber
from

were

arranged on
means

staircase walls
the

along the
move

secret

or galleries, pasadizosy by unseen one

of which

king
We

was

able to how
and

about

end

of the

palaceto

the other.

read

Philip II.
in Coello, his

in

his Casa
even

dressing-gown was
del Tesoro. had passages On

fond of
the

his painters, Mor surprising

the

suggestion of the
which
the led

Jesuit P. Florentia

grandson
the and

constructed The

into closets within

hearing of
streets

council-chambers.
squares
to

longest of
of the
as one

galleries, leading across

founded and

the Convent

Incarnation
as

by Queen
the Roman

Margaret,

contained But it
was

in

the year
was

1700 least

many

four hundred

ninetypaintings.
few to whom
and villa,

there

at

quarter of the Alcazar, where

accessible

fancied

themselves

transportedto galleryand
the the

some

where On
*'

masterpiecesof
a

Italian the
so

were colouring

worthilyenthroned.
Golden Tower the

terrace

beneath

south

lay
of

the

Emperors* Garden,"
from Caesar
to

called

from
in two

marble One

of effigies
series

Roman halfwas

Emperors
associated

Domitian Roman
with

sets.

consisted

length figures, copies by

Charles the V.

with sculptorsafter antiques,

the bronze
cast

which

These,
Cardinal

of the

a figure extracting

thorn,were
had
been

giftof

Giovanni

Ricci
to

of

Montepulciano (1561)and
The other
the
set

brought by
soon

the artists from

themselves

Madrid. Near
them

the

king had
statues

after received

Pope

Pius V.

stood

bronze

of

the

king

and

his

stepbrotherDon
the

Juan

of

Austria, probably by

Leone
In

Leoni. the arched

spaces

(cuadras)round
"

garden

were

hung

the

best

paintingsowned
Dianas

by Philip II.
Venus and

the and

Fables

painted for
and
to

him Venus

by

Titian; both
and

Bathing ; the
the

Organ-player; the
table
was

Adonis Here

Danae;
also

Europa; Tarquin
Florentine
of

Lucretia; Perseus

Andromeda.
him

stood

mosaic

presented
the

by
the and

the

Legate
of

Bonelli, nephew
the These

Pius Titian
most

IV.

This

beginning

and

nucleus

incomparable
Northeastwards

Galleries

created

by Philip JV.
narrow

Velazquez.
of the

like paintings,

others in the the

the

had palace,

black frames.
the

stretched

pleasure grounds
The
open

"

gardens

nunnery,

of the

king

and

of

queen.

park (Jardindel Moro)

the in the

is still preserved, which

nares, and

lay at May.

the foot of the

towards declivity

Manza-

which of

was

the and

favourite resort Here

the

of the

high

and

low

spring
with
The
to

mornings

April

people

amused

themselves

singing, guitar
queen

playing, comic
summer

poetry

and

picnicingon
her stretch of

the ladies

grass.

also of banks.
on

evening would park

itself
was

stroll with
a mere

down

the

river
nested

But

the

woodland,

where the

the

tree-tops the colony of rooks

brought by

Charles

V. from

Netherlands.

I04
On the north side
a
**

Velazquez.
Roman

Amphitheatre
was

"

was more

erected in
used

summer

for

bull-fights, although the largepalacesquare

as

for this purpose,

well

as

for tournaments, stretched

and

other

royal

entertainments.
del

Beyond

the

Manzanares
was

the great

park

of the Casa

Campo,

the

site of which

purchased by PhilipII. in 1588.

Philip

IV. in intimate
and

Often
that of for
a a more

enough prince.
or

the

name one

of

an

artist is found

association

with

The

confers

honour,
service ;

rank

independence in
contributes

return

less
a

highly rated
in the

the other The

enjoyment
those

later during life, the whom

niche

Temple
on

of Fame.

irony of time,lowering
on

great, shedding undue

Art
has
no

lustre

the

to obscure, is still partial

"

placed her magic finger.

such low
as position

We

wrote painters,"

Palomino
favour
even

of

old, "hold
on

not

to be

able

to

confer

some

royaltyitself."
It would
be

difficult to
as

find another

example
and

of such

long
At

and

mate inti-

connection
the

that

between

PhilipIV.

Velazquez.

the outset

painterwas

in the

his

the king twenty-fourth, worked

any

in his

eighteenthyear
been if

(born

April 8, 1605) ; painted him

Court artist.
scattered A

former than

for exclusively

and the latter,

ever

probably
a

oftener

other
series

sovereign has
would be

painted by
all these And what
now an

remarkable
be

presented
one

could portraits

brought together in
as

place.
from
those

monotonous appallingly
over

theme

he

attended

the

king

year to year for who

four decades while

with
to

monotonous (1623-66),

for all but years,

might

think

it worth

follow the

changes of
"In
the hand

the traces

of vicissitudes, woven interOf

the

ever-changinghand
wrote:

of the artist himself!

PhilipIV.

the he

Venetian
executes movement

Basadonna
the

timepiece of
alone,which
of the

his

administration
any
us

business

of the hour

itselfwithout For

proper

is moved
are

only by
year

the
"

wheels

ministers."

also these

portraits
Has shadow

the

**

hands

in the Art-life of the riveted

painter.
which stillfalls a
been
museums

anyone

ever

yet

been

by

these features, on that has

ever

of the

most

unhappy government
any modern
some

experiencedby eagerlyseek
wonders
Are

Spain,possiblyby
to
secure

nation ?
one

Nevertheless

possessionof
conclude
was

of these

portraits ; and

one

that
we

every

fresh
to

can specimen brought to light

stillexcite fresh interest.

then

that in Art

the

is subject of the

nothing,the
most

? language everything

Philip IV.
while faineant^ him
a

assuredlyone
way

striking examples
were

of

the

rot

the

strengthand

weakness

blended

in him

makes

psychological problem.

Philip
He
In be

IV.
have been

105
endowed fairly

may

classed

with
was

those

who

by Nature.
most

the

judgment
resolute the

of all he
rider best in shot As

the first cavalier of his

Court,the

less, fault-

the

tournaments,
stoutest he
was

and

of hunters. animated

regent
best

by the

and
was

purest intentions, and such

his self-control that, despite

his

naturallyquick temperament,
he
was

scarcely
To
his

ever

seen

to
a

forget himself,or passion.

was

fly
dred kinan

into

he

linked
tender

by

unruffled
nor ever

almost

ship, friend-

had

any

Spanish king
more

before shown

courtesy
'*

towards

his servants.
says

ness," Good-

Zane, "has
own

chosen

him In

to

fashion her
him there
was

image."
nothing
of

the despot. On
gossa

enteringSarayear, and

in his twentieth the

seeing
there Perez its

grim

bastilleerected after
the

by

Philip II.
on

and troubles,
the

learning
with

object and
it
was

rancour

which

viewed

by

the

Aragonese, he
to
'*

instantly turned
with the this words:

Olivares

Count,
;

have
I

presidio
have my
PHILIP IV.

removed
now

will not
so

loyal lieges good

heart
was

galled."
shown

His the
a

by
he He from
he
on was one so

inconsolable while

griefwhich hunting.
to

occasion

felt at
to

shooting accidentally
that
a

peasant

repugnant

capitalsentences
Although
so

justice seemed
Catholic
of

suffer
race,

his excessive had little of Less Zane

clemency.
the

good

like all his father

and

bigotry
were

characteristic
his
numerous

grandfather. gallantries, resulting according to

whom he

his

commendable
in

thirty-two natural

children, of

acknowledged eight.

io6
With all
every

Velazquez.
this he
was

undoubtedly a
fcr the

man

of

making
fulsome

allowance Court

of exaggerations

many-sided parts, and contemporaries,

the Carnival of

even

the
he

praise of
an

poets like Calderon.

festivities at
envoy
was

In

1636

composed by
the

air for the the Tuscan He

Buen

Retiro, which

according to
was

the

testimonyof impromptu
was even
"

not

only pleased the publicbut

of

praised
in the He still

Maestri,

passionatelyfond
"

taking

part

theatricals private
the

performed
some

in the

queen'sapartments.
which pieces,
are

credited with He
mastered

authorshipof
The

of these

extant.

several

and read history languages,

began

translation of

of Guicciardini*s

ponderous wOrk.
of

Spanish Art-writers
his Zane

refer in terms which

however

praiseto
have

all kinds

paintingsand
other
to

drawings by
the

hand,

and long disappeared, he

regarding which
cases

probably

hit the mark

the

when
master

said

'*

that if in

works

credit the

master, here
allows
never

gives
of

its value

the work."

Still this Venetian

however

him
saw

some

knowledge
of
these

while Stirling-Maxwell, who! painting,

us

any the

assures productions,
"

that

"he
sense

became
was

the shown

best

artist of

House

of Austria of

(p. 512). His

in

critical which
on

in his in of

tion apprecia1 66 1

Raphael's Spasimo,
the
master's

its

reaching
to

Madrid

he

missed
best

touch,rightly declaringit
exalted notions
model

be

''none

Raphael's Spanish
to

works."

Philiphad sovereign ;
made it
a was

the
was

most
a

regardingthe
at

Mission
he

of

he

king
to

in form

least,but

seemed

have In

pointof
what

conscience
the

the neglect him

"

very
a

first duties

of

ruler.

fact he Master
to
remove

Spaniards called
in the State.

Rey por Ceremonial the first

his
in

of

Ceremonies
and and

Almost

only sovereign act

to

was

punish
then
to

his father's favourites

order hours

replacethem 'by daily set apart

he

his own,
to

change

these

once.

Six

he

business,that is,to readingand

made the
own a vow

signing the
to
more

consultas ; but At

seemed

to

have

neither to
his

nor verify

anything. reject
than

all times

he

trusted from
his his
own

opinion of
An almost

councillors

his
err

own

; nay,

he

shrank

and conscience,

thought
at

it safer to
at

by

proxy

than

through
for
a

act.

autocratic

monarch

the helm

of government

fortyyears, looking calmly on

sense

the most
own

filled with violent vicissitudes,

of his

own

of his responsibility,
an certainly

refusing dignity, yet persistently

No less

to
were

was interfere,

amazing phenomenon.
this system that time the

astounding
the

the

disasters that followed

so

of government.

But

absolute

was

at

prestigeof royalty,that

sovereign could
of his
to

the part on always relyupon an unlimited stock of loyalty ''The subjects. King of Spain,"wrote Zane in 1657, "is always free he burden likes upon the people. Although there is nothing impose any

io8
white attire
"

Velazquez.
satin robe of in State, the

gilded steel
"

armour,

in the

festive religious
is stillthere

mounted kneeling, standing,

the It may those

same

head stereotyped from

steadfast gaze. with its everlasting fresh smooth features of

change

from lean to full,

the

youth

and and

of manhood

marked

by
but

the
even

lines of
at
a

passion to

the leaden, swollen

rigidlineaments
can

of age; the

distance it is still instantly recognized. Who its pale whitish under massive the

mistake

long oval
flat

with eyes

complexion,and
forehead, and
whole
overcast

cold

phlegmaticglance of

the great blue

high

curled lightstiffly with

an

hair, strong
He is

lipsand
have tioned ques-

chin,the
but
was

expressionof pride that repelsall

of

advances, laughed
it

suppresses thrice

all outward
and in his life,

show

feeling!
the

said to
be

although pointa

statement
one

might

stillgood and

enough

to

sallyin

of Calderon's

plays.

Outwardly
adhere Pose
and

in their

generaltreatment
far
to

of Philip Diego'searlyportraits

somewhat

of royal personages. closelyto previous representations

more

gesture conform

than etiquette

to

requirements pictorial
all the minuti(v of

; the execution

is careful,betrayinga
severe

knowledge

of

Court

costume.

The

conventional
were

attitude is relieved

by

none

of those

which picturesque fancies,

accepted so
seem

complacently by
continue
the
even

Van

Dyck's
of the of
those

patrons.
Antonio
the

Altogether these
Moros, Sanchez artist, they
and

portraits

to

dynasty
with

Coellos and
seem

Pantojas. Compared
less freedom is
in

Utrecht

to

show

the

pose,

occupation
of the

of the hands head

to

expression.

Animation

imparted only by
which
"

the turn

and

the

on frequently sharp side glance,

the

main

effect is made

depend.
mutual
or a

It is

strange, cold,almost

"

uncanny

which glance, without

a ever

keeps

the

obser\'er
any

him spellbound, following relations. Unlike those

everywhere,yet
vivid hold

su^esting
Lotto,
a

of protraits
no converse

Lorenzo with

Moroni

Moretto. these

countenances

the spectator ;

they never gives an

who lieges,
a sense

lose their self-consciousness.

Theirs

is the gaze

of the ruler who soul of his with

audience, who
remembers

looks and
as

never

who forgets,

piercesthe

it were

their antecedents,and

impressesthem
whose

of

majesty.
is also observ'able in the costumes,

difference striking
at
a
once

simplicity
first blow

contrasts to
was

with of
the

those of the time of

new

PhilipIII.
and economy.

This

was simplicity

be

token
at

rule of

reform

The
were

aimed

those

imposing structures
1

of lace ruffs, which

were

forbidden

by

the edict of starched

or

January
otherwise

1,

1623. They
of

replaced by
Even

the

smooth perfectly which collars, submit

to

stiffened and

or nearlystraight go/iUas,

symbolized the
"*

renunciation

vanity.
For
**

ladies had

to

the

simpleblue^tarched
had
cost

tulle frounces.

those Dutch
year
;

wrote frills,"

C^spedes,

the

country' several millions

the

foreigners helped them-

Philip
selves With
to
our

IV.
savages,
our

109

silver,leaving us,
the

as

to

stupid love 1623, a

of

finery."

the ruffs went

also the bonnets

the (gorra)^ away

short
in

the tight kneecloaks,

year memorable

and breeches,

long beards,
of

all swept

enough
The and
new same

in the annals

Spanish costume.
the end of the old national
to set

courtiers bemoaned

and splendour, dignity them

to

the

king himself
laws.

had He

the

example

in order

to reconcile

the the

sumptuary
Court

suddenly appeared with

"

studied

as simplicity,
"

historian remarks,

after the

model

of his forefathers

is, [that

the ancient

"who kingsof Castile], had

professedplainness, renouncing the costly

to

parade which painter. To

the other

opened
to
seems

the door
have
now

their

woes." country's the watchword of

our

Simplicityappears
colour he

become the least

Court

to say

indifferent, using black and white

On The broad The
a

mainly,and toningdown
hand

to the utmost

the vivid local tints of the materials.

everythingis done,
the left on

and

for sacrificed^
space,

the

effect. plastic with figure lines.

lightfalls

from

the confined

illumingthe

which surfaces,
who painter,

left elsewhere had

not

nothing but
studied the

dark

pointsand shaded
that
are

yet

Venetians, fancied
These shades
so

without
no

minimum

of shade

the

figurewould by

fall flat.

doubt
one

sharply laid on, but relieved mainly

and
even

reflected

and light,
to

often

delicate that

the painter is evidently on perceives

the way

the shadeless.

Shading

serves

for

but relief,

may

also

give the

features

harmony, unity, consistence,

with that of The
for these accentuation

spirit.The

upper

shading of
and the

its connection the orbits,

eye.

of the the

temples,cheek-bones
of the
in

hair,enlarges the

arches, superciliary

under-lipand

chin, had

its

object not

merely resemblance; expression of

Again,
to

opinionof physiognomistsin
environment
or

parts lies the

dignityalso.
the is everything, figure

the

nothing.
across

Later

he

gives
But Floor
a

full-length landscapevistas, portraits

of
a

views

the apartment.

here, beyond the edge

and wall
are

table be

or

chair,the ground is quiteempty.

this empty less

often

to scarcely

and distinguished,
none

surface is in

neutral,cool,light, gray
vague

tone, which

the

gives the impression of

be

depth. Only
diagonal line.
He

brighterand
omitted
The

darker

section may
on

observed, severed
most

by by

In the dark has

stands
even

the head
to

which

of the
more

is light

concentrated. shaded
a

give

th6

slender
as

legs
in
vacuo

firmness
no

surroundings.
but

figure appears
seems

in fact
on no

doubt

it

casts

shadow,

this shadow
was as an

to fall

substance.

This from
more

light ground
dark

innovation
as

of

Velazquez,his Spanish precursors

the themselves, preferring been

the time convenient the

of Mor,

well

the

Venetians he
can

ground.

Yet

scarcelyhave

acquainted

with

of Moroni. portraits

no

Velazquez.
The

sharp lightsfrom
very

one

side combined
means

with of

the

suppressionof

all
eye

distracting objectsare
with
a sense

effective

forcibly impressing the glance lies

the
one

of

reality. In their concentrated

same

of the secrets

of these
mind
more on one

portraits.In the
and the

way eye

conjurorshang
to
a

the chamber, filling order

to

with awe,

the directing
scene.

in singlepoint,
in truth when
a a

render

it

to impressionable

And appear

the attention

is fixed

objectthe surroundings
us

clouded,just as
manner

countenance striking
more

makes

all forget

else.

Hence

in this

lurks

delicate touch

of

than flattery of

in that of the later French

with portraitists

their lavish

display
itself did

and pretentious In

dazzlingdetails.
lines also, in this statuesque
man

these

sharp

form

the

vital

spark
he

seems

fixed ; the very he stood The Bust before

gazes

on

us,

revealinghis

inner

as self,

when

the

artist. 107
1 ;

(Prado,No.
has
been

0*57

0*44

the king in m.) representing

or

his

eighteenthyear lookinglike
with
and

taken

for the have

sketch original still a

study for
taken

the first

equestrianportrait.The
a

features

boyish expression, lingering

has

young

Englishman, whose
mathematics.
in

education The
across

been
is

up

more

sport than classics and

hair light the wide

dressed carefully
on

oiled, disposed
a

straightwave
the

brow, curled
mouth such The
a

the
what some-

temples with
that all zeal

on falling ringlet

face.
the
soon

The

imparts a
head
bust much
one

sillysensuous
the unfinished,

expression to
work with
no

face ; with
be
over.

feels

for serious
armour can see

will
the of

remained later. In

red

scarf

being

added

this

pictureI
In the

trace

Rubens. No. (Prado,

but
1 070; 201 x i'02

Figure with
with exactly for
a on

the Petition the

m.) the

head

agrees
be
a

so

foregoingthat
tall hat. of the

for

emaciation slight
at
a

it might with
tremely ex-

taken
red

replica. The
which
that attitude,

king, all in black,stands

A

table covered

cloth grave

lies his

in gaunt, phlegmaticfigure,
to

"secret

body

veil the

lack of wit." which

was

We

miss

the-soft

that kindly expression

the envoys Thus

and speak of,

panied accom-

by

melodious pleasant
arm

voice.
as

he stood,impassive, when
a hat,uttering

he gave

the audience,

alone

moving

he

raised his
any

few measured,

answers commonplace, stereotyped

without

change of
The
no a

countenance.

The

hands

are

shapely, plump, white, refined,and

Madonna
of the

modelled, excellently
on

like those
not
on

of the
corner

in the table.

Shepherds. Consequently
or

left rests false

the

dagger,
The

the

! perspective

rightfalls naturally, holdinga despatch;

with
as an

is it

? petition

Royal portraits
this be taken
his

such

papers

seem

not

to

occur

at to

an

earlier date ; should

indication

of

his intention
direct

fulfil his

personal duties, and

keep

into promise of entering

relations

with his subjects?

Philip
Such moulded broad, white,finely
To artists who

IV.
hands
not

iii

are

again

met

with in works
are

by Velazquez.
trouble ;
and

aim

at

unity of
sixteenth

effect the and

hands

always
German

they compete

with

the face in colour

expression.
so

The

Netherlandish

of the portraitists

century
to

little heeded

this satisfying dis-

effect that disturbing

the eye

they gave
at

specialprominence
not

the hands, often of their Besides

that could
more

always

detect

the

motive

action.
the
ditional tra-

But

Velazquez alms
conventional

rendering them confiningthem

of

harmless.
to

plan

of

he meaningless functions,
the

thrusts them
the
or

into various

kinds

gloves
a

or

gauntlets, prevents

play of
with

fingersby pressing them

else leaves them
in
a

togetherin

really ungracefulfistlike fashion,

a

somewhat

embryonic state,despatching them

of embarrassment, hose.
the

vague

sketchy contour. legs also

short and
are a source

The
those

in especially
In the

the

case

of

doublets

and

white tight-fitting

previous century
ing sprawlof portrait

monarchs

affected captains readily military

outspreadsomewhat
limbs

attitude of Maximilian knitted that the

Henry

VIII., as

we

see,

for instance,in Moro's

the
were more narrow

II.,in the Prado.

the
cover

Now, however,
taken in

closely
side,so

and together,

figurewas
each is the

part from
an

the

legs almost
So

other,giving the whole

extremely slender
looks

appearance.

complete

deception that
when

Philip IV.

quite
well-

although tall,

described

by contemporaries as
size ; and

certainly gracefuland
we come

but proportioned,
we are

still of medium
a

to measurements
same

to find surprised

lengthof
to

seven scarcely

heads.

For the

purpose

the

head

is

brought
the

close

the

upper

edge of the
This
treatment

frame,which, of course,
occurs

again

makes

figurelook

taller.

also

in

Dutch

as portraiture,

in Gonzalez

Coques*
in many of

little picture of Frederick

Elector

tine Pala-

in the
of

Bridgewater Gallery (No. Terburg, which

took
his

155),and

in the frequently

portraits point.
that
^

Gerhard
A

respects resemble
is portraits

Velazquez*first style.
the

characteristic striking Titian

all these seated

high

visual

While

sketches

Velazquez
floor stand their
to

worked
well

standing,so figure
Yet
the

the lines of the

usually lightwooden
are

out, but

being only
seems

,'
/

roughly
to
as

finished
on

in unsatisfactory

perspective.The
hover in the

stand with

and tiptoe,

occasionallyeven
seems painters, on a

the air. visual had

face,
that

the Venetian stood

low

to lie above

point,so

the

king
the

probably

platform.
on a

The

Venetians
the

already
thus

duced intro-

horizon, almost
the face from

level

with

feet,without
it would

however
appear

also
too

drawing
much

this low

visual point, as

foreshortened.

Such
seem

certainly give portraits

account

clear idea

of his first

manner

but

they

to scarcely

for the enthusiasm

of the

public. This might rather

"

112

Velazquez.
owned Curtis

have

been

produced by
But

the

now royal portrait

by
was

Mr.

Robert

S. from
it

Holford Mr.
may

of Dorchester

House, which
this

accordingto
be
at

purchased
the Alton
a

Nieuwenhuys.
have
been the

must authority

fault in
at

suggestingthat
Towers

bought by picture accordingto

been

Mr.

Nieuwenhuys
the after the

sale of 1857, in which But it must have

the germ

Passavant
soon

king had

lion at his feet.*

young in
a

produced

foregoing. The
commander's

king,in whom
in

of the

bigotseems

already

more

stands developed,

but similar attitude,

completelyequipped for
his

the the field,

baton

his

right hand,
Above
the

left

restingon

the hilt of the

sword

straight falling
below leather

down.

chain

armour,

of which there

only a
are

small

portionshows

the neck, lies a

yellow leather gorget ;

boots

also brown

gauntlets,
with

leather long tight stiff On

and

with

gold spurs,

crimson

gold-embroideredscarf
and broad

projectingbow, gold-embroidered sleeves lightgrey

warlike
felt hat

knee-breeches. wide band

the table lies the

a

with

partridgeplume,
have scarcely

largef)earl.
he
to

Had
a more

portray

king the
seems

artist could
to

conceived saddle
and

appropriatefigure. He
at

ready

spring into
m

the

place himself
years

the head

of his brave

and Castilians,

fact
to

during these
in

first

he

was

expressinghis continually
V. in the On
crown war

determination
and

follow

the footsteps

of Charles
to

against France,
The
head
a

leave

the administration

his

brother.

the slender
of
a

expands in its support of the legs the figure

with
its resolute

mantle

like the
more

pine-cone.

side-glance
and

is somewhat

and spirited,

the whole

has

certain martial
as

air combined
as

with

which Spanish stiffness, elsewhere. effect pictorial is also

doubtless

pleased
The the

much

grace

animation The

novel. from its

bright figurewith background

the of
a

its many

yellow leather patchesstands asphalt-browncolour.

shaded
colour
arm

well out face with

deep

warm

The

pale forms

sharplyaccentuated
wealth requisite The

by
of

lines has is

the decidedly the

brightest tone, while

and

imparted by
the round

crimson
the

gold-embroideredparts.

right despite
Don

with

staff receives
about.

greatest prominence through the shadows

has something of picture
not
a

accumulated the hardness Soon

The

Titian air

which
was

the artist has

yet
the
then

overcome.

after

probably executed
two

of portrait
about

the

king'sbrother September
and

Carlos,his juniorby
1073; 1*91
X

years, and Don

twenty years old

on

No. (Prado, 14, the

ro3

m.).

Carlos, born
the lower

in Madrid is better

1607,
eyes

resembles smaller. however

his The

brother, only
features

jaw

rounded Rubens
"

differ in from
Tour

expressionfrom
de

the

which portrait,
a

is known

only
'

Peter

Jode's engraving
80. Artist, ii.,

spirited profile

of

German

Olivares.
with

113
emperor than all his other

sharp lines, more

This

closelyresembling the
died
in

descendants.

prince,who
as

his

twenty-fifth year,
the three

is described

by

temporaries con-

the most But

energeticof
he
was

and brothers,clever,lively, from

even

passionate.
even

entirelyexcluded
black the silk Court

public
of

affairs
a

by

Olivares,who

the preventedhis marriage,fearing the in figure,

a

influence
costume

foreign
bronze smooth

princess.
countenance, wavy and

Here

with with

stands

dimly

out

from

rusty brown

ground,

curled

modelled hair,finely
and

righthand
round he
a

carelessly dangling a glove,

outward. There
we

the left concealed of contempt with

his

holdinga large hat opening

the

is
know

dash that

in the

play of
died
in

muscles

the mouth, and

grave

impenetrable demeanour July

an

nonplussed
Olivares.
his

even

the
to

Italian Zuan
was

diplomatists.He
Corner
he

1632 of

fever, which

according
Even he

caught
his
"

after

altercation
us

with
on

worse

suspected,and king
from

Capecelatro tells
evil advisers/'

that

deathbed

warned

the

Olivares.

Simultaneouslywith
minister's the
person name, without

our

artist's removal

to

Madrid
his

mention

occurs

of the and
near

whose
was

favour lasting
not to
as

at Court position

of the

king
to

be

thought of.
of the
more as

As

Velazquez

worked
the

almost

and for Philip, exclusively

Olivares

personallysuperintended
costumes,
we

household

affairs down
that he

the arrangement
a

may

ably reason-

suppose

had

hand

in

all the

important incidents
to

of

this

artistic career.
cases. particular

Very
The

little however Tuscan

**

is known dei
It may

their mutual

relations in
calls

Averardo

Medici
be in

writing in 1629
other

Velazquez
knew painter

the

minister's
may
as

favourite."
have
a

presumed that, however

most

unfavourably Olivares
him

been

judged
patron and

respects, the
Don

only
his

zealous

staunch
not
an

while friend,

Caspar recognizedin
and
man.

young

fellow-countryman projects,but
extreme, Nor
he

artist only a spirited

valued In

adviser love
had and

in

numerous

also did

honourable
more

upright
that

hate
of

alike him. his

often the

for

his friends

than

they

hoped
Court

could when

painterreadily forget submittingthe proof of

him
at

critical turning

point in

career,
count

after

his
all

capacity to
his rivals. Don Count alcaide

the His

the

at

once

placed
the

the

head

of

was gratitude

shown
in

after later, Rome

fall of the minister.

was

Caspar Guzman, Enrique,ambassador

born
to

in

1587,

the

second

son

of

Sixtus
in

V., viceroy of
Seville.
His

and Sicily

Naples, and
a

(governor)of

the

alcazar

mother

was

Fonseca
8

114
while (Countess Monterey), Charles writes
up
at

Velazquez.
Don

Pedro,
of

the

a grandfather, general under

V.,

was

the

first Count

Olivares.
was

''He

was

born

in
was

Rome," brought
the

but Khevenhiller,

his fatherland

Andalusia,and
educatione and

he

the

Spanish
He

Court, hence
had been had

naiurd, patridet
for the
a

beguiledfrom
after

right path."
Then his

intended received

Church,
he

completing
Order. "scholastic

his studies in Salamanca elder brother

commandery
In^s cousin,

in the Calatrava the

died, whereupon
his Peru
he and (1607),

exchanged
de
to

toga"
removed natural
to

for cloak and

the

sword, married

the "elderly" Ziifliga,

be
near

daughter of
to taste

Viceroy of

in order
years, In

his estates, his

Seville,where
for

resided lavish and

many

indulging freelyin 1615

future
he
was

splendour and
of

display.
the

attracted the

Madrid this

by

the Duke

Lerma

appointedchamberlain
way
to

to

prince,
and

in

positiongradually preparing
the
the

confidence

ascendency.
At

death
young

of

Philip HI.

he

saw

his

chance, though
in He
and

at

first

making
uncle
to

himself

king's right hand

to
more

only
matters.

while distractions,

his

Ziiniga attended
sow

weighty
between

contrived successfully
queen,

the

seeds

of

discord

the
he
a

king

who the

had

at

first
a

lived

affectionately together.
of San middle

Then

passed rapidlyfrom
and adviser,
'*

of position

guide in lighter thingsto

Duke reached
amazement

that of his

serious title of

was

made by Philip He had

Lucar,
age

whence without
at

Count-Duke." with
most

already
the

having

meddled

State

hence affairs, Court

were

in Madrid

the

report that this

that the

jovialof
under hands Lerma
were

cavaliers

had

turned
;

The politician.

presents customary

strictly
But

forbidden
on a

nobody
hand

denied he

favourite's

clean.

the

other

substituted

for his

predecessor's obligingmanners
even

hitherto unheard-of of

haughty,overbearing, abrupt demeanour,

that in

towards down for his that he

persons upon

high birth,so
the the

those

early years by
a

he

already drew
at

himself from have

universal Court.

hatred, followed
Who could have

general clamour
that time

removal would No
"

foreseen

held his ground for

has been
"

fully two-and-twenty years longer?

the butt of
so

minister wished
rid

made nay

many

squibs and pasquinades.

dead,
in order of

All

him

dead

they wished
since

the

king himself

to be

of his minister,who without the

one a

the decease
in

(October 1622) Ziiftiga

he had

had

remained

rival.

Early

that year
to

already secured
was soon

of possession cleared. On

thanks royalsignet-ring, occasion the

which

the ante-chamber

king expressing his surpriseat

cdmara

the appearance
to
a

of two
and

the aytida de suppliants, solitary

led him

window

pointed to

the

throng streaming up
to

and

down

in front of Olivares' apart"

ments.

In order

give the

young

sovereignan

overwhelming

idea of the

ii6
But he also lacked that without
brain
as was was

Velazquez.
the

political temperament,
he training and found

and

it

was

apparentlyhis
the helm of the

misfortune State.

proper

himself

at

His

eccentric called in
a

fitful, untrustworthy,borracho

toxicated" in(**

he

contemporary

lampoon
At
at

; dazzled

by novelty, enterprise
as

without
he
as

tact

in the

choice of his counsellors.

the outset

of

an

overrode

and all difficulties,

were

then lost his head Then

was course

to failures,

which
be

long

possiblehis eyes
the

closed. And
the

he wept, and combined

even

had
a

to

comforted

by
with

king

himself. he

all this wrong

with the

blind
most

obstinacy, threatening
in

which

pursued

amid

forebodings.
He
taste
was

giftedwith
times, now

certain

fluency of speech, highly coloured

vehement, and he liked
of
to hear
an

the

of

the

now sarcastic,

himself

talk,although his impetuous

brain. vellian
be

torrents

eloquence indicated
when he

overwrought
to

What

availed his constitutional mistrust

the choice

of all mankind, his Macchiaallow^ed himself

in unscrupulousness away

of means, For
a

carried

by

his

passions?

word single threats

on

uttered his
a

by

an

envoy

might

suffice to He
a was

heap

extreme

contempt

and

king,nation, or
devout
and and mundane which

minister.
even

sensitive and

of incapable

pardoning

joke ;

of

gloomy superstitious nature, speaking of

a

the world
a
**

vanities like he

and Capuchin friar,

to the notes

keeping in
of
a

his chamber

into coffin,

entered occasionally
"

De

Profundis,
I"

I envy," he would character

we

exclaim,

the
see

lot of the

humblest

palace sweeper
his

In his

fancy we
in

to the surface rising

earlyecclesiastical
for cabal
revenge, he and of

for there is training, and his indirect ways,

a certainly

smack

of

in priestcraft

his fondness

his

all-consuming love
He shrank
his

of the

sway

in

long-winded
after all have of the times.

tirades.

from

shedding of blood, and

run

might

succeeded, had
But his lines
was

policynot
thrown

counter

to the under-current

were

in the

evil days when

the tide of

brief world-wide
the

empire
of her

and Spain steadily ebbing fast, subsidingwithin frontiers. Oiivares.

"

natural limits

mediaeval

Portraits
to
me

of

In is

the but

Madrid
one

Museum,
of portrait
last

and the

so

far

as

is known

in

all

Spain, there
and that
.

count-duke

by

the
can

master's

hand,
have

belonging
somewhat

to

the

period of

his life. But of

Velazquez
years
?

taken
from

his patron
the

once

only
vain
have
same

in the course

two-and-twenty

Apart
even

courtiers and
of

princes must foreign

statesman

original himself, surely the great occasionally bespoken a likeness

time
it is

the

dreaded that such

At

the

justas

easy

to

stand under-

portraits might
endure besides the

have

disappearedwith
sinister

his fall. For

? effigy

who

would the

any

longer

proximityof this hated

contemporary

However

fact is, that

numerous

and easel-pieces

copies,

Olivares.
there stillexist several undoubted
now

i7

originals abroad,as

well

as

copper-plates
The

of others The
not

lost, but

also

by Velazquez.
two

extant

and engravingsform pictures

distinct groups. middle

first,
his

very

numerous, ;

represent him
are

between

the

of his thirtieth and and

but

fortieth year attractive.

they
we a

in the have
a

master's

first manner, with

by
than

far the

more

Here

grand

head

strong
War

noble

features,

suggesting rather
fluent intriguer of

condottiere of the

Thirty
the

Years'

the his

political Majesty's

speech

and

pen,

and

superintendentof
those
of

gaieties. lighter
Such Guzman stock. like
a
"

features el He

we

might
handsome

suppose it
were

were

his renowned descendant

"

ancestor

Bueno,
is of

revived

as

in this unwarlike

of his looks

appearance,"says
Here
are

Khevenhiller,
of that
"

and

Roman

emperor."
most

still the

traces

some handtall, in

the cavalier,

man gallant

in the Court

and

the best

horseman

Spain"
We

(Correr),
see

him

at

the

beginning
Lucar.

of

his

career

in the

Dorchester

House inherited the

portrait, probably from

the titleof Duke earliest Sevillan that of San

the

collection of the Altamira This is the

most

which family,

in important portrait doubted

and style,

has its authenticity

been

simply because
head

is otherwise style

unknown.*

The

of figure and peculiarities with which

the

acutely subject,

observed and make

and

finelyexpressed,the reproduced,as

accuracy

attitude,costume
his

are insignia

thought out

both

by

artist and

it

compendium biographical
stands the

painted

with

the

of a caracte'risiiqtie

Mocenigo.
On
to
a

light grey ground

with

turned figure stately

to three-quarters

the

all in black, his left, forehead its

piercingside
Nose

glance followingthe observer.

bosses

The

high

strongly marked wig.

bent

is the central) (especially

narrow

alreadysurmounted
contracted

by

downwards,

and the

somewhat

upper-lip,projecting chin
earnest

to (corresponding

prominent
with the the left

short, square-cut beard, occiput),

expression,harmonizing
over gracefully

long

and

wide

black cloak, which

and hangs loosely free.

an

shoulder, leaving the

a

figure almost
red of the

The

firm

right hand, resting on

vertical
or riding-stick,

table covered

with

velvet,grasps
Horse

almost

wand, badge
This
most
was

of the Master

(Caballerizo Mayor),
Gomez
and

influential of Court the

offices, formerlyheld by Ruy

over

Lerma,
rests
*

key

to

his

ascendency by

the sovereign. is also

His

left hand

on

the sword-belt

concealed

the cloaK, as

the sword

itself,

At

Col.

Hugh

Baillie's

sale, 1858,it fetched

^598

ids.

; at Charles
was

Scarisbrick's, May,
in the Exhibition
corner.

1861,only "^7h2los.
of the Old Masters of

It is 85 inches

No. 171). It high by 51 (Curtis, in the lower

1887, El Conde-Duque inscribed

left

ii8
however From worked
in the

Velazquez.
silhouette of the
out

seen

cloak,which
the

it

causes

to

stand

out ;
a

behind. bandolier of the lie the conscious

the

girdle peeps gold

leaves

Lord

Chamberlain's

gold key
the green On
the The his

with

crosses

the breast, while

to

cross

Order

of Alcantara

is attached the
:

doublet with
mio
"

and

cloak.

table

commander's

and staff,
to

hat
es

jewelled clasp.
as

selfdecessor pre-

glance
Uceda

seems

say

Todo

he

remarked The

to

about in

the

time
but

of

accesion. Philip's

treatment

recalls
spare

the

Shepherds
The

its firm of contours

still hard effected

drawing,
broad
to

execution

with

rounding itnpastOf
the his

by

lightshading.
that of

seems portrait

like

significant pendant
and

Philip
"

on

the

one

hand of

hot-blooded, inexperienced,well-meaning youth, thinking

theatricals ; The
as on

only
the

gallantries, sport,

the

other

the

old crafty

fox, the whole

still extant

pack givingtongue.
such repetitions,

of popularity

the work

is shown had

by
been

that of for

Henry Huth,
los.* the absence which Smith's

which

purchased in 1853
Another of original
the

by Henry

Farrar
as

"^2^ by

and Paul

earlier

work,

shown

of the

wig,was

the

Pontius'

splendidengraving, for According

to

Rubens

supplied
this

emblematic

surroundings.
made from
a

catalogue
reaches

engraving was Velazquez for

to

fine
In

in grisaille^ evidently prepared by original

this purpose. the

the
so

first impression the beard thin scarf

that
across

only
The face

the
bust

while golilla^ is in is
and
verses armour

hair is
a

the

scalp
the

shows

through.
the

The

with

crimson

the left shoulder. in

drawing
surfaces the Latin

faithfully reproduced by Pontius;

the vivid
on

but

glow

of

glance one
we are

recognizesthe
also invited

school
to

of Rubens. the

By

the socle

honour

profound,

earnest, honest
Above
are

statesman

in this intellectual head.

this socle with

two

Caspar
the

Gevartius'

distichs, on

either side of which and

seated
the frame

winged youths

with

the emblems

of Minerv^a

Hercules^
an

stands oval Above

pedestalwith
with
is portrait
serena
"

familyescutcheon
of

supporting the
palms, torches

in portrait

wreath pearl-strings,
a

and

trumpets.
behind
over

the

group

symbolizing the
by
the
"

goal

that

lies hidden

this /rows the

sway

the

globe crowned
by
a

winged
emblem

laurel of
as

wreath,

and

it

evening
to

star

encircled of time,

the

snake

Hesperia's universal promised by

the the olive

the end

sway peace.

however, which,

branch, also bringsuniversal

Lastly
the
and
*

we

have

very

in portrait, singularfull-length

possessionof
hand head the

Duke

of

in Madrid, Villahermosa,

which

however This

is

by another

executed
It
was

before
a

the arrival of
collection private

Velazquez.
in
to Huth

with picture,
it passed to Louis

in originally

Madrid, whence
in

Philippe's

Spanish

and Gallery,

thence

through Farrar

1863.

Olivares.

119

planted piece

more

between its massive

the

shoulders chains

on

heavy trunk, looks gold

spurs. Yet it

like

scenic
ex-

with

gold

and

perhaps

OLIVARES.

presses

the eccentric
more

character

of the man,

if somewhat

exaggerated, better

than

those

The interpretations. dignified

ingenious suggestion has

I20

Velazquez.
made
cross

been

that it may of

be

of portrait Olivares
be
a

his

because brother,
wears

of the green But

puzzling
Order of could with
to

red

for Calatrava,
no one

elsewhere
two

the

Alcantara, and
be

could

knight of
for
of
was

Orders. in fact had

Orders the
case

exchanged
In

and

substituted the

one

as another,

was

Olivares. him

1623

Marquis

Castel worth

Rodrigo
twelve

to

surrender

his Alc^tara

Order, which

thousand

ducats, being

indemnified Olivares

by the Order
was an

of Christ with additional allowance.

and
to

hump-shouldered,
account

judge

from
to

Pedro his

Ferret's
no

engraving in
means

of

dedicated Constantinople

him

figureby
masked

correspondedto

Voiture's

description.The

was deformity

by

the artist's skilful arrangement

of the costume.

Charles

Prince

of

Wales.
was

in Amongst Velazquez*first portraits

at to

Madrid
on a

that of Charles

Stuart,
a

that time
a

Prince

of

Wales,

who

was

visit to the The

Court,with
him
a

view

contemplatedmarriage with
his
a

the

infanta. in

princegave
mere

sitting
the of the
no

before shortly artist received favour." No

departure ;
hundred

but

it ended

sketch,for which

escudos, together with Charles'

occurs

"special mark
created

mention

in
an

any

inventory of
some

this sketch, about years

ago

pretended rediscoveryof
littlesensation. But without the

which

Englishman

stay of this Art-lovingprince at the Court

His enthusiasm the young
saw

was

not

altogether
Venetian inherited of El

results. have When with its

for

of paintings, especially
to

the

school, may
treasures.

opened

king's eyes
famous

the value

of his
Venus

Charles

Titian's

Antiope, the

Pardo,
him

he spoke of grand Alpine landscape, the rules of

it in such

terms to

that,
make
de the

in accordance
a

with

Spanish etiquette, Philipfelt bound

of

present of it.
D^vila of
to

By

decree the he
was

June

1 1

he

ordered

the

Marquis

Flores Prince his

consign
"because

work had

to

Balthasar that the the

the
most

Gerbier,painter to prince
the
had

Wales,
of

heard

expressed
Court
which

approval

it."

This

amongst
heard of

highly

valued

and paintings,

when

Philip III.
for this

fire in

palace in
Portrait

perished some
be

of the best
was

works, and

especially PhilipII.'s
a

Gallery,

his first enquiry

rest
can

Titian, adding, "That's

the

comfort, for all the

replaced."
to

Accordmg
have also that the

Bathoe's

catalogueof
The collection and
cross

royal collection
to

Charles

must
same

brought from Spain :

to

Giri with the Fur Cloak, thence

the ;

probablythe
;
a

passed

the Crozat the reed

Hermitage
and

John
of

Baptist with

pointing

forwards

the

Portrait

The
Charles V. back with the the

Italian
Irish

Court

Painters.
The
last

121

wolf-dog.
ambassador

mentioned

was

afterwards

brought
also

by

Spanish

; but

accordingto
and
the

Carducho

Philip

presented Charles
behind Dianas up. the
at

with several of the

mythological piecesfrom
the Court and
went

the Titian

apartment
saw

''Emperors'Garden," Bath, the

had Danae

painterhimself
"with

both

the The
he

Europa
mind years those

the

rest" with

already packed him, perhaps

engagement

prince however
infanta.

off without up his

six

taking them
to

because

already made
Nevertheless
still

break

off the Francis

"

with

the
to

later works

Sir
:

Cottington inquire
thos of

appears

have

been

looking after
P^

I will

for thos

of pictures

the Conde

de Benevente, and

indever

to

gett allso

w^ Titian, and gifts

I left in y" Palace

y"
the

time."^
what

These
be the

purchases
Mantua

were

beginningsof
Five years he could not Michael it
was

afterwards

grew

to

first Titian collection in

Europe.
when
purpose

later Charles

secured

the

Gonzaga

Galleryin
Oliver.

; and

he had get the originals Cross

and
to

copies taken, engaging

for the
at

the

miniature

painter Peter
Madrid. When

But

that

time

easy

enough
under up
a

get copies in

Count
a

Harrach

visited the Alcazar who

was

the

guidance

of

Carrefio,he bought

saw

painterthere
two

working

and regularstock,

of him

four Guidps and

small

Correggios.^

The

Italian

Court

Painters.
his

During
an

these

earlyyears
the
far

Velazquez

executed

first historical work which painting,

"

episode from

of history
so

the immediate

past.

The

was

and partly allegorical

and unique, has completelydisappeared,

a

might
tion produc-

consequentlybe disposedof in
opens world
a

few lines.

But

the

occasion

of its

of the perspective
our

circumstances which it,

and

pursuitsof the local Art merely of biographical

the to disregard position
not

and

of

master's

relations to

is not

but of general historical interest After his first success

of colleagues rivalry ; entered
a

he
but
one

might
can

have
now

seemed
see

in

that it was real

or

quiteso.
wont

He

had
to be
now

sphere in by
A

which

success,

whether

was superficial,

attended
a

consequences

which

could not
assures

fail to remind
us

him
were

that

he

was

courtier.

contemporary

writer

that there

then in Madrid

brilliant talents and of many

and
was

daring colourists
even

numerous

enough
of of

to

supply the
lack

wants

cities and To

states

; hence
on

neither could the merits choice wits

there be any
and Jiving

of envy artists the

emulation.
a

sit in

judgment

dead

favourite
*
^

entertainment

of the

the

and capital,

Cottingtonto Endymion Porter,Nov. Diary, ^^^ch

4,

2,

1629. Sainsbury,Rubens, 293.

1675.

122

Velazquez.
who
were

extremelyfew
well
be

fortunate
some

enough

to

rise above Nor

was

the surface

might

prepared

for

sharp

criticism.

Velazquez spared
of the Escorial

certain
At

remarks captious the head many

and

disparaging comparisons.
the of

of this circle of artists stood the last survivors

group,

of whom

during
work

previous reign had

the

still been There

engaged
were

in

completing the
to whom Italians,

decorative had

Pardo

Palace.

three

fallen the

eagerly desired
In
two

endowed though scantily found

as

post of Court

painters{pintordel rey).
Gonzalez, the
Carducho
to
was a

1623 Velazquez
Vincenzo

his
and

besides colleagues,

Italians of

Carducho while
still

Eugenio
young

Caxesi. removed

native

Florence,but
himself his

quite
But

had

Spain with
of
a

his much

older brother
was

Bartolommeo.
bom

Caxesi, although the

in the year

son

citizen of Arezzo,
of

in Madrid filled
in

1577.

After

the death had

Gonzalez

place was
education

by

third, Angelo Nardi,who

had
not

however

completed his
himself
never

and Italy,

removed it was

to

Spain tillabout

161 5. associated
to

Thus Tuscan had

many
race a

that

Velazquez found
had

with three artists of doubtless

descent,and althoughone
national

been

all three Italy,

were fellow-feeling, were

intimate

had friends,

executed jointly their in

works,
in all Art

and

convinced quietly And in

of the innate fact

no one

of superiority

matters.

pointof
renowned many

could

approach
attested

them

was knowledge, tact, and productiveness.Their reputation

by

their

works

in the

most

opulent and
in

sanctuaries,in the
of

Sagrario of
Churchmen.
from

Toledo, in Guadalupe, and

foundations

wealthy
or

They
the

also wielded

the pen,

works writingeither original

Art

translations

Italian for the But with

improvement of
as spirit,

education had

in

Spain. adapted
who would themselves hold
to

characteristic national

pliancythey
indeed

withal
do
one

the

Spanish
to

all must
no

would

their

ground
them

in that country.
be Italians.

From

their works

probably suspect
that of appreciation
very

Moreover,althoughtheir spokesman, Carducho,calls

"

Escorial interlude the epoch Art

was

when

the true

knowledge

and
were

introduced
some

into

Spain,"and although two

the

of them

nearly
their of the from

related to

of the in

of painters
common

nevertheless periodof PhilipII., that of their elder

stylehad
Escorial the

nothing

with

kindred, or
not
as

Cambiasi. painters Pellegrini, Zuccari,

They

could

escape
a

changes of
Vincenzo

time,althoughthey still regarded the

show paintings
do

present

period of

decadence. Carducho's
as as

littleresemblance Allori and lack

to

those of his Rosselli

sense

brother
to

Bartolommeo of

the works and

of Cristofano Rossi. with

Matteo

those

Angiolo
those

Bronzino

They
their

the
and

strong
ideal

of

styleof

lauded

mannerists

contrasts

forms^

24
many

Velazquez. analogous works;

studies of Titian. animated invention, for
an instance,

amongst

his

St

Laurence

and

the these
m

Assumption

are

with replete their varied

Interest is

imparted to

productionsby
the action,the
was

exposition, strong motive

often motive. recurring for the indicating

prancing horse happy

let down

He

especially giving glorias

and

in his treatment the

reverse

of chiaroscuro
to
a

planes,for

prominence or
on

his chief

for night scenes figures, from light

above.

the groups
"

by

well-calculated foremost

Carducho. Vincenzo worked with

The

third and

of the Court
1

was painters

the Florentine had few

Carducho Zuccaro of
in
at

in (appointed the dome

609),whose
the Last

brother Bartolommeo Cathedral. and The

of the
as

Florentine

survivingworks
of the the the his

Bartolommeo, such
the Prado, these
del
are

Supper
most

the Descent of all

Cross,now
of

the purest and

conscientious
in their

productionsof
taste

Escorial Sarto's

still showing painters, school.

colouring

Andrea

Vincenzo, educated

entirely by
works

was brother,

called the universal

heir of his Art ; but

tolommeo the fact is Barnumerous

is

incomparablysuperior, despitethe vastlymorebrother. had

of the younger Vincenzo and

quite the

their animation constitution of the great Italians, So far

as no

their astounding energy. versatility, his with

As

regards
in

number

and
are

dimensions
even

productionshave
he

been

equalledby
he

Spaniard. They
the able to

met

abroad,as
was a

in Dresden, in the

Hermitage and
was

Esterhazy
avail

collection. himself works In

as
an

popular
the

teacher

doubtless
so

of

numerous own on

pupils in drawings

execution sketches. has of

of

many

comprehensive
of his talent with strict

after his
his

and

treatise He
a

Carducho painting
in the character

left
an

monument

author.

appears

earnest

person,

and principles

loftysense long

of the

dignityof

his Art.

His

which portrait, after ascetic another

Stirling-Maxwell possessed,and
likeness,show
From
a

the

engraving in
forehead of

his work
almost

face with

high

severity,

hands. heavy large-jointed his earliest known

the

the works, especially

in

St. Francis
he (1610),

in Valladolid appears
to

(1606) and
have

BaptistPreaching
career

the In

Academy
the
in

begun

his
he

in Valladolid.

paintingsof
the

the retablo in from

on

Guadalupe
of history the
same

while employs strong lighteffects,

scenes

the
trary con-

St.

Juan

de

Mata

(Don

Sebastian's

we Gallery)

find

the At

colouristic lighter his

manner

of the second

Florentine

school.

the

time

his his exposition theatrical, expressionis feeble,

sentiment

strained.
at Precisely
we

the

time when

he

comes

within

the

scope

of
"

our

narrative,
the

find him

undertaking his most

comprehensivecommission

fifty-five

Carducho.
scenes

125
oil
on

from the

the

historyof

the

Carthusians, paintedin Monastery

in

the

scale, largest
the
to
nastic mo-

for

cloisters of the Carthusian foundations

were

Paular.

When removed

suppressed these
still to be this commission thousand white he

paintingswere
after the in

the that

National collection Ministerio

Museum
some

of Sta.

in Madrid, and Trinidad,

were

of dispersion

of the best

seen

the upper

of the gallery
stalments yearly in-

del Fomento.

For

he received Besides

in four

six altogether (1628-32)

on

ducats.

the chalk drawings sketches for

blue paper

heightenedwith
National

also made
seen

coloured
the
name

the

work.
the

In the Scottish

Galleryis

under

quez of Velazthan

Pope's Dream, Pope's

bathed
name

which little painting, spirited

promises more

is realized with the

to

in his finished

productions. The deeply saturated

to this

rich red

tints of the

foreground
back,
seems

the ^whole

tent, the
in
a

charming landscape farther

shimmer, produce a general effect which silvery

work. leads
one

explain the
The

attached Carducho's
else in
a

perusalof style,
not
or

book
manner

to

expect

productionperhaps
that of Le

in

severe

somewhat
even

resembling
Frenchmen

Sueur,

with
to
even

whom

only Stirling-Maxwellbut
the Paular

have
was same

compared
too

their

advantage
a

paintings. But Spanish

head
as

taste

strong
the

for such

systematic

Vincenzo's. the white

At

the
of

time

composition displays much figuresare pictures

fulness
of

Art, and
studies. he

habits
is

the

tall monkish
in these

excellent certainly is

But what

remarkable chiefly

preciselywhat
and

that disregards, theoretically accessories ; the

is, the
and

epical airy
and

the narrative

of the

rich scenery

extensive architecture,

Castilian

views

abounding
or

in

monastic figures,

peasant

ecstatic types, the varied,genial, The

grim

motives

of the monkish
is

legends.
Hofmann

ghastly scene
catch
the

depictingRaymund's exequies
the

worthy

of

himself.
to

In order

of spirit

Spanish
Juan
the

monastic

Carducho style,
and had

had

visited Valencia, where

a

he had

heard

of Ribalta's

works,
Sanchez

also made

trip to

Granada,
friar of the

where

the Carthusian
treated

Cotan

(ob. 1627),
the

formerly a
house
copy such

Paular,had
these.

same

subjectsin pridehe
twice

religious
stoop
to

before

Elvira Gate.
as

With Whoever

all his

Tuscan

could

models

visits Sta. Trinidad

was

is struck

by

two

lovely Madonnas,
time but
at

visions

by which
is

St. Bruno

the favoured, about

second them ;

his last hour.

There

nothing of Spanish womanhood

the

ventures Stirling-Maxwell

opinion

that few

Castilians

would

have

realized Now
the

the

tender

sensuous

beauty of his
Madonnas
are

Holy Virgins (Annals i.,423).

the devout colder
and ! in

fact is these of
that

very

simply faithful copiesof

How
his much best

creations
more

mystic Fray Juan

own

of Granada

theatrical is Carducho's

Madonna

the altar-piece,

26
Annunziata reaches
in the

Velazquez.
the Church of the Encarnacion
as a

showy glowing although

here

in

Madrid,
he

he

summit

of his Art

colourist ! the
an

Carducho, preachesin
which he

like the whole

; he lacks possess.

period,has already lost

the great But
to

style which

his book

that personality
we

artist with these

should professions

in him

also miss

the truth to Nature, of sentiment and

barely
Hence

condescends his works

recognize,the

truth

conviction.

remain

mediocre,with

all their

learningand
who

many-sided
it hitherto young
man

cleverness. Work
on own

Carducho's

Painting,
"

Meanwhile
saw

our

three

Tuscans,

had

all their from the than

on

way,

suddenly

themselves office and of

confronted

by
more

honoured provinces,
any

with time
no

emoluments,
He

highlyfavoured
did not

paintersince
and

the

PhilipII.
to

certainly
their But

poach

their preserves, work

on

made

attempt
the

interfere with

retablos and
the

decorative of

the

of ceilings

royal apartments.
those
were

wounds And
on

vanity are
was

often felt more

success

keenly than
Where

of

interest.

what

this

built up ?

the credentials of calculated to cast had he yet shown hostile

the

true
on

artist ?

scenes Portraits,

of low
an

life, things rather

Nor
them.

doubt

his claims

to be at

considered

artist at all ! But

himself
camps

capable of
were seen

all

competing
other

with

presently two
had
at

bidding each feelingsof

them

defiance.
and

Carducho
now

often

given
an

utterance

to

his

resentment,
in
a

he

last found His

to

of opportunity
were

embodying
doubtless

work

of

general interest.
the section

Didlogos
current

not certainly

published till 1633 ; but

long been

devoted

he had topics Cean

preaching.
on a

Bermudez it is

calls it the best work

in painting

the

Spanish language
and
a

and (i., 251),

more

undoubtedly written in
Pacheco's His book
;

clear, vigorousstyle. It is even

lacks his directness the mouth of

than spirited

only it
; but

copious
returned

originalnotices.
is traveller,
more

of description from than

; the

from Italy, the

extracted

Vasari this

Spanish
He

writer

knew

much

about
to

Florence Cimabue

Florentine.
to

attributes
; groups
to

the Cathedral

Campanile
the

Perseus

Bramante

Fra
a

Angelicowith
about "as

and sculptors;
as

holds

Michael

Angelo's David

be

work

remarkable The

Bandinelli's Hercules."
occasion

outward

for the appearance

to

of the work
in the

was

the

persistent
of

attempt of the finance department

on

place artists
this

matter

taxation
much

the

same

level

as

and artizans,

to

burning question of topic is

is
the

the times

space towards
for

is devoted.

But

far

more

serious

growing tendency
his
"

the naturalism,

author's

hatred

of which

inspiredby
The

zeal

the

reputationof painting and

that
we

his fear
is based

of its ruin."
on

he dignity, its character,

argues,

claim

for

our

Art

its intellectual

Carducho.
**

127
that of Michael

scientific

method."
one

The

great

epoch, (third)

Angelo

and

Raphael,

was

of scientific rules and

was

precepts, of learned
to

painting(docta
his
was

pinturd),
to

Buonarroti of the For

the master
to

of masters, thanks

knowledge
a

the intention Science.

Pope
our

deposit his remains

creative work
an

in St. Peter's

homage
Is it not On this

is not inner
to

intellectual process the outward the

contemplation, the
alone
rests true

that painting, take

also

achieves beside

result?
'*

its claim

its the

place
of

privileged
of
our

liberal Arts."
here

Hence

paintersare
mention
!

imaginativepoets

time ; and
but

amongst
all
"

others

is made

Calderon, Lope, Camoens,

above

G6ngora Thus,

while

the

true

artist is

who a dialectician, thinker,

with

pen
on

and

pencil "argues, demonstrates, disproves,concludes,"the

contrary
book where of
is
a mere

naturalist
he

the
the

reader, who
If
we

cannot

think
alone becomes

beyond
as

what

finds
our

in

(of Nature).
is there
"

depict Nature
?

displayed before
a mere

eyes,

room

for the mind

Art
"

matter

of exercise, which
of the

dexterity

that is,a
are so

craft !

That

truth

and

at vividness,"

general public
potentia
sketch
dash direct

enraptured and
manual

entranced, is merely a function

who

the

operativa
"

the
a

faculty. Those
on

without forthwith

preparatory

off with from

bit of chalk

the canvas,

and

proceed to considering
in

paint
hovsr called

Nature, often

half of the finishing

are no

before figure
''as
a

the other

half will look,

artists, but,
that

prince
on

Madrid

them, sectaries."
genre

It is such
"

bring
who

discredit

painting; but
classes
"

especiallythe
"

painters

that is, those

any when
not

paint the lower opposed

Art

injureArt
Was

without

bringingthemselves
Aristotle also wrong
? activity

honour."
he
as a

the Master theoretic

practical

faculty to
and and Yet

We

do

'deny

that between
alone

knowledge
Science.
be the

there practice

lies

that difference, that

the the
use

realized

is understood
is not

approved.
naturalism

But is

logic teaches
mere

of Science the Art

our

routine

if severed

from

that
author

should from

cultivated ;

hence

such

naturalism

is excluded

by

category of painting.
None but life;
can

certainly deny
is quality
*'

that these naturalistic

as value, seen

works works

have

the

breath

of

this

of

no

in the

of the great masters

of the past

Drawing
is the

and

again drawing, contemplationand

of
to

again

more

drawing,

such

business
way and

the

painter.
Art

To

sketch,expunge
in invention is the

and and and

again sketch, such

in good composition, the whole is decked truth and of

is the

greatness.

consists

forms

proportion. Drawing

foundation

its life-giving sun." painting, sustained

many

It produces the
its charms may

good

work, which
from the

and cloak

by
errors.

colour. The

But

deviate

Venetian

school, still drawn

towards

128

Velazquez.
ease,

beauty and
that school

despiseddrawing,because
said that

it shunned

work. thoughtful poor

Of

it was

theywere

great colourists and

draughtsmen ;
are

but bad theorists. great in practice

Such

were

the

of principles

Carducho

and

his

on friends,

which

based

his violent diatribes A false

as
a

current against

taste,and his gloomy forebodings.

appearance of
may

whose prophet has arisen,

the

perhaps
enthusiast

be

regarded
our

prophecy of
:
"

ruin and

end

painting. An
the

for

Art
be

has said
the true

As

at

the end

of this visible world

Anti-Christ, claimingto perdition by

has his

will beguile Christ, many and

monstrous
so now

peoplesto their
which
are

imaginary
truth

wonders
or

deeds, but
also
an

without deceitfully false,

permanence,

Anti-Michael

Angelo

who arisen,

by his

farfetched and
to

outward

imitation, by

his marvellous

animation, has contrived

that his is the the aside from

persuade

all kinds of and

peoplethat
thus

such

is good

and painting them

rightmethod
stirred up able Who
to

teaching ;
his
new

has

he turned

path of
he will has be

immortality.
such

With

food

and
we

his
may

sauce highly-seasoned

lust and

that licence,

doubt

whether
a

Nature

digest such
ever

strong diet without

so

bringing on
this

stroke of
monster

apoplexy.
wit

has

and painted, without

with

well

painted,as
his
?

of

and of
are as

almost talent, his

rules,instruction, studies, merely with

Nature
before is
"

the Art
there

genius

and

eyes

No
are

doubt

for which subjects confer honour

on

naturalism
our

but thoroughlysuited,

they such

to

Art the

Scenes

of low
the

life {bodegones), (bor^ tipplers

and rachos)blacklegs in

where like,

sists great expenditureof thought con-

four impudent tramps portraying of Art, and

with little fame
to

and

two

abandoned

women

to

the

detriment

the artist. Doubtless here

the
a

But there remains

their last Nature

! stronghold, portraiture

only method
branch
ever reason

is to

keep

before
"

our

eyes

; but

then

is portraiture

of subordinate
been and
a

worth, and

no a

great and

painterhas extraordinary improve

his Nature himself

For portraitist." learned

such

painterwould
he
must

by
to

whereas practice, it be

here

subordinate
own

the
and of

model

whether

good

or

bad, playing false to

scoffs
at

insight,
misuse

renouncing

all choice.

Carducho
de

the he

contemporary
wish

which, portraiture,
in the self-respect In all this
we see same

like Francisco

Holanda,

would

reserved

for

distinguished personages,
of the ;

benefactors of mankind, rulers,

saints.

To

the lack

artists he attributes this misuse.

same

tone passionate

as

pervades Malvasia's
different.
in
so

work. is
a

The

foe

is
to

the

but

the

standpoint is Academy,

Carducho
no

stranger
occurs

the system of the take

of the

Italian

and

his work

mention And
how

of anyone Eclecticism

Bolognese School
root

at that time

popular.
masters
were

could

in

Spain,where

the

great

absent,

The
from whose
several

Moriscos.
have
to be

129
made of
?

excellencies choice would Roma

no-

Carducho's sixteenth

system

is in fact the old

Florentine

Mannerism

the

century.

The In where Carducho's reference

book

Expulsion
mention
to

of

the

Moriscos.
once

occurs

only
great

of

Velazquez*
of

name,
new

is made

the authors

of the

paintingsin

the

mirrored
own

hall of the Alcazar, obviouslyfor the sole purpose his friend Caxesi's
name

his associating
etc.

and

with

those of

Rubens, Titian,
to

From

this and

concludes Stirling-Maxwell admiration the

"

that Carducho

meant

speak
did

"

with

respect
till
was

of

Velazquez.*
that

But

although
make
the

the book

not

appear that

1633,

followingconsiderations
of
this
sort

will

it pretty evident

it

discussions related. The

been such
"

gave

rise to

controversy

presentlyto

be

painterJusej)eMartinez, who,
on

as

friend of

Velazquez, may
to hear of to
can

have
some

well informed views of

the

tells us^ that the point,

as

king came
"

portraiture

the above, with

the

specialreference day,
:
'*

Velazquez.
do

They reproachhim,"

remarked

king

one

that he These

nothing
me

but
a

paint heads," hearing which

least

Diego
know
no

retorted
one

gentlemen pay
how
to

great compliment ; I at
But he did not

who

knows

painta good
of

head."

allow the matter lists with

to rest

for he also felt himself there, in

quite capable of entering the

historical Thus himself

them

their

own

department
in fact

painting.
the originated
idea have

of

and pictorial competition,

to

Velazquez
way
of

may

perhaps

suggested

the

king

this

chivalrous

decidingthe question. Philipaccordinglyproposed

treated
on a

subject from
ells
and

the

national

to history,

be

the

same

scale

of

three

high

and

five broad A
to

by

his

four
was

: Carducho, Caxesi, Nardi, painters

Velazquez.
settled
as

commission

appointedto givejudgment, and everything so

any

leave neither side

ground
The

for

complaint.
the

subject was
1609.
at

Expulsion

of

the

Moriscos^
of

from

Valencia

by
been

Philip III. in
meditated, and

^^'^s mistaken

measure

State

policyhad

long

last

brought about

by

the action

of the zealous

Archbishop

418. ^Annals, i.,

'

Discursos The
term

ed. by V. Carderera Practicables, Morisco

was

(Madrid
those remain

1866), p.

117.

properlyapplied to
allowed
to

Moors

who, after the Conquest of

country
on

were Granada, their last stronghold,

in the

the

condition

of

Translator. acceptingChristianity.
"

130
Ribera To the of

Velazquez.
Valencia,
one

of

the

"shining lights" of
with the fatal

the

Roman

prelacy.

contemporary

Spaniards

their belief in the

of the infallibility

traditional the most

politico-ecclesiastical system gloriousevent

seal to
:
"

step naturallyappeared
a

of the century, the heroic act of from

sainted monarch, invaders. Thus

settinghis Lope
sang

their final liberation

the African

Por

el tercero

santo, el

mar

profundo

al Africa

pas6 (sentencia justa),

b"rbaros

despreciandosiis
las Oltimas

tesoros,

de los moros.' reliquias

But the

these bdrbaros of
a

lesoros,thus
;

spoken of,meant lightly expulsion of

in the chain
to

nothing less
of thousands

than of

wealth

kingdom
was

for the
a

hundreds

industrious

citizens

but

link

of suicidal acts, Chance

or

by

which
a

her Spain precipitated

sort

downward

course

ruin.
'*

the fates, by
at

of

grim irony,taking her contempt

that with simultaneously

of

barbaric store" the

news

her

word, so

contrived

this event

arrived of the capture

waters.

of the Silver Fleet Such

in be
an

by

the Dutch

heretics in the Azore

over

occurrence
causes

widely distributed
of
a a

time

and

space,

and

nating origithis

subtle

remote not

and

intricate

could naturally character, and

such
a

treated

only

in

typicalif
Now his
own

purely allegorical way,

said
:
"

for

was imagination

needed.
a

the

Italians had invention

Should

painter
without the

have

to

handle Nature

topicof
before

from

his and

own

resources,

having
hands

his eyes;

should

memory

imaginationgive
bare
a case

an

of showing opportunity his poverty and dead

scene a

their owner's slender had

how capacity,
"

and in

naked

will then appear

parts 1
never

This him

was

point.
was

Philip III. antiquated ;

other hand the actors In the white ; foot of left
"

was

Velazquez

seen

; the

costume

the it

(theSpanish seaboard)remote
national

from

Madrid. who

On had

the
seen

was

theme, and

many

still survived

and

the stage.
in

paintingthe king stands

his

the centre, in
in

armour

and

robed
at

in
the

on an

right a
the

of figure

Hispania

Roman

garb, enthroned
ears

shield and edifice,

spear

in her

righthand,

of

corn

in her

apparently

only completely allegorical figure ever

his sceptre towards

painted by
soldiers is

Velazquez.
are

Philippointswith
Moors

the coast, whither

sex.

escortingweeping
on

of every

age

and

The

embarkation

going
As Maino

in the

background.
chosen the
a

umpires were
of

Spaniard and
Giovanni

an

Italian

"

the

Dominican

friar familiar

Toledo, and

Roman

Battista

both Crescenzi,

with the Art circles of the Court.

*

They pronounced in
Tragica^1627.

favour

of

Velazquez.

Corona

132
On December 2, with

Velazquez.
1628, he
writes to Peiresc have
:
"

Here

as

everywhere Majest^s

keep

busilyat work

and painting,

alreadyexecuted
in my
him

his

trian eques-

to portrait

his great satisfaction and

approval,for he
from

takes evidently

and quitea special pleasurein painting, with the finest have

a room

opinion this princeis endowed

as personalintercourse,

qualities.I alreadyknow
so palace,

in the

that he almost
to

dailyvisits me.
life with every mistress."
in

I have

also done
in their

the heads
presence

of the whole
on

royalfamilytrue
of his
been

convenience

behalf of the illustrious

Infanta, my

But these

the fullest account

have

is activity

contained

Pacheco's

book,
to

and

must particulars

communicated

by Velazquez
Catholic

himself

his

father-in-law.
**

He

brought with
with
other

him

for his

Majesty our
of various

King PhilipIV. eight

are

on pictures

different subjects and

which sizes,

placedin
months*

the

new

apartment
Madrid from

glorious pieces. During

his nine

stay

in

without

his weighty affairs, and althoughsome neglecting

days

ing suffer-

the gout, he

painteda great deal,so great

king, the
made five
queen

is his skill and

readiness.
take
one

First of all he took the

back
to

and

the

to princesshalf-length,

Flanders
with

; he

of portraits

his

Majesty,amongst
Then Nuns five
.

them

mounted

other

figures with
the Convent

great mastery.
of the Barefoot he made

he
more or

also

painted the half-length,

of

Infanta and

in [Margaret]

than six

made

copiesof it. Landgrave

other works

Of

private persons

portraits.He portraits

copiedeverythingof
that of the

Titian's in the
of [Philip

king'spossession
Duke of
a

and
. .

the Hesse],

Saxony
the

[John Frederick
doge [Gritti],
He He

the and

Magnanimous],Alba,
many
even

de [Francisco

Cobos, los]

Venetian

besides

those

belongingto
in

king.

copied
altered

of the portrait (after Titian)

some

PhilipII. full lengthand

of the

armour.

things

in his

own

Adoration
of

Kings
the
so

in the

palace; for Don

two

Diego high,
have

Mexia
and

(later Marquis Jaime

that in much. de

Leganes) a
...

of the painting
a

Conception
business

ells
It

for Don

Cardenas

John
with

Evangelistlifesize.
much he

seems

incredible

so

short

time

and

could

paintedso
"

He

associated- littlewith

painters, only with

he letters) formed
of
a

my

son-in-law

(withwhom
expressed
visited

he had

previously exchanged favourably together. during the

showed with
him
on

and friendship,

himself very the Escorial

*'

his works

because

his

modesty.
Court his
and

They

In

word

whole much the

time

of

his stay at

Majesty and
talent. And
at

the chief ministers

H.

of appreciation

his person
to

M.

favoured

post of

secretary
of his

the

Privy

Council
a

the

Brussels
one

Court

during

his life and

that

son

with Albert,

yearly
on

stipend of

thousand

ducats.

After

the conclusion

of his business

his

Rubens

in

Madrid.
gave

133
him
a

taking leaving of
H. M. It worth
was

the

king the

count-duke

ring

in

the

name

of

two

thousand

ducats/'
that the above-mentioned

formerlysupposed
for Charles

copiesof
seen

Titian

were

intended

I. of

England, who
It is

had

himself

the

and originals have found had

in

fact ordered

copiesto
; but
on

be made.

that possible
none

Rubens

may

his

patron

in view of in

the other hand Stuart. Rubens

the

of these
never

copieswere
with

in the all
as

collections remained

Charles his

parted
doubtless in

them, and
them

possession to

last.

He

also valued

reminiscences Madrid
as

of those

happy days
works
the

of freedom

and Italy,

afterwards

in

guest of the Spanish Court.

all these

One

only of
with On
a

is known additional whom

he

to

have

been

by inspired

his

Spanish
of his the

surroundings,and
intercourse Escorial. whence the

this has

interest of
was a

being a
on

memento

Velazquez,by
commanded

accompanied
of the of

his

tripto

this occasion
was

they scaled

summit

Sierra, inhospitable Philip II.

of the
a

view

of the great foundation

From

snow-capped peak
from
"

of the Sierra San in

Juan

en

Malagon, the Sierra

took
a

so tocada^

called because which

wrapped constantly
this elevation the seemed
the the

clouds,he
to

sketch

Escorial, jewelled
in climb

shrunk
avenue

the

proportions of
with

casket,
road
to

with Madrid

and village
on

Fresnada
*'

the two
wrote

ponds, the April

and
above

emerging

horizon."

The

range,"he
clear and

1640,
descend
us.

to

Balthasar
;
we saw

Gerbier,
the clouds
is of
one a

**is very

high

and
a

steep, difficult to

far below wooden

where
tower

us, with
cross
a

bright sky
here be

On
a

the summit

huge
side

from distinguished easily who lives,

can

Madrid,
sten

and

small church his

ass.

St.

John,
is
a

recluse

with

On

and

house,
deer."

where

the

king

often

withdrew From
to

when

hunting.
were

We

saw

much

red

this sketch himself

afterwards

painted several
very in
to

pictures ;
enthusiastic it.

one

according
seen

Rubens

by
and

Peter

Verhulst,a
him described wish

was indifferent artist,

by
to

Edward Charles
while

Norgate,
I. that the

by

such

language
Rubens
the

king expressed a
of
a

possess

Thereupon
marvels his
own

declaringit unworthy
had

place amongst

the

of

royal

cabinet

it completed by the

landscapepainterunder

guidance.

Influence We
learn

of

Rubens

on

Velazquez.
who
had

from

Pacheco

that

Rubens,

formed

such

poor in his

opinionof Spanish
son-in-law he found
to

on during his first visit, painters

this occasion works

as

made
as

the

acquaintanceat
'*

least of

one

in whose very

well

person

pleasure.
his

He

expressed himself
Pacheco

favourablyon
as strangely,

his

pictures
modesty

owing

modesty," says

somewhat

if the

134
were

Velazquez.
at

least

concomitant

reason

of the

approval.
a

At

the

same

time

the

later evidence
to

of

Caspar

de

Fuensalida
as

refers to
what he
or was

Court

tradition, according
held to be in the existed in
we

which
*'

Rubens

recognized Diego
that painter
in
not

always
has

palace,
His
name

the greatest does of

in

now

exists

ever

Europe."*
a

occur

Rubens' in that

correspondence;but engraving by
received in

have

clear
at

indication
p.
1 1

their the

relations

Pontius

mentioned

8,

and

comprehensive orders
without

Antwerp, which
Rubens' second

could

have scarcely I have

ensued

co-operation. Velazquez*
data connected
to

brought togetherthe
to

with
some

visit

to

Madrid, in order
he

enable
on

the reader

form

idea of the

impression

may

have

produced

Velazquez. Recentlyan
referred
to

important turning point Velazquez styleproper Rubens, and

that

has in Diego'sstyle has

not
even

been

this event

; the

been

traced to the

and teaching find him But

imitation
in
our

of

it would
"

be

to presently surprising

described
as

as catalogues

the

pupil

of Herrera, Pacheco has

to

and

Rubens."

it is

conviction his true

Velazquez
to

thank

himself

alone
the

for what
purposes

constitutes of this

artistic work, it
come a

will be

important for
the

biography to

clear

understandingon
A

point.
for October

critic in the

Review Quarterly

1872 alreadydetected
time
a

in the

of PhilipIV. (Prado, 1071), at portrait

a

that very of

painted by Diego, change perceptible

no

change

of

manner

due
warmer

to

the

advice

Rubens,

in especially
means

the

and

transparent carnations,although still by

lustrous.

The of
a

Madrid

collection also

produced

the

impressionon
before
and

Jean Rousseau*
visit.

difference between

the works

executed

after Rubens'
"

From
and

date his finest qualitiesthe enchanting Rubens, he remarks, evidently chivalrous freedom and of
the execution,

wonderful

blending of
from

the his tints,

delicious the masters

freshness
;

the

which light, could he

them distinguish
have

those

of all

the
be

severe

Pacheco
need

taught him
learnt it from
to

nothing of
anyone ?

all this.

But, it
necessary

may
to

asked, why
man

have

Was the

it

bring a

from

the

foggy Netherlands

show

him

light

in the torrid land of Even thinks ended

"

Spain ?
shown clearly in the
which painting, in its

cit.p. 141) Spaniardshave accepted this hypothesis. Villaamil {op. the influence is be

began
as

and
as

during

Rubens'

stay;

painting which
of
in

subject

well

in its arrangement, colour and

one

naturalness, power
a new era

lightand

strengthof expression,
the Borrachos."

drawing,marks

reminding greatly style, Velazquez' glowing colours

Espagne.
"

of the Flemish

command painter's
* *

of

Revista Peintres

Europea, 1874, ii., 275.

Flamands
en

Digitizedtiy

Influence
For
most

of

Rubens
of
course

on

Velazquez.
the mill.

135
''The

the

panegyriststhis
was

was

bringinggristto
before

useful instruction the neophyte (!) Borrachos

in many

his

[Rubens'] working
which
he

his eyes,

showing
. .

the The
seem

processes

by

attained his unrivalled

splendour.

reveal the transformation

that its author

seen

passed through ; they

to

places [Has the

"

writer

them

?]"

reflect the

glowing
it

tones

which

burst from

the

pencilof the

Antwerp
a

master." is true

That
was

about

this time his that the

styleunderwent
beween

change
with

enough, and
manners

long known
the year his
own

line parting earlier

the first and

second

lay
and

about with while

are

1630.
later

The

works, compared
diffused with But

those of Rubens in the

productions, appear
colour

hard, jejune,dark
an

shading,
visit

those

are immediatelyfollowing

and all-pervading light close

the
on

more

in pictorial the Italian

and

outlines. the

then

Rubens'

followed
on

journey,and
from

Forge

of Vulcan,

first work been

to

painted
Venice,
Titian

the

new as

came principles

Rome. the

Meanwhile

he the
not

had

and and

had,

he

said, discovered

"good

and
be

beautiful" considered

in

Tintoretto.

Hence,
of his

if the

transformation his
own

sufficiently freedom,
Here

explained by gloriousyears
we

the inward

ripenessof

contemplative during the faculty

under

earlymanhood
the nude

and

the

spellof

Italian

have found

still his well attested that

a

study and
in

veneration
a

of the Venetians. those

he

modelling of
that of Rubens
made
to

full

here light,

unblended had also

in touches, been

word

styleof picturesque
himself. the

unrivalled

masters, who

the masters But

appeal is
the

Borrachos,said
This
manner

to

be

painted before
the with naturalists,

the

journey, sharp

and

under

eyes

of

Rubens. after the

work

proves

contrary, for it is
the

still executed
contours

somewhat dark shades

of the

and

of the one-sided

of the studio. light

In the Madrid
years

Museum

it is

confronted directly
even a

by

the Vulcan
see

pamted
the

two

later in between

Italy,and
the
two

here

dull eye these

a

may
two

how

parting line

manners

lies between

works. freer

Doubtless

Mengs already
freedom wished of the used

noticed

that the Borrachos

is in
; but the

somewhat
an

stylethan, for instance,

hesitation
to

the Sevillan Water-Carrier is

to

such

advance

from

fullyaccounted
take

for from his

by

interveningdecade.
it would
was

Had
the

Velazquez
treatment

anything

Rubens process ochre had shade

as a

have

been

shading, in which
the of his earlier

at

that time

reallydefective. He
which the dark

pasty recipesand
works
the
must

of

the Caraccis, from That he could

parts
and of the

suffered.

impart

clearness

reflected

light to

by

the

transparent
at
once

brown
seen.

undertints

Netherlanders,he
But
say

painterhave
of subject

there stillremains with his

the

the Borrachos.
was
no

We

might certainly

that Bacchus

associates goat-footed

discoveryof Rubens,

136
for his subject had for
over

Velazquez.
been half-a-century
even

used

in the

so-called

Bemithat Still

guete style of ornamentation

we

in Christian

altar-pieces ; and
bacchanalian which
once

further
scenes.

here miss

the

lewd,a

main

element

of Rubens'
with

it is

possiblethat the
have
in

torrent mythological

he
to

flooded the
some

royal
such
nude upon

palacesmay
theme
:

prompted Velazquez
fact from
as an

also

for the

attempt

and
to

this

year But

date

of representations We

the

valuable

him

artist.

that is all. and

monsters

fancy
a

he

looked

these Italo-Flemish similar

to

gods, demi-gods Rembrandt,

this Flemish

with

humour

somewhat

that of

for instance, in his

Ganymede.
the

Compare

the and

boisterous

riotingof
with

Thyasus

with

heavy phlegm
their all cast

light-hearted cynicismof
characterization
were

these Castilian boon

companions ;
of

stupendous
as

those

stereotyped studies

Rubens,

it

in But

one

mould. would derive

:

those who

later stylefrom Velazquez'

Rubens

the forget

rule of the old schoolmen the side but

bene docet. Qta bene distinguit

as

In order to realize
must
see

stronglycontrasted by
the side. freedom Rubens* Rubens*
of
tone

effects

between

two

we colourists,

both

composition is free,and
one

that of

Velazquez
but

is free;

the is

shows

not

the

remotest

to affinity

that of the the latter is

other. the cool

and light,

that of

Velazquez is light ;
the utmost

tone silvery

of the all-diffused is
a

with daylight
tumultuous

subordination

of the colours ; that of the former

harmony
about

of colour effected with the In

parent trans-

by

means

of shades

highly saturated
;

tints drenched
one are

in

lightcombined
with

the results of the

a

brought

simplest
a

means,
to
us

those of the other with it is rather

a

lavish

expenditureof
which

resources.

word,

matter

of surprise that of this

Velazquez kept so

much

aloof from the whole

the

overwhelming
Now
let
to

influence
or see

Fleming, to probably the

of such Court

otherwise

school of Madrid
us

more

less what

resigneditself.
were

try

to

real

relations of these

two

men

one

the other.
appearance

Assuredly the
Rubens held the
could
not

in Madrid
our

an

as exceptional personality

fail to stimulate four

painter.
Now it

Hitherto had
saw

he

had

here that for

a

first he

place,and
alone
of

years

previouslyOlivares
he
were.

declared himself The

henceforth time

should this

deprived pitched
to

paint his Majesty. privilege, suspended as

the

stranger

had

his

tent

within

citadel
usher

itself; royaltiesand
of

dignitaries
become
of
a

flocked
mere

give

him the

sittings;the

the the

chamber
trusted

had friend

cicerone of

of painter diplomatist,

cabinet

ministers. Even
trial. To

for
men

person

free from
in years

envious
and

or

unworthy thoughts this

character similar

were

advanced

of settled

experiences

Influence
have shock Antonio he
ere now

of

Rubens
The

on

Velazquez.
was

137
such When
a

proved disastrous.

arrival of Liica Giordano

to

Claudio

Coello that he did not

long survive

his

star. eclipsed

del Castillo beheld

:

in Seville the works

of his

earlyassociate Murillo, !")and

the his words
were

exclaimed

Ya
on

tnurid Castillo I his return

he

Castillo has lived (**

prophetic.
the
other

And

three years later from had himself

Italy Velazquez thanked

interval

king

because

had

not

painted in

by

any

artist. Still Velazquez'was

one

of those

happy, simpleand
and
even

well-balanced

natures

which,
career

conscious

from

the

firstof themselves It would

of their appear

goal,pursue
that

their

unruffledby such
no reason

incidents.

after all he
as

had

to

be

quite so
had

dazzled

by

the

of apparition

Rubens

is

assumed. tacitly

In the first place Rubens Lerma's

no

in surprise

store

for him.

The

Duke

of

executed equestrianportrait,
any

during

his first

was visit,

scarcely
balanced
and the

surpassed by
the

of his later that he both

on now now

portraits ; this
in the Prado

piecesurelymore
as

than Achilles

eightworks
and Nor

brought with him, such

the

Ceres

Pomona,

(Nos. 1,582 and 1,585).

his
more

did Rubens

this occasion

displayanything of
the

brilliant called it.

an

aspect, ''his fire and

as sublimityof invention,,"

Spaniards

They might
instance himself
of

be

impressed by
is

his

as copies after Titian, five-and-twenty

Teutonic this
man

capacityfor

work

; but

thoughtfulartist
his

would
''

ask Low

why

from translating everlastingly

Italian into
new

Dutch,"
Then

instead

of

composing original poems

and

inspiredby
of

ment environ-

of life and

Nature,land
met
on

people. ground
and

they
of the

the

common

Velazquez' portraiture,
their and Nature life of
the

special field.
likenesses

But

when

photographs
still
must

engravings of
of Art
have

respective
others and
are

Spanish courtiers, painters, patrons judgment

there
be
no :

compared,

Here

we

life

undisguised ;
hts mind. Take thus

mannerism,

life

doubt,

but

the

painter,

Isabella

of

Bourbon, daughter
a

of
two

Henry

IV., who

was

not

exactlya beauty.
a

Beneath

high broad

brow

large, earnest, cold

eyes,

touch

of dashed face
"

hopes
somewhat is

and

the weariness,

quietgriefof
in Rubens* health and

splendidmisery, paraphrase of happiness,that

with sensual

the

lower

cheeks compressed, slightly hanging under-lip,

swollen this text

below
we

such
a

Velazquez'picture. But
with
of

have

kindlybeauty,beaming

oval face with

recedingchin, those eyes

of portrait the

the

Juno

type drunk

delight.
The his Rubens

king

himself

may

be recognizedby certainly

invariable

features ; but

the

angles of the

family mask

so

conspicuous

138
in

Velazquez.
are

him

rounded has
so

off; and

in this fresh

though
this the

somewhat

indolent

beau

vivant

what

become
to

of the died
out

pallorof
with

decliningrace,

the austere

which dignity

say

him,
his

cold, reserved, phlegmatic

pride? Velazquez harmony

him
we

has

thoroughly studied
their distinct
even

subjectsboth inwardly
with

and

wardly, out-

grasped
which

aspects

in accordance
a
a sense

that individual With

to

invests

deformitywith
presence of

of subtle fitness.
men new

feel ourselves
even

in the

of reality,

us,

possibly

unsympathetic, but
miss
own

still attractive

through

their

intense

personality.
In Rubens
to
we

this respect for

peculiarities ; he adapts
the
case

the features
may

the types of his all the

or fancy,beautifying lowering as

be ; he
sensuous

impartsto
health and and with

same

the constitution, physical We call such

and

same a

of expression
a portrait

genialopenness.
that had
we no

such
be

fine

Rubens,

have

Velazquez prizedwas pintura

"

need

no verdad^

might suppose to study such What works. he fear,scarcely truth,not painting pintura(*' "). But here he saw only
to
"

said

all that need

said.

We

doubtless

dazzling, ravishing pintura but, as

an

was

said at the

time,

painting professional ;
truth. The

Art

ever

after straining somewhat

the

in strongest effects, limits of

as

character colour, light, natural historian remark should himself with his
even :

and

mimicry always
may

exceedingthe
works will

Spaniard
not

have
romance.

contemplated these
He

the

contemplatesa
*'

historical have And done

I could

such

perhaps courteously thing,"mentally adding, and I

"

not

if I could."
to
or

Velazquez
This virtue
to

appears tells us is
one

in fact to

have
was

expressed pleased
"

somewhat

for Pacheco this effect,

reserve.

that Rubens of the least

modesty
great
men

appreciated
Condivi calls

yet
even

appear

at

times

have

possessed it,and

Michael Rubens'

Angelo

modestissimo. thus appears admitted. His

to

actual influence

have

been

limited fanned

to

what

the

old
to

themselves biographers visit he while Italy,

must

conversation

the old desire

his

energeticcopying strengthened Diego's conviction

Art
at

that

study Venetian
reasons

the fountain-head.

The

king
he

admitted

the force of his

and

granted the permission.

artist without
to
a

Velazquez was only for

but
on

strictly speaking an
He would he

for public,
been

painted

Philip.

seem consequently was

have

very

dependent ;
multitude, a
he
never an

the other hand

more

exempt

from

the

service

of the

service often found

earnest

fatal to the artist than

to

that of

princes. Anyhow
distract him

himself

compelled gain.

paint subjectslikelyto
yet tempted

from

study of

Nature,nor

his to prostitute

artistic conscience

for the love of

I40
Falstaffian

Velazquez.
comedy,
so we

read and

in its how

contemporary

correspondence
V^inci

of

high

at the revelry

Spanish
may

Court

surroundings.
Leonardo in their cups he
on

Velazquez
number

have

read

da

occasionally got
from

of boors

and together, their

never a

while

told them
a a

in facetious tales, company somewhat the

order to sketch

guffaws. Anyhow
before been
seen a

gathered such
canvas.

populaceas
group
"

had

It is

motley footpads,

soldier, bagpipe player,

Are

beggar,and
or

certain not

defined easily

gentry.

they porters, or
reverse

coopers,

disbanded
were

troopers turned
from the

just
But

as

by

the

process

the

ranks
more

recruited
some

? footpads

possiblythey by
to

may

be

nothing
of

than

aged peasants, homysome

handed browned and

not

weather-beaten the
summer

children

the

for Sierra, the

three-score To

years

heats and

scourged by
forth the
the

storm. biting

such,

jaded
of
**

has revellers,

gone
to

this wine-god'sinvitation,
a

benefactor dark

mankind freedom the

bringing

daily toiler

ray

of

light in
be

his

existence,
If
we

in the realm
we

of dreams." find this benefactor

more

consult

picturealone
weary
a

to

lusty
need nobis all the

youth, who,
of hac
otia
"

somewhat

of

his

select company,
in

feels the Deus

unbending, and fecitof

discovers

fresh distraction of
poor

the

hilarious

this little group

devils

swept

together from
gestures, and
on

quarters

in their boisterous of their the

merriment, their grotesque slang.

The

mud stirred-up

rustic

upset

goblet

the

ground
for his

probably slippedfrom performance.

cups

who kneelingsoldier,

is just being crowned

we see

Then

will follow the for which

toast, for which

the
man

the

glasses and
blow

and alreadyraised, The

with

the

bagpipes will
a

the
a

accompaniment.
row

foremost

of the old

adepts grins in
in

way

to

show supreme
seems
on

of

still when
an ear

undecayed shining teeth,and

he may
to

of anticipation He
at

the

moment to lend

quaff the flowing bowl. joke

of his
to

the

same

time
rests

the broad

neighbour,whose
made
to at

hand

his and

shoulder.
could awaits
we

The hear

joke itself seems

it we should

be

the observer's The

expense,

care scarcely

repeat it.
beaker and

in profile, third, the

the
a

signalfor

the toast, with

raised

with

approving

glance of
The

loyalfollower
smiles.

directed towards have

his chief.
scenes

sociable Germans

paintersof popular
has

in which

every

figurelaughs or
scene

Spain

produced
of

this almost
a

laughing solitary
been
or

but where the No

else has the lines and Teniers

of
or

of overflowinglaughter
an

drinking bout
so

reproduced in
caricature?
*'

furrows

old

head

with
ever

little loss
up
to

Hogarth," fixingit

says

Ford,

came success

the

waggish
artist in

wassail

his

and drunkards,"*
and
on

Curtis

adds, **The
without

of the

seizinga laugh
'

the canvas,
*"

convertingit

Penny Cyclopadia:

Article

Velazquez."

The
into
a

Bacchus.
skill." Wilkie

141
often sat for hours
master.

grimace,is an
this with

unparalleled triumph of
which picture, he he contemplation, would

togetherbefore
At

preferredto

all others of the

a

wearied last,

rise with

sigh of despair.

The
treatment

Bacchus of such

introduces materials

us

to

our

master's
with

specialOlympus.
the
here
asserts

In
place common-

the

others with him

manner.

have the

avoided difficulty
essence

and in
au were

but conventional,

Spanish
Like
sort

itself

the most

uncompromising
la lettre. He
young

Cervantes,he
of

takes

the
we

myth
have
our

piedde
the

asks

What himself.

should spectacle

god during his triumphal processionsreallyto visit

142
? valleys would female this What kind
be

Velazquez.
of

worshippers
is most
at

would home

throng

round

him ? of male

What and

god

like who ?
scene

in the company

wine-dressers

In every
way.

epoch this
who stale will

has been

treated
to

by
make

others in

far of

more

learned Cavalier

But

nowadays attempt Museum,

anything
Poussin's
have

the

Massimo's
women

bacchanalian

piece, with
or

its

insipid Neapolitan dancing

studies with their

in the Madrid

of Nicholas
scenes

processionsin
which
man
as

bas-relief?

Bacchanalian

latelybeen
But
scenes

painted, depicting earth,"

we

look

like erudite

dissertations. archaeological the soil and breathe with its gifts,

too
"

in association with old Vilmar

the

of spirit

the

cannot puts it,

much that he

of

local flavour.

And

may

congratulate Velazquez especially

monsters, which

has have of

spared
been Fine
more

us

those
out

goatlike
a

legged

since the Renaissance the

a

poured
Arts. Greek

flood of
scene,

apocalyptic plagues over

many
was

sphere

the

Yet than

this the

which

have
aware

called of. the

parody, is perhaps
Greeks of
the

painterhimself
of

The

the always appreciated Villa

humour and
the

aged

revellers.
we

In

dancing satyrs
coarse as

Borghese
here

Lateran

have

the

same

bones, angular skulls,small

in this

eyes,

large

hair and bristly cheek-bones,

been

picture. Only
the Hellenic

everythinghas
the

translated

from

the

of prestissitno

K"jmo^ to

lento of

Spanish phlegm. Although

the lit up chief the
scene

takes The

placein
group

the open
to

it is nevertheless be assembled in
a

depicted in
dark

of the studio. light

seems

tavern,
on

by

window

to

the left.

The

brightest lightis
and tints,

concentrated

the

his white figure, reflecting

flesh in and

with contrasting

the four

weather-beaten

swarthy

heads
brown

their

worn-out light-absorbing

sharply chiselled modelling,their yellow cloaks and vests. Lastlycome

some nose light

four

in figures

the shade, from

which

emerge

tipsand
of

frontal

bosses. Whoever
should would this

form

an

opinion of

the

artist's treatment Bacchus.

the The

nude
arm

study
across

youthful soft,yet robust,figureof projecting knee,

us

stretched reflected
more

in front,the
the red

the lower has the

leg

lit up

by the

lightof
with

mantle, all tell

that he

scarcely anything
is

to

learn in this the

department.
of

with Familiarity

organicstructure

combined colour The The and

truth

the verisimilitude,

natural

tenderness, fresh

radiance

of

youthful frame.
the

weak

side of the picture are

shading
the

and

the
even

dark

elements.

ruddy

brown

ground
The the

has

injuredseveral
on

parts, and

whole

figures
than
masses.

in their
a

modelling.

crouching tapster
the vine

left is little more

to

while silhouette^

of foliage

is reduced

thick brown

The
The
be

Bacchus.

143

background also Compared

is

no

longer in

keeping,although this might probably

of space the
arrests

improved by cleaning.
with later is
scenes

the economy

attention.
to

The
no

crowded elbow-room the Was

group

pressed quite forward,

or

figureshaving, so
in blue.

say,

in front

above,

or

apparentlybehind,for
a

in its present state One

background
not

produces the effect of

devised originally

wall washed for

a

might ask. Perhaps

the

the

scene

vaulted
manner

surface?

hilly landscapeis an portraits.

quitein after-thought,

the

of the later

equestrian

Still the general effect is but the chief

disturbed slightly luminous with

by

this

As after-shading.
their

figureswith
even

their

broad

parts still maintain

those The deadened

full

vigour,they
The
narrow
a

gain by beaming

the

contrast

surfaces.
contour

composition also
group,

is well

balanced.

general

of
man

the
in

the

half-naked

god by
the

the side of the old

mantle, the

company

with arriving of the

more

minstrel
a

closingup
the

the

series,

the

associate reclining
and

god acting as
of
a

set-off to

kneelingfigure
much reflection

bending forward,
concealed This under
work

like

character,betray
eminence in

the

appearance

of accident.
a

accordinglymarks
was never

certain

the

master's

Art.

Strictly speaking it
of

surpassed in
the of the

vigour,firmness
the

and

ntorbidezza

of modelling, plasticity and animation its kind?

figures,variety of
features.

luminous
was

grades,
this

expression
first and

Why
like

then

the

last of
at

Had

anything gallery
and in Connoisseurs should

it been

executed

in the
at

Netherlands present

that time, every*

its Borrachos.

Europe
and

would

probably
would

possess

Art-dealers

have

protestedthat
bacchanalian
in that

this

artist could

henceforth

paint nothing

but

and subjects, But

he would found him

have
no

himself

assuredlymade

his fortune

line.

Velazquez

his official position had

account.

allowed

if even pleasurein repeatinghimself, to profithis inventive faculty able to turn

at
a

He

never

again tried
had
to

his hand

scene

of

revelry.
than

Hence

the admirers There

of this work

and put up with replicas of which

are

copies.*
one

exist two

both repetitions, One is the

in

more

respect
same

stillunsolved

riddles.

picturein the
the

Neapolitan Museum,
to the

'

Later

at the

the painting was death valued king's death of Charles

removed
at three

from hundred

royal bedchamber
In 1686 it rose

north

and gallery,

ducats.

to four

hundred; in 1702

after the After

reals. hundred doubloons II. to two or twenty-fourthousand appeared without a frame, so that it had presumably suffered. Then it went where III. to the new under Charles to Buen Goya valued palace, Retiro, returning Carmona it in 1780 at forty while Mengs' son-in-law reals. He also etched thousand it, made in his good Parisian but bad Spanish manner. not however a copper-plate engraving, Neither of these prints reproducesthe character of the drawing. Size 165 x 225 m. the fire it

144
size but
as

Velazquez.
the and original,
to

this many
on

Art them
a

lovers

are

indebted

for the

solitary
the I

impressionmade imperishable
master. met
no

by

the

incomparablegenius of
which the

Spanish
elsewhere in
a

It is executed

in

of gauche technique,
are as

have

example.
each
about
a

The

pigments

laid far

on as

canvas

piecemeal
a

pasty mass,
round

piece corresponding
are seen

possibleto
No
none

single

while colour, is it of
a even that,

littleraised in original the

margins.

less remarkable of the marks

with
be

copy

of the

one's hand,

copy

can

detected ; nay
more

more,

brighterand genuinelyVelazquez
Madrid
be
can

colouring appears
deteriorated

than original

in the after-shaded

work, whose
from
no

parts, and

the landscape, especially may

that the master

restored have had

this

replica. It seems
in this remarkable The
second

conceivable scarcely

hand

picture. example, usuallydescribed

it
was as a

sketch, also
Lord

comes

from

Naples, where
from
in
a an

purchased by
name

the

English envoy,
even a

Heytesbury,
name

Art-dealer

by

Simone.

It is of

signed and dated, the

booklet

hand appearingon graceful

:
"

the page

torn

in the left corner,

thus

Diego

V,
.

zquez

J, paintershould
or

1634 [not 1624].

Now
a

it has

been certainly he
never

asked
more

how than

the
two

have

signed
?

when sketch, is it

signed
he would

three of his great works

to

And

that likely

have

allowed of the

four years work in

elapse between
?

the sketch These This

means

in

1624 and
arise and

the execution from

even

1628

doubts
no

ignorance of Waagen
It is in fact
a

the true of it
as

character
**

of

the

work.
no

is

sketch

speaks
a

but by spiritedly

executed."* sketchily

littlepicture recalling neat, perfect

takes certainly its ideas and

the

styleot

the Bassancs from the

"

picturewhich
canvas, but

plan
as a

of

grouping
with

great
"

which

may

be

described

"completelyrecast
the
a

edition

of that

Two original. the

on figures

the cupthe left, bearer omitted and

glass and

the satyr, and the other

are

pairto
are

the

rightare
and

negro

while boy introduced,

the votaries of

parts
no

treated

after ether models.

Here

Bacchus

longer boors
costume
same

footpads,but
the Court.

belong to the better

The of
are figures

classes, perhaps
the heads do

to

the

shady hangers-on to
and boisterous

slimmer,
Nor

narrower, in the

hair in the
way.

style
Their

the

capital.
are

they

unbend

gestures

those of clients and

that parasites,
were

stringof

"

poor

relations,''
do

by
not

whom
press
a

the Castilian

grandees

usually beset.
a

Accordingly they
as

but sociablytogether, festive

sit at

measured

distance,such

might

beseem

gathering in
*

monkish
Size

community.
32
x

Treasures, iv.,387.

39

inches.

The
While hilarious. the guests The
are

Borrachos. reserved, the Amphitryo is all the

in the
canvas

145
more

somewhat
which

company,

piece chiefly enjoys itself,

He is
none

of the host's amusement. is here rather the object

out

of your
a

worn-

alreadytoo ne'er-do-weels,
with
a

used

up for

Homeric from eyes,

on
a

laugh,but

thoroughly
to

healthy faun chin, and

festoon the

full-moon

face, plump
compresses He

curves

the cheeks
opens

the full and

with

grin
of

which

the

the mouth

a long row displays a

ivory teeth.
flowers

is seated
a

stool instead of the

across

cask, body.

with

white
a

disposedlike
to

scarf
a

his naked
on

To
a

left stands red

large amphora,

the

right

barrel

which

sparkles
short

goblet of
The

wine. his side has slit eyes

so
a

figurekneeling by
brow, cheek-bones

somewhat

round

head, with
comic of fuddled

narrow

and

of the from
a

Mongolic type, happy

" "

enough
cility. imbe-

from

his

hungry look, here

The
next

stillmore

his
"

state

with the and

out

chapletlooks like
the soured
over

seedy

Bohemian, with
The

scanty
him

beard

and

mustachio head
a

air of the of the

cringing sponge." kneeling figure.

Below

the negro is profile, hollow But In the remains

peeps

the back

in third, and

with jaundiced starveling

retreating brow, receding chin

to

cheeks. it is
to speak positively as impossible

the

of authenticity

this work. still

there styleof painting

not

is

certainly although one nothing againstit,

are figures

quiteconvinced.
to

The

Spanish,and
canvas
a

from and

their dress

belong evidently
better A
a we light

this

period.

Were

the

cleaned definite

placed in

might perhaps be

able to pronounce is caused

judgment.

fresh element

of embarrassment

by the signature. Although

still look

the penmanship and free hand priori suspicious,

same

quiteconvincing.
of signatures

At the

time all

comparison
here W.

is

with impossible
"

undoubted

the master, while the date is

me

read differently Bode

a mere

hitherto with

mostly 1624,althoughto
me.

it looks like
seems

1634, and
have
an on

agrees

The

lower

end

of

the 3 in my

to

been taken

for

flourish to finish off the 2, whereas somewhat

must

opinionit is judgment
memento

organic stroke
the If
some

forming a
"sketch"

angular 3. depend necessarily

be
a

Our

so-called

on altogether

this date. of

1624
to

be correct

the work But

would

first essay,
one
a

perhaps
suppose vivant

collegebout.
certain
boon

accepting 1634
to

might
tableau

that it had of the Or famous

some

occurred

companions

make

borrachos^ permanently fixingon

person

canvas

this have

jovial
the

gathering.
in
a

of eminence of
some

may

in this way
"

indulged
had

little joke at the expense

well-known

diners-out The

"

who

reputation of being steady worshippersof Bacchus.

better however,
as largepainting

styleof the
we a

sketch,
take the
to

suits the date of

a

1624 ;

and

if this be correct

may

from in a descending scale, transformation,

Palamedes
10

146
a
"

Velazquez.
after the cloth is removed the rifif-raff take the

Brouwer, where
lords and

placeof
idee

the

and display more gentlemen/'

may

vigorousthirst and
Borrachos off
as

humour.

Only prime-

those who
a sautiire,

consider

work

like the
"

merely an

sudden
the

"happy thought suggestionthat

process

thrown
an

will scarcelybe casually,

our

satisfied with
was

after

interval of four years

out

piece master-

by

this mental

worked

from

that

less happy decidedly

first attempt.

Eastward

Ho

IN
Lope

the

seventeenth of every
one

century
cultured

visit to

as Italy,

at

present
a

to

Paris, was

the

dream makes

Spaniard.
that
one

Not

without

fine touch bom in

of humour in

of his fools say

might
and

be

France, live

and Italy, monarch

die in

Spain
in

; the first because

of its unsullied

and nobility

national
to

; the second

owing
is
so

to

its freedom

fertility ; the third thanks

true

which the faith, When

Spain

firm, so

so catholic,

I
as

Velazquez' Italian colleaguesspoke

of

of Florence such

the
was

"modern
no new

Athens," and gospel

may
to

Italyas
An

the

stronghold of Art,
had left made
no

language
in

him.

artist who
to

his

first studies

Pacheco's
one

house
to

well be Here

supposed
one

have

stone to

unturned

in order oneself

day

visit

Rome.

should

endeavour

pictureto
seventeenth

the

in perspective

which, during the first decades

of the

century,
which
at

the

Spaniards
is alone

contemplated conjured up
concealed The whole
that

their past the

Art

history.
of

The

group

present
has
to
new

at

mention

Spanish painting,and
at

which

completely developed.
had

was perspective,

that time gone down

just beginning
in darkness
;

be

of the middle
the

ages

had

era

just

dawned
not

about

time

of

Isabella the Catholic

but the back

brightdaylightwas
Rome he
"

diffused them

till the

Spanish

painters streamed
a

from
when

foremost
in

amongst

Alfonso the year

among

Berruguete,almost
1520.
the In Florence

veteran

reappeared
from

Saragossain
Pisan Cartoon he

he had

completed a paintingby FilipAngelo, and

Then forms of And
in the

was pino Lippi,

youthful admirers
the

of Michael
meant.

the

had
on

learnt what
canvas

draughtsmanship

land Fatherand

revived

gracefullyanimated
the

Raphael,

in alabaster

Buonarroti's

of powerful figures had de

not

prophets.
himself the

lishment in the embelof Italian

who

of the Escorial

Philip II.
Art, had

availed

mainly
summoned other

help ?
from

Juan Italy.

Fernandez of the
even

Navarrete, almost
time

only Spaniard
been
not

bore thither

aloft the

standard And

national
in

himself had

Velazquez'

that

Spaniard,

50

Velazquez.
Ribera,become dominating in Naples great in Italy,
flocked at that time in made that that
"

the Valencian native

over

the

painters? Spanish artists

had The and

Assuredly young Italy ; yet

advancement lost marvels," undertake the remark there. months

largenumbers
alone

to

alreadybeen
dazed majority, years before
at

ripetalents
breath ; their But

found

by

astounding labyrinthof powerlessto overweening

at

their recovering
to

anything^they often
Roman and pilgrims,
to

last returned

parade

prideas
died of schools

scoff at all

things native.
were

times

they

spleen, learningto
than the Roman had several

their loss that it

better to visit the

Spanish
in fact

hostelries. times asked Rubens' the which king'spermission, their

Velazquez
had works had in the
a

alreadybeen promised.
Escorial word
on

visit and his

jointstudy of
indifferent

the Italian himself

to

had

revived

Rubens and possibly longing, he the

was

put in

his behalf.

Doubtless But

enough
been

the pressible irre-

contemporary
with

generationof
his
ears own

Italians. behold

must curiosity

have

eyes to

those

whose glories,

praisehad

been

ringingin
"

his

since

his childhood. gave his consent,

even

At

on last,

June 28, the king

And

urged the journey,

of his

and
was

presentedhim
him further
many

with four hundred

on

silver ducats ; payment

stipend king's

also to be continued.
a
sum

takingleave of the count-duke

ducats

he received

from

of two

hundred

in

a gold,

medal

with the

and effigy Now with troubles

turn

letters of introduction."*

it so

happened
with

that about and

this time the Italian horizon

became

cast over-

the clouds of war, connected the

the

journey was
succession.

influenced naturally Events also took

by
a

the

Mantuan

new

in this year
a

1629,when
of Madrid

France, after the capture of La

found Rochelle,

herself in
was

to position

take part in the

now

struggle. The
to act to

result of this with

change

that the Court

crossed

resolved him
was

in concert

the emperor.

Colalto Ambrosio

the

Alps,and
had

with

co-operate the great captain

from his

who Spinola,

lately (1628) returned

at

long campaigns reputationthat

been

in the Netherlands. At that time he had

Spinolawas
the of Breda

the

heightof
He

his fame.

The

gained by
surrender had

siegeand capture
in

of Ostend
was

(1604)had
the
"

enhanced whom

by

the

1625.

only general in
amid would

Madrid dearth been and

to

complete confidence, Spain'sla^t great captain

His his labours lifelong

the great have

of talent for the chief command."*

crown

personal wish

by

of the Low pacification

Countries, king
that

it was

with

reluctance and 136. i.,

:

only at

the

urgent

request of the

*Pachcco
^

Gandolfo

Despatch

of October

19, 1629,in the Turin

Record

Office.

Eastward
he resolved
to to

Ho!
m

151

accept the supreme

take

command

Italy.
the

His then

more come

immediate
to terms

object was
with
"

of Montferrat, and Casale,capital their Venice allies,

we were

the
we

French let the

and

and

Pope.
to;

Lemos

had

said

If

Marquis Spinola act

All his and demands

shall have acceded

an

peace, he

honour
was

and

all

good

things."
of ducats G.

appointed
of

governor thousand

Milan

with captain-general
war.
"

allowance said his

thirty-dx
fellow-

during
B. and

His

powers,"
not

Genoese
to
a

countryman
the old made Duke

Saluzzi, "are
Don

the greatest of Austria

ever

granted

minister,

of Alba

Juan

for he has been excepted,

or
war

absolute

for declaringpeace plenipotentiary

and

contracting
Don in the

alliances." Before Mexfa

his

departurehis daughter Polissena's

been

marriage with
General

Diego royal

(Legan^s)had
in presence

solemnized

in the

queen'sapartments
sons,
to

palace,and
meet

of both their of

Majesties. His
hastened

Philipand again to
he
to

Augustine Archbishop

Granada, had
to

the

once capital

their illustrious father.

Velazquez was
accompany
Don Abate where Alvar
on

now

introduced

this famous the

whom captain,
were

was

the

journey to Italy. In
of Santa
same

suite general's the Duke

also Admiral and the

Bazan, Marquis
awaited galleys had
; and

Cruz,

of

Lerma,

who Scaglia, nine

all rode in the them.

our

with carriage

Spinola to Barcelona,
of de

Olivares

furnished
at

artist with

superabundant

letters

mendation recom-

his request the

at

Don secretary of State, the

Juan

Villela, provided
and relations

wrote

to

all the with

Italian envoys references Ferrara

Court, who
small But

on

their part

Velazquez
the these

for Venice, the and formal

Italian Courts, Rome, the strained

in papal legates short and the Italian

Bologna.
documents of in

under

somewhat

would his the

have scarcely
to
as

sufficed to their

give

princes a
he the of

clear idea
was

or position, same

remove

as mistrust, especially

coming

vessel

the

Spanish

general;
addressed

hence

envoys

supplemented

these

letters with

confidential

one despatches,

which, the Venetian, has

and Florence
are

alreadybeen
the and Atti, dated

Those published.* Famese and Medici 26 the

to

Parma the

preserved in
Flavio

and archives,

former,signed by
there
was
a

Madrid,June
combine

1629, shows
part of
a

that clearly

Velazquez might suspicion

political spy

with his

work. professional

In Venice.

Velazquez,who
^

sailed from

Barcelona

on

August

10, and

xeached

Genoa

Zarco della Valle, Documentos

1870, p. 400. iniditos^

L52
on

Velazquez.
as Spinola

the 20th, probablyacompanied of the

same

far

as

Milan, where

he

arrived

before the end

A
man

month. in whom that time the

of

and Velazquez'inoffensive character,

king
time

or

the
to

minister remain

personally interested unmolested,or

the
even

himself, could
reside
at

at

alone

hope

to

all for any Venetian

length of
envoy

in the

City by
taken
no

Lagoons.
the

Hence inform

Mocenigo, the
the senate received Art

in Madrid, had

the

to precaution

that the

journey need
undertake

give rise
it

to

as suspicion,

had painter

permissionto

solelyfor
him for

the purpose the

a

of

completing his
and

studies ; further that at Olivares' request de had Vegliella (Villela)

to

secretary of State,Don
a

Juan

asked and

safe-conduct

recommendation

Giorgio Contarini

Vincenzo

Grimani. At the time of his arrival in Venice

(GiovanniCornaro
was

was

then

dc^e),
With and

nothing was
the sanction in supplies the

to be

heard the

or

seen

but

and recruiting

reviews. military
even

of

sultan
so

the

government

raising troops

Albania

; and

exasperatedwere Velazquez
The

the resided

peopleagainstSpain, that assigned him

never ai a

ambassador when

in whose he
went

house

guard

of

attendants

abroad. of Osuna's

Spaniards had
did
was

been

popular
spiracy, con-

in Venice, and
were

the Duke

well as hostilities, of all ;

nor

the

secret

still fresh in the memory the fact that the

they themselves
a

shut

their eyes

to

of republic

St. Mark richest

thorn

in their side. the

Spain possessedthree sovereigns of

Venice
was

of the finest and

states
were

while provinces in Italy, less her

the

other

more

or

pensioned

vassals.

in fact the

free only absolutely

a

state, her

constitution

jealously
pursue
was

guarding againstthe
The
an

rise of

faction. foreign however much

were

and viceroys

ambassadors

wont

to personally

Anti-Venetian

policy, indulging in
;

stronger
was

language

than

approved

of in Madrid
and

yet

even

their zeal The for

surpassed by

that of the
gave

leading courtiers
Benavides' absence

palace retainers.
Venice the

right of asylum
became rendezvous

them

of insulting the republic, opportunities as, from

in 1624, when instance,

a

during exiles,
on

embassy
from

of

and the like, who bravos, criminals,

that

raided strongholdfreely the connivance

the

peacefulcitizens.
"

Thus,
on

on

one

occasion
to

with the

of the Secretary

Irles five convicts

their way

galleyswere
"

rescued

by

these

roughs
to

"

aided the

by

the

palacehousehold,and then, dressed

the
to

in civilian

garb,
of In

shown The

people from
came feeling

embassy windows,
a

in

proofof privilege."
Mantuan
war

hostile

head

about

the time of the

when succession, Vienna

Venice

was

the

mainspring of
Rome

the

Anti-Spanishleague.
the
must

designswere
had

being entertained againstthe mainland,and

that

Spanish (aut

ambassador

declared

either

or

Carthage

be

razed

In
Roma with
open
aut

Venice.
Italians concluded she would have

155

Carthagodelenda est). The

was

generallythat nothing
but

peace
or

Spain

because impossible,

slaves

enemies.

Titian On reference

and

Tintoretto. in Venice
we

'

Velazquez' pursuitsat
in Palomino and time
:
"

that

time

have

only

single
santly incesfrom

He

was

much

pleased with

the

paintingsof Titian,
made

Tintoretto,Paolo,
the Tintoretto's whole famous

other he
was

artists of that school ; therefore he drew

there; and

he especially of St.

studies

Crucifixion of the

[inthe

school

of the Communion the

Apostles [theLast prevented him

all other this from

Rocco],and made a copy he presentedto which Supper],

stayingthere longer."
data that he the
must

king.

The

war

alone from

It is also evident

available

have

been

speciallyattracted
This
under

to
a

in Tintoretto, full

agreeing with
still held flourished the

taste" prevailing

painter,now
the The school

generation dead,
"

artists and after him

the

public
his

spellof his

genius,and
continued

all who

yieldedto

style."

of St. Rocco

remained
to

of foreign academy especially the

(German) students, and

composition,grace, lightsand
shadows works is
severe were

be

regarded as
and

only place where

of (staccatura) and

order draughtsmanship,
to

contrast

be learnt.
was

The

number

of

drawings quite as
of the

painted

copies after
admirers

of this school
one

very great. have

Tintoretto
as

of

those

who

always
his

had

enthusiastic the

the former haters, Some

see

amongst

the latter artists,

treatment

mainly amongst
inexhaustible 130, 295,

general public.

feel irritated at but his

subject, his
power

frivolity ; others
of of
was

nothing

genius,his pictorial
Pacheco

representation.To

the former

belonged
from the the

14, (ii.,

*'lack

decorum) ;
so

"

to

the latter Velazquez,although his

of quietspirit

observation

fundamentally different
did not certainly and
"

fierytemperament
shown

of Tintoretto.

of paintingwhich For the description the Italian the time lack

Spaniard brought by
his of Tintoretto's

to such

perfection
that

as capacity, swarm

but only portraits, admirers is

no

phlegm
in

time. naturalism

For
was

the
an

at

Venice
a

abomination. Marco

Whoever has

stylist

is (manieroso)
the posterity

mere

cobbler,said
and the cant

who Boschini,
**

preservedfor
is

sentiments

of these

aesthetes."
there Escorial^
a

In
on

Francisco

de los Santos' of

of Description
came

the

section

the

Washing

the Feet, which in the

a

from

the collection of Charles

account

I.,

and

which
as

still hangs

chapter-room.
in the

This

by

the

theologian
that in

looks

if dictated

by

and painter,
"

prefacethe

author

remarks

(Madrid : 1681.) Pp. 38, 39.

54

Velazquez.
he has in fact availed himself of had aid. professional other works which

his work

Velazquez on
in the E^scoriaL

the

other hand

placed that justrecently

of this has

with

Tintoretto's treatment shadow of death

affecting scene,
on

takes will

placewhen
if

the

alreadyfallen
as

the

Redeemer,

now as

probably be
on
a

regardedby
summer's and plunge, the idea of
resources

everyone
a

almost repulsive,
carousers

frivolous. It looks
a

hot
a

day

party of

after

drinking bout

wanted

to

have away

could not

get rid of shoes and hose fast enough.

Carried

by
the

decorative piece, the painter producinga resplendent has,with

an

of

Art

to

which

nothing is impossible, opened

manner delightfully deceptive

up

superb vista,
away amid and

allowingthe
a

eye

in the most

to

ramble

of sumptuous gloriousperspective The

a

marble edifices, the open hall

seem

terraces to

sparkling chiefly
sunlit

waters.
as

over figures dispersed

be motived

aids to

due

of appreciation

the
can

relations perspective

of this gorgeous

architectural with hall, the arcades the

structure.

Nothing
colonnade

equal

the

charm

of this open

its red and

blue chess-board round

pavement,

the line of the

a

palacewith
gateway in
this may

behind,the

the canal closed in with

background.
After

speaking of Raphael's"gem,"
which Pacheco's
twt

Los have

Santos stood

thus
on

describes
:
"

work,
follow

at

sightof

hair would
as

end

Now

in the second the

but place,

the anythinginferior^ the

canvas

of Christ Here

washing
the great

Feet of His

on Disciples

nightof
It

the Last the and

Supper.
most

Tintoretto

surpassed
is

himself!

contains

glorious motives
The observer is the
one

and (caprichos), with power

may

astoundingalike
himself

in invention
mere

execution.

convinces difficulty of the colour and

enter

that it is of the

painting. So great
one

the treatment
on

that perspective, with diverse

so

fancies

and

stroll about

the

ground paved
the

coloured

slabs,
in the

through the
air is
most

reduced

scale of which

depth appears
these

great ; and

that the

between circulating lifelikeway

in
one

the

figures. And
not truth,

again are

adapted
and

to

their several all

occupations. The dismay

clear the most

the chairs, a dog table,

ease

introduced

are place,

painting. The

elegance
in
a

{gala)with word, every

of its formal This

which other

it is done

will

skilful

and artist;

picture placedby
a

the side of the canvas,

will

by

the contrast

execution, placein
the

the fact that here is truth." light power of

remarkable

which critique,

the appreciates

representation
is
our

alone,leavingunnoticed
to

of the interpretation
at

which subject,
as

everything painter's
confirmed

the

unprofessional observer, may regarding his

own

the

same

time be taken he

views

ideal The

"

an

ideal which

perhaps
in the

found

by
the the

Tintoretto's
air
ease

example.
freedom of

extension

of space

depth, perspective objectsthemselves,

trans-

between circulating and

the

the truth of the objects, of caprichos the

touch, the

the situations,

56
studies of old age I

Velazquez.
The

wonderful indomitable

symptoms
and

of the What

decay,combined
habit of mental life histories

with

an

will; the weariness

and the
courteous

of years

strain;
are

unbending pride
recorded of power A few
I !

formality.
men

here helm

From

hands

of such

death

alone

can

wrest

the

of Velazquez'journey particulars with cardinals and the

are like,

from

Venice

to

Rome,

on

his

intercourse but
route

mentioned

by

Pacheco
"

(i., 137);
took the

they

are

unfortunately only
he

outward

incidents

of travel.

He

where by Ferrara,

handed

letters to the in

papal legateand
letters to another his

governor,

Cardinal he did not

Sacchetti, formerlynunzio
deliver. The himself former

Spain.
him

His

cardinal

received

him offering well,

and palace time ; his

to

table ; he excused but

modestly (?)as
sent

he did not would

dine at the usual and

if his Illustrissimo^

were

agreeable he
a

obey

depart from
with the

custom.

Thereupon
a

the cardinal for him and

cavalier special

of his household him the

same

prepare

residence
were

his servant, and

own

supply
show him

dishes that

cooked he

for his

and table,
on

sightsof

the

place.
over

There

stayed two
seated,and
Rome
nor

days, and
conversed

takingleave
with Our him
on

the cardinal diverse

kept him
He
...

three

hours
to

things.
In

took he

the road
no

by Bologna
did he

and any

Lady

of Loretto.

Bologna
and

made

stay,
were

give
to

letters to .Cardinals

Ludovisi

Spada, who
He would for he also
been

there." have been he very

at

therefore appear

impatientto get
to

to

Rome*

passed by Florence,where
to

first intended envoy; hence

stop, having

recommended

Court

by

the

Tuscan

he

might

have the

from a good reception anticipated winter

to

the Grand

Duke.

Perhaps
was some

he dreaded

journey over

the

Apennines, or possiblythere

vow religious

fulfilat the shrine of Loretto.

Rome

in

the

Year sixth

1630.
of the

Velazquez
"

entered

Rome

in the

year

reign of

Urban

VIII.

Here

he

received

many
at

favours from

the Cardinal
a

Barberini, [Francesco]
residence in the Vatican
was

the

Pope's nephew,
gave

whose the

request he obtained

palace. They
But he gave

him

keys
from

of

some

rooms

; the

chief apartment and

paintedin fresco with

up

scenes

the Bible it
was

by

Federigo Zuccari
too

others. and

this

because residence,
so

much

out to

of the way,
be

he did not

like to be when

much wanted

alone.
to

All
"

he

requiredwas appeared

let in

freely

by
and

the watch
or

he

draw

for instance,Michael he

Angelo's Last long days,

Judgment,
made
*

things by Raphael.
!"

There

for many

great progress
The cardinals had

only that

very

year received

the titleof

"

Eminence."

Rome
From Promised what Land VIII. and he had of
men

in

1630.
quarters Rome
was

157
at

heard

in various

that time

the

in his

position. The
described
as

government
the Golden the had

of the Barberini

(Urban
him

nephew) was
the theatre

Age
him

of all

peaceful
made

aspirations.But
fear that
next

presented by spectacle
of the
war,

Holy

City must
been

have from

the

which

driven

Venice,
at

might
armed
been

be shifted to Rome.

For

three years had

been

they had

busy

the

the fortifications;

Castel

St.

Angelo

strengthened with ground

must
were was

bastions,
had

and

provisioned ; Borgia's passage

of the houses of Clement
two

connecting it with
the
; the

the Vatican memory

been

cleared

encumbering
a

of the

imprisonment
minds; all but

VII.

century

before

have

in all men's

of the six gates of the Vatican the

no

closed; Borgo and

Lungara
which

were

fortified ; under remarked that

an library

arsenal

equipped,touching
boast of
a

Evelyn

European prince could

men
"

better

of Mars organizedlibrary

for 40,000

Many phantom by

sneered foes and

at

the bellicose

fire and Others

fury

"

of

his Holiness
as an

against
omen

invisible attacks.

mentioned

evil
on

the

in collapse partial Innocent for

a

September 1630
The

of the Tor

dei Conti erected that Rome

the Quirinal had

not

and III., hundred

may
"

recalled Wallenstein's remark

years.

been

sacked

Pantheon
seen

was

just then
have
at

being spoiled,
adornments removed

though Velazquez
and in without
our

probably still have

ears

it in its bronze

those

asses'

of

which Bernini,"

last been

times.

The the

citywas

full of warriors envoys,

sat

and in

the clash of their

arms.

The

Roman

nobles,
hundreds

the cardinals,

palaces, surrounded
escorted them
on

by
their

of truculent retainers and

bodyguards, who
of their

dailyand
in
street

nightly rounds
brawls
and
more

"

at

times, like the

men

mediaeval
on

barons, engaging spot.

for
our

leaving some

the
been

Still

surprisingmust

it have

Diego,
were

as

devout

Catholic,to learn againstwhom

and how his irreverently At the very

all the fierce armaments

was

being directed,
his
own

Holiness time when had

spoken

of

even

by

fellowseemed
was

countrymen.
sealed Head

the overthrow

of Protestantism

(the Edict

of Restitution

appeared on
with

March the

6, 1629)here
most

the

of the Church Urban and Italy,

joiningarms actually
VIII. had had

foes of her
to enter

zealous

champions.
freedom
Barberini
so

invited Louis forces

XIII.
at
"

the lists for the

of

placed his
Italian
to

the Bourbon's How Pesaro fair

on a

disposal. The thing it May

"

were

in fact

good

patriots.
"were

were

"

spoke Pope

Cardinal
seat

Francesco

the Venetian Lake

"

i, 1630, in and would would

his country the

by
in

the Alban
a

Florence, Genoa, Venice within; the free

united safe

confederacy like that of Switzerland ; then

well balanced
states

Italy be

outwardly, and

158
no

Velazquez.
encroach
I"
were on

longer Spanish

the

and Pope's rights,

for

him

it would

be

an

orderly constitution
Urban
"

personages

the

chief

butt On Pamfili and

a

of

the

Florentine
new

wit

of

VIII. in his confidential conversations.

the arrival of the

"

dinals car-

Sandoval, Spinola,Albomoz
Catholic

and
a

in dwarf

June,

he

remarked:
to

"

His

Majesty has

sent

us

mute

in order
was

frighten

us;'* for Spinola stammered, Sandoval

Pamfili The member the plainest unquestionably Don Emanuel
was

like

Monterey

undersized, and
Cardinals. seldom

of the

Collegeof

Spanish
Court
a

envoy,

de

Fonseca,Count

Monterey,
to

appeared at
no one

The in.

Pope
Our

fond of

and hearing himself talk,

no

allowed

to

put
"

word

artist, however, had

to
a

reason

complain of
besides attention to he had with

his

reception

for which

he had

thank

Cardinal

Francesco,who
for
summer

being the patron

those been recommended received

of all talents had

personalmotive
In the cardinal

showing

by

the

Spanish Court.
there he had
as

of 1626

and

entertained and

legate and
the

nunzio

extraordinary honours,
Maria A

christened

short-lived

Infanta

Eugenia.
of perusal
same

the letters from time shows

moment
was
an

Rome

during the
not

year

of

Velazquez' stay
universal
in the
one

there at the attention.

that

had politics

engrossed the
of Gustavus

At

the very

preceding the

fresh outburst

war

north, and might

The

while

Richelieu
as

intriguingwith
of

Adolphus,
and

live in Rome

in

with poets, players, and Arcadia, associating architects letters, sculptors, the Urban Barberini VIII. it
was

composers, famous

and antiquaries

men

painters.
were

bees, originally hornets,on

with "Attic

family arms,
the
an

connected un-Attic

bees;" anyhow

forbade rather

certainly plunder

use

of snuff in the

churches,though
about this time.

undeserved the

stroke of the malicious of the Pantheon* both

fates that the condemnation

of Galileo and

happened

Art No section of the late

and

Artists. is better Roman

Renaissance than the

known,

at

least in

its

and plastic monuments, pictorial the seventeenth stillsurvives

" "

period of

the

first half of Barberini

century.
or

The

epoch
now

of the

Borghese, Ludovisi

and

rather, we

must

unfortunately say,
which
was

tillrecently survived memory assumed

storms sand-

in the
name

in palaces, gardens,galleries,

they perpetuatedthe
the down
seem

of

their

by

noble

works

of Art. she
we

This

periodwhen
to to
non

Rome

the characteristic aspect which of the present

*

retained often
:

the

destructive from

day.

And
bitter

receive

their very

Whence
"

Don

Pasquino's

lampoon

Quod

fecerunt

B"irbari

fecerunt

Barberini.

^Translator.

Art

and

Artists.

159

lipsthe
are we a

conversation

of the

men

of that
numerous

highly cultured conjure up

time, so

familiar it is

with their features

mere

through
names

spirited portraits.Hence
a

that Roman

mention

of

suffices to

vivid

of the picture

Art world
was

of that
at

epoch.
that time
as

What have chief first

much

extolled

contemporary paintingcould
The

scarcely
whose the
now hausted, ex-

interest for

Velazquez.
the Silver

splendour of
achieved the in
to

the

Academy,
had and

had triumphs,the great frescoes,

been

Rome, Age,

from
was was

belonged

rather
out.
soon

to

than

Golden

already dying
as

The shown

Caracci when withdrawn had

had

passed
over

away;

Domenichino in the while

was

he took from
no

the work But

Neapolitan
were
"

Tesoro; saying
before

Guido
"

had the

long

Rome.
room

people

that

Caracci

left

more

for others The had

to fill in Art

another spirit was (Albano)

in fact

already astir.
Villa Ludovisi and

frescoes
met

five years

completed by
achievements

Guercino

in the

with than

greater
all previous

favour for their power

of chiaroscuro school.

invention pictorial himself the

of the

In Albano

heroic

had

been
a

thrust aside decided very

by
the

the

Arcadian idyllic small

taste; like him, Poussin

in
a

also showed

preferencefor
French Marie Anne

figuresmoving
six while

large landscape.
a

In this had
same

year

artist, already
returned of the
at two

years

avis

Romanus^
of the Rome.

married age
was as

Dughet,
had dawn

his countryman, years

Claude,

Velazquez,

previously to
of Pacheco

This

consequently the
On

Golden this time

Age

landscape painting.

Velazquez'life
Trinity dei
summer

in Rome
:
"

(i., 138)has
the

recorded the

some

details interesting
on

After

the visiting

palace and

vineyard of
and

Medici studies

Monti, he
residence. also

found For
some

that this would it is the most excellent

statues

be the best spot for his elevated

to

and

breeziest And
so

place,and begged
to

here

there

are

copy. duke's

he

Count

Monterey
.
.

to procure

for him

the

Florentine

permission
a

reside there.
to
remove

He the him

remained

there two

months, until
the

compelledby
the
own

tertian
was

fever
very

to to

neighbourhood of during
his orders many

dwellingof
him his

Count, who
be

attentive

sent illness,

physician and arranged frequent

medicines

without
as

and gave charge, besides desired,

that

should everything

in the house

he

presents of delicacies and

inquiries."
On also may
us

Monte

Pincio
as

and

not

far from

Velazquez

Nicholas

Poussin

was

and staying,

the two Stirling-Maxwell fancies,

met.

foreignCourt
ruins and nation have

painters transplant always painted

have certainly
to

Those

studies of Roman school

villas and

scenes,
on

in which
a

strangers of every

associated classical

friendly footing. Velazquez

but from the bare,

himself

never certainly

landscapes ;

rugged

crests

of his sierras there

i6o
diffused
over

Velazquez.
those

was

broad than

deep solitary

blue

upland valleysa similar, although landscapes,

share. artists do
not

only wilder, atmosphere

At the time
was arm a over

that of Poussin*s takes

not
an

Roman

in these artistic arrangement

same

incomparably greater probable that

circles.
as

it does

seem

the two
men

really

met, for neither ramble Those

more
arm

of Art frequenter this Romance

Great

exactly

in

abode, earthly

in the
at

shady Elysian Fields.

time

nationalities of

speech
and

were

that

kept apart,

even

by by
The

their self-confidence the

wars

self-satisfaction in their several

cultures

than

and

their both

jealousrivalries.
had

yearnings of
to

turned

towards love of

Rome

; but

Velazquez
of

had
to

been

attracted he

more Italy

through
to

knowledge
While few

than

the desire

create, and

appliedhimself
as a

the

study

of the

antiqueand

Michael been any

Angelo
so

rather

connoisseur. distinguished Roman influences

as our

artists have
more

littleaffected

by

master, Poussin
Art from The

than

other from
an

reconstituted painterentirely the poets and the scenery

his whole

the wreck

of ages, with the The land, fatherto

of the
to

Campagna.
work

former,coming
di

continued alreadyfinished style, Medici

in the Piazza of the

Spagna
from
"

and

Villa

exactly as

in the

apartments
its very

Madrid

Alcazar.

latter, rebuilding paintingfrom

the
essence

released foundations,
a ideal,
"

office, tradition, freely yieldedto his

of which classical battles, colour
as

magnificent
avoid

manner,

belonged greatness mythologies; his first law

much
soon

of
was

heroic deeds, subject-matter,

to

detail and

regard world,
to

only so

the to beguile flattery

returns
as
a

eye.*
formal Court
in the Poussin had remains

Thus where
create

Velazquez
he
resumes

to

the

most

his work of
a

Court This

while official, who idealist, have

with

the freedom
one

poet.

declared

painting

and

sculpture
Le

Art,

Thor^

{seep. 2) might

called

by

antithesis to

Velazquez :

le plus sculpteur peintre quifuijamais.

The Here afford

a we

Pictures
a

of

the

Twelve

Masters. it be
to

meet

with

statement, which, could

our

relied upon,

would

more

definite idea of

master's

relations

the Roman

Art world.

Mention us^ that

of it is first
on

behalf

tells who made, though doubtfully, by Cean Bermudez of the king Velazquez bespoke a paintingfrom each of

the twelve with

'

foremost painters in Italy, and

The
Poussin's

brought
book

these

twelve

works

back

him.
See

report is referred
remarks
on

to

by

Francisco
of the

who Preciado,'

G. P. Bellori's Vite cUi Pittori

*

painting and the example (Rome : 1728), pp. 300 et seq,

:

good

masters

in

Diccion. v., 170. Arcadia

etc. (Madrid pictorica,

"

1787), p.

192.

The
had been director of the who

Twelve

Masters.
in Rome
at

i6i
the

Spanish Academy
takes the the it from But
with
name

end

of the last

century, and

in his turn 9.

Sandrart's

Teutscher
no

Akademie
mention of

(NOrnberg: 1675), p.
Velazquez
Preciado which This
he in

Frankfort

paintermakes
and
it may be

connection his

matter,
because

asked

whether

introduced

merely

of the much

later commission

reallyreceived

to

purchase some
occurrence

pictures in Italyfor Philip IV.

to

would

explain his referring the

Bermudez
time

the

time of the second of those had

in

Italian
were

journey,although, as
that

remarks,

several

painters
died

at

(1649) no
Sandrart
must

longer alive.
himself had

Thus,
in

Valentin

in
and
sequently con-

1634; Cavaliere
Lanfranco
in the

d'Arpino in
1647.

1640; Domenichino

1641; Guido place on

because

1642;

also

already left Italy ;

transaction

have necessarily

taken

the occasion

of this first journey. It had the remained

impressed
his
own

on

Sandrart's

memory,

it had

been

crowning gloryof
artists in

foreigntravels.
was

Soon

after his arrival in Rome

although quite a
famous

young

beginner, he
were

"included for the

amongst

those

most

who Italy, of

to

prepare

Spanish -kingthe
his work
so

twelve

pieces from
of

the

all life,

like size.

Then

he executed

fully success-

that, when
Our

they were
of

all exhibited
was

during
in

the

processionon
one

the feast
best

Lady
also

it Constantinople,
and

pronounced
Rome."

of

the

by

cardinals, dukes, princes

He
were

connoisseurs
all

of gives the subjects

at

which except three,

:

were

not

ready and
works

not

exhibited

the

viz. procession,

those

by the Cavaliere Giuseppe

The exhibited

d'Arpino, Massimo
were :
"

Stanzioni,and

Orazio

Gentileschi.

Guido
^

Paris

accompanying
on

Helen

to the

Beach.

GuercinOf Dido
Pietro da best work." Valentin conversation. da

the

Pyre.
of the Sabine

Cartona, Rape

Women,

"regarded as
at

this master's

Colomhi, The

Five

Senses,

in

room

table in

friendly

Sacchi, "Divine

Providence, seated
of God-like virtues."
Actseon.

on

throne stately

amongst

many

heavenly

women

Lanfranco Diana,
y

Calisto and
''if not

DomenichinOy Diana,
them."

superiorto

all

previousones,

stillrivalling

Poussin, The

Plague.
of

SandrartyDeath
Now, what
So far
as

Seneca, by torchlight.
that

is there probability
time
no

Velazquez had
be

part in this business?

were

regardsthe

can objection

urged.

All

alive in 1630,
II

62
one scarcely

Velazquez.of them could put in

were an

while know

alibi. From

other

sources

we

also

that two

of the works

actually produced about

Dido

that time

"

Poussin's

Plague (1630)and
were

Guercino's with

(1631).

The

also mythological subjects

in accordance

Philip's taste,as

shown

by

other

commissions

of

like

description.
the other hand it may
seem no

On reached

strange that
mention the
occurs owners

not

one

of the twelve
in

pictures

its destination ; for

of them of most,

the

tories, royal invenall of them in

and while the first purchasers down maybe specified

to

perhapsof

the present time.

Most

of them

in fact remained

Rome, Guido's

Rape
latter
was

of Helen, and
was even

Guercino's
to

Dido
been

being stillin
intended

the Palazzo
Anna

Spada.

The

said

have

for Queen

of France, and the Sabines

exhibited the

for three Palazzo

s

days

in

Bologna.* D'Arpino's Rape

to

of

passed from
Fdibien.*

Sacchetti
was

the

Campidoglio Museum, sixty scudi

Duke in Rome Diana
to
one

according to
Sandrart thousand famous

Poussin
was

Plague
"

sold for the

and Matteo, a sculptor, himself

crowns,

afterwards that it and

was

acquired by
Was had

of Richelieu
at

;
a

remarks

subsequentlyvalued
Domenichino*s been

bought

paid

for."

that

work

in the Palazzo of which

to
a

Borghese,which
was replica now

painted for
The
same

Cardinal

Borghese,and
should also

desired?

suggestion
with

apply

Sacchi's

work,
on

for Sandrart's
the

description agrees
a room

the fresco of the Barberini. the

Divina

Sapienza
Senses

of ceiling from the

was

in the

Palazzo
to

Valentin's

Five

passed

Angerstein collection acquired by

his Museum

Bridgewater Gallery. passed with

it has been

Sandrart's

Seneca

patron

and Giustiniani,

his collection to

the

Berlin

(No. 445).
not

however, Lately,
Hence

given to the Erfurt Museum.

no

the nine

must pictures

doubt
was

have
not

been

but finished, Soon

to
was

sent,

probably because
artists in

the

purchase money
he

forthcoming. viceroy.
more

after this the

a

event, Monterey, a

great lover of
removed

paintings, gave
thither
as

similar orders But he

best

Naples,when
had In Rome

bad the

housekeeperand king himself.

to

the

of living in reputation
so

brilliant

stylethan

he got
that

deeply into
Thus the
the

debt that he found

it impossible may
case

remain made

longer in

place.
this

completionof
as paintings,
"

the order
see

well
of

have

shipwreckon However,
the

rock, and
''

we

in the

Poussin, were
artists.
in

partlydisposedof
two

at

desperateprices by by Sandrart,
a

the

impecunious
and
a on

other
were

works

St.

Jerome
to

dalen Magthe

Wilderness,

forwarded

by Monterey

Madrid

order of Cardinal

Barberini.

"
'

Ritratti di Celebri Pittori del Secolo Entreiiens

stir

XVIL,

etc.

(Rome

1731), p.

92.

les vies des

plus

exc.

peintres (Paris: 1685), iv., 258.

164
in general,is portraits

Velazquez.
the action of the eyes,
as
on

which,

instead

of the

usual
as

forward look straight side-glance,

the

in

mirror.

This and

stare, as

well

inclination of the head slight

in

the left shoulder

is forwards,

seen we

also

the

in the Meninas. self-portrait open, modest simple,

a

In the somewhat

dreamy

look

recognizean
The white
been

nature.

bust is and

paintedon
But

light yellow ground

almost

in black, exclusively the shaded

brown.

crimson.

the

in harmony, especially
has

parts, has

modified through the varnish, which greatly If

our

turned

surmise
a

be correct,

it would

be

almost unique, stroke singular, the Roman he

of

luck that found he

sat

in placefor Velazquez*portrait the Arch

Capitol.
have

When

in

contemplation before
a

of Titus

could

scarcely

foreseen

such

destiny.
In
the

Villa

Medici.
year

The Gardens

Villa Medici

was-

built in the
for

1560

on

the

site of of

Lucullus'

by

Annibale
death that it

Lippi
was

Cardinal

Giovanni

Ricci

Montepulciano,
dei
In

after whose enriched contained

acquired by
which

Cardinal

Ferdinand
statues.

Medici, 1629

and

with

world-renowned

collection of the
to

it still

all the

antiques,of
were

Venus,

the

Grinder,

and

the

Group
in

of Wrestlers
till the

not

removed

the Tribuna
of

of the Uffizi Palace

treasures

Florence
the

year

1677.

Nothing
busts the
a

the

ancient

remains

except
taste

sarcophagus
sixteenth

reliefs and

decorating in
the

the

antiquarian
the

of

the

century
adorned

fat^adeturned
fountain ;
at

towards

garden.
of the

Gian Niobe the four

Bologna's Mercury
group,

fifteen statues

discovered

in

1583, stood
about
a

the end

of the great
a

towards alley

north,disposed round
and pillars,

prancing

steed, in
pope

hall

supported on
had
sung

twenty
in

feet in
some

diameter.

The

himself

the

praisesof this work

These
the
was

elegant distichs.
contributed Rome
not
a

Roman

villas had

little to direct the attention of

artists at that time

true specially

to flocking

towards
was

landscape painting.
laid out
*'

This

of the Villa which

or sea on over

Borghese, which
later

at the

beginning
of

of the century, and After of

a a

Evelyn
voyage the
a sea

spoke
was

of

as

an

Elysium
to

delight." Medici,

long

land

nothing
of

comparable

the

enjoyment

sunny

morning
swept
of

commanding
Roman
round

heights of
houses,
about the the

the
air

Villa

whence

the eye

vibratingwith
verbena

the distant echo the

church

and bells,

fragranceof flowers,
trasting con-

humming
with if

of the

bees, white marble

sombre hue
never

basins, parterres of scarlet

of the
be

high

laurel if the

and

boxwood

enclosures. had

It was

as

night should

again, as

Sabbath everlasting

alreadydawned.

The

Villa
two to
scenes

Medicl
in

165
as

Velazquez
These
sketches

also

sketched

his villa

companion pieces.
he here

transplantus
of
of how
war or

the first

happy days
of

which

spent

far from

the storms

the close

atmosphere

turbed courts, in the undisBut

so

enjoyment
state

this

delightful earthly retreat.

those

their unfinished
soon

reminds
ague,

us

were fleeting

bright days They

tints ;
now are as

poisoned by
off works

the with

lurking snake-like
been

in

the grass.

rapidly thrown
finished much of is left to the kind

pointed pencil and

have

sharply contrasted however,

of his the

they
the

might

charming
are, master's
tone

whereas pictures,

imagination. They entirelydisplay the

and

only pieces

which

hand; all other

similar works

lack

ness the clear-

unaltered

colouring.

VILLA

MEDICI.

In of the

one

of the

scenes

he
seems

met to

familiar

the Cleopatra-Ariadne figure, for

Belvedere, who
The

comfort
in
a

him

having
view
a

to

leave

that
a

incomparable place. loftyarch, the

in the
A

statue

stood

small

marble

loggia beneath
of the
to

balustraded

side-opening affording a
the

cypresses the

Borghese again

Gardens, while
the

loggia

serves

as

frame

picture.
the

gleaming lightfrom
is

wall pierces through plastered

the

ivy foliage,
villa
on

and

reflected in the

dazzlingwhite
cloak is

structures

of the

opposite side.
A

cavalier in dark
a

hat

and

enjoying the prospect,while

man

in

the

foreground stands
"

dressed carelessly tall,

with

long mantle
x

and

white

Prado:

No.

1106(0-44 X

0*40

metre);

No.

1107

(044

0-38 m.).

i66

Velazquez.
towards
a

turban, turned

labourer
strides.

in

his

who shirt-sleeves, he is

approaches,
what the

bending
of
a

forward
is

with

long
there.

Perhaps
in A

asking

dog large

stranger
The

doing

much-restored of Giovanni
been

Ariadne
di San
on

is

now

the

Pitti Palace

in

the

apartment
Madrid The
has

Giovanni.

third

replicabrought
of white
mass

later to

installed
of the
a

the

ground

floor of the Prado.

contrast
a

motive

pendent piece is
balustrade

the

hall plastered of

surmounted the

by

marble

over

againsta
with arch

dark
narrow

holm-oaks, supported
up with

glowing

of heaven light

through penetrating
the wall
an

the

apertures of its

foliage.The by
some

triple opening of

in the centre

Ionic columns,

exactlylike the
a

of the other loggia stands in

a

is nailed piece,
to
are

rough boarding,and
hall

statue

niche

the
now

right.
the

This

is the of the

facingthe
group.

terrace

of

the

Belvedere, where
is

copies

Niobe

The
as

view, which
mount

taken with

from
cypress

the

parterre^ is
balustraded
and

described

by Evelyn
a

"a

planted
with and the
heads

representinga
a row

fortress with with white

good fountain

in
over

the midst.

Here

is also

marble, covered
divers

natural

shrubs, ivy
as

other niches"

perennial greens,

statues

being placed

in

{Diary),
As
shuts
we

stand

before and

this wall
the

under of

the tall

the palace completely pines, All other

artists

off the

view
a

noise

the streets.

would duced intro-

have

kept

such

prospect clear of all vulgar popular elements, and

nothing
flower-beds.

but
our

polite company,
master

as as

gaudily arrayed
well

as

the

surrounding
the rude

But

givesus

the

and generalneglect

hoarding which
at

were

characteristic
the

enough

of these of Roman

princelyestablishments
dames

that
we

time. have

On
a

instead balustrade,

selves, fanning them-

black-eyed wench
she
tries to catch

and reeking of garlic the soft

hanging
two

out

her

tattered linen,as behind the

whisperingsof

rustic lovers has

boxwood
the
same

hedge

below.

Another

eavesdropper

planted

herself behind Into both had The

grown
to
a

hedge.
has introduced

piecesVelazquez
of his

statues, the study of which

on

been charm

one

objectsin choosing

this residence

Monte
"

Pincio.
a

of these
a

garden,
state

the surroundings on figures depends altogether as dazzlingwhite architectural structure, reverting few rustic clowns bold and and*
some

weedwere

it

of

Nature, a
modernized
to

marble

half figures, But

remove

antique,half
these statues charm evoked is gone,

by

ignorant restorations.
or

the
and

of safety
one

museums, wonder

clear away how such

the blocks

and ruins, could

all the
ever

begins to

have

the poet's fancy.

The

Arch

of

Titus.

167

Triumphal In the view of those been Roman of the Arch of Titus

in

Arch

of

Titus. has left us

a

Velazquez
But

third memento

first months
on

passed
spot,

Rome.

this the
a

picturecan
master's dull tone

scarcelyhave
Under
"

finished

the

or

altogetherby
assumed his

hand.
as

sky

it could
recurs

hardly
in the

have

such

this

tone,

however, which
Of
with

landscapesof nothing was

the
at

Mazo. pupil,

the monument

itself

that time visible except the arch the

the inscription, the

the two
in

and composite pillars

frieze with
castle

whole

shut

by

the

remains

of

the

mediaeval

for which

Frangipan

TRIUMPHAL

ARCH

OF

TITUS.

family
gateway

had
to

utilized the that castle.

surrounding ruins
But
in

; in

fact the Arch

monument

served
was

as

the

1822

the
and his

whole
the

bered disencum-

of travertine
the

the

contiguous structures,
The
in

damaged

sides

restored front from

with

stone.

painter took
line of
still

stand Sacra

opposite the
the

facing
that

Colosseum To

the

the
see

Via
the

running through

direction. which laria, line with with On

the left we

gable of projecting
; to the

Turris CariU" wall

in
a

has

long been

demolished

rightis
and

mediaeval

the Convent

of Sta. Francesca
was

Romana,
built

connecting that buildmg

in the year
narrow

of the church,which the/afeidfe the other where side,

by Lambardo
except
a

1615.
of

nothing had

remainied

remnant

68
wall

Velazquez.
or

buttress,we
Gardens. The

look

right through
masses

to

the eastern

enclosure and
a

of the

Famese

dense

of

poplars,laurels dusty
waste

cypresses,

appearingabove
of memories birch of the

this enclosure,awaken

in that

sense pleasant

rural seclusion, still or running waters, park-lands, refreshing

and

glorious
of
been
a

past.
to

In

the

foreground

to

the left the slender

but foliage,

stem

tree, branchless
in the block

the

crown

of tufted

has ivy-clad,

introduced On
a

bright space
of marble
hat

between in

the monument

and
to

walls. neighbouring

huge
in
a

the
a

oppositecorner foreground shut

affords
a

the

right is
the

seated

youth

slouched
is
a narrow

pipingto
dark
arch

few

sheep and goats.

off

There

bit of above

by

monument^
distance.

through which
Here
to

the open left we

see

vista in the the north appear

luminous

the
with

foreshortened strongly
which

side of the Farnese

two

Gardens columns
houses

Vignola's fronton, beyond temple of approach

Arch

of

the

three
white

of the of the

Castor
to

and

Pollux, and

the shimmering lastly the

the

and Capitol(viadel Campidoglio)^

corner

of the

Tabularium.
the stand
two

Before

who cavaliers,
one we

are

contemplatingthose singularly
in catastrophes
this the

lifelike and world's

ideas. It

authentic

reliefs of itself

of the greatest

history.

The

sketch

probably owe

to

association

of

gives a glimpse
to

of the old

Campo Vaccino^ which grandestfield landscaj^e.The

Thousands

has

long vanished.
memories of the gine ima-

Down
also

the present century this

of Italic ruins and

presentedan
had

incomparablesuburban
back

revolutions
as we

times

brought

the
of

primeval pastoralscenery,
Roman

such have

may

it at the very
over

dawn
on

history.
destinies and

here

pondered

Tasso's

musings
the

fallen states human

(cadono le

on citta)^

on past glories,

the
the

irony of

on fates,

landscapepainting. Meantime
bare the bleached fresh certificate of
the

antlike zeal of recent of this But

bones

antiquarian explorershas laid crumbling skeleton and provided it with a

in

baptism.
pent-up

doing so

let loose they have also unfortunately

hitherto

sources

of exhalations

deadly to

the

generations. living

The

Forge

of

Vulcan.
never

During
as

this Roman

interlude

Velazquez
for whom

forgot his
Coat.

officialposition

Court

painterto PhilipIV.
of Vulcan and

he

brought back
other

two

largeworks,
seem

the

Forge

Joseph's Many-coloured
have for the
most

They

to

be

pendent pieces,one
moreover

depicting detected, the

models without

fraud ; and successful, for both. One

the

same

part served
some

approaches these

compositions not

for surely we curiosity,

The
shall and here

Forge
Roman
a

of

Vulcan.
influence ! And in fact the
which

169
first

discover

Italian and

chief

does piece really

handle
is
not

Homeric the

in subject,

if the most least the

"aristocratic"

of Here

the

gods

central
and

he figure,

is at

spokesman.
himself
out

the

laurel-crowned

halo-encircled

in

flowinggold-coloured robe, his shaded ground.

reveals has
Thus
to

Apollo presents vanishingprofile standing

enters

against the bright luminous

a

he

the

smithy

and

with

mysteriouswarning gesture
his

the lame Both

Vulcan

the domestic lowered

to

trouble which hands

all-seeing eye
the
index

detected.

the

raised and
seem

pointingwith

fingersin

different directions

say

FORGE

OF

VULCAN.

*'

He

came so

this way, that

she

that
at

way."
once

No

previous announcement
res,
as

had

been

made,
of

he

plunges
time

in

medias

shown
hammer

by the attitude
in his

Vulcan
;
news

still holding the

tongs in his left and

turn

the

right
in

hand the

he has had with

to

only to

his head

to

the

speakereagerlyto Apollo been

been

devour

upraised staringeyes.
in the
of their

So

indiscreet has the

ears

his

eagerness
even

communicate

it that it has reached

of the four assistants,

the bellows-blower
in the midst

background ; for deafeningwork,

and

these also have

suddenly
will thus

arrested

all their

eighteyes converging
The for
we

towards take in

the

narrator, golden-haired mistress

the interest menials all betraying artist has

exoect

the affairs of the

of the household.
two

between seized the critical turning-point

actions ;

the next

'

170
ntoment to
see

Velazquez.
the hammer with
a

oath thundering traitor.

At

come

down

upon

the anvil,

in lieu of the head with

its hard

of the absent and

revenge

least this gaunt is

angular head
the

cheek-bones

black

goggle eyes by
the
**

of scarcely suggestive Vulcan.

upon

Greek characteristically Such

a

taken

the Homeric How Bacchus Midsummer

no

situation
was so

occurs

nowhere

else.

did

Velazquez come
have

it ?

who Philip)

enrapturedwith
And

may

exclaimed
"

with
"

Theseus, or
him
roar

rather with

Bottom, in the
as

Night'sDream
Bacchus The

Let
have

" againI

Velazquez

had

second

he may
the

bethought him

of

one

of the
an

wine-god'snear
semi-circle of
the left,

relations.

plan of

position com-

is the same,
a

open the

figures being
also be

on even

the

confronted right, of
a more

by

leadingcharacter
nature.

to

motive

delicately
exhibit
more

comic

pilgrimto
the

Rome

might

expected

to

diversified studies of the nude, and

for this very

purpose

artists had
was

already

long had
with with

recourse

to

forge of
De

Cyclops. Velazquez
Cornelius

perhaps familiar engraving,and engraved by

him from with
been

Titian's work

in Brescia
the

preserved in
have

Cort's has

in Caravaggio's Falck. He

Reynst Cabinet,which
even

Jeremias
Madrid. To
were

might

brought

the

sketch

Velazquez as
it

attractive the specially painter

elements

in this

subject
shows

the varied naturally

was

aspects of the nude.

his here intention,

The in the

carefiil execution freedom and

unmistakablythat
Rome for
once

leisure of

and
to

under

the influence of Michael the any

Angelo'swork
such

in the Sixtine

Chapel,
he
are

indulgein
found

full representation of the human for opportunities

all about the
same

body.
His

Later models

scarcelyagain
common

studies.

brawny workmen,
in the tone

size, proportionsand
with delicate expression,
more

bodily ing gradwith refined

but differing in constitution,

age, attitudes and

of the carnations

and
a

luminosity.Apollo has the haggard badly

old
man.

and

youthfulforms,Vulcan
to

those of has
been

The in
a

blacksmith

his back
sort

the observer The lower

apparently picked up
are

happy-go-lucky
of gravity

of way.

extremities
too

the centre disposed,

in the

rightleg being shifted

a

far to the left the artist's own

in
a

Altogetherit is
in delights his Art action when for its
and

pictureafter
once

such a heart, picture and freely,

to

as

he

he wishes
own

way
and

to

breathe

practise
Here

sake.

The

real

the

ideal, knowledge
with

of muscular
care.

truth of outwajd
truth
a

form, are
lies between
and

all studied

equal

the line of hardness Venetians. this

to

Nature

the soft for

or learnedly plastic

anatomical of the

of

Michael who

Angelo,
take

the

picturesque vagueness
a

Those

Velazquez

bravura the

should painter touch of the

study pencil

softened delicately nowhere

remains

diligent execution, where perceptible.

172
was

Velazquez.
the truth of the broad

surfaces, where
he would

"

all is and

nothing seems/*
of the he

as

Winckelmann of hands and

remarks.

Thus

prefergiving the general contour fingersand

to

feet, merely suggesting the parting lines

the joints. Still indicating
to

toes, and
wrinkles

without
and

less does
nuances or

attend
brown

the

callosities of these parts, or

the

of the

and the

white

carnations

according as

they

are

exposed to,

protectedfrom,

atmosphere.
Besides these

features,the subject had professional strictly

its domestic those

special
haustible inex-

interest for the theme

volume

general public in
of the be written from
the

motive times.

"

that jealousy,

of Spanish society

On

this

topica bulky
The

might

works

of the

playwrights alone.

instantaneous

expressionof
Leonardo
mere

produced by the picturedepends on the unequalled the prompt grasp on what of the critical moment surprise,
"

effect

da

Vinci calls the

but

**

These prontitudine."

attitudes

are

those of

no

paid models,
or are

of human

beings who,
of

as

Leonardo

are required,

taken
seizes

unawares,

not

conscious

being

observed.
hot

Here work

the master

the momentary

suspension from

the combined

caused

by

taneous the instanof

of the absorption
arrested

physical energy
of
a

in mental

surprise ; the moment

in

attention before the outburst

overwhelming wrath. by heavy

What

This situation, the

somewhat

analogous
of any

to

stroke hands

of

is expressed paralysis,

figures
the in

their standingmotionless,
least exhibition this introducing

shackled

implements,without
the artist showed

stored-upgestures.
element
as

tact

romantic such
mere

may

be

seen

by comparing this
which Caravaggio,

with other

analogous works, design.

The
treats

those

of Titian

and

give

the

impressionof being
dramatic the

artificial groups

preparedas
time the

studies for schools

of

theme

contains
as

at

the

same

comic

touch.
in

Velazquez
"

Homeric

gods

Shakespeare does
his
models

Trojan heroes
most

Troilus thethe

and

the myth in the Cressida;"* he interprets

farcical
as

style of
for forms

national
purpose

comedy.
of He
the
was

He

uses

not

merely

studies

infusinga
transfers
canvas.

breath

of Nature

into the conventional

of the
natural

schools. way
to

their very

in commonplace portraits

the most

Thus
names same

produced
the

the comic
an

contrast
scene

between

high-sounding classic
order.
At the
to

and

of familiarity

actual

of the humblest
the
as

time
a

nothingwas parody,such

probably farther
as

from

artist's intention
a

than

produce
'

served occasionally

reaction

againsta

pre-

The

of explanation

this

puzzling play is perhaps to Chapman,

"

be
seems

sought

in the

tions personalrelaa

between time before

Shakespeare
the Troilus and

and

whose

Homer

to have

appeared

short

Cressida.

Translator.

The
tentious but hollow pompous He had

Forge

of

Vulcan.
in the

173
took it he the
was

style.
read of
a

As

Bacchus, he again dailybusiness

; hence

myth
to

at

its word.

luminary whose
in instance,

perambulate the firmament

him
as a

escorted

by dancing nymphs
the he found
a

must

fain represent Corral del

dancer, as, for

the
same

mythologies of

the

princtpe. In

way
as

it

impossibleto depict the

An

god of the iron industry except

smiths
was a

blacksmith. laws
to

operatic ballet of
contrasts,
up

and
at

Cyclops,accordingto
all to his taste.
a

academic
seems

of

balanced nicely

not

He

have

even

looked deliberately

lame But

model, with

curvature slight

of the

spinalcolumn.
of the Roman Belvedere
in

strangers, who
in Guido's

have
Aurora
'*

made
to
a

the round that of the

Art world
the

from

the

Apollo

Vatican, feel

offended personally calls with

our

at such

as common-place youngster," Stirling-Maxwell

master's

sun-god,wondering by
Phidias and

how

under
at

the shadow

of the Vatican, have also his of

the

models
an

Raphael
his

hand, Velazquez could

Richard Ford
lowered

painted "such
suggests
lowest
'*

ignoble Apollo" (Annals ii.,118). Spaniard, to

Nature
prove
to brave

that

the

independence,had
divine under
be

of transcript himself"

the ideal and

the shadow in

Raphael
year

It might {Penny Cyclopcedici),

added

that

this very

1630 the

haughty
how

Spagnolettohimself
to

paintedan
forms
even

Apollo with
shows of the
in Rome

Marsyas, a
that
even

superb figurein his shimmering, luminous

a

which colouring,

naturalist takes

knows

utilize the
as

choicest Yet
our

for antique,

this

Apollo
statues

the Belvedere

its model. that of

there

are

many in the

of this

god

worse

than

master,

as

for instance
all

two

Villa Ludovisi, which

persons.

look far
as

like old eunuchs

repulsive to
ancient

healthy-minded
modern Art

Thus

so

Apollos

are

concerned

and

have

no

rightto
in any

throw

stones.

But also
took

case

these

of good priests of

taste

may

be satisfied that
to

Velazquez
he in fact

the beautiful forms appreciated up his residence

antiqueArt,
Had

study

which

in the Villa Medici.

he chosen, he could also have

many

drawn
unknown

Greek
to

as profiles quite as accurately

others,whose
Romans

names

are ever

fame. from

Nor

do
a

we narrow

suppose

that the

themselves

judged

this work

such

pedanticstandpoint. Richard
the sham neo-classic

land, Cumber-

althoughwriting in
saw
as a

the

period of

revival, clearly

true

painterthat this
of the death
in

subjecthad Forge

given Velazquez an opportunity

in It the

of

his displaying

Art to its fullest extent.

occurs

Mention

first
up

of Vulcan II.

inventoryof
reals.

Buen
to

Retiro,drawn
new

after the
was

of Charles
at

passed thence

the
x

and palace,

valued

1789

eighty thousand

Size 2*23

90 metres.

174

Velazquez.

Joseph's Coat.
The
"

second

work

brought by Velazquez
is of the
same

from
as

Rome,

and

entitled
the

Joseph's Many-coloured Coat,

same

size

the Vulcan, has

number
most

of

and figures, from

the
the

same

plan
models. their

of

Composition,and
Two

is for

the
are

part executed
the

same

only

of the

figures
ject sub-

in

the nude, and The

thoroughnessof
is

modellingwas largewindows
on
a

earlya

of remark.*
marble

scene

placedin garden. aged

old with
no room

an

airyand quite empty

two

with hall,

floor of the chess-board

a

pattern, and

overlooking
is

the
a

blue-green shrubbery of
carpet, while
a

Here

low

bench

spread

sumptuous
a

the

to the report, Jacob is seated,listening

in

chair, under

curtain in
new
"

the

cool shade, illumined

by

strong reflected
eyes and
at

light. This figureis

nose,

an arms

Jewish

head

with

small

long
the

stretching high
have
this

his

the gesture of sudden for any doubtful which the

horror

sightof

the blood, which

leaves
a

thoughts. Here,
the others
are

therefore,we turned, only

in

again
he

chief

figure towards
the

time

is not

speaker

but

hearer, the

victim

fact of the fraud.

Although expression is
been

the
more

same

models debased.

have

served

for the the

their secondary figures,

most

Two,
with

probably

shameless, have

put forward
are

as

spokesmen

the shirt and

the

smock. party-coloured
"

They

the

most

vulgar figuresever
attitude mixed
At

painted by Velazquez
old
man

two

hardy fool-

sneaks, both
in their

togetheraddressingthe
a

in

loud

voice,yet

glanceand
would-be

of impudence, fear of detection, feeling the

same

and

of

compassion.
the
coat

time

it is

that quite possible the

these may forward

case

after all be with "the

shepherds who, accordingto

colours." But the stated
one

text, were
must

sent

of many

others

in any stand timid

comer
us

be

Joseph's brethren, as back, in

other

by Velazquez himself.* looking

askance nails.
the

Two

somewhat

the

shade,

with The
man

sly and
in the

glance,the
to

embarrassed is

and

bitinghis

the

left

(Reuben ?)
most

tearinghis

hair ; but

artist has the

spared

his

face, this

advanced

figure turning from

rivals fully the
the

observer, like the

correspondingfigurein
looked it

the Vulcan.

In its drastic effect this work

even
on

as

pictureof

pendent piece. Beckford deepest pathos; the most convincing

He bestows

proof of
*Thus

in extraordinary gifts
F. de los Santos: Las

Velazquez.
muestra

equal care
arte

on

its

desnudas,

con

tal

disposidon, que

puede
"

ser

exemplar Para
:

la Notomia. al Autor.
"

Ibid.

Le oyeron

dezir

Naples.

175
the rich details of the

technique and
he The has
not
even

execution,though
taken
on

it lacks
to

smithy;
colours."
a

the the

trouble level of

paint
"

the tunic "of

many
"

work

stands

the

ragamuffin pieces

of

Monsu

Valentin,only
In the

without

the decided also forms

came

colours.
a

luminosityit
in the from
the
to

companion piece to
the front and
and

the Vulcan.

The

light,which
behind and

smithy

from
more

here falls from left,

right.
these

It is

sunny the
now

warmer,

although more
in

play

is also

given

the dark

shadows;
have from

are figures

distributed
and

the

lightand Recently

shade, and
the work

shadows

become

heavy

deadened.

has

suffered

restoration.

Naples At
near, the

Mary in

of

Hungary.
as

beginning of
received his

winter

1630,

the order

time
to

of

departure drew
i"ack for the of Ferdinand
in

Velazquez
a

from

Madrid Infanta had

an

bring
Consort

king King

of portrait of

the sister, The

Maria,now
been

Hungary.
to

marriage
in she

solemnized

Madrid

on

April
year.

5, 1629 ; but

the the

for the journey had preparations

occupied the whole

took the about round13

Owing
route

plague

North

the Italy, four

queen

of

Naples, where
de

remained

months, from

August
the

to

December Maria

18, 1630.
Anna

Austria,bom Anna, eldest the*n had been

in

1606

at

was Valladolid,

younger XIII.
sisters

sister of the Infanta in

are

of the

who family, her

had

married

Louis
Both

161 5, and described

since

alienated from

kinsfolk. with

by

contemporaries as
however,
the

attractive

blondes

very

fair

complexions. stamped
The
to

Anna,

far surpassed
of the other

Maria

in

beauty, showing
was
was so

scarcely anything of
on

Habsburg type
sister.
more

which period, hand

"a her

strongly
of
a more

the younger and

On

the

Maria

livelytemperament
Tuscan Ferdinand window.
.

with ready-witted,
thus

will of her appearance

the

own."
in
a

envoy

Baglioni

describes received
me

letter
near

II. dei Medici:

. .

"She
a

standing at
black has
very
an

wall
;

the

She

wore

gold
the
ever

embroidered She with

velvet gown

the

head-dress the

was women

than prettier
I white have

robe. seen,
a

angers face,one
chin

of

loveliest

white

skin, light hair

rather

more inclining

to
.

than

gold,

rightroyal bearing,the
. . ,

projecting.
.

She

listened

attentively
greatest
Charles the

and

repliedin

tone, friendly few words."

but

so

softlythat I had
years and

the

in difficulty

catchinga

Seven
to

when before,

Stuart

made

his romantic

expedition
at

Madrid,
was

actuallysigned
still more

marriage

contract

(Gardiner, v., 92),

wrote

she

doubtless

attractive.

Buckingham

the

time

176
to

Velazquez.
:
"

King James
as

Without these

I flattery

believe there had

never

is

no

sweeter to

creature

in the world."
when

Yet she

Englishmen
the

seen

her

such

tage advan-

took

part in

privatefamily festivities, as, spring of

the 1622
at

for instance, with

querades mas-

on

her

brother's
and

birthdayin

Aranjuez
Fontana
and

when theatricals,

the Italian Giulio

Cesare

devised

scenery

Juande
romantic

Tassis

mas^^-^s^sm^

v"^

composed
"Gloria
A de

his

fiesta,
sion. occa-

Niquea*'for the
years later she

few

had

of enjoying alreadythe reputation much influence

and

with

the

matists, diploto

Olivares

wanted

get rid of her by marrying her

for she
very much
was
'

off,

for her and

the
a

age
was
"

[sixteen]
thought

shrewd of She

by
was

king.' daring huntress,

one

and

Gdngora sings in
boar

of his
this down

canzonif of the
with her gun.

which

Spanish Cynthia brought During

she
to

the

stormy
an

landing example
was

at

Genoa,
coolness

gave

of

all, and
At Prince

not

the least "nervous."

her

first

meeting
in the

with

the in

of Wales
to
some

Prado,

reply

of

the

king's badinage
on

she

dryly
was never

remarked
not
a

hearing
:
"

that he
QUEEN
MARY OF HUNGARY.

Catholic
a

I I

will would

marry

heretic ;

rather

take the veil in the describes Baglioni

Discalceate her

Nunnery

to

protect your
"

interests." Majesty's
to

daily life in feeding poor women

Monserrat
costumes

Barcelona
on

visits

the

church

on

the

indulgencedays,
a

the fast
on

days, washing
abbot's of
the

the
;

feet of

boy,

ascent

of

afoot

and ;

the

donkey

with privatebull-fights

burlesque
Coming
his sister

rehearsals

ballets

brought

from

Madrid

to punctilious
now was

the
to

utmost.

commission, Velazquez'
that the Court

it had

occurred
ever, that in

to

the

king,when
no a

for leavingthe kingdom possibly

he

had
was

good good

of her, and portrait

painter'spresence

Italy

Queen
opportunity of procuring
was
one.

Mary
We had in had

of

Hungary.
not

177

do

know

by
to

whom
to

the

portrait

executed

which Another Pardo after found

executed

Olivares

1625 already sent

been
sent

the Archduke
two

Ferdinand.

by
and

Rubens in
the

Brussels,while
been the taken in Infanta

others, in the
childhood. But
"

Alcazar, had
"

both

her of

Velazquez'death
in

of portrait of the

Queen
him.

Hungary
The
no

was

the apartments

palace occupied by
two

work

in

Naples might (No.

be

one

of

pictures
"

bust, but
the

sketch, in the Prado

Museum Salamanca
was

1074), and

the

in full-length figure
a

Berlin bust. in the

Gallery.

The

collection contained
come

reduced the
in

copy

of the

TTie Berlin work

also said to

from originally
was

royalpalace ; 185 1,
to

inventoryit was

numbered

471, and

transferred

the

Suermondt

collection, passingwith representedby lady in

it in 1872 to Berlin ; till then it had It is not

borne
as

the title of Isabella of Bourbon. has been

quitesuch

an

importantwork
the
1

the writers who

wrote
was

for Suermondt.
still described
"

In the first
as

No. 262), the Catalogue(1828, of

an

Madrid

bust

"portrait

unknown

Velazquez'first
as

manner

later,

as

in the

845 Cata-

No logue,

135, it was

entered

Queen

Isabella. The based Isabella

on

ing," subsequent"re-christenthe between discrepancy

adopted by
and the

the Berlin

was Catalogue,

it

of genuine equestrianportrait
with her

on (Prado,1067),

the strong
time.

familylikeness
To
some

brothers,and

on

the agreement
was

in

pointof
a

complete
authentic
to

the identification there the infanta

a

still lackmg Such

a

comparison with

pictureof light in
had
a

to

have

come

seemed lately picture Balthasar Gerbier,* miniature, presumably by from

not

herself.

which feeble

Buckingham
botchwork of

brought

Spain.
the

But

this miniature
memory.
are

is the

if dilettante,

painted from
infanta

Numerous

copperplateengravings of
Soutman's
seems

extant;
on

that

by
;

J. Louys Wolfgang by
saw

after

drawing
to be stilla

is

apparently based
after Van
and

Rubens'

work

Kilian's
; that

of her portrait

youth,perhaps after that

who
however
never

Gonzalez

of Cornelius
as an

Galle
empress
at

Dyck,

her, represents her

each that
two

aged.
at

All differ
our

considerably
w^th portrait,

from which

other,though

still not

variance

least with

by

Merian

in the Theatrum those of Berlin

Europaeum
and the

harmonizes
so

best.
that closely

The
* "

works,
Lord This
was

Prado, agree

it

Documentos

ineditos^ Iv., 422.

R. Govver's is the

Photograph in
that
:
"

Historical Galleries
the Infanta of

of England. Spain
1." that A
was

In the upper

corner

it is stated

of picture

brought

over

by the

Duke
one

of Bucks. of the De her Under

She Passe
on

to have

married time A

King Charles
of the

fine the

engravingpreparedby
marriage in London,

familyat
horseback
:

the
'"

for negotiations

represents Austria."

which Size

follows of the

(British Museum).

Maria of excellent Princess of the most portraiture list of the Anglo-Spanish marriagessince the Conquest, a 2 X ro6 m. Prado bust, 0-58 X 0*44 m- i of the Berlin figure,
12

178
is hard
to

Velazquez.
say which is the

original.Still
was

the circumstances

of

Velazquez* scarcely
he
a more

short visit to have

Naples,when
bust he

the Court

alreadybreakingup, would
a

afforded time for the execution

of that

full-length figure.
in Madrid, which her

Hence

probablypaintedthe
the full death which figure, of the empress affected. residence painter's have been

only on 1646,an
it

and merely made occasion,

sketch of till the

so

afterwards

finished
event

perhaps not
was

in

by

brother

foundly proin the

Hence
in

might
was

be

conjecturedthat the work

likeness,which full-length
have been

found
may

1 660

this
even

never

and exhibited,

may

completed only a expressionand

This

short time

before. It is
a

cold face, in intelligent, pale, of

a

which

bearingagree

with the traditional character however have of

resolute, proud and bigotedperson, capable

affectionate. latter trait would her features that the

being at

times gracious and

not

been

more

accentuated,had
of ceremonious

painter spread over

and indicated
nose

icy chillness
unfortunate

composure,

with mouth.

dry sharpness
He had
an

certain otherwise eye,

characteristic the

forms

of the

and

ladies would
he
was more

probably say,
connection

for such

tricks of

plastic
the

nature, points in which

of the
nose
"

interested than in the subtle with

not

harmonies under

beautiful. the

This

under-lipin
on

the

shadow

only shadow

the face

"

impartsa gain by
the

touch agreeable altogether

of

scorn

to the

expression. hand, the

features of style the hair,the in the

On

the other

only not
a

tasteless contemporary absolutely littlecurls, is brushed under which

at
a

fashion.

The

frizzled light hair, above

dred huncrown

off" the

and gatheredup forehead, brushed in

a

but small black lace veil,

seems

forward square

on

the ;

sides

of the

face,
were

thus

almost
in vogue.

enclosed

frame

angular lines
and hands

that time much

Owing
remain
to

to

the

costume extraordinary
even

of the

period face
the effort to made

alone

visible ; but

here the artist is saved

to the

give expression
armchair worth
the
a

the

hands, thanks

conventional
a

use

of the

and few

the pocket-handkerchief, hundred appears But ducats.

as

latter the

costly
in

article

probably

Thus

face, as

mediaeval

of effigies

saints,

the

only
the

animated

point amid
of the

uncongenialsurroundings.
year

while

costume

is that

1630, the general treatment

The execution is broad

betraystouches acquiredby
and
easy,

the artist in later years.

while

the hand

sketchy hands surprisingly

scarlet fiery such red

is not unlike those holdingthe pocket-handkerchief of the following of the princesses generation. The
occurs a more

of the curtain

in
or

no

other work

by

the master, who

for

accessories

always uses
red fiery

less sombre

to inclining purple,

violet.

Equallyrare

is the

of the

which priming,

reveals itself here

and there

i8o
views

Velazquez.
by
the

thoroughly trustworthy report

statements,
at

of
more

contemporary
careful notions

writer.^ of his this

These

authentic
are

together with
with
a

study
his

works,

quite
is

variance
as

the

traditional naturalist
a

regarding

artist,who
precursors,

described

crude

who

despised

great

and

who,

worse

was still,

conceited,ambitious, and

envious

at plotting intriguer,

the head
to

of

violent cabal been This treated

against his colleagues. by

tradition in
never a more

But

Ribera

appears

have

than
to

usually "stepmotherly" pander

to to

fashion.

who artist, the and His

age,

condescended
been

the

coarse

sensualityof
the

had

hitherto

known

posterityonly through Neapolitans.

to

hostile

utterlyuntrustworthy accounts
own

of the
as

Nor

is this all.
extent

artistic records

have
are

been,
flooded

it were,
the

the

utmost

interpolated.Our
the

galleries
little that

with forms

works

of pupils and

imitations,while

is

genuine

the least valuable

two

part of his work.

Germany,
that it

for instance,possesses is not

only
no one

of has
at

his

better been

productions,so tempted
the
to

surprising that
even

hitherto all about in

or "rehabilitate,"

to

trouble

himself It
was

him. that in

1625
with
same

painter Jusepe
As
men

Martinez like that

of

Saragossa
are

made

Ribera's

acquaintance
the

Naples.
may

Ribera he
"

not to

usually
him,"
and

overburdened much
says
to

ideas, we
purpose
"

presume
to

spoke

Velazquez
from

as

he did

Martinez. showed
me

I received
some

this

writer,
the

much

civility ;
w^as

he

cabinets

in galleries

great palaces ; I
from
more

immensely pleased with

petty;
for in

everything,
nected things con-

although coming everything turns

with who who
the

Rome
on

all seemed the

this
on

city [Naples]

militaryand
So
I

cavalry
to

than

Art

of

design.
Ribera

remarked himself

my

fellow-countryman,
who introduced scandalous
as a

agreed with

me." him

showed

equally politeto Sandrart,

w^as

expressly calls
him
to

"courteous"

and {hdJJich\

by

the of

Cavaliere the

Massimo,
have

an

artist who, to
been

believe the

the

chronicles detested No

times, must

regarded by
with
the

Spaniard

rival.
less
at
as

variance
a

are

his

sentiments

local reports, representing

"

him continues Rome

the

sort

of

naturalistic

know-nothing.
he

asked
to

him,"
revisit Then

Saragossa painter,"whether again study

and
to
see

felt
his

no

desire

in order
a

the

of original pictures
:
'

earlystudies. again to
should
see

he heaved but often

*

deep sigh
to

and

said
;

Not

only
are

do
w

I yearn

them,
be very

again

them

for

these No

orks

which

studied

pondered
:

over.

doubt

people now
nobilisimo
arte

paint from
de la

another

Jusepe

Martinez

Discursos

del practicables

pintura, edited

by

Don

Valentin

Carderera

(Madrid: 1866), p.

33 et seq.

RiBERA.

l8l
if
to
a we

Standpoint^ and
this foundation the
we

another of

practice.
may
are

Nevertheless

do

not

build

on

study, we
the

easilycome
the

bad

in end, especially herein in the and

historical
are

which subjects,

of polar-star the

perfection ; and Raphael

a

guided by
historical

histories studies
"

painted by
works

immortal

holy palace; whoever

finished
'*

these

will make

himself

true

painter.'
adds

These

words,"

Martinez,
which had

**

showed

me

how

little to

the that

point
none

was

that report,
or

according to
masters

this great

painter boasted
Italian

of the old

new

equalledhis
Art the

unsurpassableworks."
an

Jusepe
so

Ribera other

had

developed his
had

under

sky, and,
of
a

like free

many

under foreign painters,

shiftinginfluences
towards Ribalta he
became the

wandering
School His with
was

life. He the
were

probably
accounts

been

directed of his master

Lombard

by
the

teachingsand
first turned

in Valencia.
so

steps

towards
a

Parma,
taken
as

where

imbued

of Correggio,that spirit

chapel painted by
for Ribera
a

him of

in that

place

by contemporary
began
But in the
career

travellers often of

work
was

this master.

Thus

Spagnoletto,
the time

called in Italy.
taste

Italyitself

since

of

Correggio
"

had
meat

undergone
"

profound change.
of

The

public now
unrestrained

demanded

stronger

than

the

poetry

light, genial
Art

of re-interpretations the free

canons

the

cal ecclesiastiand

legends with
charm.
the
centre

exclusive of

regard

to

of

beauty

bodily
even

The

new

Caravaggio, another Bologna

a

Lombard,

produced
Both

in

of the school of of the older the

stronger impression than the sublime

that

examples
Guercino The

masters

preserved in
manner.

place.

Guido

and

adopted
founder

solid plastic,

of

naturalism

doubtless of the

himself Dutch in Art

preferred those
type taken
of from

tentious, unpre-

motives genuinelypictorial

every-

and day life,

he

was

fortunate certainly
most

his choice
wanted

fresh, pretty, quite

a

youthful models.
different

But
the

patrons

of

realities of
was a

order,and
times. with
the

techniqueof the Agostino

Caracci
an

torture-chamber
had

prevailing
St.
; Poussin

feature of the Bartholomew

had

depicted the
taste

flayingof

the indifference of

anatomical
bad in

demonstrator

taken of

and prize for ghastliness

by

his skilful of

tion manipula-

the entrails
a.

of

St.

Erasmus;

his Crucifixion
; lastlyin

Peter, Guido
him
to

had

produced

masterpieceof
doctor

gibbet

scenes

his St. Jerome

upon

receiving the figure the

in its most

Viaticum

Domenichino of the

thought
Church
as

it incumbent
an

venerable

embodiment

of

senility

repulsiveaspect
*

Rumbo

lit. "

pointof

the

compass."

Op. cit,p. 35.

1 82

Velazquez.
Ribera, who
had
at

first

yieldedonly
must

to

the

promptings
now

of his artistic that the studied

his
most

and feelings,
man

had

been consequently

reduced

to penury, to
serve

learnt

who

would

control without

the times

learn him

them.

He

Caravaggio,and
turn, he

having
a

known

became personally,

inspired pupil. Being,as

soon

Spaniard,himself

of

realistic and the

a

gloomy

tional devo-

outstrippedall contemporariesin
To his martyr and
scenes

department

of

ascetic naturalism.

he gave
a

such of and had

local tone

of the learned
a

gallows,to
to modelling,

his

heads

figuressuch
that where

vigour

relief and often such failed

success

his attitudes such many declared

characteristic energy
all others

deep
had

pathos,that
here been But
recourse

achieved.

so

great

was

the demand
to

for these

works

that

Ribera

had

first

to

the burin
most

multiply them, and

brilliant income

then called in the aid of his also

name

pupils.
if

These

furnished him fame

of the works
a

passing under they

have

; but

they
of

brought
him

and

seriously impaired
the better works
he
never as

in the eyes

his first and

posterity by throwing This manner, manner. brighter

it in the middle,and His

of

into the shade

however,
the
as close,

quite laid
at

aside; we
of his

meet

quiteat
the

well

the outset

career.

Conception in
and

Monterey Convent, Salamanca

achieved in the San

(1635)
this

surpasses

all that Guido His

Murillo Last

of interpretation Martino

mystery.
one

the masterpiece,

Supper,in
the

(1651) was

of the most In

creations deeply afiecting religious took show

of the century. church of Sta. Trinita

to

Naples Ribera
in order
to

Velazquez to
him
the

largenew publicwork
"

Maggiore emerging
St.

first

entrusted
scenes

him

on

from

obscurity. For
"

this commission indebted

to

three

from
"

the lifeof

Ignatius Loyola
or

he

was

his first patron Here

and
we see

discoverer,"
the
a

Osuna,
and

rather

to

this nobleman's

confessor. who

former

hidalgOfthe fieryand
then

phantasticBasque, monk,
frantic in
a

began
he

life

as

soldier,
with
a

suddenly
awkward
arms

turned

but In
one

who

still demeans kneels the

himself with

somewhat

impetuosity.
him

scene

wide of

stretched out-

in almost
is shown

while resolution,
sun

monogram

Jesus

the Saviour

radiant

; in another

he the

turns

amazed,

ehraptured, almost

embarrassed, towards
the roll does drawn fresh
on

the

vision of

Virgin, who
of the his

surpriseshim
Order
; in
a

with

which
to

are

inscribed Vicar

the constitutions

third he who
see are

homage
up

the

of Christ

jointlywith
of

companions
Here
^

in

militarysubordination.
were

we

how
was

still

Ribera's

reminiscences

Parma. Satvator,

This the

monogram
motto

composed
the
name

of the three letters I.H.S.

Jesus Hominum

whence

and

of the

Order

of

founded Jesus (Jesuits)

by Loyola."

Translator.

RiBERA.
Titian's introduced famous into

183
the Palazzo Famese and
truth

portraitof
the
to

Paul Thus

III. in

has of

been

picture.
be

historical colour But

all

sentation* repre-

left nothing

desired.

that would with the

littleinterest cloudlets

Velazquez
of and this

in

the presence

of this

light blue

sky
Son

golden
of

approaching

sunset, these

wild fair-haired, florid,

children
a

Nature,

youthful Madonna
He
turns

fondling her

with

motherly, loving
of Ignatius. figure

as expression,

towards inquiringly

the ecstatic had

to

That

"

of colouring which In

the Titian,"
no one

study of which
any

been

prescribed by
here

the

Caracci,but
more

seemed three

longer
in
a

understand,is
dark
no

once

revived. robe of the

more

these

picturesnothing was
had

except the eyes

and

Saint ;

Velazquez

Italyseen
finer di Toledo that time

production of
of colours. the resort

the

century
The

glowing
at

or

painted with
was painter

harmony
was

studio

the entrance The Court

he

of the Strada
at

of

strange company.
Duke
every

kept very busy by

it illustrated the

the

of

AlcaU;
can

and
be

as

dated

nearlyall his

works, the inventoryfor almost

1630
"two

year
"

determined. accurately within his breast ;

In

souls

that dwelt of

for then where the hair

appeared

the

Apollo
of the in
the
a

with
plexion, com-

Marsyas, a study
the

youthfulmanhood,
of the

silvery glow
were

the golden greenish half-tones, the ground

blended On

rare

harmony
hand the

on

shimmering
was a

purple mantle.*
reminiscence
her

other

Shepherds, a night scene,

bends
was
a

of St.

Prospero in

Reggio
bearded

; here the Madonna

over smilingly

child. of portrait husband of

a

Contrastingwith
woman

these

the curiosity, physiological

"

from for the

the Ahruzzi

Maddalena
1

Ventura
now

with

and San

child,painted
Fernando

Viceroy
For the

in
same

63 1

and

in

the Academy Ribera had which time

broad

(No. 140).
mendicant

learned
an

patron

executed looked back

he

picturesof
like had
a

and philosophers, Michael

"Archimedes"
For
some

caricature
to
a

by

Angelo (PradolOio).
and

taken

hideous perfectly

with model, a giganticfigure

eyes

massive
a

skull,bushy
whom
monster

black would

eyebrows, cunning
have
sent to

depressed nose,
more

fellow This
now

Lavater is best

the

gallows without painted

in

ado.

preserved in
but
he

the
was

St

Rocco
also

1631 and

in

the

Prado

(No. 1000); Monastery

we are

utilized for the

be

Jacob's Dream

of

1626

No. (Prado,

982), and
of San much

can

again

recognized in the

Elias of the

Carthusian Unless
a

Martino

painted in 1638.
with him
to

Velazquezbrought back mistaken, impression of Ribera.

The

Madrid of

correct

and

favourable

very

large number

his works
*
*

which
who III.,

decades during the following

confirmed in Paris the

towards gravitated

the Alcazar
"

Paul In

Order, was

Farnese

(AlessandroFarnese).

Trans.

1874 sold

for 2,000 francs.

184
and

Velazquez.
the and Escorial, had which become
were

mostly placedin
The Prado

inhabited

apartments, show

how

popular he

there.

Museum of the most

alone still preserves

the fifty-eight,

Escorial sixteen, althoughmany Biblical the With

seen

interesting, dealing
the
more

with

and mythological

have subjects,

disappeared.Amongst
the

choice

masterpiecesin
and Samson.

royal palace were

what in his Death
to

Jael and
true

and Sisera,
could

the
treat

Delilah

and originality

he feeling
was

is tragedies mythological

of Adonis, which the Corsini direct

**

formerlyin
"After
and

the Alcazar, and

perhaps passed thence

sailed

Rome. Gallery, for

Velazquez probably
absence Madrid the of in the

from writes

Naples 631.
at

Spain.
well

an

eighteen months," beginningof

at

Pacheco,
1

he

returned very his

reached

the year

He
once

was

received
to

by
his
no was

Count-Duke,

whose

request he
him

paid
had

respects

Majesty,and
other
much

warmly

thanked

that he

had

himself
"

painted by Majesty
the

painter"[that is, during Velazquez' absence]. pleased at

in

His

his return." appears

to

Velazquez also
at

have

purchased some
besides the

for paintings and

king ;

least

receiptdated
occurs

1634,

Vulcan

Joseph's Coat,
a

mention Bassano.

also

of

Danae

a by Titian,

Susanna

by Cambiasi,and

FOURTH

BOOK.

THE

DAYS

OF

BUEN

RETIRO.

163 1"

1648.

OFFICIAL HUNTING ROYAL MURILLO

DUTIES AND

"

BUEN

RETIRO

"

PARK THE

VIEWS BOAR-HUNT THE IN

"

THE
"

SURRENDER STAG-HUNT CANO AT

"

OF ^THE IN THE

BREDA THREE

"

HUNTING-PIECES"
"

^THE
"

SPORTSMEN IN MADRID

^THE
"

MASTER CRUCIFIXION

OF

HOUNDS SAN

ALONSO CHRIST

MADRID PILLAR.

"

THE

PLACIDO"

88
in

Velazquez.
turningeverythingto
this the best account, he must have

exclusively engaged
felt that But
to

his lines at this time had for that very p)erhaps

reason

surelyfallen in marriage of
of But his

pleasant places.
records of
arrears

periodof his lifeaffords littlescope

the daughter,

the

biographer.
the

Besides

the

speak
and

only
of

increase of official appointments, suite of the Court. his work, in the and

stipends,payment

journeys in
a

for artists and

friends of Art, the life

lies in painter

development and
a

changes that
we

take have

place
were

in his
we

styleof treatment
the
the

technique.What
each

book

should

acquaintedwith

of history

its origin, the sittings, the portrait, Each would then

be
a

judgments,
Besides

the heart-burnings ! approvals,

we unfortunately are

little

but novel in itself;

even ignorant

of their very this

dates.

his

appointment as
other

Court

painter, during
Of these the number

periodVelazquez purely
of

acquiredseveral gradually
Court
or

offices. small

were majority

a honorary positions,

trative adminisonly being of strictly with

were

character. their and Majesties, form with under

Their the

functions

were

concerned

the thus
be

dailyservice
the
most

palaceceremonies.
increase of
are

They

venient con-

which

income

could

secured, together
the courtier
one bers remem-

titles of

which distinction, advance

van

indispensableto
this connection varkt der de been
van

to

strengthenand
that the that
us or

his social

position. In

Jan
At

had Eyck, for instance, time the the

chambre
was

to

Philip
tells
acrqys,

Good.

that
in

painter Juan
Gaxi

Hamen And of the church

archero,

is, enrolled

Burgundian
attended

bodyguard.
was

Palomino

that the

Florentine

sculptor Rutilio

one

twenty
and
on

de la casa, who gentilhombres

the

king to

State

occasions. The
extant

documents

connected
an

with

these

appointments and

with

our

artist's pecuniaryrelations afford

into the insight there

pays
was

financial condition
never

of the

Spanish
//
re non

Court, about
paga
nessuno

which

however

any

great mystery,

("The

king
to

nobody "),bluntlywrote
report for
revenues

Baglioni
the

in November

1630.
such would The
an

According
have

Giustiniani's

1649

royal
of the

palace

was

insatiable maw,
not

that the annual

of the American all claims

goldmines
household.
and
was

sufficed to
came

punctuallypay
a

up

liveries alone

to two

hundred

and ducats

thousand thirty

ducats,

the

king'sprivatepurse
no means

to

thousand
revenues

monthly,although he
the Genoese
no

by

generous.
wrote

All the

were

pledged to
post,
no

and

Alvise Corner that

can on an

in

1624

"There
even arrear.

is

no

rank,

privileged
creditors
a

person
are

get punctually paid;

the pay
As

of the
a

king'sguard, who

always
procure

duty,is
order

three
on one

years

in

favour special

may

of the But there

Government

mints,distant perhaps
copper,

hundred

miles from

Madrid.

nothing is coined except

and

BuEN
when been
you
sent

Retiro.
of that metal, all the money
to meet
are a our

189
having
the

arrive there is
as soon as a

no

supply even
to

coined hundred

Madrid orders
even

the

requirementsof
turn.

royal people
the
be

household

; besides

waiting their
loss !" stood painter,
;

Hence

readilydisposeof their credit

In

at

the

case

of persons

who, like
to

in

high favour,
would would then
be

administration

came occasionally

terms

his

stipend
balance

increased, he would
out, and
he would

declare

himself

his satisfied,

wiped

waive

all claim to future honoraria.

BuEN From without about the year

Retiro.
can

1632 you
name

take scarcely Retiro.

up

historyof Spain
Court and

running

against the
When

of Buen
are painters

The

city

the works chronicles,

"

of poets and

associated intimately

with this

Castle of Indolence." the great

Calderon

produced on
of

the feast of St.

John in

1636

comedy
the

with the

of the three description Order

lent Philip continents,

**

for the occasion

Cross

of the

Santiago,

with

the unanimous
manners

approval of
had
been

the citizens."

Here

stage in harmony with

the altered head

no

created

by the Hispano-Burgundian Court, at whose

minister would of Italian

stood The

but whose princeneedingdistraction,

give him

peace.

fancy
the

of Tuscan

the engineers,

innovations

the genius of musicians, transformed

to

the Spanish dramatists,

skill of the Madrid

to
a

here painters,

Nature decorators,lastly

itselfreduced

pieceof

artificial work,
the
senses

all jointly but acted

conspiredto banefuUy
and
on

which produce ephemeralcreations, the several Arts. Besides the

entranced

professional actors. Majesty itself

part in the
called in to co-operate in
muse poetic

its courtiers, councillors and The historical

secretaries of State, at times took

performances.
the least
"

also had been painters

the apartments. decorating

were

Their

works, which
like them

like those of the

recompensed,were
all in fact that Buen

also the

of high only productions

value

almost
to

Retiro has

bequeathed to posterity.
Retiro still

Down from
every

the close of the last century Buen

preservedworks
of the Seville; his father of Breda
over

period of
; the and

our

artist's

career

"

the Water-Carrier the

Forge of Vulcan
with and Court

of portraits large equestrian that of the the

crown

king and
Surrender
a

their queens, from

prince; the

his last years

which queenlyfigures

shed

charm

the

of the

monarch. failing
had

Since

Madrid

become
side.

the
In

royal
the
of

residence

its del
are

most

favourite

promenade lay on during

the
summer

the east

present Salon
all classes
Perez

Prado^ where,
bathed in the

evenings, thousands

of the after-glows

enchanting

*'

nightsof

Madrid^'

de

Messa, writing

J90
in 1595, tells
in
us

Velazquez.
that
even

in

II.'stime Philip

the

peopleenjoyed
two seiloras
on

*'the

sun

winter,the cool air in summer."

Along
and
escorted
rows

this

spaciousavenue,
the cavaliers

thousand

feet in

length and
steeds.

one

hundred and

twenty broad, the

in their stiflF

attire drove Andalusian

slowlyup

down,

by
of

their

prancing
air

Under

the three
was

festooned poplars,

ing vrith flowerthe

was

rose-branches, music
refreshed the sward under The Gothic that and the dust shade
rule the
was

played
the
trees

of

an

evening, while
and

laid

by

sparklingwaters
the

of four fountains. for loved, Venus, with

On
even

in the
severe

of the Prado

people feasted
a

had

alreadybecome by
the

temple of

promenade

overlooked

Convent
grove

of St. Ger6nimo

its
over

church, spacious garden and olive

This

crowning the
elsewhere

eminence

against the city.

removed hither In
the Court. the
1

monastery,

founded been Cortes from

by Henry IV., church, and

stood
a

but

under

had Isabella, the Castilian

to the

the first closely connected in the

with here

5 10

assembled

liegesdid

homage

heir-apparent.Near
Reiiro de and Si.

the church

royal

the Cuarto residence,

queens

or Viejo^

Cerdnimo,whence
entered Court the

the

kings and
whither in

with their

princelyguests
the Retiro
the

envoys

and city,
and

the

royal family withdrew Philip II. had

rooms

during periods of
rebuilt queen,
was

mourning
Bautista

Holy

Week.

by Juan
with

Toledo, adding
which he

thirty
had
were

for himself
moats
on

and

galleries, towers, pleasurea

grounds,and

the

model, as
here.

said, of
in

country

seat

occupiedwith Queen Mary during his stay

also at times

England. Foreign visitors

attraction Duke of in

entertained

Under

successors Philip's
"

another

centre

of the

sprang

up

this district for

the

garden, and palace,

residence

p/aza

of

Lerma,

which

publicfestivities Philip III. preferredto

this

the in

Plaza

mayor,

Quevedo
than

thought
in its True much
to

ducal

more

charming

its later decadence

heyday.
to

the

new

of spirit

economy,

the present favourite, had, Olivares, his

the

disgustof the lapseof

ten

discontinued jaded courtiers,

"magnificent" palaces.
return to

of practice predecessor's But

now,

the entertaining
years,
to be

king in his
himself
the

own

villas and

after

he found

compelled to

the old custom. fostered wife's

out
a

had Philip

enticed from way the

some

gloomy

old Alcazar

which

his

to give disposition
a

to

melancholy broodings.
he himself the had relief from worries
and

Olivares' here of laid

familyowned

garden
he

near

Prado, and

little park, where

found

public
that

affairs in the company This

of his pet birds

a

"

pheasants, swans,
and city, into
a

fancy poultry.
to

place commanded
under the very

fine view

of the

it occurred

him

his preserves

might be enlarged and

walls
of the

converted

rustic retreat the

for the

king

capital.He

purchased

surrounding

BuEN

Retiro.
olive grove^ induced
tract

191
the

grounds, cut
to

oflF a slice from

the convent

municipality
a

grant him

certain other lands until he got

It formed the

togethera
which

about

mile

in

circumference. entire
to

risingground highway
to

skirted

the

Prado

in its

length from kept

"

the Alcaic

the Atocha

Church

and

eastwards

the

Valnegralrivulet.
his

Olivares
came

plans a profound secret, so

or

that with

nobody

knew

how

he

by

that

prop)erty,

what
"

he

was

doing

all those

builders,
the within

gardeners, and
Venetian
two

navvies." in
now

When
^^^

was

there the first idea of this it was

time,"wrote
to

Corner all is it

1633,

""^

had

any

and building,

years
now

finished." that he and

was

People
at
a

fancied second

only 1633,

be

garden, palace,
a

and

appeared

aimed

Aranjuez,with
9,
the

its

theatre, plaza^preserves,
make-believe

park.

On

January by
three

oratory of

hermitage
December
"

consecrated

for the bishops,

chapel
Court

had

always
And
^'

been
on

the first placefitted up

i, the

by

the

Spanish kings in

their mansions.
to

so,

king presentedhimself
a

with the whole

on

inaugurate

the

new on

villa by
an

grand

tournament

the square
a

facing the Olivares,

and with queen),

theatre.

Mounted
an

Andalusian nut-brown

palfrey he
velvet robe
a colours),

ran

tilt with the

arrayed in
blue-white

embroided

from (a gift red

at

plume

(theInfanta Isabella's
"

scarf, largeshield
the

be-pennoned
what Monte Since the

lance. Cavallo

Buen

wrote Retiro,"

Serrano

time,

"

will become

is in relation to St. Peter's." the Retiro

of occupation military remains

during the

wars

of the present

century, little now

St.
monument

of this creation of the count-duke. its

Ger6nimo in the
the
to

alone,with
remarkable

cloisters, dilapidated although the

and

oldest north
new

has outlived all storms, district, Puerta monks del

were

towards removed
to to

the the

still towers
entrance

Angelc,
often the

now

the

park.

The

invited

the

theatricals
open

in

the

hermitage, and
to

they
the of

returned

compliment by throwing
for

their doors amid

"

those

needing

"absolution" Retiro.
"

the

committed peccadilloes writes

the
a

temptationsof perpetualround
and

For

here,"again
other

Serrano,
tional devoand

it is

with ceremonies,audiences,etiquette, like

exercises wakefulness." The

more new

one following the 'discipline,'

sleep

palace was
hundred

contiguous north-eastwards
the quarters of and who PhilipII., with

with had

the convent, and here built

a

immediatelywith
a

large
and

quadrangle
balconies
at
on

twenty

feet square,

thirteen

windows

on the first story, five-and-twenty

the second, and

four towers

the

corners.

Buen flimsiest

Retiro

itself

was

neither small

elegant nor

built substantial, windows and

of
narrow

the

with materials,

un-ornamental

long

192
rooms,

Velazquez.
which It
to
was

seemed

more

suited

for

monastery

than

for

temple

of

gaiety.
was

still in the driven

a

and jejunecinquecentostyle, nail in

the

the whole

thing

said

have

coffin of

the

architect

Crescenzi,

compelled under
In north This the waste

protest to

carry

out
seen

Olivares' instructions.
a

ground
its
comer

is still
.

fragment
the mirrored sides.

of

the

quadrangle, the ceiling, gilded

held the last Northwards
tournaments

wing
was

with

tower

forming
with both

Museum. present Artillery vaulted Here

were

the

Salon

de

los Reinos

arabesques and
Cortes of

abundant

lightfrom

1789,which

proclaimedthe
this did not

abolition of the Salic law.

were

stretched the great

or plaza, even

square, where

held

the

grand

But and bull-fights. of the

and for the festivitiesin honour suffice,

to

king'sson-in-law
laid out and

elected (FerdinardIII.), the so-called "Great

a

the

imperialthrone
a circus,

in
of

1637,'^^re was
two

Theatre," or

space A

hundred

thirty paces long by

for the seats and

hundred of the

an(J ninetybroad

hill

had upon

and to be levelled,
to make
room

the best woodlands

neighbourhoodencroached
row

stands,with the double

with and tapestries,
at

of balconies with

shimmering
thousands This but
was

in

silver and candles

gold,hung
in

nightlitup
and the

of group

wax

glass lanterns. lay

open
on

of structures
in

towards all other

the

Prado

Capital,
the

closed

by the park
covered

sides.

Eastwards
an

stood

great cross-way,
the OchavadOf and
or
"

where

passages

converged on park were

at

octagonalspace, end, elsewhere sought

These

on chiefly

the verge Ines and the

of the

scattered the ennitas,

those hermitages," and

of SS.

Magdalen
the

the north

those of SS. Bruno with the Alchemist

John

where Baptist,

Olivares of

resided and

Vincenzo

Massimi

secret

gold-making.
and
most

hermitages were
that of St.

little villas, with

other

shrines,watchtowers
fancies.
a

mazes aviaries,

grottoes, fishponds and

rural

The

remarkable is
now

was

Anthony

in the

in south-east,

where lakelet,

the FuenU

de la China, Besides
within the
numerous some flower-gardens,
were seven or

in

the
on

open,

some

enclosed

courts, there and

eight ponds
the

terraces, connected
Of these
works water-

by
and

broad

deep canals, on
four hundred

which

gondolas plied.

there still survives six feet

were

the great basin and

one {estanque grande),

thousand and

by

where forty-three feet, round

water-nymphs
about

tritons
But of

seen occasionally

themselves disporting Retiro its turn

was

Galatea. mar\'els had also had

the

glory of
Olivares'

Buen
in

its theatre,where
to

all the The

fancy
at

seemed

each

become

realities. of

fates but who

placed
masters been

disposal not

only poets
in

undying fame,
musicians From the

of scenic formed in

decoration

unrivalled

Europe, and Opera.

of Florence, birthplace

Italian

etchings

BuEN
of Callot and exhibited In
in

Retiro.
idea may still be had of the

193

Israel Silvestre this

some

spectacles
theatrical Francesco

place.
the inventor Lotti,a pupil of Bartolotti, arrived in Madrid of had

1628

Cosimo

shifting scenery, Candolfi,as

Gardens.
'*

accompanied by
two

Pier

master

carpenter,"and
the theatre
was

gardeners
the apparatus
a

from for

the

Boboli the

Lotti

planned
the

with
seen

opening
chariots comedies

stage towards grottos

park, where by
artificial

vista

of

and flower-gardens and of

the

illumined

light,pageants,
groups In Calderon's
to
a

triumphal
as

of masquerades, perspectives

hovering
transformed and

in

the

Daphne
islet in fountains
on

and

and Circe,

so was

forth.

Circe

(August 1635)
groves where the service

the great basin and

of fairy-scene of
water

with Circe

volcanoes, animals

shades the

Avernus,
to

the

rushed dolphin-chariot

through
for the

break

spell.
and

Lotti
the
"

also

supplied the
his death Bianco

apparatus
*

Maundy

Thursday
his

Forty Hours'
del in

Devotion." Ferdinand

After Baccio resided

II. sent
a

(1651) in
of

place

the

painter formerly
his

(1604-56)
in the
and

pupil
of

Galileo,who
Baccio of
was

had

Prague

suite

Wallenstein.

surpassed

predecessorin
scenes.

the boldness

success never-failing

his magic transformation

Probably
up

his

greatest triumph
views
statues

Calderon's

Perseus,

where

were

conjured
of
women

marine into

and

shipwrecks, earthquakes,
vice^versd,flying amortni,
to

metamorphoses
Vulcan's of

and

smithy
and

with

Cyclop)eanhammers
At the struck

beating time
these

music,
to

visions

Olympus

the like.
was

sight of
and
better

marvellous
alarm

stage efiects
the
"

Calderon

himself that
must

dumb,

hastening in bring
But
"

king
the

suggested show,
in
a

his

Majesty had

bed

and

board

to

which hours

surelylast eightdays.
a
"

was everything

got through
"

few

without attracted the

hitch. single

The
a

Perseus

had

"

run

of

thirty-

six

nightsand
Now
came

pilgrims
of

"

from

distance of two these

hundred

miles.
structures
as

problem
of
a

fitting up
of

executed hastily of task such

a

in

manner

worthy

King

Spain, and
half of
to

spoiltking
more

Philip.
than the
was

But

although

this second
was

the the

seemed

arduous all the

Olivares first,

fullyequal
own

occasion. under

First of

king
would Pardo.

persuaded to lay his nothing

to

residences from the

contribution ;

only he
the

allow But

be

brought
was

palacesof the
removed from
way
a

Capitaland
the from

everythingthat

was portable even

palaceand
Lisbon.

grounds
"

of Valladolid, from
devotion
or
"'

Aranjuez,and
Ore,
or
"

all the
u'as

This

of the Blessed

Quaranf

Forty Hours,"
to

to

the

Host,

Sacrament,"

exhibited

publicadoration

specialworship paid for that period.

"

Translator.

13

194

Velazquez..
had
once

Although PhilipII.
the

promised

that

nothing should

be
now

taken

from

palace in
"

the

away, in memory
best

those

were Portuguese capitelits rich tapestries hangings which that kingdom preserved in

spirited pride
were

its

and the

of the

greatness of
*

its ancient

and princes,

which

things they had there." In 1634 they brought from

of "Charles
also

Aranjuez Heresy
at

Leone his

Leoni's and

famous

bronze

statue

V.

with

Feet"

its removable and his

aunt

armour;

those

of his in

Queen

Isabella,of

Philip II.

Mary
the

of

Hungary,
of the
or sell,

and

1638

the

farmers
to

public revenues
better

also the nobles, antique busts. Now (mostly Genoese), the courtiers were artistic

invited As

still to

present, their best

no we gifts,

possessions.
how !

Olivares
many

personallyaccepted
must
on

may

readilyimagine
way

relieved The

have

been

at

this

indirect rested

of

obliging him
of St. of

Hercules
now

whose
more

shoulders bra^^^ly

the

burden feasts

public John
old
out

affairs
or

listened

eagerly

to

reports

about

the

Carnival, about
about

costly cabinets, Florentine

business

mosaic
to

and tables,

than tapestries of
sorts.

matters, any
amazement

reference this

which

put him

People

beheld

with and

stern,

gloomy copies

minister

with associating But

his
was was

buffoons

comedians. The Auditor the

many

still trembled.

Tejeda

had

made

of

best

and paintings, in

reallydeceived palace.
from The whose
treasures

constable,although the fraud

these

discovered
that

the

richest of had
been

private collections
from
now

of

Legan^s,
"

brought
were

Flanders,
saved

Germany,
property ;
The

Italy

in

fact

all quarters. all

a

These

by

his wife,who
so

declared

they were by
the

part of her dowry and

a

her

personal

Legan^s got off by the offer of

fitted up
nineteen

valuable

piece of tapestry.
Don

chapel was
received
and that

President
crowns

of Castile.

Fadrique of
of
an

Toledo

thousand

for the for

a

furniture porcelain before

apartment,
took As
care

twenty-fivethousand
the money
was

carpet, but

parting he just then,

sent,
in

paid
some

up.

luck
some

would

have

it

good
twelve

paintings came
cartloads Cardinal

in

including
from

pickings from
The lifesize bronze

the

brought by Monterey
Ferdinand
seven

Naples (1633).
been taken

king's
statues

brother

1637, seven
had of
and been

symbolizing the
wars

which planets, the

a

during
de

the

French

in with

in Li^ge ; lastly,
a

spring

1638, the ayuda

twelve collected Then
*

waggon-load paintings" mythologies, landscapesand genre piecesT-whichhad

or

cdtnara

arrived

of

hundred

executed

for Buen
were

Retiro.
to

the native artists

engaged

paintlargeand
probably to
the
"

small

pictures.

Documentos

Ixix. 283. The in^ditos,

allusion is

Spheres."

196
he

Velazquez.
his
own.

exhibited the

And the

thus best

it

happened

that

Olivares'

undertaking

gave the

impulse
school.

to

historical and

militarypiece produced by Spanish politics merely

In
war

Spanish
These

twelve

triumphs seemed
events

to

the controller of

the

preliminaryto
we

of

far

different character. of the

the
was

very

year

in which

receive

the
even

first account this

undertaking
was

declared
ever

against France.
break
which the power

Yet of
to

which struggle,
still attended

destined few

for

to

Spain, was
witnessed

by

brilliant victories,
; for had the
not

did but tend

in

Olivares* strengthen from the

faith in his luck-star

the Parisians of the

1636

heightsof
And

Montmartre

smoke of the forces

a

in Picardy,which burning villages of Thomas of

proclaimed the approach

had
not

and cardinal-prince been

Savoy?
their

Conde's had

driven

in

headlong flightto
soil in
were now

ships

after

they

effected

landing on
Such had
never

Spanish
before

1638

festivitiesas

celebrated at Buen
in

Retiro for national order

to
on

successes a

been of
were

witnessed
were

Spain.
often
'*

In

distract
a

moody

prince,hundreds
while the

thousands

squandered
the

singleevening,
on

troops

in Flanders, starving ; and lack

cockpitof Europe," and

were

the

of Lombardy plains
for

while commanders of support from

obligedto giveup
Dazzled fancied

their

plans of campaign
Charles
vaunted
annus

Madrid. Madrilenos

by
the

this

tering glitof
was

"insubstantial V.
as

pageant," the good

back,
and been
even

times

had the

come

eclipsed. The reign,and performance

year

year

1638

most
was

gloriousof
commemorated

the present

the of
a

close

of this
entitled

mirabiiis victorias del

by
the very

the

play

Las
was

atio

1638

Yet

next

this Feast

of Belshazzar

suddenly
the
loss

lit up

by

the

lurid flame
the

of the

writing on

the

wall, which
the

in

of

Portugal and

revolt in Catalonia
his feeble

announced

rupture

of the

empire bequeathedby PhilipII. to

posterity.

Park Some
are paintings

Views.

contemporary
the

still extant
as

which

give views
merit
''

of various
A

pointsin
those
in

gardens of

Buen

Retiro

well

as

of the older
at

parks.

few

of

the former

Salamanca

collection had

least the

of correct fashionable

prospects.
ennui and
^*

If the styleof

gardening were
the
deer moved

somewhat Amid

no formal,

prevailed amongst
sat
on

general public.
flowers
an

the

fountains,bowers
on

classical temples the tame the

ladies

about; fearlessly
and
ear

the

grassy

carpets

plucking

wreathing chaplets, or
to

thrumming

their guitars as cavaliers.

they lent

the

highflown gallantries

of demonstrative

Park
The
to

Views.
are

197

more

open

and

picturesque prospects
a

by

the inventories and

attributed

Velazquez. Although mostly of

stillsuffice to reveal memories
what

very

sketchy nature
the

also darkened, and

even

they

hovered

before

painter's eye,
scenery.

yet
show

awaken
a

of all the charms

the

of southern

garden
the

They
blurred those

marked

off from falling

the dull brown

clear, brightlandscapesof the equestrian large,

of especially
contrast

in pictures,

tone

foliage. The
with

and
more

roughly suggested
drawn delicately

figuresalso
the

unfavourably

in

hunting-pieces. They betray a

resemblance

to

FOUNTAIN

OF

THE

TRITONS,

ARANJUEZ.

landscapes by Mazo,
less studied Two
to

from

which, however, they

and

are

distinguished by supposed to
a

their

beautiful

invention.
1 1 1 1

badly preservedsketches (Nos.1 1

Retiro. Behind
a on balustrade,

12) are

refer
is its

Buen

the middle

of which

peacock
in
; to

perched,the largebasin
stillsurface. left stands her its
a

is

the margins distinctly mirrored displayed,

At

the

bank

is moored
whom
a a

boat

with

red-cappedrowers
her hand
statue

the

towards cavalier,
over

lady extends
white marble

from looks

underneath
down

mantle,while p)edestal.
The

againstthem
view

from

pendent piecegives a

from

the terrace

of

white

with palace

two

198
wings.
woman roses

Velazquez.
In the

foreground is Jupiterwith
balustrade of the terrace
on

the
;

thunderbolt, a

couple are
the left basket
a

the against leaning in

a

in the

foregroundto
a

slashed dress

is seated

the grass

with

child and

of

in front. Two

other much

and larger

more

worked-out fully

park

views

transport
which had

us

to

the islet at created

Aranjuez,that
view
now

oasis in the Castilian

wilderness

been

by PhilipII. givesa
has of the famous been
set

No.

109

Fountain
near

of the

which Tritons,

in its

state dilapidated

up

the

palacein
and the
a

the Jardin del Moro,

round

cluster

of slender

white

alders

twined

round

with
and

ivy
basin.

and

forming a
sunset

kind of trellis, through which

a

streams

blue light

the

golden
A

of

clear

sky,

encircles and supports

beshadows
a

large square
was as

socle triangular

in the marble

centre

from gigantic shell,

at

which

boldly
from
two

springs
the

white

which fountain, encircled

the

time

fed

by

water

Tagus.

Groups
marble

of columns
a

by nymphs
sirens
water

bear Caryatides

conchs, the lower with

the summit
a

relief of

swimming
in

to dolphins. clinging

At

ejectsthe jet of figure

thence overflows
streams

which

falls back

into the shell ;

borne

topmost basin,and
from
on

threads silvery

into the lower

are

this the water

the

again
of three

into voluted

conchs, which

shoulders smaller

their right arms tritons,

water

leaning on
four
comers

shields. of
the

Four square

other

jets of

spurt up

from

the

basin. the
was on inscription

From Tritons On
to

the the

pediment it appears king in

the year
in the

that this Fountain

of the

here erected

by
roots

1657. foregroundis
roses.

the moss-grown

of the tree

seated

lady,
also

whom

her cavalier is

a presenting

wreath seated
"

of
on

Two

others,who

their proudlydisplay flower-basket

her
treasures
"

bare

necks, are

the grass

busy
the

with

large
all
soon

perhapsnymphs
about." So
we

of Flora, who know

it is

here holds sway

and strews flowers

for springtide, the fountain Franciscan

the

perishin the
with
roses

glowing summer
while frock,
a

sun.

From

approachesa
friar stands

maiden

in her
a

to

the

righta

ing convers-

with the

gentleman in
fear
no

black mantle.

Here

birds trill so

loudlythat
for figures, farther
that

speakersneed

eavesdroppers.
fountain and smaller
well

is the proportion Quite inexplicable between

those in the back. This with

foregroundare
his artless

than
as

the

lifesize statues scarcely tone,

circumstance,as

the dull

might suggest
have had
a

Mazo,
The la

disregardfor perspective, may

1 1

hand

in

the work.
second
'*

picture (No.

10) brings us
a

to

the entrance

to

the Calle de feet

Reina^ or

Queen's Walk,"

avenue perfectly straight

twenty-two

The
broad
says

Surrender

of

Breda. by mighty elms

"

199
much
meet

and

good
"

mile

long,lined
any I
ever

all the way in the the

higher,"
head, over-

Gramont,

than

saw

Netherlands." sun's
rays
; but

They
at

forming a gloom
is that it was

tunnel

impenetrableto

one

end

the
us a

a pierced t"jr singlesunny

beam.

Contemporary
Boisel The before
over

travellers tell
to

to impossible

see

rightthrough,and
to the end

ridingalong came
avenue

spot where
the

you

could

not

see

either way. the

begins at
in the still surface
the

palace gate, and

"

is twice elms is
and

crossed

by

Tagus
bend
stream
"

mei^ng
the

thicket, where
of the that of But
our

noble This

weeping point with

"

willows the

water."

the

to glittering

left line

artist has
are

seized.
to

Three the

sixes-in-hand drawn

between
aside

double

cavaliers the Two

about

pass

barriers

by park
have

rangers.

has picture small

become

quite darkened.*
Consul Meade
I
saw

pictureswhich

is said to in Sir W.

brought park

with

others from residence

in

and Spain (Curtis, p. 63),

which

Stirling-Maxweirs
such views.
rareie

London,

are

apparentlystudies
of

of

figuresfor

They
sance

were

thought
two

much

by Thor^, who
of
a on

praisesthe

puis^ exquise,
interest
a

de ton, the
scene
"

as fragrance

the human floweringplant, tropical the grass in conversation

a

of the
a

ladies seated

with

cavalier,
seemed

lady and
back

a on

gentleman seated facingeach

them:
and

other, and
To
me,

second

lady turning

her

quite a

little romance! similar groups

however, they

broader, darker

duller than

of the master.

The

Surrender
"

of

Breda.

(E/ Cuadro
Amongst
takes connoisseur In this work than still
the few

de

las"Lanzas,)
our

largecompositionsby place for the captivated by

On
the

master

this work

ably unquestionothers.

the
may

foremost
be more

interest of the delicate

although the subject, cally sympathetiinformation

account

effect of pictorial
us more

also the human

soul in the artist the time of its

in

appealsto

elsewhere.

productionaccurate
on place chiefly

is

lacking,and
was

it is introduced
one

this

of the in

for it subject, Buen The the Retiro.

of the

pieces in the Salon military

the
most

de los Reinos

siegeof
and

Breda

was

regarded as
the of Ostend

brilliant tactics

event strategic to

of
the

period,a chapter
kind

in

history of siege
"

comparable

investment the

capture
same

hitherto For

the the

greatest achievement
renewed

of

by

the

famous
it was
114
m.;

captain.
a

aggressivepolicy

againstthe States-General
*

first success 148

x iii

of the
m.

highestpromise.
1*48 x 2-23111
; of

Size

of No.
X 2-02

nil,
m.

147

of 1112,

; of 1109,

mo,

245

200

Velazquez.
Breda,
in North

Brabant

"

near

the frontier of Holland

"
"

proper, and
1

looked

on

as

**

the

righteye
in 1590

of the

Netherlands

had

been

occupied in

567 by

Alba,
f)enne.

ten

years But

afterwards

recovered

by Holach,
of the

and

this ''bulwark

of Flanders/'as

again seized by Hautethe Spaniards called it,

in whose hands of
an conspirators/'

had

fallen

into by treachery
a

the power their

Orange party,
**

it had advanced

become

thorn

in

side, the
a menace

refuge
to

post againstBrabant, and

Antwerp.

SURRENDER

OF

BREDA.

Breda

was

the seat with

the
a

of the

who Orange family,

which

here

owned

fine

strongly
of of had

fortified castle

well-keptpark,
was a

Maurice
monument

called his "Vale

to

Tempe."
received

In

church

sumptuous

the of

memory

Engelbert II.,general
Prince
a

of Charles the

V.; and

here

William

Orange
in
a

Philip on

occasion

of his

visit to years

Flanders made

1552.
model

Naturally held by fortress,

it had .strong position,

a

in recent
and

been
a

garrison of veterans
and

academy containing military

French frequented by English,

German

students.

The
In 1624 the

Surrender

of

Breda.

201

saw Spanish party clearly

that

something must Germany

be

done

; and to

just then
concentrate
a

the opportune

suspensionof
to be

hostilitiesin At the
same

enabled

them

their forces in this direction.

ing time the idea of attack-

fortress

supposed
But Madrid

impregnablemet
"

with almost said to have

universal

opposition

in

circles. military from

Spinola
"

who

was

received the laconic

message

Marques, sumais
and

Breda,

Yo el

Rey^

"

firstmade officers

feint movement

against Grave,
forced march
on

then

suddenly surprisedhis
of contempt, feelings
the army A of

by

ordering a
For found
and
a

Breda. rise to for

time the

enterprise gave

Spinola

himself the

confronted simultaneously
never

by
shot.

Maurice

of Nassau

garrisonwhich
away
some

missed his

ball struck

his tent, another the work of His he

carried

portions of
the

while charger'sbridle,

procuring provisions for

power

camp

presented
to

enormous

difficulties. after all

was over

of endurance attributed died In before

was

almost
success

superhuman, solely
his

and

himself Maurice
to

his

watchfulness

{vtgilantia).
successor,
had
to

the end when

an

of the

siege,his last anxipus

were

thoughts given

Breda,

May,

the

supplies
to

running short, his

the

Henry
The

Frederick,made
a

attempt

relieve

besieged, but

retire after
eyes

sanguinary combat.
of the world
and
were

directed
as

to
as a

this

where point,

were

engaged Spaniards;
a

Germans, Italians,
where
the

French,

well
to

Netherlanders

and than

prize of victoryseemed
when

be

kingdom
most

rather

hold. strongand

And endurance
conceded

the place at last

the valour Spinolarecognized yielded, honourable

terms
ever

of his opponents
to
a

by grantingthe
The

yet
with

capturedgarrison.
"

aged
a

governor,

Justin of Nassau,
allowed
to

all his officers and

out

men, and in

as

became

brave

foe, were

march

with

all

arms

good
to

order,the
the

infantry with
with

flags flyingand
in

drums

beating, guns
concessions

loaded

muzzle

lightedfuse; cavalry with

mounted
as

flyingstreamers,
Other of the This

trumpets
were a

blowing, armed
guns,
two

and

the

field." effects

four

mortars, all the

for the 2,

movable
so

Orange family, general amnesty

was capitulation

and citizens,

forth.
and

signed on

June
out

1625, and
the

the evacuation The

of delivery the governor

the lost

the
on

keys

took

placethree days
and

afterwards.

with garrison,

marched horseback,

through
by the

Hertogenbosch Gate,
however
in

processionbeing nearlyall
took

headed

closed

which cavalry,
were

had

its mounts.
a

In other
better the

respects the troops

the

excellent

condition, presenting even

march
the

figurethan
Baron
de

besieging army.

The

direction the governor

of

Balan9on's

quarters, where

Spinola

awaited

surrounded took

and officers,

where

the ceremony

nobles,and mounted by princes, place as depictedin this painting.

202

Velazquez.
The
of

which tidings
as jubilation

reached had
not

Madrid been

on

June 15, gave

since the

rise to such

an

burst out-

witnessed
;

of Lepanto. victory the Castilian

the

The

Te

Deum

was

sung

in all the churches of St

Spinolareceived
the with exclaimed, achieved

Commandery
at

of the
**

Order

James

but

ascribed .Spaniards
a

results to their the Venetian world ;"

on

invincible power,"and Olivares

envoy
:
**

side

glance

This

success

has been

in the teeth of the

whole

sentiment

which The

pervades the Spanish

be

historical drama

produced'by
men, their

Calderon wild

this occasion. their spirit,

scorn

captains and

their

bellicose

of other nations and

hatred of

their heretics,

humour
true

proof againstevery
had the year
1

could trial,

adequatelydescribed

only by

poet who
About

himself made

the

campaign.
Callot's after

630 the palace possessed two large already representations

of
a

of the event, but somewhat

like Jacque topographiccharacter, which of he took the

in

largeetchingbased
the the

on

the sketches fortress. One

the camp

soon

surrender

of

the

Alcazar

pieces represented
event

Marquis de
in the

Legan^s holdinga foregroundthe

the smaller and

document

the describing

; the

other
a

showed

Infanta

Isabella after the in the Prado the Prado

a

surrender, being

companion
also
occurs

pieceto
of
a

Siege of

Ostend, now

(1675).

Mention
two

and representation,

still possesses

similar works

(1671

belongingto 1675a),
One
the

series of Dutch

siege-pieces
Breda

by
and

the

painterPeeter
touched

Snayers. by

of perspective gives a military heads of the historical

neighbourhood;
been up

the other, in which

some one

figures
passes

have

with them, acquainted personally

for the work But Retiro

*

mentioned

in the

of 1636. inventory Madrid

event.

record by pictorial
years

talent This whose

was was

not

undertaken the

for

Buen

till ten

after the

by

Aragonese, Jos^ perhaps

be

Leonardo, a pupil of Eugenio Caxesi,

taken for Here

co-operation may

granted, Jos^ being at

the

only nineteen years old. of Spinola, figures Leganes,Justinof Nassau, and the
the time all excellent

inevitable the

bufibon,are
The
two

studies; but
expects
to

the

scattered

compositionlacks
of such
a

and solemnity one dignity

commanders

find in the treatment still the casually,

subject.
as a

meet

as on

if

governor

kneels

whose suppliant

fate

hangs

the favour of the conqueror. made both had by eye-witnesses

According to
and and officers of

the statement

dismounted,
"

Spinolaawaited
and

the arrival of birth. The

Justinsurrounded
governor then of the

by

*'

crown

of

princes
his

high

presentedhimself

with

kinsfolk family, been

students distinguished

academy, who military

embraced

had his in

shut up in the

placeduringthe
a

siege. Spinolagreetedand
stillmore of the

vanquished opponent with

which he

and kindlyexpression and

endurance

kindlywords,

praisedthe

courage

defence. protracted

204
hand the
two

Velazquez,
commanders observer's
are

both conspicuous,

with

crowded

following, beyond
the

which, in the
frame
of

stretch away imagination,

the

in thousands
to

of the

picture;for

space

is

so

filled as

give the impression

of significance the

multitudes,without, however, detracting from

The
the head

the

proceeding.
governor,
at

of the

which infantry,

formed

the

centre

ot

the

march

out, had

reached
both

the quarters at

where Tetteringen, the

Spinola was
back, silently
the
to light,

expectinghim.
whom
a

Here

dismount,
gesture
of

and

throng
to

stands

doffing their hats.

comrade

The

the

Fleming
seems

standing in impose
addresses

whispers something, Spinola advances

shoulder
of the
to meet

silence. and
and

Justin

approaches,but
his
out

him, bending forward

who him

laying
holds

hand the In

on

the

governor,

keys.
gesture
are

and Spinola*s expression kindliness with

blended The

an

aristocratic victorious

elegance

and
a

natural

Italian refinement.
man

captainhas ignorant
event.

for fellow-feeling
to
remove

the brave
the will

wh6

is reduced

to this sad

and extremity, those

endeavours

bitterness from

of the the

situation.

Even

of the circumstances

gather

itself a record of the picture

a

The

head

of the

marquis,says
to wish

has Inibert,
one

character
a

of

and graciousness

almost urbanity

enough

might

lose
on

citadel for the occasion

correct

pleasureof
not

handing

him

its keys.* The

verses

words may

uttered

the
on

have

been

recorded,but Calderon's
of Nassau, says
that the

well be based

report.

Justin

the poet, spoke of the issue he

saw

in such

an

without denying pain of the incident, which overthrows fate, nothing but all-ruling

proudest monarchies.
of the

Then

Spinola praised his valour, adding,that

the if

in the

the courage
governor

vanquished lies
and attentively,
as

fame

of the victor.

And

here

looks up

at surprised,

his generous of portrait

conqueror. who Justin,

The
was

figure, however, can

at

hardly be
human

intended

for

that time choice

an

old
a a

man

canitie venerabilis (Hugo). insigni

and noble
not

The

of

purely

sentiment,
have occurred

as

the

most

prominent motive, is
In the
same

feature which

would

to

everybody.
in
more

way the

in Alexander's lances and

own

which Victory,

resembles

this work the

points than Darius, who

himself The

horses, the Greek

distress in

painterraises
of the

prostrate

forgets his
of
those

that

vassal

sacrificing

for his
names

sovereign.
in from
the

immediate
records

of vicinity
and
von some

the

general may
known Gonzalo
two

perhaps
of

be

identified

the

otherwise Don

likenesses.

They

were:

Prince

Wolfgang Henry
van

Neuburg,

Cordova, Count

Count Salazar,
'

den
212.

and Bergh (Vargas)

LEspagne (Paris : 1875), p.

The
Saxon the

Surrender
came a man

of

Breda.

205

princes ;

after whom allow

thirtysuperiorofficers. Here, however,

certain
on

paintermight

himself The
old

without latitude, the

too

much
both

regard
hands takes

for historic accuracy.

on a

left, resting with

where the of

is perhaps stick,

the officer in command Baron

armour,

transaction the
be

place, Albert cavalry. although

The old The

Arenbergh,
second, in

of

Balan9on, might
from the

commander

Flemish

the

features
is
not

Wolfgang,
so

in his
man

portrait by
the

Van
head

Dyck
behind had

forehead reminds from

yet
of Don

bald. Carlos whose

with

long

him risen The

one

Coloma,
name

head
not

of the
occur

who infantry,

the

ranks,
man on

but

does
the

in this connection.

young The inner

the he

right keeps

of his

horse
on

is
shows

not certainly

Velazquez

himself. the

fact that circle.

hat The

that he

is excluded
was

from

governor's suite
Charles of Prince

naturallysomewhat
le

less brilliant.

He

was

accompanied by
and
a son

Philip brought
the

Comte,

his

wife,

sons

and the

nephews,

Emmanuel is

of

Portugal. Owing
a

to

diagonal lie
the spectator. here

of the axis this group The

he

into

positionturned
party
on

from

artist had The

necessarily placed
but

Dutch

this side, because

scarcelyany
effects of
a

troopers for his models.

twelve-months' their opponents would have

siege are paid

made
an

littleapparent
open

in these

Dutch

soldiers,to whom
An
on

tribute of admiration. of the assistants converge

ordinary artist
two

the eyes the

the

central

figures, adding perhaps

But
,

language
groom

of

some

trite

oratorical

gestures.
is

here, apart
of this
sort

from

the

turning eagerly
group,

round, there

nothing

in the

the

Spanish
who

except

the

aged
for his
what

officer
to

pointingwith
have the
a

his stick to look

are

governor.

He

wants naturally

once

good
others
a

at

the

fine fellows
in

have

shot

away

leg.

All

looking

various

directions,and
But
the

this
ear

is
so

Passavant

calls

"scattered

composition."
turned

where

the

is

the glance is greatly interested, effort to The inward catch

the

aside,lest by
the

concentrated

psychic

words

be

distracted

eye.

Spaniards, with
emotion

their

characteristic

phlegm, scarcelybetray any

the attitude of the

in is
more

their

outward

bearing, whereas
how the

Netherlanders
It need

animated.

scarcelybe
in colour Dutch and loose

pointed out
texture

horses, costumes, unerring

have touch
been

and

arms

are

reproduced
The Franz wide Hals

with could

of

the

expert.

fashion How of

hardly Every
the

hit off better

the

by

himself. with such those

a

for instance,are suggestive,

boots

of Justin envy of observing

contrasted

Spinola!
or

historical inestimable

painter must advantage nothing

Velazquez

costume,
about

at

least

people moving

in this attire.

Nowadays

is left the

2o6
artist except the choice which fashions, in
a

Velazquez.
between years and

archaeological puppets
become ridiculous. central group,

and

unpicturesque
notices
and

few

Passing
the

from
a

this inner line of

the observer

behind flutescene

Spaniards
Not
on

lance-bearers

together with
turn

ensigns
back
on

players.
and

being
at

within

hearing,they
A

their

the

look

those

marching past.
the

somewhat

peculiar effect
lances, which
a

is

produced by
an

the
name

twenty-ninealmost
to

vertical ashwood which

cut

give sky sight

was

alternative

and picture,
been
was

off" over
taste

third of
at

and of the

landscape. They
them
every

have

considered thrilled.
had many
so

in bad Their

; but

Spanish
that of

heart

rigid symmetry
made

symbol

of

which discipline

long
had

the

Spanish
the

the infantry exhibition of

terror

Europe.

Not first

years

elapsed since
this Cond^

Jos(! Leonardo's
use

painting (1626), when

mowed down

"iron
at

to cornfield,"

Calderon's

metaphor, was
to

by

the

battle of

never Rockroy (1643),

rise

again.
artist has contrived
is
one

Notwithstandingthe
to

fulness of the

foreground,the
this been behold
most

make

room

for

and far-reaching perspective,

background
In the

of the

features
between

of the work the

two

that have
groups
we

admired.

space

opening
in

the

garrison marching by
in behind distance

the

brightlightof this
ranks
a

morning

in

June, and
The the banners

closed middle

by
is

the
cut

serried off"by roll up

of

the
of

Spanish
the
inner bonfire

lance-bearers.

redoubt from
about.
a

lines; on
where

thick volumes left,

are

of smoke

great

and fluttering

figures
these the

moving
The

distant lowlands

objectssomewhat
are

clouded

in the

misty atmosphere of just as

on

watery

disposed with topographical accuracy,

The
on

large canvas
''black

by Snayers.
the water
a

point
the

in

the

middle the

is Paul

Baglioni's

and headquarters,

dam"),
to
we

is

part of the
attacks

dyke (the intersecting artificial inundation, by which Spinola

left with
the

hoped
behind
with

ward
see

off" the the

of

forces. relieving

On

the

plain
Maas

silverystreak
at

of the

Merk,

which and

after its confluence

west to
course

the

rivulet Aa

Breda
over

winds

away

north

the

estuary ; but the open

the horizon. All is of peace
as

sea,

fortymiles distant,lies again a

of

beyond

if Nature

herself breathed the

new

waftinga promise life, Mengs

remarks that
it all

and

hope
the

on

morning

breeze. of the

Touching
"contains
is

artistic merits
of perfection

work,

all the

which

the

subject was
which

capable,and
he

expressed with
lances alone.

the The

highest mastery,"from impressionof

a

encomium is

excepts
with

the

great multitude

produced

The
few

Surrender
a

of

Breda.
is realized has
on a

207
very
as narrow as

and figures, In

that

of

boundless

expanse

surface.
the

this respect the

genial colourist
all the

contributed
a

much

skilful

draughtsman.
as

The

composition combines
of properties

transparency
"

of

narrative
balance

clear

crystalwith
masses, where of the

pictorial grouping by
the

of

the

uniformity is
interest in the

relieved

diagonal

concentration disposition,

chief persons

accompanied equestrian green-blue

vapour,
saturated

by gradual
The

subordination of and

of all the others. is

system

colouring
distant
the

analogous
with

to

that

of

the
cool

portraits. Sky
form with

prospect

their of water
the

broad,
and

surfaces, permeated by
a

white
warm

shimmer

powdery
the

background
and in

for

the
with
to

figures of
shadows Here

foreground
away
to

colour,

toned
corner

red-brown

powerful
made for

charger

the
"

the

right.
with in the

also

provision is
and
the

light patches
Rembrandt's
'*

in

the

prince
"

his

white

sunlit
armour

doublet, recalling
sheen of

Night

Watch

of glitter

gold-embroidered silk; in
on

the white and

mantle

of the

figureclosingthe
banner. The distance
the the about

group

the right; in the

white

checkered light-blue the

strongest
where the

luminous

opening
are

is

relegatedto
The

central middle
same

troops
for from the
the

filing past, and

chief south-east

this gives at the

time

lightbackground left, consequently

ten

two

figures.

light comes
took the

from

the

(forthe
thus

surrender
on

place
in

o'clock

in

morning),and

falls

face of the

Spaniards, the brightest

a

p)ointbeing Spinola'sforehead. atmosphere.

It

All is bathed

breezy
of

circumambient

is

militaryceremony,
which
the
two

the

closing scene
will and

long
with

series

of

struggles,in putting
the forth

mighty antagonistscontended
human
here

each

other,
with
all

full

strengthof
All is

wit this

combined

resources

of Nature.
these

centred

in
men

supremely pathetic
achieved, with

incident, all that

strong,
the

brave skilful,

have

yonder stronghold as
But the
far

prize of victory.
circle of and

ever-widening
into the

thoughts suggested by Velazquez'

flash of
two

the

event
more

expands
than

past

future.
a

here figures, the

elsewhere
that

throw representative,

light across
the
hand

whole the

picture of empire
Court
nations

mighty struggleof
world.
a

two

peoples and. by
the

for religions of
a

of the

Here

was

solemnized

Spanish
four

painter
under

Spanish
the
a

success

gained by
a

combined

efforts of
This

leadership of compliment
of his
armed
to
a

Genoese

captain.
a

Spanish
The

generalissimo pays
that

the

gallantryof

Dutch

commander,
revolt. strike down

is, in the

eyes

State, champion
the hand

of heresy and
to

grandson

of that

who Philip,

of the assassin

2o8
the

Velazquez.
great William
of had Orange (Williamthe Silent),
execute
now

commissioned of the
guinary san-

his Court

painterto

this
a

work,
scion

in

which

successor

Alva it

greets and

flatters thus
to

of the

House

of the

Orange.
the

Was

Velazquez'intention
that
was
soon

give expression to by
the

alreadydawning sovereignty
venture

sentiment of the But

realized

of recognition

United
be

Provinces?
as

that

it may,

it is strange

that

Waagen Velazquez
of of

should
"

the Madrid to assert, after visiting

Museum,

that

was

alt"^ther coming
shown
in

wanting
within his

in

those

required for qualities

the

execution

works
as

the

provinceof the
is meant

higher intellectual
this
"

sphere

Art,"

and religious Now

what

mythological paintings. by higher intellectual sphere of style as

heavenward
same

Art ?

"

Is

it that

fanciful and

ostentatious

flaunted Serra
at

on

the

ceilingof
'*

that

gold-bedizened apartment
like Spinola, And with should the
a

in the Palazzo

Genoa,

where

Ambrosius
"

second

soars Elias,

between
have the

ladies ? allegorical Minerva

Velazquez
Hercules

in

the
a

way

introduced, say,

Cock,

with

spade, or
more

river-godMerka?
other historical

But

although it contains
mind, few
artist of

nothing of this, few

food for

paintings
reveal

display more
more

give

thought,still fewer

the manifestly It

truly noble spirit.

several sketches the
are

happens
on

somewhat

that exceptionally In the

for individual

are figures

still extant. white

in

collection of the outlines The chief

National rather the half On

Library

there

is

crayon drawn

paper,

where

vaguely essayed
groom the behind

than

decided and
near

lines.

figure is only fingers.

Spinola'shorse,
young
the
man same

him
here

to

the

right,but
but

size, the
reverse

who listening,
sheet

raises two

the

of

is

Spinola himself,
the

much

smaller, in quite faint,

from Mariette's collection

blurred

contour.

On
is in may

the other

hand

drawing
may

in the Louvre have

been

and clean, firm outline,

see

the the

first

study.

Here

we

the
the

horse Dutch

and

the chief group The

with

Spanish gentleman, but

sketch, known
of those the
may from

without

half.

so-called

coloured
one

is only Th^ophile Gautier's spirited description,

so

copies which
recommended of

often
those

turn

up,

as

indeed

may

be

gathered
of this

from
sort

itself. description
be

But
to

who

delight in discoveries
in the

look

at the sketch

Belvedere with
his

the meeting (1163)representing namesake

and

the of

Cardinal- Prince

Ferdinand
eve

the King relative,

Hungary,
we

on

the the

Here

have

same

forward, the

groups

of

NOrdlingen (September 2, 1634). the two chief figures diagonaldisposition, bending the horse with the groom the right. on officers,

of

the battle of

The
The of
may
was original a

Surrender

of

Breda.

209
on

decorative

piece sketched Antwerp

and the other in

by Rubens, May
to

the occasion the cardinal

the

cardinal's had
seen a

entry
copy it.

into
made

1635, Madrid,
how

and

have
have

brought

where

Velazquez
a

would form

But

on

hand,

easily such
we see

simple
even

of

as composition might independentlysuggest itself,

in

Benjamin
Mention Buen

West's first
for

Landing
occurs

of Charles

II. at

Dover. of Breda in the

of

the

Surrender
at
name

inventory of

Retiro

1702, where
in

it is valued

five hundred of

doubloons; after

1772

it appears

the of

new

palace
"

the

Legands, however, being

it is taxed
no

substituted
at
one

for that
and

Spinola;
twenty
that

and

in the

inventory for 1789

But hitherto
the

hundred
been

thousand

reals.
some

records the

have

discovered

might
is not second

throw

lighton

origin of
from

work, the date

This
nature

1647 being purely conjectural.

date
so

question of
of
seem

readilyanswered.
after

Judging
Leonardo's

the

the

its subject,
to

treatment

Jos^

essay,

would the
to
a

best

suit the of the

warlike

and But

hopeful spirit prevailing during

the of

fourth later

decade

century.
and that

style points apparently

touch

period, the
manner.

breadth Yet

freedom and

proclaiming
his free and is

our

master's

third

signed
as an

dated

of portrait of

Adnural
bold

Pulido, which
manner

is

given by

Palomino the
was

example

and {Valentia),

in which

impression of

distance
in

produced by 1639.
the the
so

long

strokes
we

of

brush, bristly
about

already executed

the year
same

When
eye

cast

for

works

painted after

the

system,

is

naturallyarrested
certain Olivares'

by the equestrianpieces,and
is that of Prince
been of

of these

only early
five

work
as

bearing a
before

date

Balthasar, produced
have
executed

1635.

equestrianportraitmust

some

years

his fall it
can

(January1643),while
later than
next

that

Philip IV.

most
on

nearly
mistaken

resembling
grounds
The much
at
a one more

scarcely be
to

1638, although

referred
year

the

decade.
to

1647, assigned
To
turn out

the
a

Breda

picture,consequently
as

seems

too

late.

such

complex piece of work,

recourse
was

it were,

cast, the

artist would and solid

he

have necessarily
treatment

to wont.

more

resolute,
been
once

vigorous
that

than

his

It has
at

remarked

here

works
and

with

exclusivelylocal

colours,
can

deep, mellow, painted with

delicate
same

limpid; scarcely two

faces

be

found

the

tint.

Hunting About the

same

and

Hunting-pieces. had

time

that

Olivares

planned

and had

executed devised
14
a

the

Villa of Buen

Retiro

for his

sovereign,Philiphimself

little

2IO

Velazquez.
according
creation.
to

retreat

his It
the

own was

taste, of

which

differed

greatly only
to

from

his

minister's
a

modest
was

cost proportions,

little, lay in
his
most
new-

secluded

part of

woodlands,
was

accessible with
a

intimate

and associates,
a

to

be

enriched

grand

series of

paintingsby
his
own

few

of the

best

and artists,

dealing with
there

subjectsalso
old

of

suggestion. deer-parkof
rebuilt
towers at

In the extensive seat, which square

and

El

Pardo,

stood

very

huntinga

had

been

by
with

Charles four

V.

It took

the

form

of

little

fortress with broad

with
moat

the

comers,

while
gave

its
an

ivy-cladwalls
aspect
more

the

laid out

flower-beds
was
once

it

in

harmony nothing of
Half the
to

its destination.

Here

the

incomparable portrait
1608 and

of Philip Il.'s contemporaries;but gallery

the

since the destructive fire of

a

old

paintingsremains, except
the east dc la of this

few

frescoes

by

Becerra

his associates.
a

mile

to

place the Emperor

as a

had

erected his

tower,

so-called the

Torre

Parada,

on resting-place

excursions

forests of Balsain with

about
a

high 1635.
as

up

in the

Sierra. which

This appears

tower to

Philip now
have
been

enclosed

two-storied
year
as

structure,

planned
Both its
name

the

retreats,
to
a new

well

Cardinal

Ferdinand's
stood

Zarzneia, which
a

gave

styleof musical
much in

drama,
the

in the heart of of Castile

primexal
Leon.

hunting-ground
Here which
crowns. were

frequentedby Philip
and

early Kings
the three
cost

and

still held

IV.'s time which

grand royal hunts,

thousand

lasted

eight days,

altogethereighty
the
most

The
and

scenes

painted by Velazquez
records

are

amongst

trustworthy
accounts

clearest which and read

of

the

old

Spanish
texts

the hunting-parties,

of

otherwise

like ancient

needing copious explanator"'

and
even

notes

commentaries. themselves
on

The in these
an

Spaniards prided
national

the courage and

skill

displayed
took battues

sports, in which
Portraits
are

all the nobles

extant

the ladies

active

part.
the

of
were

royal princesseswith reported in

turned of

filling Up
preserves,
spears with

background.
darts; Isabella

When

bears and

the

Manzanares with

Isabella the

Catholic
and

Ferdinand

out,

equipped

and ashen

Catalina,daughters
were

PhilipII., slew safelyensnared

The

clubs
be

the

wolves, which, however,

as

first

'

Not

to

confused, stood, and

about six

is

so

often
on

done, with
the

the

Prado of the

of Madrid.

\dllage

of

"1

Pardo

still stands, miles

left bank The

Manzanares,
was

nearlydue

north

of, and
for its

from, the Capital.

most

district

able formerly remark"

sylvan

beauty, but

of the timber

has

long disappeared. Translator.

2 1 2

Velazquez.
John
Frederick of

Elector

Saxony, had arranged in

and other and

the

park

at

Morizbui^
These
are.

in honour
now

of the Prado

emperor

princesof the
1305),
and

empire.

in the

Museum

(1304

in the Castle replicas

of

Morizburg.
None of the

emperor's successors frequentlyas

the end of
a

employed PhilipIV.
were a

artists to These described in the

were

illustrate their in fact the the

envoys

hunting experiences so
great
events

of

his

existence,and
At

duly

by

in their animal
"

despatches.
had defended had
one

boar-hunt

Pardo,
all the

where

the

himself

like

lion and

ripped up

the horses," nobles

:

king,who
**

a lance splintered

in its body, remarked

to the

attendant

This A

is

of the most

memorable

days
to

in the annals the Flemish

some

of the chase."

proof of the they were

the

reputation enjoyed by
execute

paintersis
Madrid.

the fact

that

also commissioned

of these from
to

commemorative Thus the

scenes,

details indispensable Ferdinand

being

furnished

Cardinal-Prince in

engaged
in
a

Pieter

Snayers

paint such
that Velada

subjects
had the

Antwerp (1637), remarking

one

letter to the

king

in making the rough sketches greatest difficulty

to the painter. intelligible

as

In

of

these

the

hunters

are

introduced

merely
more

accessories of
a

in

an

bluish-wooded inviting
a

which landscape,

presents

Flemish

than

Castilian aspect.

Velazquez
mention "This had
was

also

had

stags ''bagged" by
a cuema

to occasionally paint the the inventories king. The

remarkable of

antlers
and
a

of

1636

1686 ticket:

de venado

("deer-horns"), painted in oil,with

PhilipIV." shepherd
with

killed

by

our
"

Lord
an

Godoy,
a

the "Prince vixen

at

of
his

Peace,"
feet,"

in his collection

old

dead

presumably by Velazquez.

The To the formal

Boar-hunt. with Court for festivities

more

hunting partiesconnected
were

distinguished foreign guests

Duchess in and of Chevreuse
latter

usually invited, as,

and

instance,tl\e
of

in

January 1638,
in the

the

Princess

Carignan
envoy,

1640.* The
these
were were

is described

great

detail

by

the

Tuscan that

the

only
to

two

of

grand

entertainments

genuine
Flemish of

artists For

called upon
execution
to

represent.

the

of

such

royal hunting
The
be

scenes

the

aid the

of

artists had

be

dispensed with.
had
as

peculiar usages,
of
a

multitude

living persons
combined with

who

to
as

introduced, required a
Callot for the

specialknowledge
distribution of hun-

of the national sport the

well

the surety of touch

a

great portrait painter,

genius of

proper

The
dreds
our

Boar-iiunt.
scale. Few works

213

of
master

figureson
so so

greatly reduced
trouble
as

probably cost
For the
no

much
many

paintingsof

this class.

others of
as an

do

we

find

for preliminarystudies,especially been occasionally The taken for and

groups

onlookers,
exact

which

have

described insist upon

independent compositions.
like picture, look
*'

royal bespeaker photograph, and Velazquez

can was

would

an

instantaneous
a man

this is
no mere

what precisely illustrator of

they
Art

like.

But

like

official
and

and paintersalone gazettes," calculation

are

appreciatehow
studies. Some

much

concealed

contained
as

in

these for

of the

figures

might
The

serve

equally well
collections
two at

sketches

large portraits.
several

royal
them

formerly

contained

large boar-hunts,
But
the

amongst

least which

were

assigned to Velazquez.
can no

origin and
with the

vicissitudes of the few

still extant

longer
is

be determined

certainty. As
the of

might
of

be

expected, all
Such
to
a

have work

gravitatedto probably
in he alludes and

England,
the
a

present classic land

Torre
arrears,

sport.
la

large

painting for
for

de

Parada,
October

which

petition
mucha

payment

dated

16, 1636,

pleading
*'

necesidad.
*'

writes Boar-hunting,"

the Cardinal-Prince

Ferdinand,

is the greatest

of
the
as
"

all"

(1638). Long
called.
a

and

comprehensive preparationswere
an

required for
tela cerrada^

proper

of organization A

such

event,

monteria
was

de

en jabali

it was
as

of portion the

the preserve

enclosed food V.
or

with

canvas

fencing,
some

with

wall,"and
spot.
Such and

game

decoyed by
this method

bait

placed at

convenient from which

paces

telas

("cloths ")

Charles of

had

already introduced

Germany, long,were

with
could

them

hunting" a costlypastime
to forty thirty-six strips,

alone royalty

afford to

indulgein.
wooden

The

joinedtogether by hooks, the

lower

and buttons,

suspended by rings
in
canvas

to deal stakes with

edge being

buried of

the

ground.
were

As

many

as

twelve, and

later twenty,

waggon-loads

needed,

which An
number

OHvares
entrance

imported from
two

Flanders.
paces

hundred
were

wide

was

left open, and

In

when

sufficient thus

of animals

closed. secured, carefully

the

1638 fortywere
within
was or

and allured,

of these

eight strongest
arena a

selected.
paces

Then

the outer

enclosure without
as

kind of central

hundred

in diameter

prepared, serraglio^
ells

any

openings and

if possible swampy, fitted with

a

and

this coniratela
canvas

the oak Such

^
*

Italians called it,was

trees
a were

double and

three
room.

high

The

lopped to
seen

give the horses

on

riders head
a

contratela is
in

the

picturedisposed like
bolt bar.

crater

round

an

"-^ boar-hunt That

canvas
"

enclosure^
serra^
sl or
"

from a is,literally, lock-up,"

Translator.

214

Velazquez.
or

glen amphitheatrical
rent slope,

depression.
and
overgrown

On with

the

opposite side
sand

rises the

steep

with gorges

gloomy

oaks ; here and

; in

there the
the
centre

sunlightis reflected
the clear space
room

by

the

exposed patches of yellow

several clouds
groups

opens

out, where

of mounted
a

hunters
narrow

have

to

gallopabout, stirring up
a

of dust ; in front is
on a

strip
of with

of

foregroundwith

motley fringeof
above

rangers

the canopy

watch, and
of blue

groups

distinguished spectators; dazzlingwhite

At tucks
have
or

the

whole

sky,
armed

cloudlets.

the time of
to rapiers

Philip U.

the

nobles

appeared
But

in

the

arena

with

do battle with

the boar.

in

our

representation they
kind of

exchanged pine shaft

the

this weapon

for the

or horquilla

tnedia

a luna,

pitchfork
"

with

and

short prongs, With

to

like the this

garrochonof

the

that bull-fighters
was

of the from the

king being gilded.

horses, perhaps
skill and

implement

the animal

turned

aside

prolong the sport, and

were

give an
driven
too
on

for opportunity
up

display of
further

strength. They
until Then huntsmen other

thus

and
to

down,
make

pursued, turned
any

aside, wounded,

they became appeared

under

exhausted foot with

resistance.

the whole
game ; in
to

and or mastiffs, pack of alanoSf the

hounds, and

despatched the
the in

evening

hunters

and

pack

all assembled is
a

king's windows
here the matador

receive the offal. the

and picadores

Thus

the chase

kind of battue,just as

bull-fights
is

banderillas

precede the espada^only just thrust

him his

the chief In
boar
our

figure. picturethe king

of has When into horquilla the master
at

the flank of of the hounds hunt

by. tearingfuriously
of the Duchess

the shaft broke

(the Constable
honour of the from

handed Castile) of Chevreuse

another,and
up
at
a

the

given

in

he used
we

dozen.
once

Here

the heroes

day

are

very

slightly sketched,but suggestinghis

by him

recognize PhilipIV.
the
as

the few touches the

face ; he stands

keeps to
Olivares

rightowing

to thd

proximity of
Behind
the

and ladies,

equerry-in-chief. really represents

cannot

follows held

Mateos, the royal huntsman.

in mounted then in Flanders. group his
on

If this work the

hunt

Cardinal
on

1638,the who Ferdinand, was Haro, who

figure behind
But

minister

be

the bare-headed

person
be

the

quiethorse

in the second
was

the left of the

king

may

Don At

Luis de

present with

the Marquis del Carpio. father,

a

the other end seized

five riders ar^

ear.

grouped
are

round

boar

that two

mastiffs have of the

by

the

Their

horses
were we

inferior to the valuable

to be

splendidanimals
few doors

which equestrianportraits,

too

sacrificed at this sport.

a

Besides
coaches between
with

the hunters wide red low

also notice in the windows in

arena

largedark
at

blue

glass
we

front

and

the

sides;

the

curtains

and recognize ladies,

in the

second

carriage

The Queen
for the Isabella. The mules have

Boar-hunt.
of
course

215
unharnessed
and

been

removed,

ladies would
a

doubtless outside these

have the dames

been

deeply
also with

offended,had

they

been made

assigned
tremendous
turn

safe

place

ring.
are

Occasionallythe keep
is

boars

leaps; hence
aside.

to provided with pitchforks

them

Moreover, two
of

huntsmen

spears

watch

by the

queen's coach.
In such
a

the

museum

the Instituto Asturiano

at

Gijon
of

there

drawing of

coach

by Velazquez,which
no

has also been

published.
this

Although

mention

has

yet been

discovered

in hunting-piece

GROUP

FROM

THE

BOAR-HUNT.

contemporary
with

records,it
the

can

safelybe

referred

to

the present The

period,and
of the the second Works

to probability

close of the

fourth
to

decade. the time presence

statement

Madrid Italian

Catalogue (p. 642), assigningit journey, is

such with after
at
once

to posterior

refuted
scenes

by
are

the

of Olivares.

commemorating
and
ten

festive

requiredimmediatelyafter the event,

are gladlyforgotten,

hunts
years

of figures

persons taken

long and
is, from
the

not

painted

they have

place.
the

In

these

pieces the
more

audience

pictorial standpoint, strictly

Their

speaking of

importance than

players.

respective parts

are

in

2i6
a

Velazquez.
exchanged. Royalty and grandees are
with subjects the rangers
to turn
on a a

way

hard at work

in the dust, while

their

at enjoy the spectacle,

times

scarcelyeven They
on

thinkingit worth
themselves

while

round

and
or

see

what

is

going on.

make noble

comfortable

the grass,

else turn

their backs

the

in to indulge gladiators From

or
"

little quietCourt
fine

gossip.
made of
**

such

materials

scrajvbookmight be

Court

Types,"
tree
on

Castilian

Types
notice beloved
a

of the

Seventeenth

Century."
Sancho his

Under chest
!

yonder
on

the

right you
of
on

with elbows peasant resting

ass
"

and

the

patient
two

back
rogues

his

verilyanother again in

Panza

And

those
a

the grass, The

one

to holdingthe water-jug

mouth, look

like

sketch

by
his
to

Murillo.

mendicant

the brown

both cloak,

hands

resting on
the rich folk
to

who is sui^ly a privileged solemnly invites stick, speculator, their investments increase their stock in the next world by entrusting

him. while formal of the up

Elsewhere his escudero

rider shoves

slashingat
from

the hard
;
or

flanks of his obstinate cavaliers

"

mule,
other
master

behind

two

paying
"

each the

compliments; or a group hounds, thronging round

the quarry.

of experts in the
seem

dog-flesh hound,
who

near

fine boar very

has

been

ripped
"

by

They
a

don't
trace
even

numerous

as they are altogether,

scattered
to

about, without
the space.
are over

of conventional

grouping
the
some

or

of

"

padding
and

fill up

Yet,
a

deducting

heads

that

are

merely fifty

suggested,there By
the

hundred

figures,
isolated

sixtyoutside

within the central enclosure. the and play of light, colouring, of two
or
"

prominence is special position

and

given to

the group

three cavaliers in grey

scarlet cloaks with stand

clergyman,perhaps the they

the have
some

chaplainto
more

the

hunt."
on

They

apart from
are

the scene, away could from

weighty
their very

matters

hand, they

miles

people within
the

hearing. Altogetherthe dignified groups

oil

contrast

be greater between scarcely

scenes

these rational and witnessed

from

all

social classes and

and

nowadays

the turf with its betting

welchingand
Sir Edwin
so

excitement. hysterical declared that he had

never we seen more
"

Landseer scale."
*

so

much

largeArt
for

on

small

In these few touches

and

have

studies of costume motives

and

more character,

types of rank
in whole

more profession,

pictorial

than disposition, their

are publicwell,

by populargenre painters, who, knowing the same marionettes dancing. always setting
a

series

After
the

Goya

had the

taken

copy

(Prado, Iii6)
1846
the
to

Ferdinand

VII.

presented

to original

English ambassador, Sir

sold it in

8 10-13), Henry Wellesley (i

later Lord It had

Cowley, who
much

the National the

Galleryfor "2,200,
had
to

suffered

probably in
*

fire at

palace,and

be

: Annals, 1873. Stirling-Maxwell

The

Boar-hunt.

217

that is, in damaged parts, relined and thoroughlyrestored, repainted The conflicting opinions regarding the value of the work gave

pressed.
rise to the
mittee coma

parliamentaryenquiry,when
a

the

Mr. artist,

George Lance,

gave

fantastic and
to

exaggerated account
and repair, he
was

of the state

of the

when picture

placed
him with which

in his hands

of the extent

of the restoration effected it. But when

by

during
he

the

six weeks
was

occupied with
had

confronted

the work, he claimed

obliged to acknowledge
have
made

that most

of the restorations after

a

to

disappeared. Soon
from Stirling that copy ;
bo

tracingof
in

Goya's
Lance's
as

copy,

procured by
work of

Mr.

William

Madrid, showed importantor

will

fact

that the restored work had

differed but

from slightly

consequentlyMr.
so

could not reparation before the

have

been and

extensive
in

he

asserted The
no

committee

afterwards
canvas was

reiterated

the that
;
to

publicPress.^
there the
mere

present app)earance
such
a

of the

satisfy anyone by
cleaned

can

be

question of
is much
the

as repainting

described
been

Lance
away

painthowever shadows, and

An

cracked, many

have figures

darkened. foliage
may be

idea of its

condition original

had

from

reduced

or replica,
was

possiblya
who

first sketch, about

lOs.

twenty-fourby forty-twoinches, which

Northwick's
Wallace.

purchased for "32$ wanting, as

other and
section

at

Lord

sale

by

the

Marquis

of Hertford,
are

bequeathed itto Sir Richard

well
as

Here

the ladies' coaches

the less in all

importantsection

of groups
is

of onlookers

; the

agrees

and details,

the whole

fresher,more

coloured

decided. The chief group

; it
was

must

have

representedwell-known
a

and
was

distinguished brought to
to

persons

made

the

of subject

separate

which picture,
from is
now

England by
this

Lord

Grantham, ambassador
was

in Madrid and

177I

1783.

In

work,

which

copied by Gainsborough
one-third space the

owned

by Lord
spirators, con-

Cowper,
trees

the

figuresare
an

larger

and

stand
a

quite apart, like

and dull.

under show the the

arched

opening
colours with
are

towards

hilly landscape. The

also

school,but
studies

heavy

Amongst probably two

which

connected of the
same

large hunting-pieceswere
Wesendonk
some

littleworks from Lord

a

school,broadlyand
in the woods
some

painted, sketchily
in

passed
One

Cowley's collection to that of Herr

hunting breakfast
and
;

Berlin.
on

represents
with
a

gentlemen
the

the grass

knives cloth,

and forks, of the

mendicants grey-haired

attracted
spare
"

with

the
even

unerring instinct
the generous
It may been

vulture,made
the

happy with
the

scraps

and

wine
be added

from
that

gobletsof
Mr.

company.
the
to

AthencBum, April7, 1855.

due
to
a

accordingto
asked Lance

Lance

damage
the mischief.

was

Mr.

Thane, who
blistered

had

engaged by

Lord

Cowley about
to

1833

clean

work,

but who

had

it with

hot irons and

then

the repair

2i8
Others
an

Velazquez.
are

seated

peeringinto
seated
on

the distant space.

The
a

second

piecedepicts

old huntsman
a

the

ground holdingback
dress is takes

couple of impatient
the

hounds, whom
The so-called

dwarf

in black Court

to quiet. trying
as

spot where

the boar-hunt in pit, the

place is usuallyindicated
inventories for this

hoyo,or
del

Pardo.

In the

place for
the the

1772
Caza

and

1789 mention

is made
the
van

of two Torre
on a

hunting-pieces by Velazquez,
de
la Parada
seven

llafuada

hoyo^ and
our

contained

same

by Cornelius subjectpainted
were

V^os

canvas

ells long. But

a

these very
closures. en-

much

than larger of chase

to

works, while their

the Monteria

titles denote descriptive

different kind

from

the above-described
or

royal hunts
Caza del inhabitants

in

canvas

According
wholesale
the

Martinez
game,

hoyo involved
of the
were

the

of slaughter
on

in which

the poor
took

districts
not
so

bordering
much of

large preserves
and On

sometimes

part.
the

They

as battues, organized for pleasure parties regular

practical purpose

savingthemselves
and wide and

their crops

from
a

animals. rapacious

these occasions
a

superabundantlargegame and dug eighteenfeet pitor ditch was

the paces

deep
the

approachedby

track three hundred This

long
out

enclosed towards of

between

walls of

woven closely

branches.
at

track broadened in

heart of the The

and hunting-ground,
was

last terminated within the

livingwalls
not

peasants.

quarry

then

allured gradually

and the enclosure,

a

driven forward
very

until at last it rushed

was

headlong into
and

pit. Although
watch
"

noble

sport, it

still entertaining enough to

"

the

behaviour

of the different animals

wolves, deer, boars

the
ever

foxes

when

they

found

themselves of escape. Valvelada the ladies

entrappedwithin
The
and
on

Court
de

sometimes

narrowing space without any prospect in Aranjuez, assisted at the spectacle

and
queen

Real

Manzanares, the king

on

seated

on

chairs,

carpets spread

the

ground.

The This work has

;
as more a

Stag-hunt.
a even spectacle,

the character of

of

combat, than

the Boar-hunt and

arena. across

colours.

The
scene

it is altogether more picture animated, richer in figures than that deep and gloomy landscapealso is more inviting is the verge
the plain,
were

The the

open

park commanding an extensive prospect timber suggestingAranjuez,where magnificent

a

of

the

grand
On

deer-hunts

held

in the month

of

May.
afternoon rise above and
sun

the left dense

clumps
dark

of trees

projectforwards,the
farther
on a

shining through
occupy
centre

their

foliage ;
Then

cypresses

the

off the nearlycloudless sky,while thicket, cutting

the

chapel, pond

pavilion
in the

intervening space.
ray

on

the

the plain lit up right,

by

of sunshine, low

flat hills bounding the distant horizon.

2 20

Velazquez.
the ladies
at

how
as

enjoy Hurlingham.
kind of
hence

the

fresh

fragrance of

the

warm

reeking

blood

"

This

carrera

de
more a

gamos

was (*' deer-hunting")

very

rare

royal sport,
The rank round
course

all the

prized and
numerous

attractive. animated

is lined

by

and

throng
In

from

every

of life, nobles, sportsmen,

serfs,worthy burgesses and

"

peasants
front
are

from about

retainers and about, lackeys, the

mounted

costermongers."
beaters, who
;
one

besides eighty figures,

have

pulled up
to

outside

along the track,looking on

and his The
horse
most

hat in hand off.

however

has "come

grief,"

is

running
with

distinguished personage
a

in

the

foreground

is

young

well-grown man
wide profile,

red

and

white

plume,

in somewhat
"

foreshortened
some

embroidered him
stands

collar and
a

yellow top-boots perhaps curly pate,

a

royal strongly
A

guest.
marked

Before round

black

bareheaded with

with black

features, close
on a

by
in

red

carriage
been

roof.

cavalier mounted de have

lightbay
as

horse the the

has

taken

for

our

Martinez "swells"

Espinar.
turned

Here their

also,
backs

Boar-hunt, the

groups

of

upon

spectacle,leaving open-mouthed
to

surprise, applause and

Both work outward and somewhat his

loyal demonstrations
intrinsic It
comes

the
a

common

folk. estimate of this

reasons

render

due from

difficult. hand
is
more

undoubtedly
than in

Velazquez' studio,
Boar-hunt. shadows and To
me

although
the
more

less

evident

the

figuresseemed
such

the thoroughly treated, the

brown

rather

prevalent,though
a

general impression is
But it for

fresher

brighter.
been

Assuredly
constructed
his On
name

difficult and

masterly composition
occurs

could

have

only by Velazquez.
in
a

the

first time
year

under 1772.

very

late
a

that inventory,

of the the

Palace de

for the

the

other

hand

hunting-piecein
the of
name

Torre

la Parada

(1714),
a

described
in

in like terms, bears Palace

of Seniers

and [Snayers], B. del Mazo. Mr.

third

the

Old

(1686) that
it with him

his

pupil Juan
Madrid Ashburton and

Joseph
Baring.

Bonaparte brought
It is still in In the

from Lord

sold in Bath

it to

the

possessionof
the
to

House. of like

inventoryof
and

Alcazar

for

1686, a

large
valued

Wolf-hunt
at

is description

also ascribed

Velazquez, and
the

the

same

price

(one

hundred

fifty doubloons)as

Stag-hunt.

The

Three

Royal and

Sportsmen.
same

In series

the
of

Torre

de la Parada

in the

apartment

containingthe king,
his

large hunting-piecesthere

hung

three

the figures,

The
brother Don Ferdinand and and with
are

Three

Royal

Sportsmen.
his little
son

221

and (the cardinal)

Balthasar, in
the

hunting costume Palace,Madrid,

the
two

dogs.
now

After

the fire

they passed to
1074,

Bourbon But

in the for 1686 the

"

Prado

(Nos.
in the

1075,
same

1076).
"

palaceinventory itself

that is, for the

period
of the

tions men-

of hunting portraits
was

king

apartment

tower

facingthe park,which consequently have possibly of

such
all
are replicas

also set apart for of in

hunting-pieces.Replicasmust

existed

both, fact,

three, and

still extant.
are portraits

Although exactly
the

the three
same

height (I'Qi closelyin

and
scenery,

metre),agree
arrangement,
and
seem

somewhat
costume

to

supplement

each

other
cannot

in various all have

details, yet they

been

produced
to

neously. simultastated
young his

According
age

his

{anno cetatissuce
taken the in
same

the vi.)

prince was
father about

1635, and
year,

that left
his

is, long after

Ferdinand

had from

Spain (1632). Judging

very
must

juvenile
have first

features

Velazquez
even

painted him
Italian

before This

the

journey.

lover passionate
and

of sport, archbishop in his teens, for

once

primate while yet probably been

see

had
to

anxious
the

himself Then

in

garb
his

of

hunter. absence have have the El

during
to

long
THE CARDINAL-PRINCE FERDINAND.

abroad, this portrait may suggested

the
in

king
both

to
as a

himself

painted

like costume,

pendent piece,in

memory

of

happy days they

Pardo. This is the

had

spent togetherin the hunting grounds

of

only they
spent

known
are

portraitof Prince

Ferdinand
executed

by

our

master; the last Flemish

all

others,and
that
as

numerous

enough,
and

were

during
famous

years

he

in

Flanders

(1636-41) by
Caspar
and
van

such

artists
son

Rubens,

Van

Dyck,
bom

Crayer.
his ninth

Ferdinand,third
year

of

Philip III.,was

in

1609,

in

received

the

222

Velazquez.
and
two

of Toledo, archbishopric
was

years
were

later made

(1620) the
cardinals in the

red

hat

He their the

thus

one

of and

the

eight

who
one,

before

fourteenth
sixteenth

year,

who, all

but

flourished

first half of

century.
of Albert
younger
course

On
one

the death

(1621) the
succeed

intention

was

entertained
be
as

of

sending
up

of

Philip IV/s
Low

brothers, at first Carlos,to

the Infanta Isabella
was

brought

in of
to

Flanders, and
the

in due

Stadtholder

Countries.

In

1623
matter

Ferdinand
was

designated,but
for years. in
At
wrote

owing
last
that ingly accorda

Olivares*

the intrigues, felt her

sent at

postponed
died
be
to

who Isabella,
unless

end

approaching (she
Flanders would in 1632, in order then the left
most

1633),
himself

he

be

once

lost to prepare for

Spain.

He

started for Barcelona administration He

was

by

year's
three
of

of Catalonia,and the handsomest

a

Spain

ever.

and of that

richlyendowed
which, since
His the

of the

the

brothers,without PhilipII.,seemed
and
in

trace

indolence the

death

to
was

have

clung

to

family.
with the

in activity

business

the

field
in

amazing;
slew
a

he

shared
in

king
horses.
most

his

passion for
which had in his

sport, and
killed

1639

wild

boar

Brussels
two

woods,

eight dogs,
has

wounded

four,and
him
"

ripped up

Those

immediate that Heaven In the

whose
our

intimacy called
sent
us

the

kindliest and

courteous

prince
to

for centuries."
not

however, portrait,
taken
face

much he
narrow

more

than
as a

the

head

belongs

likeness

in

1628.

Here

appears

slim,beardless
accentuated
on

youth,

pale

is relieved
nose,

by

shadows
the cap

especially
forehead later

by
a

the

strongly curved
which
is

while

projects
The

the

shadow

lightenedby
waves on

reflected

light.
the

hair, which

in life fell in
a

light gold
are

the shoulders,is here

on

cropped short, and

and
on

touch

of

caused languor,
more

lies by fever,

lai^e brighteyes
still

the he
of

which features,
seems'

intellectual than delicate than

those of his brother.

Although

physicallymore
a

the

king, he
of later

betrays more
the

the

stuff*of
rest

ruler

in his resolute

intelligent expression.
stamp
a

The

of the

figurebears
collar, has
over.

the

period. Thus,

or golilla^

horizontal
been covered

supplanted landscapein freedom,but atmosphere

conceal

the
a

wide

pointed valona^
that The

which

had

The

cool

lightblue-greytone,
we

is treated

with
can

great breadth
breathe the

and

the

effect is such hills.

was

fancy

we

very

of

yonder
of

thick

of application

colours

with

abundant

mixture

white

probably
not

employed
The also have

in order

to judiciously

older the
at

pigments.
two

question suggests
assumed

itself whether

other time

portraits may

their present condition

some

to 1635. posterior

The
In that of the The
was

Three
are

Royal

Sportsmen.
of
and repainting ; the

223
revision.

king
the

there

not

lacking traces brought

like
more

left

leg had

been originally

forward the

fowling-piece
the

longer;
there of

trunk-hose
out

fuller. looks

Under
a

left hand

planted on

hip

peeps the
same

what

large hunting-bag.
with the free and after Nature.
as

Lastly, the rapid

picture nearly
recast

young age,
more

prince, compared
is

equestrian portraitof solid,like

had
been
a

the

considerably
pure

more

executed

from

fancy

than

Both
more

figures and harmony

oak with

surroundings
the weather
is

look

if

they dogs

brought
All stand

in
an

of repainted portrait

Ferdinand.
are

under

tree, the
shot.

fine,and
is
a

the

in attitudes of

rest, awaiting the

animal about
and
out
name

Ferdinand's breed which

powerful
terror

cinnamon-coloured
and

of that formidable the

the

is the The

of tramps
a

loafers

Andalusian
an

farmsteads. Italian

king
and
a

has

magnificentmastiff,
setter

prince
a

greyhound
from
these

beautiful it would
and

stretched difficult to of

for
a

sleep. Judging painter with

a more

specimens

be

thorough knowledge
the same,
or

observation

sporting dogs.
All the costumes
one ear are

also

even

to

slightdetails
vest

"

hunting-caps figured silk

his littlegun under
the

showing
under
a

pressed jerkin
sward
or

back short

turned cloak

up;

of

dark

leather

with

false

sleeves, long leather

gloves,white knee-breeches, miUtary jauntily on

left
to
arm

boots.

The

prince rests
his

the

; the

king's long heavy piece

holds in

is held both

hanging by
aim.
scene

his

side ; Ferdinand

hands

ready
of the

take The

lies amid sierra

the

hills,perhaps in the
in the
we

neighbourhood
view middle
it
a

Escorial, the
in

showing

distance.
see

The the

is

most
a

open hill

Don
a

Balthasar's castle and with

a

where picture, thin

in

distance

with

undergrowth
close
to

of

oak, beyond
the
the

stretch of level

ground harmony
and

little tower

the foot of
in

range.

Everywhere
of

between

figure and
The the

environment,
of
in

distribution

forms
and

high lights.
the

glimpses
the white

sunshine

flashingin the
relation
on

clouds
to

piercingthrough lightson
The
because

stand foliage

nicelycalculated

the

high
trusty

faces, and
at

spots and

bright patches

the

companions
in brown

the

feet of the

sportsmen.
the

of the replica

king'sportraitin
monochrome
in

Louvre

(No. 552)
detect
his
a

is

interesting
condition

its almost

character
we landscap)e

it illustrates the

of

the

ground;
tints.
in
a

the

slight tendency
and the

fowards

local

The

king*has

removed

hat

face

is

completed, but
from the

soft,monotonous

yellowish flesh-tint, quite

florid head of the

different work.

plastic, very

fresh, healthy and

Prado

224
The

Velazquez.
shortcomings of
the work this of
a

touch,reveal

life-breathing high tone, or pupil copyist.

even

more

than

the

The Portraits
are

Master of

or

the

Hounds.

still extant

Mateos

and

Martinez,two
to

masters

of the

hounds, who
and parties, these

doubtless whose

played the chief part in

have
been
so

organizingthe grand hunting

us

works

valuable has
a

in

our

of description Pedro titlefullhas

royal pastimes.
as a

The

older,which
an

been

finely engraved by
on

Perete,stands
page of the

medallion

inch and

half in diameter
,

the
a

Origin and Dignityof

the Chase
the

1634.*
de

The

other is

length figure,facingthe prefaceof

Arte been

BalUstria^1644, and
de

engraved by Juan
X :

Noort

(01 7
runs

0*13

metre).
Martinez
a su

The de

legend Espinar,

Alonso

que

da el arcabuz de Camera
su are

Magestad, y

Aiuda

del Principe Nuestro

SeHor,de
Both with
a

edad de 50 AHos,

extremelyearnest

men,

look. strong military

is
an

Juan

Mateos thin bald

elderly gentleman,the
over

hair

brushed

the

nearly

wrinkled forehead,

rather face, somewhat and and

is

impartinga heavy eyelids

deadened

look,

mustachios
neck

pointed imperial,short
stout
an

figure. angular,
dura and

Alonso

Martinez featured with

hard

head

JUAN

MATEOS,

MASTER

OF

THE

HOUNDS.

(gens
narrow

lbera\

short,
head, fore-

receding strongly

flat crown,
eyes

prominent cheek-bone, high

broad side-glance, hooked
nose

arched
"

eyebrows,
man

sunken
to

with

eager

inured

the

hardships of
This

Castilian

hunting grounds.
fancied however the he

head

Carderera
in

recognizedin
is

the

No. portrait
a

IIOS

in

the

museum,

which if

there

nothing beyond
is

certain

general
hand it

resemblance.

And

is identity

doubtful,Velazquez' authorshipis painted with

a

highly improbable,for although

shows
*

this bust

firm

none

of

our

master's
the

characteristics. special
Cean Bermudez

In

his 'notice

of

engraver

unaccountably calls

it the

head

of

Olivares.

Juan
On the other hand
a

Mateos.
the Dresden
our man

225

paintingin
likeness
to

Gallery is an
may
not

undoubted be

Velazquez, although the convincing. accepted

This I refer to three portraits from
as

Juan
in

Mateos black

entirely
of the

the unknown

which (No.697), is alone

Modena

bearing Velazquez'name
of

unanimously rigid
hair is

genuine. portrait represents

does
are a man

first-class

stem

aspect and

bearing,a figureone
the slightly curled,
the skin
on

not

easilyforget. The by bushy

as

thin

closelycut
horizontal like the the
be

eyes

overshadowed
so

almost

scowlingbrows,
wrinkle
traces

the forehead

is contracted
nasal

to

form

deep
look

separatingfrontal and
downcast
measure

bones. for dark

some

These

furrows

of

exercised authorityhabitually of side-glance of

nose some one

thirtyyears,
seems

while
to

somewhat

the

lustreless eyes
in

taking the
under the the mouth, bilious the

held rather
;
a

contempt.

The

moustache

upturned
where
hue the

is

alreadygray

soured

expressionplays about
attention.
a

broad

compressed underliparrests district, perhaps

the

the Lastly,
man

are (eventhe lips pale) completes the impressionof

who with

was

scourge

of

the
to

of

and himself,

who

only

reluctance

consented
The

give
is

paintera sitting.
few
at

head
which

painted with
shows

colours the

and

vigorous brush

on

white

ground,
sleeve. shadows

through deep
brown

the golilla^

imperialand
neck and its

the

right

The

warm corners

of the eye

is also utilized for the wrinkled

;

narrow

of the

of the orbits, nose,

a

foreshortened

side-face indicated

by

few broad of the

firm touches

by lastly

means

depth
colour

is

given
from has

to

the With

left side
such

background, where
the

however

the head

has

cracked.

simple means
has
been

yellow,wrinkled
in
a

standingout
himself

the dark
never

ground

modelled

way

that

Velazquez

surpassed.
one

No work
on

who

has

seen

this Dresden Mateos

head

will open

the

of title-page The

that

the chase

by Juan

without

remembering
;

it.

the figure, the

are

the soured features, face is

look, the costume

and feeble,
the

all agree

only

in the medallion the eyes

older,more
But
in

grim

furrows

between

missing.
we

this will the

when scarcelytell against the theory of identity

bear

mind

treatment frequently arbitrary

by

engravers.

The

painting must
In of the Torre
even more

be naturally

dated

back

several

years be

before

1634.
that the

with these parting de

la

it may hunting-pieces

mentioned
were

glory

Parada, for
wasted and

which

so

many

of them

executed, was
war

than transitory

that of Buen

Retiro.

During
to

the
some

of

sion succes-

the

place was
most
a

when plundered (1710),

were

of the works At

and perished, it is

of the others residence

removed

Buen

Retiro.
name

present
be

occupiedas

by

the

park

rangers.

Its very

would IS

26
it not

Velazquez.
recorded indelibly
numerous

were forgotten,

in

the

biographyof
have

Rubens

and

in

connection Prado

with

the

which paintings,

helped to

enrich

the

collection.

Alonso

Cano

in

Madrid.

(1637-SOThe
Art

buildingand Spain,and
Alonso old Sevillan

decoration from

of Buen

Retiro

gave

fresh

stimulus
many

to
our

circles in

time to time attracted to the Court

of

master's

friends.

Amongst
to

them

were

Herrera,Zurbaran
had
been

and

his schoolfellow the Andalusian

Cano, the latter of whom

a

obligedto quit unfortunately

mended recom-

in 1637 owing capital

brawl, which
commissions
In
crown

had

ended

fatally.In
him
to

Madrid

he

was

well received

by Velazquez, who
for the
course

Olivares,and

procured him

palace and
a

the Church

of St. Isidro erected

even

IV. by Philip the

due

he became
At

Court
his been

and painter

drawing-master to high, and

Madrid destined

prince.
second, as

the Court

stood reputation

became

the

Seville had of his

and the first,

Granada

was

to become

the third, scene

activity.
None where
constant

of his
alone he

felt contemporaries found elbow-room

more

thoroughlyat
his

home habits Alonso

in the and

capital,
for the
the

for
his

wayward spirit.
have time

excitement of
one

needed of those

by

restless and

seemed

embodiment

cloak

dagger pieces,the
to

counterfeit their
wills

presentments
every

of those

who swashing cavaliers, abroad. At

the
same

make
was

time
was soon

they
When from

venture

he

very

devout,

and

found

as figuring major-domo to

the Brotherhood
*

of Our

Lady

of Sorrows.
he
to

he

came

upon

penitcnciadoof
his mantle

the

Holy Inquisition
should it

shrank
be

the

contact, and

threw

away

happen
fined

pollutedby

the touch

of such
set

impious
limits to
to

heretics.
his

His
a

pride alone professional

ducats,
which
because

devotion; he
the the

was

hundred
at

he

refused
to

join in
with

processionof Holy
de alguaziles Corte

Week,

the

painters had
was

walk

He ("Court bailiffs").

withal

very

and gallant,

displayedboundless
handed occasionally works. teristic characmoderate

graciousnesstowards
over

friends and
now

to pupils,

whom

he

his Nor

rough draughts^and
did

and

then
a

completed their
touch
he

this mirror the

of

chivalrylack

of the indolence

of
*

Spanish aristocracy.

Had

possessed

des Peintres
the much

between passive and active,M. Charles Blanc in his Histoire Failingto distinguish minister of confuses the penitenciado^ or or inctim^ with the penitenciario,

Holy Office,and
to

thus

represents Cano

as

violent

opponent

of

the

Inquisition,

the

edification

of his readers.

228
and

Velazquez.
painting ;
such the
as

he

borrows those

not

only John

from the

others, but

from

himself.
or

In

visions

of

St

St. Benedict, Evangelist, like little

to

St.

Bernard,

heavenly apparitions are

statuettes

porcelain figures
wall. In
and

hovering aloft in the clouds,or

fastened face of

the

those fore-

large figuresof
shortenings, and

the in

Passion groups

he

the simplifies the

as

by
the

shadows

by

expedient
the

vanishing profile, lights

into

leaving the surroundings as empty

he
uses
a

possible. As

regards the technique,

introduced

reddish

ochre

ground
This

for

shadows, applying the

with

cold, chalky white.

result of this facile

style of
is that
so

technique he
other

Granada.
A
manner no

Spanish painter of lifeless, paltry,

are

has celebrity
even

left behind and

him

much

that

is empty,

tasteless

abortive. absolutely and

Some

of his Madonnas
grace, and

utterly
wooden
a

deficient in
is
not
even

beauty
made
upper

in expression,
a a

life and of
an

this

deficiency
A head

good by

realism

inferior order. mantle

as

the figure, with

stare

part stuck in

heavy high
the

blue

in

cask ; vrith
a

rounded
;
a

bones parietal
nose

and

skull ; below
;

sleepy
sour

eyes

vacant

flat
as

cheeks

puffed out
defects Nor which

mouth. of

Remarkable
eyes

with

him,

with

Moretto, is
are

frequent recurrence
are

with the

sideward

leer.

These

balanced scarcely
be

by

fine,
as

drawn beautifully
too
severe even

hands. in the Sl
case

will

this

judgment
at

easily regarded

of his chief work

of this class, the

Conception

in he

the

Sacristy of
the should of

where, probably Isidro,

pure

Velazquez'suggestion,
with the his of

essays

effect of
anyone

light but
to

fails. himself
own

Now,
the
to

wish

convince

eyes

greatness
use an

"this

solitaryideal
has in the

painter of
an

Spanish School/*
he faith,
may

expression which
somewhat He

passed into
a

article of

find himself

position of
in
to

suppliantat
from
until
to

Court
to

"without

pelf or
Seville may

patron."
to

may and

wander thence of
he

hope

Madrid

from Seville,

Granada,

Malaga,
histories
at

losing all patience he

be
a

pronounce
even

this Cano

Art had

pure

myth,

sibly pos-

forgettingthat inspired moments

all events

occasional

flashes

of

inspiration.
To these
we are are

indebted

for

some

few

more

deeply
of with of

attractive with

pieces. Amongst
downcast of Death
now over

them
and

the Madonna

in the

Cathedral the the Christ Rock

Seville the

glance
in his

shading eyelashes;
Prado
; the

Angel

the

Saviour

on

Calvary glancing sadly

Redeemer
at

shoulder,in

St. Gink's.

The

figures
nude

of the

any

rate

betray the

studies artist's plastic

are

of the

and

his

knowledge

of

noble

forms; they

and delicately

correctly

Alonso
modelled without
any

Cano.
Thus his
we see

229
that

anatomical
grace

display.
stood
at

ship, draughtsmanhe that

pathos, colour,and only

trait
"

command thanks

when
to

chose;
national

his rich

faculties remained

mostly dormant,
remarked that

indolence. here favourable before the it should be

on
never

And
more

many

who his

have ideal for

passed tendency, instance, chapel

judgments
works

on Cano, especially

had
are

their eyes

painted by
the

him.

Such,
in

Holy
near

Family restingon

flightto

Egypt,

the

Carthusian

Convent of the

Granada, and
Cordova.

the

enchanting Madonna
in lovelyfigures,

in the form

lower
and

sacristyat
the

These

sentiment

genuinely Andalusian, are

In cleared
year

by Fray Atanasio, called Bocanegra.

an

1644
which leave

occurred
at

event cast

which
a was

has

not
on

yet
Cano's

been

quite
in bed first
on

up, him

but
to

the

time His

shadow found

life,and

obliged
done his
to
to

Madrid.

wife of
on a

one

morning
at

death
an

by

numerous

stabs afterwards the

knife. himself.
was

Suspicion fell
He had been Warned in said. time

model, her,
and fled to

but Italian,

unfaithful in time

wanted

to

marry

other, as
and lived of

he At

Valencia,but
he
under
torture

returned

some

concealment. the
was

however, last,
order

fell into

the hands

and justice,
cry.

bravely stood right hand

for
rest

examination

without

uttering a

His

spared by
The

of of

PhilipIV.
this terrible

shock have of
so

experience,the apply
He for
a

yearning
to

and the that the

safety may
cathedral

induced native

him

to

radon

(prebend)from
the

his many

place.
a was

represented
the

chapter
to

amongst
Church. but
was

musicians he

painter also might

known the
as

be

of service

Henceforth the

racionero still

(prebendary),
he the

under

ecclesiastical habit in

old

leaven the

and persisted, Yet the

constantly involved produced

were

lawsuits

with

chapter. paintingsin
has

works with the

here their

amongst
half-tones

his best.

The

choir

thin, reddish

nearly equal the

the
in

finest productions of reminded

Bolognese
admirers

school ; amongst Here

others he died

Assumption 1667.

partial

of Guido.

MuRiLLO

IN

Madrid. that time

his

Amongst

the
a

new

faces

that

at

presented
star, had with
at

themselves

to

Velazquez
the

was

poor

youth who, trustingto

the in capital
to not

probably made
He
but
to

journey from
however,
some

Seville to
not

company

mule-drivers.

came,

like others

make

his fortune

Court,

learn,

although in

respects, if

in years,

alreadynearlytoo

old for that.

230
He had
been

Velazquez.
for ''painting
become

the million/' but

in him

the

impulse towards
Murillo,let

higherthingshad
In order
see

irresistible. what

to

understand

Velazquez was
hitherto fared.
he gifts,

to

Bartolom^

us

how

this

genius had rising

the indications

Thanks

to

of natural

had

been

earlyplaced with
Alonso artist did not
shows

Juan

del Castillo
master.

Cano's without lack

had also been who a good painter, (born 1584), of the last survivingmannerists, an one Juan was who vices, turned
in
out

virtues

or

indifferent studio heads, and aerial effects. Such he

skill in

compositionand
now paintings

lightand Juan

himself the

in the

in the Seville of St.

Museum,

and

in his chief which

work,

in the Church altar-pieces that of St

de Alfarache,but

formerly
to

belongedto
When

Juan
in

de la Palma. who 1639 to Cadiz, Murillo, is said to from have

now

Castillo removed

would found

appear

have

hitherto been destitute. the booths His this

rare

employed by him, keep

himself

quite
for

So in order to and

the wolf

the door he took to

working
Works On

stalls at the local fairs.

tell us biographers like

have

nothing of drops
been be

his

manner

at

that time.

of
some

vanish description occasions he may

in the sands honoured done with

of the unknown.
a

commission Three
such

for the works stood

comer
were

of

some

which cloister,
to

might

cheaply.
and
one

shown

Ponz

and

to

Cean

Bermudez,

of these,which in the

in

the Mr.

Dominican

College

of of

Regina Coelorum, was

resemblance faint tone,
To
a

possessionof
his authentic
to

Joseph Prior,Tutor
This works.
sentences

Trinity College, Cambridge, in 1879.

no a

production shows
It is

to
a

any

of

later

painted in

clear

thing done Fray

Lauterio
convent

order, with

transcribed

in colours.

certain of

troubled

by

qualm
to pay

of

doubt theological

the patroness St. Francis

to

the

appears
the

between

St. Thomas
a

Aquinas

and

of

and Assisi,

takes
"

opportunity thereupon
blonde, mild
the

doctrina
opens

special compliment in aternum^^^ non deficiet says

and Theologice, crown,

the Doctor

Angelicus.
to

Crede

hut'c, quia ejus

Francis

the

who friar, The

the Summa with

a

finds his doubts and rich

solved.

Madonna

blue

mantle the

claspcorrespondsto

fancy

pictureof
The hands But Murillo.
"
"

devout

while friar,

angels are
taste.
*'

pretty children after Nature-

also show
of de

that he had

some

the hour Pedro

awakening, as Moya,
a

the

revivalists "

say,

came

at

last for
wars

back foryner schoolfellow,

not

from
Jtuic of

the
course

in

Believe

him, for his doctrine shall

fail for ever." standard

Here work Roman

on

refers to

St.

Thomas, author of the Summa times, and

still held

the Theologice, in the

of questions Catholic

dogma

in

mediaeval

highest

esteem

by

theologians."

Translator.

MURILLO.

231
works
a

Flanders,
the made leisure such

told him

of the northern

whose painters, them had

too

he

had

seen

during
had
to

of his
an

winter-quarters.Amongst
him that

certain Van
to

Dyck
him

impression on
With hitherto

he

resolved

follow

England,
six
to

but

arrived unfortunately

somewhat

the artist having died late,

months

afterwards. who had

Andalusian trod

of speech figures obscure

Pedro

described he had

Murillo,
even

such from

paths, the honour

with the lords of

received

in the eleventh friend

hour

his association

knighted
He also

artist, the
spoke
But
were

intimate the
can own

of the

princes and

England.
Van

of Pedro his

the splendour,the fire, have scarcely

essays

tumultuous back
any any

life of Rubens'

canvases.

brought
to

originals by
very

Dyck,
him

nor

calculated But

convey
may

clear

of conception shown

them many

to

his

friend. inquisitive

he
or

assuredly have
van

beautiful

printsby

Paul

Pontius

Schelte

Bolswert.
after Murillo, much inward

Anyhow struggling,at
and

his visit set last made

to
a

the stone his mind

And
canvas

and rolling,
to
now

up

break

from

his Sevillan stood

a

associations
him

get

somehow

Madrid.

his facile brush

and

in good filled the

stead. it with

Buying
numerous

of large strip small

it on stretching he

frame,he

devotional He
thus

which subjects,
to

disposed of to
of

shippers
in the Peru

for the Indies. and

contributed

the edification of the faithful the

means

Mexico, while procuring for

in his

himself

undertaking day
a

journey.
Thus
now Murillo,

twenty-fourth year, presentedhimself by

took
one

one

at

the with
wear.

Alcazar,thoroughlysunburnt
his thick
now

his

long ride,and
and

looking like
the interest. in whose shock of
and

gipsy
for his

unkempt
the

black

mantle hair,
a

hat somewhat dramatic

worse

And

situation

certain

Had

Majesty's Court
young

painter been
fame
are

of those
to

great men,
a

presence

to aspirants

apt

receive

first rude

ment, disappointdown,
and
to

he would and

doubtless
some

have

looked

the young
excuse.

traveller up Or if he did
up

put him

off with

frivolous he appeal,

condescend

listen to the young the all

man's

might
fine

have

wound

the interview
that you

by
lack

encouraging
and training,

remark: what age you

"Yes,
have your

my

fellow; I
is

plainlysee
worse

hitherto done

than

nothing; and seriously

consideringyour
to

and

circumstances, I should

advise you

think But

over

the matter
so our

before

committing yourselfto this career."

had detected
too

not

Court

who painter,

in

the

young

man

of jealousy and feelings were something exceptional,

not to

alien from he had

his nature
to

be

at rejoiced
on success

the

discovery. personal
an

He

gave

him

the best

give,
secret to

advice of
the

based
own

careful
as

hints inquiry,

that contained
gave

the

his

artist.
to

He

moreover

him

free

access

palaces,where,

thanks

the

frequentand

prolonged absence

of

the

232

Velazquez.
in for study Saragossa,opportunities
were

king
than

at

that

time

much

better

usual. could

Velazquez
whose father-in-law.

easily understand
was a

the about

of position the
to
was same

his

man, fellow-countryas

teacher He

painterof
had

stamp
a

his

own

himself

endeavoured that ?

strike out

path
time

for himself Murillo

independentlyof
was

the school, and

was
was

just about

the

bom.

And

what

wanting here assuredlyno

says
"

Of lack.

talent, taste, devotion, facility,

there will, opportunity,

Consequently he subjectionof

needed

not

wings

but

lead, as

Bacon

that

is, the

the

spiritto

the realities.

Velazquez accordingly explainedto

him
in

him

his

own

earlier methods, showed him the

the whose

Water-Carrier book
;
even

of the
one

preached Seville,
blessed in heaven how
was

to

gospel of Nature,
of the saints the miracle But his

and
to

the miracles

lay concealed
of

only

must

know masters, He

it. interpret whereas relief, therefore

painting, thought the

at

old

figureswere
relief
at

only many-coloured
cost, and
white. Catholic That The And

shadows. the

must

study
means"

all and

first with

simplest and
to

most

effective
one

black
a

if he also wished

understand

how

may

become

really

in the painter his advice

ran

Spanish sense,
somewhat

he should

study Spagnoletto.
was

in this direction

shown

by

the result
was

first work the

undertaken

by

Murillo Minorites

immediatelyafter
in the small of St.

his return of the

the

series from in St. been

now

lives of the

court

cloisters had

Francisco,includingthe
at to

miracles of

Diego
In

of Alcaic, who
eleven

canonized scattered

the the

instance four
"street

Philip II.
of the

these

pictures,
and

quarters

globe, the
dons and intervention
a

mendicants

mendicant
were

the friars,

arabs," the
without

clerics of

of^ Seville foreign

from the

depicted direct
Here
a we

from

Nature the

the

any

spectacles.
materials lazzaroni of
serve

have

ecstasy of
of
scene

saint

composed Diego
;

a kitchen-piece; throng

beggars
where

of the type of Ribera's St. blesses the

be

as

the

models

for the
to

the

pot

of

soup

before

it distributing of vermin

the

famished

crowd

ragged assigned
in

urchin
to

ridding himself
had of the when where had had

(Louvre, No.
been

547) might
a

Velazquez
And

the

figure

painted
influence
we

little thinner;

the

Adoration

Shepherds cycle was

his

Ribera's

is evident. read how "his unknown

so

the

completed
new,

neighbours
manner."

wondered For

he had

acquiredthis trip to
a.

masterlyand
a

Murillo

kept
for

Madrid

secret,

that

they
he

never

suspected he
shut thus

visited
two

northern
years

academy. studying
the

"They
from the

fancied

had had

himself up

long
Such

and life,

acquiredthis

skill."

was

opinion even

of the

older

writers

MURILLO. who,
us

233
with
and

like that

Palomino, had
Murillo
as an

seen

if not

conversed in

him.

Palomino him

tells

studied instance

Nature of

Madrid,
one

mentions
a

with

Caravaggio
without aided had
eye
to
can

how
or

may

become the He

great
of

painter
Nature,
Murillo the

distinguishedteachers
however

exemplars, by
natural
taste.

study
adds and for

by
others

genius only
of

and for
a

that

thank

few

slight elements
of the Madrid old
we

what

of itself extract
v:e unaware

from this

the

works

masters.* should

Were conclude

visit to
was

unhesitatingly
his senior

that years,
now

Murillo's and who

prototype
in

Zurbaran,
way
must

who

was

by
two to

twenty
Certain
men

this very

had

arrived have

at

similar

results.

unknown

circumstances

prevented
years

these

from

coming

into contact.

During

the

thirteen

from

1625

1638
of But he
in

Zurbaran

laborious had, especially consideringhis painfully

system,
churches

displayed amazing
Andalusia after that returned
to

productive power,
Estremadura there is
a

the filling whole in his

de

convents

and

and

with

cycles Cantos,

of

great
We
we

paintings.
read know miles how that from

period
his

gap

chronology.
and
a

native
a

town,

Fuente

1644
If

he

executed

retabh

for the

church

of Zafra

few

that

place.
one

might

hazard

we suggestion,

should time

say would

that have The

nothing
Court

short
to

of

Velazquez' great
down Murillo's
the

reputation at impression that

to

that

sufficed

break works

prejudicesagainst naturalism.
he
was

painter's
of the

produced
national
manner,

here him
to

in

the

presence

foremost devotional In
new

and painter, which

this enabled he had

we

get rid of that

vapid
the

hitherto read

been

thoroughly enslaved.
offence

Carducho's method. But

once

and

Pacheco's

books

of the

given by

convinced this
new

by
manner.

facts

and He

reasons
now comes

he

gave

himself
as a

up

heart

and

soul

to

forward from

ienebrosOf.
section

with of

darkened

shadows,
with with

dull

yellow lights,tints
of
a

the and

cold

the

spectrum,

types

home-bred

character

sobriety of
elevated. stock of

compared expression,
Now it became and

which
that

Spagnolettoappears
after all he His

noble

and

evident of

possessed a good
street

Spanish phlegm
their
ever

Spanish positivism.
to
scorn

urchins, with
the in kind the

unconstrained before
or

naturalness, laugh

everything of
and coloured

since

produced, although
of Andalusia, and charm.

fashioned

atmosphere
one

and say
every

sunshine their

unapproached
these learn

in their natural,^

might
cans,

animal,
of
*

From

melons, grapes,

pots
here

and

painter

still life may

something ;

for

Museo

62. ii., picidrico,

234
Murillo's brush kneaded these
seems

Velazquez.
plunged
wiseacres
to

in the

same

dough,
century
an

from

which

Nature

has

things.
the
of

Doubtless
song. become in

the

last is

sing quite
of "read how

different
one

According
a

them

Murillo

instance

may

great

painter in picturegalleries. He
of the Palomino Alcazar and Escorial he
and

up"

his

style

the

apartments
as

in the of

halls of the

great, where,

tells us,

copied
of

many
draw

Titian's, Van
the
stucco

Dyck*s
casts

and

Rubens' the

works, without
the

to neglecting

after

from
of

antique, and
these have
six
a

example

the

grand
thrown Murillo of

manner

and

accuracy

iii., 420). Velazquez (Mi4seo,

elements mixture
made
a

Thus

from should

(Spagnolettobeing
which
is called

in with

the body No-

rest)

we

the

style.

will doubt that he and

that he

thorough
them,
aimed he

examination that
at

these

masters, brush

grovelledin
hand. did

the dust But

a

before had

he

studied them
his

palettein
as

building up
would

styleon
added

them,
to

Mengs

hundred

years

he later,
or

merely
and

have

the

number

of the Carduchos, Carreftos

in

Cerezos, who
in colour

reallybecame
touch often

what tread

they

are

the
the

and royal galleries,

who

on closely

heels of their prototypes.

Those
a

critics fancied character least

some

they

had

solved

the

"unknown

quantity"
value
At
was

of

truly artistic
up

by formulatingan
half-dozen
to
names

equation,whose
of
; but

made

of at

the the

past.

present

this eclecticism
is held
to

is discredited

the utmost
that

theory of
minds

influences
unable

in all the greater the growth of

favour

your
as

mechanical
a

are

conceive

genius, except
own

process

analogous to
it would do

the

functional In
an

system
of task

of their

brain.

point

fact,if
to

the

works the

be

placed

side in

by side,
which

be
not

endless

show How the cool

various

features

they

resemble
above

each

other.

widely
silver

Murillo's
tone

glow

of

lightand
and

colour

from How

differs from
are

of

his adviser

guide!
to

littleakin subdued
to

his

hazy chiaroscuro, his

the

clear open with

a

animation his formal

I

the

grim,
or

impulsivenessof dejectedwobegone
sense

Valencian of
mass

contrasts,

the

sentiment
and

Van from

Dyck

How

different his in

fine southern

of

form

Rubens'

extravagances

form, gesture,
Thus
the
was we

and

colour!

see

that

from

these away

two

supplementary years
very all

of

study
The

in

Murillo capital, otherwise

on

brought
the

preciselythe
bad

opposite of
the
now

what visit of claim

usual"
as a

rejection of

conventionalism. Hence
even

acted those

him in

purgative of
Franciscan

habits.

success

scenes

the

Convent, which

might

236
This is the the
on

Velazquez.
'

painter who,

well
and

nigh

two

hundred colonnades the

years of For

ago,

burst
and

through
convent,

gloomy
his
art

enclosures

dim-lit

church he
a

triumphal processionround
of

globe.

at

least

possessed the
to intelligible

winning
and

the

favour

of

all, the giftof

even

language
aliens to

all times

peoples,to
"

all classes and of his

to

his faith.
"

He

first discovered
"

in the forms makes

that fellow-countrymen kin." He relieved

his

touch

of

Nature

which and

the whole

world

miracles

of the unnatural touch

ecstasy of all morbid

and

sentiment

; under
a

charming
human
true ; in

visions,mysticism
In
an

monkish shams created

tales assumed and pure falsehood forms of

a

genially
still was

complexion.
an

epoch
taste

of he

he

age

of in
very

depraved happy

undistorted

Nature,
his

dwellers land

Arcadian

fields, who
that of the

give
sad

us

pictureof
of its later

native

different from

records

history.

The Since his removal

Crucifixion
to

in

San

Placido. had

the

capitalVelazquez
of time and
may

given
as

up

religious
as

painting, probably through

inclination.
to

lack

commissions have
some

well him

of

Some such

specialcircumstances subjectsafter
an

induced

again
But

take

up

inter\'al of

fifteen years.

whereas before with

in the clerico-monastic

of surroundings but

with great Seville, of

exemplars
this class,
in

him, he

had

produced nothing
even

indifferent works
now

littleoriginality and and

cold and

he repulsive,

surprises us,

this mundane
not

Court spiritless

remarkable with productions atmosphere, also for their

only
Two

for

but noveltyof conception,

undoubtedly effective
the other
was

character. such
to

paintingsare
The

extant,

one

long known,
on

recently
till

brought
this he

light.

former,

Christ

the

Cross,
"

lately

regarded as
treated

Count exceptional.

de Ris believe Thord

remarking that,
he did violence found
a

had he
to

not

p)ainted
in

Crucifixion, people would

called it had agony have
"

his

genius when
"

religious subjects."
terrible." before death.
never

Shakespeareanelement
declared that

and it,

also Stirling-Maxwell been

more

this great

Agony"
it is would
no

powerfullyrepresented, although
considered that this

but

Cumberland him

figurealone
the loftiest

sufficed to render
to

immortal, while
of

out others, probably withto

wishing heightsof
which
was

be

taken

seriously, spoke

"elevation

idealism." the Saviour

in absolute

Velazquez adopted the representationof

at

isolation

that

time

in favour

with

the great Italians and

Flemings.

The

Crucifixion.
of this treatment, which Crucifixion
warm was

237
unknown

Probably
to

the first

masterlyexample
Diirer's small

mediaeval
But

Art,

was

in the

Dresden
one

Gallery.
still read

between writers

the
were

lines of all this

at

admiration
at

may

that

the

the A

same

time

least

somewhat

perplexed at
heavens

Velazquez'
seem

performance.
with

Crucifixion
"

in the

would Shakespearean spirit

to

suggest something different

for instance, the night-piece,

which
a

overcast to

heavy
moribund
in
curse

clouds, through features;

in

gloomy
hour
of

ray

struggles

reach

the
away

the

witching

night plains

stretching
as

the

background

if under

the

of the wrong
a

just
in the
as

consummated

thunderstorm

middle distance;a before

and

such picture

hovered
Van

the of his

imagination lugubrious
Cerezo
;
a

of

Dyck
such

Mateo Spanish imitator,

work
the

as

Murillo's St. Francis

in

presence

of his crucified Saviour.

we

But which

here

have

work

in

all this is
on

swept
is
an

aside.

The

figure
the

the

cross

depicted in
almost black
a

emptiness of
'Mike velvet
in
an

space, black Nor

ivory carving on symmetricaland

can one

shroud." still
any

the

I youthful body
attempt
of the

detect

to express

the effects either of the

THE

or agonizingposition
"

death-struggle the
strain
and

the suspension,
CRUCIFIXION
IN SAN

PLACIDO.

wrench

of

limbs

and
as arms

muscles, the last convulsive

The

vital movements,

is usual with other

are

painters.

legs rest
Of
to

on

the

supportingblock, the
there
is

not merely attached,

* and rigidity,

weighted.
this has

death

nothing but

the

marble in his

even

be, strictly speaking, supplied

a

thought,
eyes,
a

for

the
to

artist which

obviously painted with

he

livingmodel
The

before

model

scrupulouslyadhered.
be

figurein
or

fact is in the
actor
case in

very

positionthat position

would Passion would

'

taken

by

model,
that the
in

by

the

the

Ober-Ammergau

Play, except
be

the

latter

the

unendurable

betrayed by
Imbert.

symptoms
un

of unrest.
marbre.
"

C'est correct, serr^,solide^ comme

"

Thor]".

Serre

de

dessin

comme

un

Holbein

238
Add
to

Vklazquez.
all this
as

the most

symmetrical proportions;no
Rubens

obliqueposition
inclination of the

of the Cross, the head

to

is usual

in the
;

an school; scarcely

the

shoulder the
in

a rigidequilibrium completed by altogether

of juxtaposition
The

feet with

the

two
more

nails. in the than plastic the with the

figureis Bearing
deep

fact conceived than the

pictorial

more spirit;

even plastic

similar

paintings by by

Alonso sculptor, their

beams

Cano.

in

mind

just-mentionedworks,
varied still more struck

undulating
and red

forms, the
reflected
tone

brown

shadows

luminous

we lights,

shall be

by

the

yellowish quiet,soft,
of

of this Yet the

and delicately

clearlymodelled
in

figure.
no

compositionshows
copy of
the black

other

respects

imitation the

sculpture.
when
he the
can

Beul^, outdoing Stirling-Maxweirscomparison, misses

calls it the
an

mark

ivory piece.
of

Musso
no

was

struck precisely effect. The

by

fact I

that

ground produced
not

harsh Crucifix. been

Still less

detect

any

reminiscence for
more

Cellini's

so side-light,

advantageous
has
to

has plasticeffect,

employed,
of
a

and

Velazquez
muscular

attached

importance

to

the
to

truth

soft of

youthful surface,
and

than transitions, imperceptible

prominence
outward

bone

structure.

On

the

other

hand without

the

inanimate

details of
out

are

very

carefully
the

treated, though
the

The triviality. resin that have has

grain
oozed

the
of
crown

well-planed shafts
the

knots

and of the

the blood

very that

pinewood,
of the

few

drops

trickled

down, the
are

thorns,the fidelity
Did
as

tablet with of
a

all trilingual inscription,

reproduced with
is

pre-Raphaelite.
we

Are the

then

to

conclude
our

ihat

the
so

work

merely

study?
so

subjectinterest
him
an

like artist,

many

before nude?

him, only

far

it gave But This

opportunityof studying the

the
to

if so, whence

deep impressionproduced on
be caused

so

many

observers?

impression is said
which the
is
severe

by

singletrait,the
broken. of relaxation
not

only
The

touch

by
dark sunk

symmetry

of
in

the the

composition is
sudden
was

only
shade

part
on

the

face, which,
but

death, has

the When

breast;
the

here sank

the the

artist

satisfied with
on

alone.
were

head

long
black

brown the

locks
brow the

the

right side
down

thrown

forward, and
as

fallingover heavy

half-way
eye and

the
side

breast, covered
of

with

veil

right

the face.

The

effect of this half

although rather unconsciously veiling,

is the
one

felt than
has the

is understood,

irresistible. This the

weird-like

trait which
up

as fallen,

from by accident, the unconscious

artist's

brush, conjured fancy.

from

unknown,

dimness

of his creative

The
We from
in the
a

Crucifixion.
is not the artist's property, but
was

239
borrowed be which
seen

are

told

that this touch Luis

small Vista
to

picture by
in

Tristan, which
and

formerly to drawing
the
seen

Alegre Gallery,Salamanca,
be
to

the

for

is

still said

the

hands
on no

of

Parisian

collector.
than

If this Crucifixion

is ascribed Madrid hundred

as are so

Tristan
one

better

ground
not

painting
it.
As

in

the
in
a

Museum,
similar often it

need it is

scarcelyregret probably
the
a

having
copy

cases,

small

after

Velazquez, such
In order the
it to

imposed
had

upon

public as
a

originalsketches. somebody assigned

order
be
to

to

make

something
connection

better
been

than
so

copy,

Toledan In in the

artist who
this

praised by Velazquez.
"

Thor6

remarks

: one

In

recognize Velazquez
home in

this

and exceptional his

sublime talent ; The

work,
we

must

thoroughlyat
that his that

chronology of
from

shall

then
was

know
unaware

Christ

is

derived
never

Tristan."

Parisian

critic

Velazquez
It is in the

divergedmore

from
a

this chiaroscurist

than

in

the Crucifixion.

very

in solidly painted, half is softened than

true clear, unsurpassingly

a

flesh tone, which

lower

by
whom

delicate
no one

shading
understood that
to

of gray. better
come a

Velazquez,
even

what
near

was

needed

to

paint the simplest objectwell, seriouslyundertaken

with verisimilitude. the found
in

is, to

to

Nature,
crucified
to

could
true

scarcelyhave
to

represent

Christ
trust

Nature, or
the here

Still less did the

he

himself He

seize

with

brush
be

expression of
in

dying
Hence

God.

trusted discovers

that aid would

more

the artistic

which feeling,

often
the

in

suggestion than
the the Greek

actual

expression.
He
to

shadow, the
to

of foreshortening

face, the
who artist,

veil. had

had

recourse

the

same

expedient as
at

depict the griefof Agamemnon

in

the For

sacrifice of the
rest

Iphigenia.
he
was

contented

to

place
and
on

the

traditional

position
forms not,

well-shaped male
even

model,

without

those Cano

haggard,
this
not

slender,noble
If I mistake of the
an

usually selected
the effect of the in is it such treating

by Montanes,

Murillo.
reserve

picturedepends partly
a

who artist, Devotion

subjectfelt
with
an

that he

was

merely

artist.

little concerned values

successful artistically authentic and

but interpretation,

literal accuracy, for

adjuncts;
the

hence He

the

veneration that

entertained such
but
a

memorials, relics,
is
most
.

like.

possibly felt

subject

effective when all accessories Nature

treated of

in the

simplestoutward,
the artist, effect. Good
an

authentic, way

that

the

sentimental
but
to

accompaniment
In
a

of unconscious similar

tend herself,
the

impair this
Sermon
on

somewhat

a spirit preacher of

Passion

Friday began by remarking

that

he

would

have

preferredon

such

240
occasion from A suited
the

Velazquez.
setting up pulpit.
first the crucified Redeemer
in

the

chancel, and

retiring piece
of
his

sculptorat
for
some

sight of

this work And

took

it for
us

devotional
an

shrine. pilgrims'

this had

brings

to

archaeological
one

point.
missions
to
.

erudite V'elazquez' in life

was

father-in-law revive the

considered

that

to

belief

regarding

the

four nails,and
had
the

establish this doctrine the

againstthe
the

tradition of the three nails, which thirteenth

prevailedsince
works after
neck
a

beginning of
and

century.
a

Apart by
wore

from

of

St. Luke

Nicodemus, he appealed to
the

bronze

Franconi
on

model

by

Buonarroti, which
a

painter Cdspedes
a

his

; and

also to

drawing by breviary.
this

DQrer

in

book

belonging to PhilipII.,
old
man

probably Granvella's
been

How

the rejoiced

must
a

now

have

when

his

son-in-law, perhaps in
'*

fulfilment and

of

long cherished

wish,

again
in

introduced
in
now a

venerable

ancient"
was

representation, by
Alonso
the

consecratingit
Cano
at
a

I masterpiece

Velazquez
and

followed
in

work

in the which of

Academy,
however the
in

by
the

Ribera
are

Crucifixion

Vitoria In

(1643),in

the

feet

crossed.* of
the

this fourth

decade

century
Madrid

"Devotion the the

Cross"

had the
and

been

stimulated specially had

through
that of the

report

(1633) that
loudly
was was

Jews

scourged

and Crucifixion, The house

figure had
de la Fe

complained. distinctly
the

criminals sacrilegious Crista

levelled to

ground ;
of
was

congregation del

bendito

and instituted,

nocturnal
no

torchlightprocessions and
The

other

expiatory
effusions hundred

devotions

there the

end.

Spanish
involved
an

and

Latin

poetic
several

posted
ducats.

on

church

doors

alone

outlay of

Till the of the

year

1808

Velazquez* paintingwas
of

preserved in
a

the

sacristy place
lit
and

Benedictine
a

Convent

San

Placido,
and

wretched
was
seen

little

only by
betrothed

small Doila

grated window,
Teresa de

here

it

by

Ponz had

Cumberland.
to

Silva,foundress
of

of this convent,
de

been

her

cousin, son

Don
and

Ger6nimo
one

Villanueva,Marquis of
of the
was

Villalba,Protonotaryof Aragon,

of the

wealthiest

Spanish suddenly
with

grandees.
broken
the

But

shortly before
young

the took

marriage the engagement

the veil and built this

the off",

lady

convent

ex-bridegroom's money.
The
new

foundation Teresa
also of

was

much

in

favour

with from

the

Court, and
and

the the

gracious
*

Sister
had

received

frequent visits
Cross shaft 1
was

Olivares

Pacheco

discovered

that the

fifteen feet the

arms

high

and

eight broad,
olive, the

that

it consisted

planed

timber, the

cypress,

pine

and

supportingblock

cedar, the tablet boxwood

Christ

at

the

Pillar.
her the father-confessor, institution
even

241
tine Benedicseemed

royal couple.
to

Under

the

guidance

of

Francisco friar,
be

Garcia

Calderon, the pious

of

favoured which

with
soon

manifestations

however
was

inspiredthe
to

cacy, extraordinary spiritualeffiOffice with serious alarm. Holy

The

friar

condemned four years,

and

perpetual seclusion,the
sisters
were

prioress was
other

banished communities But Court

ban and

for

the

dispersed amongst
the

(1633).
was

it

felt to have
a

be

intolerable
a

that

royal family and

that

the the

should of of such the

frequented
After

religioushouse
five
years

lay under
of revision of

sentence.

the

influence
a

Olivares
the

protonotary
the

succeeded

in

obtaining
resulted reinstatement

process of the

by

Supreme

Council,
and

which

in of

the

quashing
accused

previous judgment,

the

the

(1638).
It would
seem

probable that
this event.^
another
scene

the

Crucifixion has

was

paintedby Velazquez
a

in connection

with

Lately it
from

received

companion piece

by

the

discoveryof

the

Passion,the

Christ

at

the

Pillar. five years

This
may

which painting,

has

been
as

only
the

accessible to the
made

public,
to

be confidently

described

most
our

important addition
master to

the

hitherto known
over

treasures

bequeathed by
ago

posterity.Obtained already produced

not
a

five-and-twenty years
the British Institution in
as

in

Madrid,

it had

at profoundimpression^ at

its first exhibition i860.

in Manchester

and again (1857),

Still the
so

feelingwas
to

free from discovered

those

doubts

to its

which authenticity

often attach

newly

originals.
^

Quilliet mentions
twenty
Countess of

{Dictionnaire, 374) that

francs for the

Le

Brun

authorized
came

him

to

oifer the the hands in

convent

thousand

work, which
Prince of

afterwards

into

of the Paris
to

Chinchon, wife
it
was

of the
at

Peace;
francs.

she At

offered her
to

it for sale it

(1826) where
brother-in-law

valued Duke head

twenty

thousand

death

passed
VIIwere

her

the

of San

Fernando, who
said
to

presentedit
added
now

Ferdinand
countess

The

serpent and

death's

wrongly

have

been It is

by the
in the

alreadythere when Carmona's size 2-48 X 1*69metres.

'

engravingwas

made.

Prado, No.
in the

1055

"There

is

an

and originality of simplicity child

on
"

solemnity about

this

not only picture,

general
and and the

tone, but silent

awe

in the

the

composition. The
only speaks"
beheld it."
"

of the resignation
cannot

Saviour
a

of the

for his heart all who have

fail to leave

deep

yet

painfulimpression Gallery No. 1 148 ; 76

AthetKBum,

i860, i., 859.

(National
16

68

inches.)

242 The of
over

Velazquez.
obscurity from
two

which is

it

suddenly emerged,
as a

after

an

oblivion

hundred
been

years, down

puzzling. Perhapw
as
an

devotional

piece

it may of

have

handed

heirloom
it

in

privatefamilyunaware
over

its artistic worth.

in
a

Afterwards
so

again
no

remained

twenty

years

concealed
been

private house, Gallery, to

that

greater
than been

surprise could
its appearance in Sir

have
the

offered to

Velazquez' numerous
which

admirers it had

London Savile Here

known

National

presented by
those

John

Lumley.
is
to be the
a a

work religious

completelydeviating from
work Bible far
as

otherwise actual than before sion expresa

life with modem

been
so

by Velazquez*hand ; a and with supernatural

scene,

which

in its
more

blending of
mediaeval
never

historyis
was

Passion

which,

so

known, had
for
once

a represented ; lastly,

work

whjch

gives full
not
so

to
can

the

master's in old

sentiment. religious records

and

Yet

of

this work
in

trace

bo

found

inventories.
to

It has

truth

many

unwonted

elements

that, as

happened
But method

myself, one
execution.
a

might by
In
a

well view
case

doubt,
of the since for this

judging from photographs.

work

all hesitation is removed of

its colouring and itself,

any

writingthis painting.
All in

notice

1 have

myself

discovered

preparatory

study
the

the

masters

the religious pieces,

earlier

as

well

as

form later,coni-

materials,conceptionand
prototypes.
process

composition to
no

and tradition,

partly to
models

definite
and
so

They

make

claim

to

invention, the

the here. The

of

paintingbeing

alone

the artist's property.

But

not

picturegives crowning
the

an

episode from
thorns,
have
the the

the

Passion Homo
1

between

the

scourging
Himself,
is strewn

and cruel but

the work

with

Ecce

After

executing their
to

scourgers release
"

withdrawn, leavingtheir
from
the

Victim

to forgetting

wrists

shaft.

The

ground
Saviour

with
that
to

the

instruments
been used but

rods, blood-stained by
the

leathern Now

thongs, small
the

twigs
"

have
the

up the

executioners.
arms

has

sunk

ground,
He

fastened
on

remain

stretched. outnearly horizontally to

is seated

the

floor,the figureturned view,

and and flagellation the

the with

left,but
intense

the

face

presenting a
both
the the in

full

front
the

expressing

vividness this has

effects of
exhausted

painful nature
of St.

of

of position

frame. variations

Similar
of

agonizing attitudes Ribera

theme

introduced

several

the

Sebastian's

martyrdom.
Such
and

episodesof
in

the Passion, not

mentioned

in the

Gospels,were
of minute

inferred
to details,

devised

order,by their noveltyand

treatment

244

Velazquez.
devotion
or

by popular slowly,if
forsaken
at

pious

zeal ; but artists.

such

treatment

of the

subjectis

adopted by all,
in

true

Peter the penitent Occasionally

is introduced

kneelingby

the side of the school

Redeemer,

as

painting of
if the

the old G"rdovan

jointly by
of

with the two

pious founders
these

kneelingon
as

either side of the Saviour had

pillar.Elsewhere
abandoned it were, the
in

angels

make

their appearance,

been

all except

beings

of

the

invisible

as world, spirits,

sympathyof Art

-the

grief of
such

Christendom stand

itself the

in interpreted Christ

language picture
One hands

Two

angels
now
arm

by

figureof
stands

the

attributed to Murillo

in Sir Francis of
as

Cook's

Richmond. collection, with

lays
and
the

his hand
eyes

on

the

the

other,who
the last

clasped

red

with

weeping,
with

if lost at

incredible

while spectacle,

Saviour

continues
In its

His

remaining strength to
this

struggleon
were

the

ground.
not

and simplicity of Murillo.

truth

angelic group subjectof

addressed of his views To
be

at

all

events

unworthy
also

Pacheco Sorrows of Cordova fundamental

occupied himself
His

with
In

the
a

same

the
to

Man Fernando

of

gathering up
in

clothes.

paper

1609 he gives a detailed

which
the

statement

and the

of the

on principles

they
Redeemer and

are

based.* should

produce
turned

deeper
the

impression
spectator;
be the
a

the

face

of

towards

of feeling
in
a

shame

the effects of

the

ill-treatment

should

expressed
shaded

on delicately constituted, dignifiedfigure;the stripes

side

should

be

restricted to
on

the

back ; the
of

the pillarlofty,
and
so on.

instruments

of torture

strewn

the

ground

four

kinds,

By
to

the the

mere

perusal of
a

this

Luis description
poem.

del

Alcazar

was

inspired

compositionof
one painters,

Latin
of

Two
nearest to

Spanish,
On
the

the

other
the

of

Italian, origin come

to
a

Velazquez' idea.
Descaha
at

right of
de
moreover

entrance

the
dark

Church

of with

the
a

Merced

Sanlucar
is

Barrameda
so

is

chapel
it is

which large altar-piece,

blackened Here

that
an

impossibleto recognizethe master, possiblyRoelas.

is introduced, but who is

also

angel
to

holding a
reach
the

child
mantle.

and

pointingto
The child

the prostrate hands

Saviour,
his

trying to

clasps his

breast. The

other,by Bernardino
here the Saviour

Luini, is in St. Maurizio

is
are

(Monasterio Maggiore),
still sustained

at Milan,and

givingway

or

is

but sinking,

by

the cords.

Two

attendants

unbindinghim, and
has the shoulder, left

the

rightarm hangs

alone is

stillattached
bent across,

by

the elbow. sinks

"

Here, however, Christ

on

the legs are fainted, down

the head

the
de la

arm

quite

Arte

Pintura, i. 248-55.

Christ

at

the

Pillar.
a

245
last

helpless.
the

Thus

while

the

Spanish
the

artist leaves

strugglingeffort
much
more

of

will and
at

muscular

energy, when The

Lombard

figuresthe
and and transitory,
to

delicate has
pletely com-

body
the

the moment

all control motion

is

of limbs

consciousness
even no

given

way.

more

pathological ; objection need

the intended shirk

and parts give angiilar

so

rectangularlines
as

which

be made, necessarily for in the situation,

far

it

gives striking expression to

Art

interest of truth

should

not

always

unlovely
thus

forms.
are Living personalities

also

to

some

extent

represented ;
the

St.

Catharine

standing on
is

the

left side On

introduces the

founder, whose

action,
turns

however,
towards In

purely

conventional.

opposite side St.

Stephen

the devout

community.
as

Velazquez' work, angel

"

in
a

that

of

Sanliicar,the

devout

person

is

child fair-complexioned

in

long, white, girdled shirt,who

"

is introduced Redeemer. and

by
At

an a

his
the

guardian angel angel in

as

and

shown child has

the

forsaken

hint from

the

rear

the

knelt down of mediaeval

clasped triptychs
to

his the

hands,
patron

just
saints

in

the

side the

compartments
founders and

introduce

recommend

them

the

Madonna. Or the the situation

might

be thus

explained.

The

Saviour
purpose,

lay exhausted
and
to

on now

ground,
an

the cord
in effort,

being long enough

order
to

for the

He

has

risen with in the

most

behold

the child and

turns

respond
head of

his devotion
eyes
on

seemly

attitude
is

possible. He
to

His
look

and

the clination in-

little worshipper, who

deeply affected by
the of the

the

anguish.
to

The

of the child's head view he

is

right shoulder
still less

is intended

gain a
he

better
sees

of the eyes

and

features

Redeemer. suffering
can

What his

incapable of
; but
we

and understanding,

he express

feelings
line,a
ear.

in words When ray, which

the look

heart

speaks.
the
we picture,

at carefully

notice heart

thin white the

reaches the

from

the

of position

the

to

Saviour's

Thus,

as

poet sings.
To For The
see

sad the

sightsmoves
heart motion that

more

than the

hear
ear

them

told,

then

to interprets

heavy

it doth

behold.

And
a

all is told in such

occurrence.
one

simplelanguage that
the child alone this is
a

we

seem

to be

contemplating family has

for his

real

Were would his

say

there with
some

his

companion (without
of the
a

the

wings)

child

member
to utter

introduced repose.

to

father's

deathbed, in

order

prayer

246
If the other known

Velazquez.
of representations religious failure is the Master
to

leave
nature

the

the spectator indifferent,

explainedby
seemed the model

reference
to

the

of
thing any-

his Art.
had

Hand
to be
case

and

imaginationalike
be

fail him

wherever

depicted in which
it must however
nose,

left him

in the lurch.
was

But

in

the present
The
narrow ears in

admitted
a

that this inference The

premature.

angel
concave

is
even

portrait.
the thick fashion the of

short, straightforehead, the

forward
doubt
over on

curly hair brought

the

the

accordance

with

the
eye,

day,

leave

no

that
weep,

point.
This natural

But

the downcast

as poutinglips, slightly

if about

to

betray the

harrowing
to

impressionof the moment.

fine

expression shows
for the But
eye

invention, for it might have

hand the directing
to

been

more

follow the

child's attention he be
overcome

to

the
with

figure. grief.
In

the

angel fears himself

look, lest

the

collection

of of

drawings bequeathed by
his

Cean is

Bermudez
a

to

the

Instituto sketched for

agree

Asturiano with
broad

birth-place, Gijon,
is
x a

there

crayon

hastily
a

strokes,which
size hand

preparatory

study
the

after

model

this

angel (No. 410;

the

872
raises has

46
the

inches). Pose, action, dress

robe up
to

exactly,only
is different.

knee,

and

the

head
and
mere

The
nose

model

short-cut face

hair,the occiput is high expression,the drawing

borrowed hands

angular, the
outlines.
As

the straight,

without

the

painting was
to

unknown

in

Spain,
is

the

itself afforded
rest
a on a

little clue

its

attribution,and
The Can
costume

consequently the perhaps

band

title must from have

long-standingtradition.
in
some

figure
to

Passion
the

Play.
?

the

crossing the chest

votive

served

fasten The who

wings
made

paintingmay
a vow

possibly be
to

offered by picture,

couple
act

had

have

their

little

boy painted quite

of
out

in

the

of

worshipping
The Even
in

the

Redeemer. suffering the Redeemer Himself

to

figure of
the

is

of

the

common.
a

schools

given

up

the

imitation

the
That

antique, such
of the Minerva

physically powerful
in

Christ

has

rarely been head,

which

produced.
here is the broad

Rome

may

perhaps suggest itself;but by

usual

impressionof
and

athletic

strength high
from

is enhanced
the the

the

deviating flat,
the

altogetherfrom
bosses
the
on

type.

The

short

retreatingforehead,with
appears

arches superciliary
matted
over

(it
the
is

all

narrower

dark

locks effect

the

recalls forehead),

the

Greek
and
a

Hercules ; the

is
and

heightened by
mouth.

powerful
like
a

cheekbones

waving

lines

of

nose

He

mighty champion,

Christ Samson,
such
overcome

at

the

Pillar.
One
alone

247

by superior power,
tortures.

capable

of

enduring

unheard-of
in

When from
the

Rome

the artist may school Belvedere. of

perhaps
he

have
as

studied the
have

one

of the statues AntinOus

second
of

Athens, Perhaps

such
may

so-called chosen of where

(Hermes)
because
an

the

such

forms,
is

intolerable the

in situation,

which less
been in

the

power

endurance

strained

to

utmost,

produces
been

painfuleffect
put forth.

apparently period,for
of these that from

exceptional strengthof
The many
two

resistance

has

work traits

must

have the

executed

Velazquez' middle again to

in the
is not

point to
The
;

beginning,and
the

others

end,
later

decades. the Vulcan and is the

modelling of
hands
are

nude

far removed his

of

the

already
the shade

treated
is

sketchy
worthy Note-

manner,

the

right foot study

somewhat

in

merely suggested.

careful

of the

three heads

of hair, all alike abundant

but

in style. differing

If the

subject is
of colour

unexpected, on
so

the

other

hand

the artist's

specialqualityseldom
his old
sense

appears
treatment

as especially characteristic,

displayedin
the

and

of form. in the

To

those

acquainted with Gallery,this

from

masters

only
the

from

the

specimens
a

National

work all
no

would others other

give
and

impression of
a

great

school, entirelydistinct
There

representedby
executed
no means

solitary example.
such
a as colourless,

probably

exists

painting
it is
crimson of

in

decidedly grey,
seen are

blackish-greytone,
and Master.

although
dull
It is as

by

in the orange-brown

the the

angel's costume,
terrible event
scene

which has

peculiarto
taken of ashes,

our

if,after
had
strewn

that
a

here

place,mourning
as

Nature

the

with

fine shower

after

some

tremendous

volcanic with

outburst.

Compared
the
nude

how this, Pietk !

"

warm

and

golden, how
Murillo ! look of
to

Titian-like, appears
Yet both
in

in
are

Ribera's almost
arm

how

glowing
We
these

in such vain for

proximity
such
another

conventional.
as are

round

painted
in

the

angel
to

with

upturned
be
tion atten-

sleeves. mentioned is
nude in

Possibly the
; but
our

Entombment

attributed

Michael

Angelo might
form,
more

with picture,

equal
the

truth

paid
a

to

softness,pliancy,and
Nor for artist with

clear this

shimmering
ever

tone

of the

in shadows

youthful figure.
which
our

does
are

grey

lack
colour

limpidity
of

very

deep.

The

the

Saviour's eye

face

is

as bluish,

persons

being choked,
with
to

the white

of the

blue-grey.
The nude forms
are on

solidlymodelled
what appears

full broad
a

brush

in

large

simple flowing

traits

be

red

brown

ground, of

248
which
over

Velazquez.
not
a

trace

penetrates

to

the
a we

surface,and
near

the shadows forms

are seem

are

applied
to at

the

clear

carnations.
eye;

On
when

view

those
we

melt their

away

before and

the

but One

step back

amazed
not

accuracy

truth.

gets the impressionthat Velazquez

the of
nature

merely
"

imitated,but
he

understood actually the distinctness

to

spread
to

before
the

his

eyes

that the

passed
from

from

the

known

vagueness

of

seen,

the actual

the apparent.

FIFTH

BOOK.

PORTRAITS

OF

THE

MIDDLE

PERIOD.

1631" 1649.

VELAZQUEZ
"

AS

PORTRAIT OF PORTRAITS CARLOS

"

PAINTER UNKNOWN
"

"

FEMALE PERSONS
"

PORTRAITS ^THE OF
"

"

CELEBRITIES OF
"

AND RODRIGO ILLO PAMPLONA

"

TIES OBSCURI"

PORTRAITS

MARQUIS
OLIVARES ^THE

CASTEL

^THE

EQUESTRIAN
BALTHASAR CONVERSATION.

LAST VIEWS:

PORTRAITS SARAGOSSA

JULIAN
OF

PRINCE
"

^TOWN

FORTRESS

^THE

252
Bien

Velazquez.
comprendre
and
son

homme

est

la

premiere qualitedu
is
a

said poriraitisie^

There;
be

the in

human
a

physiognomy sittings.
the remark don't

book, whose

meaning
knew
so

cannot

mastered

few

Even

Raphael Mengs
on

much.

When Annibali there ; Nor

complimented by
the (Brera),

elector

his

portrait of sire, the

the

singer
is

escaped

him:

"Yes,

friend

something kings
did
of the

understand.*' detriment in the rather coldness

suffer truthfulness, Velazquez'cardinal virtue, Court. Here he

never

atmosphere
seems

learned

to

but flatter,

to

have

acquired something
No Simon envoy Saint

of

the

dry scepticism and

his desk the

of the in

born

courtier.

furnishinghis sovereignwith despatches

to

cipher, no
of
or

consigning
the many
a

unembellished have
even

memoirs
more

his

surroundings for
Not such Madrid
was

benefit of

could posterity, Courts But with

as

been
at

oj)en
be

plain-spoken.
Court of

princes and expositor.

still imbued appear

would the

present
its

satisfied with the

frank
was

in

period

of old

decline

the
was.

genuine
of
a

which Spanish realistic spirit,

satisfied to

it

It

is

at to

the

same

time

true

enough Madrid,

that, in
his lot
was

consequence
cast

his

resolution

exchange
nation

Seville for
"

with

what somew^as

melancholy
the

social circle

half

Bohemian,

half

Byzantine.
same

Here
as

picture of
of the

outwardly presentingthe
errors through p"olitical

aspect
and fatal in
as

in the

days
of

heroic

past, but
her

prejudices
the hands well VIII.

slowly sinking
the
last

from

world-wide of
a

sway,

her

destinies

feeble

scions

moribund

dynasty.
as

But,
back
as

Thord

remarks, the
and

finest

even portraits, were

going
those

far

Henry

Pietro Yet

Aretino,

not

always

of the

finest
not

figures.
fear

despite his
to

inferior lands

Velazquez subjects,
more

need this of

comparison
rather

with shows for

he
sure

artists of

other

favoured The

in choice

respect, but
his

advantage by
most

their
was

side.
no

where originals, but he what felt

the took
of

part
hand

there seemed
to

choice, may
a

cause

surprise ;

in

to

him

matter most

of

for indifierence,

imparting
as more

apparently the
failed to
secure

thankless their

subjectsa
far
more are

lasting
who

such interest, models stood

and

others

with
treatment

promising
few

alluring methods
of the

of

There the

less

in

need

support

derived
are

from

theme

itself,the
so

association

of

ideas, although his works

his secret

in this

respect

highly

suggestive.
Where Of
this

lay
he

department
declared

of he

Art

he

personallyentertained nobody
who

loftyconception.
to

When head

knew

understood

how

paint a
compass

well, he

apparentlymeant,

not

only

that Art

in its whole

Velazquez
may be revealed in
a

as

Portrait
that here called

Painter.
is needed
a

253
the

but portrait,
same

Art

of

great painter. In
of the

the

way

Ingres
been

the portrait

touchstone

painter.
often

Velazquez' portraitshave
of
to

described have The

my
on

from

the

standpoints subjected
venture

impression analysis
at

and the

expression;
hands
be

but
an

they
for

never

yet

been of

of
the

artist.

silence

professional
as

critics must
a

therefore

excuse

boldness, if I
the

to non-professional

interweave

my

remarks

subjectwith

foreign
the

matter.

As

portrait painterour
as

artist

shows certainly
comes

most
nearer

with affinity
to

Venetians, and,
than
to

already stated,perhaps
In
one

Tintoretto rather

Titian. of the

respect

his than

portraitsmust
with

be

grouped
works
the

with* those after movement

to

previous century
sentiment.
of

contemporary

striving
tians Vene-

and

with Velazquez belongs jointly

the

champions
of both

the

grand
and and

characterized style,

by

great breadth
the

in the

lines

features motive from

be

figure, by
visual

bold

of disposition of details. characteristic

has

surfaces, by unity of
His
as

severe

subordination

taken figures,
can

the
at

high
once

point,are
He
he in
et

even

and silhouettes^

recognized.
even

always
it

the

full

standing figure in half-lengthor

in the accordance
as a

his

mind's

eye,

when

delineates

only in

bust.

Palomino's

advice

this respect is
even

certainly
when
he

with

his views him

{Museo ii., 65
and of the

seq,).Hence,
the in

subjectsgave
a

long
which

in repeated sittings

literal sense, order

to

still took

preliminarydrawing
to

standing model,
afterwards

fix

the

general aspect,
To

everything was
the and

adapted.
and

portraiturehe
to

applied
of form

firm

draughtsmanship
abundant
owe

delicate
he

modelling,the knowledge
was

that cultivated

taste, for which

indebted Pacheco's
us

the

severe

trainingand
he did
not

stimulatinginfluences
this

of

studio. still to

What

to

school,

and

what

enables
touch

recognize his
of

originalsmore

certainlythan
truth of the

by

the

is the truth of the coloured itself, that life

grey

the illusion,

surface of the

treatment;

transparency
on

the

skin

and

that

freshness of

throbbing
lastly that

depending

it ; that function from

one

reflected shimmer
no

the carnations ;
so

tone, whose

other

artist

understood

well.

It is here that he deviates most Whoever

never

the colour-sense

of the Venetians. this

master

has

seen

but

important portraitby
the

will
the

forgettwo

impressions
"

spiritof
cannot

the

painter's touch, and

at

absolute

convincing truth, which

be certainly

demonstrated,but
be

but only intuitively perceived,

which

may

yet

times

strengthened

by comparisons.

254
Of
a

Velazquez.
modern

artists is not

Velazquez was
so

perhaps
as

the first for characterization, In

even portraits
"

which quality

common
a

is

supposed.
to

by
actor

famous

there painters the

often lurks

alien spirit in

the
case

originals the spirit,

is

for instance, of
who this

artist himself, who

alone.

that

like the

represents himself

Others

again, possiblythrough
remained

fear

of
a

foreignspiritat

all

have intruding itself,

satisfied with
were

exterior aspect of the mask purelypicturesque

to show

alone,as
the

if they

required subjects,
said of the

nothingfurther behind
our

it.
at
once

But whose those

master

penetrates
be

into

heart

of
as

his
was

horoscopes might
of

taken
tone

from

these

portraits,
the

Apelles.
brain.

He

paintsthe
iron and

of the nerves,
the

"blending of
and
the noblest

sap," the quantityof

in the finest in that the

gall in

blood, of wisdom Thor^,

so

ness foolishand

''These

portraits," says they depict men

with other

"are

world, because
be less
even

thoroughly understood
with
the
sort

they
one

cannot

confounded avoided

men."
a

No defiance
seems

has

unpromising forms, which

tone

of He

he
to

has have

neglectedto
that

down
was

or

cast

in

shade.

believed

everybody
and

capable of pictorial sentation reprethat

no

without if
we

suppression or
proper

addition ;

being
fail
so

existed appear

who,
that

placed in
should

the

attitude

would light,

to

not

wish

him

otherwise.
to

Hence,
his
some

in direct contrast

Van

Dyck

he
or

usuallyomitted give them

with the
"

to

make

figures interesting by picturesque postures,

motived
or

animation

by

situation.

He
at

is

satisfied perfectly
are

attitudes of

tradition
he he his

which etiquette,
to

times
"

stiffand

haughty.

My

subject,"
because because

perhapsthought
does

himself,

must

be
on

not capableof interesting,

an

anything interesting, puts

or

interesting face,but by
the desire to

personalityis
of social
his allows

interesting."Instead excitement,or
so

of

catching the expression in please,

all upon

moments

when
to

animated

he

models,
traits

to

say,

fall back

themselves,when

those

favourable thus
appear

or

studied

of dispositions the
are

the features have

vanished.

They
of the
a

indifferent to
If

searchinggaze
nevertheless
two
"

of all observers, even that lifelike, is

painterhimself.
still they do

they
and
an

so

merely
almost

fresh
But

proof that animation betray

turned

posing are

different

things. They

the
are

abnegationof all nearly always

averted

expression one, however, which is of a cold, haughty nature. : that expression sideways
in

with painter

everywhere.
of disdain.

Such

three-quarter view, fixing the the spectator also following glance,and consequently a the impression of pride, if not side-glance conveys

Velazquez
But device ?
may
not

as

Portrait
effect

Painter.
in partly lie precisely

255
this

the

secret

of

the

Vanity, useful
of its

and

even

for indispensable
As it needs

social

acts intercourse,

less

favourablyin life and

own men.

Art.

the

judgment
and

of others
at

in support
on

it awakens self-estimation,

doubt and

contempt,
how

least

the

part of
appear
unto
as

It thinks But

of others

considers
not

it would
seem

gladly

in their eyes. itself

as

pride heeds
whom
;

how

it shall
the
*'

; it suffices

it is; it troubles of the

to

itself little about he

approval of others, haughtiness." Nor

wishes
as

Kant

said

Spaniards,to
act

ascribed
man

does
not

pride need
to seem,

otherwise least
must

for the

who

only
not

to

be,
seek

if not

at lovable,

inasmuch impresses, take him

as a

he does

but and

accepts recognition ; we
all. His
at

and whole, lights

shades

self-esteem

looks

like
in

and superiority, the harmless

excites

feelingof Art,
which

respect,

least when man's

mirrored

pictureof

no challenges

pretensions.
to me,
"

This, as it seems
us

may

be

the
to

reason

why Velazquez so captivates

shows his sake
"

when

he

holds

the mirror form

"

up and

Nature," and
in

the very
we we

age

and
was

body
this

of the

time, his

pressure." For
as

ask, Who
still grow
or

this Borgia ? Philip,

in those crazy

just

reading Tacitus merely

consider
same

interested

Caesars.

It is not

his realistic what

graphic photosober

to truth,his fidelity

historic records: have made of the

other

but he

less

hands distinguished

subjects. See
corsairs.

how

imparts dignityto
at

his buffoons taken for

themselves, who

through incorrect titles

or

have
poses,

times of

been

militarycommanders
rendered
us

These the
so

mixed

pride and

or pretence, this sosiego

composure,
at

what

Italians called

which intonatura,
affect foreigners, many
not

the Art

Spaniards

that
in

time

offensive to all the

case

in

otherwise

than

life,as

is

with it may

so

other
out

in thingsrepellent

themselves.
it would be
a

Here
to

be

of

place to

remark

that carried

mistake with

suppose
even

that the

Spaniards of those times

themselves, and
had
reserved

these airs about

them

amongst
van

in

the

intimacy of
that
at public,

privatelife.
were
so

Mynheer
in the

Sommelsdyck
and
'*

already only

noticed
in
"

they

extremely sedate,grave
theatre. and
you

the promenades, transformed

them
to
a

Here," says
think words.

Camillo

Guidi, they become

if you
can

gods,
the

may

yourselflucky

elicit from

few dark
same

oracular

In confidential intercourse
as

people,but just
as

no they seem longer or accessible, chatty, cheerful, frivolous,

reckless In

others."
is

this Velazquez' portraits factors the

most

the

most

strikingfeature, while
Here
the

of

technical

important is

chiaroscuro.

changes

256
of
manner so

Velazuez.
become
most

obvious

who in this artist,

is otherwise At first in

so

uniform, youthful
his in

and zeal whole

a

little affected

by
the

outward

influences.

his

and Art

disgust
to
a

at

prevailing second-hand
the

style
model shadows.

he

reduced
his eyes

singlepoint" to paint with

pure,

before

onesided

light,with
was

sharply by
tendencies

defined the

The

plastic
He

effect of this system and his

intensified like

empty,
were

neutral

ground
less

contemporariesof

herein
to

guided

by

love pessimistic lack prevalent But he

very

of gloom, than

by repugnance
that this

the flat, the feeble,the

of concentration.
soon

discovered

effect plastic
be

was

often obtained
a

by
that

too

large a

dose

of shade, and touches and

might
lines

produced by
a

minimum

of

element.

Mere

of

spare,

warm

transparent
the

brown

dispersedover
a

the features
a

sufficed to

remove

all flatness from

head, while
it from the

dark

or

luminous

patch behind
treats

the

figureserved
concha, on

to

detach

ground. point of
view
he

From side and

this

the

ear.

The

the

light
the

turned
even

towards

the

observer, is

and carefully

vigorouslymodelled,
towards elsewhere remarked

individualized ; The in
a

probably
hands very
on

because

it contributes
as

effect generalplastic

the contrary,
way.

(p. Ill),are
After

treated

summary
manner

from extracting

this

all that it was

capable of eflfecting, perceived how

Portraits
not

sense Velazquez* pictorial

asserted

and itself, here

he

many be

elements

of the
the

picturesquewere
semblance of

overlooked. and

should

by plastic
sense

bodily fulness
appear
to

depth,
out

in plastic

the from

that

the

figuresshould
air.
to

stand
seem

hard

and

stony
a

the empty full of He

to be

ground. They
led

should

in fact

to

be

parts only of

whole

lightand
was

his

new

luminous
to

system
the open whose

which by those portraits

had

transferred
a

from

the chamber

air.

Here has
a

was

necessarily

introduced for the

background,an
all
to

element

study

specialinterest
the

painter. portrait
us

Velazquez gives
dark
or

imaginable backgrounds,
interiors and
or a

from

simplest
pects. pros-

clear In

surfaces

richly furnished
an

landscape
often the

the that

early p)ortraits empty

the

chair
;
or

table is short

only

indication shadow is

figure is

in

room

oblique projected
The
and

of the
most

legs that it
part
with

is not

hovering in

the air.
a

empty
a

surface

for the

in disposed diagonally the luminous

darker of

lighterhalf,
Or else

standing in
a

contrast

treatment

the

head.

heavy
a

crimson

curtain

is let down, but also

affording occasionally again diagonally,

at

ground

for the

head,

times

and suspended horizontally

Velazquez
on falling as

as

Portrait
threeor

Painter.
four- cornered dark

257
surface

one

side,thus enclosing a
the

settingfor
in
to
are

figure.
conventional environment had
to

This renounced

extremely simple style of

the
a

be

hunting
; and

and

which equestrianportraits,

transformed
a

Velazquez
such
in

about landscape painter. Excluding replicas,

extant to

dozen

pieces
the

these
scenes.

must

be

added

the

similar of these

ings surround-

toper and
the
were

hermit

On

the
a

scenery

pieces is

mainly
such

founded

master's invented

reputationas

although landscape painter,

a

prospects
In such
to
a

with exclusively
are common were

view

to

the

and figures,

although certain
cases mere

characteristics

alike to
wont

all.
to

contemporary
framework

painters
shade of
a

degrade

the

scape land-

for the
the

or figure,

sacrifice it

altogether.They
this
in
a

brought
purpose studio
attracts

the
a

figure from

into

the

for light,constructing
thus effigy

specialdistribution

the

light ; the

appears

light,the landscape as
attention.

or twilight-

night- piece,which
not

scarcely

Now and

Velazquez
of intrinsic

asks

himself

the

May question,
reconciled above

the
a

concentration

unity

of interest

in the

figure be

with

ground landscape backThis

worth,
his

beauty and

all clearness ?
become

question

presented itself simultaneously with

s

his effort to To

independent ol
of

the

to shading peculiar

first

manner.

the contrasts of

lighteffects
shade

he substituted

those

of

colour ; he
and
to

relieved

the function

lightand
the

by

the

contrast
was

of coolness sacrificed

warmth, thereby safeguarding the

the

unity
earlier
the

which

often In

rich

sunny in

landscapes of
loose connection In

artists.

their works the

Nature
absence

stood

only
middle

with

in figure, especially

of

distance.

fact the

figure
well-

looked

like

an

independent pictureplanted
the of

in

front of another.

Velazquez, on
considered

contrary, brought these

harmonious
and

backgrounds they

into
the

system
so

contrastingrelations
that
were were qualities

to

figure,
for natural

although
character The of he

concealing his skilfully

Their

purpose

often taken

simple prospects.
and scenery the is

distinctive

their

purely

daylight.
of
a

rugged
or

nature, mostly lacking those

tracts.
a

adjuncts
only
ground. backfor
to

livingbeings, structures
consented On
at

cultivated
to

On

one

occasion in

specialrequest
other

introduce

battle-scene
a

the

the

hand
in

he
an

substituted deliberately older

wilderness had

some

ornamental

grounds
of

equestrianpicturewhich
from
was

be

recast.

The

motives

this scenery with

an

were

taken naturally

the

neighbouring
with 17
the

Sierra de

Guadarrama,

elevated

foreground,as

usual

258
Dutch
too

Velazquez.
painters of highland
scenery
;

the

lofty ranges commanding

and
over

would

else

seem

oppressiveand rolling away towering crests

confining.
for
some

Velazquez generally seeks

dale in the terraced the

view

over

hill and
on some

distance. the eye

Riders sweeps mountain

huntsmen
a

stand ravined

eminence, whence
of
a

broad The down

valleyto

distant several

chain.

foreground falls
to
a

somewhat

rapidly through
the middle brushwood.
is

parallel sweeps
is broken

the

lowest

while depression,
overgrown

distance

perhaps by

hill

sparely
blue the

with
contrast

The
or even

conceived finely

between

the

hazy valleyand

the

snow-capped glittering
the chain
the

summits

of the
a

sierra,where enclosing
one

sky-lineof
towards distant
movement

graduallysinks
Thus here and

from
also

culminatingpoint on
we

side and line of

table-land.

have

diagonals,near
axis of the

lines

slopingdownwards equestrian group.

the intersecting

of the
one

No

will fail to detect the resemblance

with

Titian's back

Alpine
;

scenes-

only

this artist's dolomite and

peaks
clouds the cold

are

thrown

farther

their white

blue is

deeper
more some

duller; the

with

their firm outlines is

and

lights
sierras of

substantial,while
warm,

aerial tone The

invariablypermeated by
of the

yellow-redsunset Alps.

tints. than

contours

Spanish

are

also

nobler grander, simpler,

in those

fantastic

ruinlike

forms

the eastern

By
scenery,

this method
secured
a

Velazquez,despitehis
where portraits,
are

much

more

confined others

mountain with broad

greater impressionof roominess

the visual

than

lowlands.

In

Rubens'

point
narrow

lies little above

the horizon, the stretches. At

distances
same are

often the

representedlike

superimposed
their moist with
fracting re-

the

time
more

Flemish

landscapeswith
more

atmosphere
poetic,when
table-lands. But the most

vap)oury, those

saturated and

light,more
blue

compared

with

clear pitilessly

cold

Spanish
hitherto

imp)ortant pointis
and

his luminous

process.

For

the

prevalentafternoon
In his finest
the

he evening lights

substitutes

that of the morning. in

two

the equestrianportraits its stage in cold

blue
a

picture is disposed
red yellow, light

large

masses,

and figure

warm

and other. with

brownish,
In the this older the Paul

the

landscape

in

tone, each
comes

relievingthe
in
contact

saturated, azure,
Flemish banks Bril's In of the

aerial tone

Velazquez

landscape painters. Carducho Manzanares,

compares

who the

composed

his

Didiogos on

surrounding

district with

pictures.
this way,

despitethe

all-diffused uniform

our daylight,

artist

was

26o
share

Velaz"^uez.
to
so

generations, sctms
distant

its life with

to

them

also.

The

view

of

these

prospects,
a

soothing

suits depressed spirits,

it does

these
narrow

gloomy
mental

figuresof
vision In lost age

as decaying race, contrasting

with

their

and

range

of thought

Palomino's

bic^raphy there
It is here

occurs

puzzlingnotice

of

an

apparently
with
name

of equestrian portrait
and date

Philip IV., like others

in full armour,

1625.
it
a

stated that the artist exhibited

on

this ''study,"

paintingon
the
are

sheet he

of papxfr,
to

which, after hearing and

his

considering
white
on

judgments,
found,
not

intended
on

attach
of

signature.

Such

sheets
this

alone

several
been
so

these

equestrianpictures. But
as

occasion

the

horse

had
were

reallycensured
that qualified the it

the ''against found

rules

of

Art,"

only
them

the

judgments
refrained
"

was

impossibleto give
the

consistency. Thereupon
from
a

irritated artist

cancelled
to

censured

part, but
of
"

second

attempt, adding
the

his
two

instead signature,

In pinxit, expinxit.''
the artist's

all this in

biographerfinds
work critics
on

noteworthy points judgment

the

modesty
and

correctinghis taught
most
a

the

of

professionals, nonwere

the

lesson

to

that their

judgments

impracticable, possessing at quidnuncs. political

Here
the remarkable

negative value, like

opinions of
had

point is

the

date, 1625,

when

Velazquez

just
it

completed that large and

that likely he should
have
'*

much-lauded

of Philip. Is equestrian portrait undertaken

a

immediatelyafterwards study
In the from
**

second

Possibly Palomino's
as

was

in

fact that first Charles

equestrianportrait, aside, if
to not

Villaamil mentioned

suggested.
as

inventory of
its frame
was
"

II. (1686) this work

is

removed

consequently set
no

discarded. altogether with

and this firstling,

Velazquez
had

probably himself
those

longer satisfied
in order

undertaken

corrections

stop

the mouth The

of the incident

censurers

by
to
an

practical proof of improved judgment. important general Gallery are

a

leads
in

remark.

Very

few

of

Velazquez'sworks
often

the

Prado
to

free from

important revisions, nearly all

These
to

conspicuous enough
bands
are so

produce
attached
can

while disturbingeffect,
to

have
bands

of

varying

width

both

sides

and

the top. intended of

uniform fire
or

that

they
works with

scarcelyhave
to

been

repair
were

damage by probably
them
A
ornament
more

otherwise.
the

As
were

the

revisions, most

them
to

made into

after

the object being finished,

taste

bring

harmony
and

the

altered

of the

times.
were

painter,whose
residences

works, like those

State

of

Velazquez,
and
a

retained

to

apartments

which very

depicted the
different

living

occupants

of

those

places,was
from
most

naturallyin
who artists,

positionin
confronted

regard

to

such

works

are

never

again

Velazquez
with
true

as

Portrait
of to

Painter.
patrons
or

261
The often
*'

their

compositionsonce
was

disposed
remarked

purchasers. Vinci, must

tells
us

as artist, a

already
his past
but

by

Leonardo

da

feel best We

twinge
know

at
are

performances; and repeatedly touched

of

Eastlake
"

that

the

pictures

blunders

dexterously re-mended
up,

(Materials, i.,90).
"

also
he

that Titian

in fact

re-mended

"

paintingsthat
In be indicated

kept by
case

him.
very

Velazquez* by

the

purpose of and his

the

alterations time
to

may

partly
He
space

the
at

modifications

style from
more

time. the

continually aimed
towards
as

enlarging
in the and the

rendering
the

distinct

the sides and

depth. perspective Bacchus,

head
groups

In the early works, such

are,
so

the Water-Carrier the in frame ; in

some

to

say,

packed border,
the
true

within while middle

the portraits

reaches

nearly to the upper

is steel blue

of
canvas.

his later works In

the

of this class the the

figure falls below

without the

of the

former in the
the

sky

as perspective,

in

the

Vulcan;
Here

latter the

lightsof
more

appear figuresre-

in

the

landscape.
compares
the
most

figures
in

receive

elbow-room,
free circulation

which

Palomino

to

the
was

pauses

music.

This

of the air between

groups

called

respiracion.
which of
the

Amongst
are

the

from strikingretouchings, mention where 1071),

may be made

few
on

of his works the

altogetherexempt,
No. Philip (Prado,
rests
on a

those hard

portrait
the third
in

of

the

head, in
and

styleof
are

decade,

bust, the
manner

armour

scarf

of which

painted
of

the freest and Reference of portraits of time, yet three fourth In the

easiest has

of been

later

times.
to

already
to

made

the

peculiarcondition
the brush.
manner

the

the
seem

Three

Royal Sportsmen, who, although separated in point

have is been
all

painted with

same

In

all

landscape

similarlytreated, apparently in the

the dwarf and
;

of the

decade. the

portraitof
the

El

Primo
papers but been

the in

head

belongs

to
are

very

early
in the

period, and
careful

volume
manner

the

foreground

quite
which

bodegones

the

original background,
a

probably representedan
The

has interior,

replaced by
food
for

hillylandscape.
In

large equestrianworks
III. and of different

afford much
we

thought.
of the
"

those earlier

of

Philip

Margaret
hands,

have

instances
to

much

representations by Velazquez
even more

where,
and

suit

changed taste,
of the horses

has

repainted the horses

once.

surroundings parts

than the

While that
and

of equestrian portrait
but

the

young

and prince is altogether,

of

of Olivares his queen

retouched, those slightly,

been

the

reigning sovereign
is the
case

have

divefselyrecast.

Such

also

with

262
the and the than of portraits the

Velazquez.
daughter of Henry
the
a

IV.

and

her

husband, where
On No. the other

horse hand older

landscapeswere assumption
the other that

apparentlyafterwards
head of the

renewed.

Infanta

(Prado,
from its

1084) is

parts, is

mistaken

inference

erroneous

title.

Female Travellers have often assured

are so us

Portraits. that
many

in

scarcelyany
women

other
to

habited land inmet

as

by Spain.
less

the Caucasic
may

race

beautiful
an

be

in

This

be

so,

although

such

fact ethnological schools of

is

certainly
quently Conse-

evident

in the works

of the

earlynational
reverse

painting.

in this respect

Spanish
women

is the very should

of Italian
be

portraiture.
with that of standard
to

The of the

beauty of Spanish
Roman forms.
to

neither

compared
to

ladies,nor They
lack

yet
the

judged according
size which calls Nature
"

the held

statuesque

Aristotle the has

be

pensable indisfor

beauty, what
of this

Winckelmann

growth given
of
"

suitable them

Instead sculpture.'* whose effect is and What under

more

loftybeauty

charms lie and their of

general,more
Toledo's
term

direct,more

lively; such Tirso,

included

charms
features

in colour

colour
were

contrasts, in the gracefulmovements

body.
grace the
an

"

belles,"exclaims
also

without the charm

"
"

which Calderon

was {donaire)

voice ; and element But

to

expressly declares
alone

that the contrast

of colour is

of the

beautiful. it is and

highly developed epochs

then

given

to

paint

such
eye

elements, and

only

when

the Art

of colour

chiaroscuro, the

and capable of seizingthe imperceptible

movements transitory

of features
how late it

arid
was

have figure,

reached

maturity.
poets
that shall

Those
at
are
*'

who this

bear

in mind of

before

Spanish painting arrived why

hence

degree

refinement, will
this
not

understand

the

national

so

often

on sceptical

point,
to

Calderon, for instance, declares painted ;

ethereal On
"

fire, light, sun,

air, are

be

asks,
?
"

"

Who

depict a

beauty composed
of the

of

such

elements the
an

reiablos

of

the may

and fifteenth,

first years
a

sixteenth,
faces acteristic charmay

century,
still be

attentive eye
the

detect occasionally these works

were

few

female

of

districts where the

produced. They
whom

recognized amongst always

the best the still narrow

peasantry, with
But
the

genuine
to

national release

types
them
taste

are

preserved.

classic period failed

treatment.

from of

fetters of conventional

The

fastidious ideals

Vargas, Cdspedes, Juanes, Becerras, apeing

of
to citizenship
none

Italian
"

allowed

right

but

"

general

forms

everything

F'emale
that

Portraits.
local
was

263
vulgar by
of the Art

savoured the

of

the

national

or

voted

circles,

profane by
Pacheco

world. religious
a sneer

recognizes with
Thus

the

natural of

grace

Andalusian

and peasant girls, dames. sapphire-eyed

emphasizes
the

the

charms

your
were

golden-haired and sought, not

of

pearlsof

beauty

in the

rich field of the national

masters.

elements, but in the works

of female saints

of the

foreignclassical
Seville's
to

The

noble
even a

statues

last by Montaftes, his Art

never

have idealists,

touch of the

antique;

but

descended

individual types. remained The

Till'far into the seventeenth

century national female

ness loveli-

for the most

part untouched

either
to

by painter
to outset

or

sculptor.
canvas

naturalists female
were

first ventured

again
at

transfer

the

ine genutaste.

Spanish
of El Greco's

types, although
entranced
women

the

with

doubtful

Unprofessional
Zurbaran's

with and

the

indescribable, melancholy charm

he

Toledan

children ; but

found

no

imitator.

half fantastically arrayed, with strange Santas, half fashionably, hard lines and
are sharp features,

tiny heads,
amongst
on

taken Cano

bodily from lighted only

models

the black-eyed lower real beauties; but

an

classes.

Alonso

ally occasion-

his

pupil Fray
"

Atanasio
a

("Bocanegra")framed
face,large
eyes,

for himself

ideal

South

Spanish type purity.

to

fine oval

dreamy, and
But
it
was

with

childlike

reserved and His

its

for Murillo fitness for

discover

the

peculiar charm
the

of

the

Spanish
the

race,

the

of highest flights
real

national in the spite de-

Art. religious

pictures are
SS.
us

full of
and

portraits ;
in

his

Madonna and But

Palazzo

Corsini,his
show

Justa
his
a

Rufina with

Stafford least
as seen

House

Seville

Museum,

models

the

disguise.
in

his

as great qualities

portraitpainter,
to

Don

Justino
him
now

Neve's
possess

in portrait

Bowood,

strange

say,

of female denizen
of

portraits by
the Triana

we

only

that frivolous and

seductive

in

Heytesbury
Now,
at
one

House.

might
the

suppose,

the

epoch

of

female

had portraiture in
the

dawned

last.

But

artists still lacked formed

an

freedom
the

representationof
element
in the

beauty. Spanish
with

Jealousy
nature.

ingredientof
a

Oriental

How
to

must reluctantly

contemporary

of Calderon could look

have
upon

permitted a
Oriental
as

being

sit to
!

painter,whom
of rank
on

nobody
in
a

indifferent

eyes

Ladies

lived

half
or

monastic, half
at to
was

seclusion, never
Their

appearing
the

the
was

promenades mainly
;

the

Corsi, usually
circles,

in

Italy.
chairs
in

intercourse

abroad

restricted Mass

visits in

sedan

to especially

wealthy

nunneries

even

attended

the

family oratories.
customs

As, however, European

had

penetratedinto

the

Court

264
female

Velazquez.
portrait painting also precautions. The
weaknesses of the
one was

but tolerated,
to

still surrounded
been

with all

kinds of amiable
to

originals appear
sex

have

littlesubject to the
at

those

which, qualities,

least according
were

the

poets, constituted
and

half of the feminine

charms,

rigorously
the rule.
so

banished,
Hence

the

expressionof
very

dignity,

or

cold

pride,became
of
**

it is not

contain that Spanish galleries surprising while the category

to

few

of passable portraits

women,

beauties"
in

is

scarcely
the

represented
and

at

all. he of

Palomino

alludes

the he

custom

France, Germany,
to

Italy (were England),

**

writing at

present
and

would

have

head

list

with ladies much

exhibitinglarge
or

small

of distinguished portraits that

under

without

prudery
in

adding disguise,"
this time he of
wrote

in

Spain people
the

were

more

punctilious.And
No
was

Bourbon

mjP^
the

(1723).
renaissance Portrait

doubt
most

the

Philip 11.,when
ladies the
were

the

spiritof
the

potent, fine Court

even

painted for
Antonio Moro.

Pardo wise Other-

but Gallery,

these

are

by

Dutch from

portraits of
and in the Museum

"beauties"

were
seen

imported
a

Venice, for

instance;
which that

is still to be

Courtesan

by Tintoretto,of
sent to taste

several

copies have
the the head

been

made.

And

Titian

himself
to

Madrid
as

likeness with At
many

of his fair Lavinia, adapted however of John of the

Spanish

Herodias

Baptist.
as

Court

Philip IV. also, relieved

master
was

it otherwise
to

was

from ladies.

our prejudices,

not

called

upon Ford

paint many
that
"

Is this
was

to be

regretted?
man,

No

doubt the

Richard

declares
as

Velazquez
artist of for
a

emphaticallya vigorous
But
a

and

painterof men,"'
have had how
no

if

an

such

characterization
even

could

vocation often

female

loveliness.

in

aesthetic

questions
the little
own

is the

priori
! It

necessity of
was

fact demonstrated
his

before

fact itself is established

forgotten that
and
her

portraitsof
and his

girls, such daughter,

as

the

Infanta

Margaret

associates

are

able, unapproachand easier

exciting the unqualifiedadmiration

unprofessional alike.
than
And such

of

connoisseurs painters,
to

subjectsare,

say

the

not least,

full-grownwomen.
Still
that
extant

prejudice
works female

is

apparentlyjustifiedby
The Madrid

the Museum

catalogue of
has
are

the
one

master's

of this class.

only
numerous

genuine Spanish

portraitby him, and

are

although there
a

royal princesses, they which originals, moreover

them have

merely replicasof belong

to
a or

very

limited

number Few

of of die

stock. foreign(Teutonic) mental endowments

to

sufficient personal charms

awaken

observer's interest.
*

Penny

Cyclopedia, 1843.

The
In minded the
case

Sibyl.
Isabella of

265
Bourbon,
to most

of

first Philip's

queen,

noblefull very the here

of all contemporary

women,
an

the

artist seemed

have second

lacked and To

for facility

study,as

she of

was

unwillingsubject. The
became

Mariana insignificant

Austria

yearly
appearance

more

repellent.
of
was amiability

fundamental
added devised
a

of suppressingall principle

monstrous

style of
human

dress, which figure.

was no

exceeded Calderon

everything hitherto
remarked
to

in

deforming the
fashion
our

Even

that the

and etiquette

of the times

improvement
no a

beauty.
to

However rather the

to

master's

love of truth elements and artist,

by
with the
to

means

tended

but soften,
in

accentuate, these
than
in

precisionmore
consequence

desirable
is that

chronicler

the

natural evoke

his it

ladies'

gallery is
to

scarcely calculated
Nature after In the Art
a

enthusiasm.

But

was manner

his business
of the
a a

improve
and

fashionable

formula, in the models

and

Mignards

Lelys ?
not
as

presence

of such

of

such such Maria With

must rigid etiquette

all

have
has

felt itself

? helpless

Even

depictor of
one

beauty

Mengs

given
that have

us

in

the
wore

Electress
a

Josepha
better different

of the

ugliestfemale
not

heads

ever

crown.

subjects would

Velazquez
this

shown

himself
be

in

quite
in

light?
the

In

my

opinion
are

question may
and
not

answered
"

the

if affirmative,
we

facts

weighed
few
extant

merely

counted

that

is, if

consider carefully
to

the

of genuine Spanish portraits

women

known

be
are

by

his

hand.
all unfortunately that
no

There

three

only, and

three

of unknown riddles
of

persons. Art
are

They

are

and

remain
as

puzzles,only

the

unsolved

after all clear

noonday, needing
The

solution.

Sibyl.
and Gallery,
x

The

onlySpanish lady in

the Madrid
;

the earliest of the

three,
of

is the so-called

Sibyl (No. 1089 inventoryof

That for probable,
in the Vienna
as

size,0*92

0*39

m.).

It is firstheard
as a

in the St. Ildefonso

1774, where

it is described

woman

in

profile holdinga
not

tablet.

it represents the
a

but artist's wife is possible,

can

yet shown
of the The
women

to be

resemblance

be scarcely

detected

with

any

familypicture.
the

is remarkable portrait
a more profile

only

instance

in which

the The

painterhas
lineaments than

selected of this

of

than pictorial character. plastic

more interesting,

are profile

less beautiful than

case

full of character

pleasing,but
such
eye
as recurs

in any
in

purely Spanish.

The

clear

straight open

brow,

all the

combined portraits, following

with the

largedeepset
of the forehead

calmly gazing

into the

distance, imparts to the features the breath

is enhanced

intelligence.Its

serious cast

by the shadows

over

266
and caused the seer?

Velazquez,
eyes
or

by

the

lightcoming

from

behind.

Is

it the

glance of

the

artist
this

Unfortunatelythe
and

tablet which

should

have

answered

question is a
The grey gown

blank.

yellow mantle
wished of
some

are

of almost

ideal
some

simplicity. Hence poeticcharacter,

Domenithe Cumaean
can

she

would

seem

to

have

herself

in represented

perhaps

after the model

classic work

known

to

her,just as
or

chino,for instance, paintedhis fair Maria

as Sibylla

St Cecilia

Sibyl. Only
recall
a

one

scarcely
the

of representation

Sibyl

in

the

severe

turesque sculpSpanish

styleof this
dame, who
of her
to
seems

in the middle

ing twenties,when, accord-

Lope, southern
to

beauties

began
But

fail.

with all this

simplicity
the

of treatment has which

been
seems

specialattention paid
to to

hair,

betray the
this

artist; only in
what

respect
an

Spanish
The
is

belle is not black

artist ?
mass

rich

frizzly
the

rolled up like
a

above

forehead
and
covers

natural diadem,

part of the cheek.

up

Behind, it is gathered
a
THE

by

kind

of netted which
a

SIBYU

yellow band
green
a

from falls down the back.

a narrow

wide

end

The frill.

neck finely-modelled

is encircled

by

string of
free broad

pearlsand
The touch

pictureis painted on
in smooth, thin colours.

ground, yellowish-grey
The
grey

with
the

tone,

as

well

as

which profile well with

paintersregard as
the from
character of

insufficient for the likeness

reserve

in

portraits, agrees
which figure,

impressed
the observer.

upon

this

noble

is turned

the

and light

from

Lady
This
on

with

Fan,
is followed
on

enigmaticSibyl peering into

contrary gazes
with almost
the

space

by

which figure, The

the

effect disturbing Lucien

the spectator. sale

Lady

with

Fan

was

sold at

Bonaparte

(1861) for "^1^

268 On have
a

Velazquez.
the left arm here the

glyphic.
Thus
we

hangs
three

the dumb

many-coiled rosary
and
"

with

its bluish
every

bow.

instruments, of which
fan

Spanish
to

belle is mask brown

connoisseur, the perfect attack, for

is she is
now

mantilla in her

for action,the rosary The

the

war

paint."

glance
under

of the

eyes

proud, almost
is

which hard, a strategic glance,

outward
not
an

coldness ultimatum. and she Who

conceals

impatienceand
the
moment

passion.
for
a

It conveys
bold

if question, hesitate
an

Here
never

word;

instant

will is

forgive you.
and whence
as parish," comes

she
**

she?

Probably
which and
;

from

Mass
a

in

the
to

Vitoria,the
the Calle Or
she

ladies'
**

Tirso

from calls it,

it is but

step

Mayor, might

where

love

is bartered

by

measure

weight." only the painterhas

Is it one
to

suit the

popular avenue
a

of the Prado

indicated of those
?
"
"

nothing,merely givingher
Circes, for whom
or a

background. greenish-grey
of those
one

the

jeunesse done glance

A
maze or

days

"

went
on

the

dogs

Toledan
^

flirt of the comedies,

a

of those

who

ing receiv-

the
on

holy water
eve

flashed back

that turned of coldness

the heads and

of cavaliers

the

of

their

wedding
there than

of fire,

bigotry

and

worldliness,of prideand
Of
and
our

coquetry,

worse?
seems
more

unknown
less motived

is another this.

which portrait, the middle House

tive representa-

Since

of the last century it has collection 28 (size

x

been

in the

Duke

of Devonshire's

Chiswick

i8i

inches). The
The
cut

chief difference lies in the dress,which

more

is of richer, more

costly
hem

lace of brightercolour, materials, especially yet

quiet and
of rich She

aristocratic.

plainblack
in

mantilla

has been

exchanged
more on

for the

one

whose lace,
wears on a

floral pattern and

a

encroaches

face. black

pearl
skirt underlace

necklace and

lemon-coloured
On
of

silk gown, hand

with

lace volants

sleeves. instead But

the other the

the bosom the

is covered holds

by
a

white

collar,and

elegant fan
lilies."

right hand
been

meaningless
the hands
are

handkerchief.
are

the

large gloves

have

and yet forgotten,

by

no

means

''five-leaved for
a

Although merely sketched, they

much.
an

strong, which

Possiblythis
which very
were

Spanish lady of qualitymeans served richly-arrayed as figure

to account

experiment,the
canvas

results of
seems

turned

for the other

portrait.The

cut

close.

Juana

de
a

Miranda,
very

Lastly,an

authentic has
for

of portrait

elegant lady
the
and

is

figured in
to

the the
the

third picture, which

^

lately passed
at

from
the font
out."

Dudley Gallery
hand the

It

was

the fashion

gallants to stand

holy water

on

tips of their fingersto the seftoras

passing in and

Translator.

Juan A
Berlin the Museum. Of is the two

de

Miranda.
now portraits

269
in

large female
more

this

museum no

last arrival than

certainlythe
Ponz

attractive.

Its

pedigree goes
in
In

farther back
not

the collection of Sebastian A.

Martinez that

Cadiz, although
the year

mentioned it was

by

of in his description Lord Ward of

place.

1867
for

purchased by
out

Dudley
^

from
^

the Salamanca

Gallery

thousand ninety-eighty The stands figure form of two

francs
very

1*37 (size, from plastically

^")lightgrey ground, almost

pose

the

in the

cones, super-imposed

with

the conventional

and thingale far-

of gestures of the portraits

and the
same

the

royal princesses. The

shape

of

the

hair

are

also which
to

in

the

fashion,
the third of
the

lasted from fifth decade

the

seventeenth has the

century.
attitude

She
of

easy

refined culture, althoughthe

proud
grasp

bearing,
of the
and
arm

the

firm

of the red

chair,
seem

the

expression
ter characin the

to

betraymore
seen

than is ladies. of the

royal
the

In the
brown

quickglance
eyes and there is

play of the mouth

at roguish,

exulting, something sprightly,

even

variance

with

the

cold

seriousness
**

of

highborn

dames. of

The the
to
finement, re-

gentlemanliness
say, in the

so painter is reflected,

JUANA

DE

MIRANDA.

picture ;
its freedom

its

from
on

affectation, appear
the

in the
so sitter,

absence that the

we

of

anything
infer the worked."^
! depicted

like

self-consciousness
and

part of
ease

the with
been

perfect mastery
And The

consummate must
a

which well

artist be
so

surelythe lady herself

have

pleasedto

features, expressiveof straightforehead, large orbits deepset eyes,

with
not

resolute

character,are

marked
and

by

high

by bushy eyebrows ; of the same colour ; depressednose, large but intelligent,

very firm

toned

shadows

"pert up-turned tip; finely-shaped, long and

*

mouth

full

AthencBum

i., p. 118.

2/0
round

Velazquez.
chin, cheeks
of the head with
are

the

faintest

tinge of
balanced

red.

The

rather

broad

portions pro-

somewhat and the

high
This

above

the

forehead

locks appear

by over falling
to

the auburn

hair

towerii^
cheeks. with has the the

temples and agreed

more

genuine Spanish
with
our
"

face would

have

local than
us

northern

ideas of of Air,"
a

beauty. Calderon, requires black

and
to

who but

given
hair

his ideal in the black and

Daughter falling by
of

eyes,

between

blonde, and

large mouth.
side
cur\^e

In the left hand, the intention original

a

her
a

holding a
the wrist which

short

fan,we

see

giving

hastilyconcealed

without somewhat The in the

a

further

remodellingof
is

the

member,

consequentlyseems
diamond

formless. ornamentation hair above

the

"rich,

not

gaudy," comprising a
three" horizontal
so

rose

right temple, earrings of

or /echugui/laf

and large pearls, would

pearl necklace.
here
very
wears

The
a

which collar,

have

produced
modest
a

good effect amid

velvet with

many
to

vertical lines,is

replaced
attire. band neckwith

by
She

flat

collar, answering
gown,

the

golUla of

the male and

black floral, interwoven

the under-sleeves

high

of blue

gold

stars, the latter further

trimmed

gold

lace. the dress

Over

hangs
well

long,heavy gold chain, with jet pendent.

are

links of

rosette

pattern, and
of fingers
also in

supportinga sumptuous
as

On

the index

and

little

the left as

the

hand right

three

ringswith largestones,
bluish

rosette-shaped settings.
is

As this with black

usuallythe

case, the

ground
three for the and

is white
;

with

tinge.

Over

is disposed in everything

notes
narrow

the clear and

lifelike flesh tint,

eyes
;

thin transparent brown

shadows,
occur

hair and

the

(and blue)of
Montafkes

the

gown,

the

light grey ground.

also Unknown Man

The both

brown

shadows

especially point to
and

the fourth in that

decade, and

in the

of portrait

of the

in the

Eh-esden

Gallery.
On the
reverse

of the canvas, of

which, however,

has been lined with

be

fresh

the strip, in
an

name

Juana Velazquez' wife,

At

de Miranda, is said to

inscribed

old

styleof writing. The

rich costume. far from
out

only objectionto
our

this identification

is,

perhaps,the enough, and

been

that time

master's

stipendwas
income may could

modest
have

regularly paid; and, although his

still he in these

eked
to

by private commissions,
the On
the

scarcely have

afforded and and

be

array

daughter of Pacheco
the other

costlypearl necklaces
titles of the

gold
his his

chains.
on

hand,

the concurrent

Sibyl
also has

wife

foregroundof the Vienna

unsupported by

which picture,
any

might
Neither

daughter Francisca, are

evidence.

The
much
name

Duchess
this

of

Chevreuse.
with
in the

271
each Court
a

resemblance Miranda

either with

or portrait,

other,while
of

the

itself is of
one can

frequentoccurrence
behold
been

PhilipIV.
the times of tinguished dis"

Assuredly no
that from

these

without portraits
the his

of regret feeling

Velazquez leaving us
from

should
more

have
numerous

prevented by specimens
of

of prejudice

skill in this branch

portraiture.From
the absence
becomes

the other

few
noted

still extant

we

may

infer that beauties

he
one

was

of painters

Court
once

by

quality
fashion

of

that

conventionalism

which,

accepted by "Society,''
as

impressed on

relentless, uniform, unartistic everything,

itself. The
"

Duchess

of
a

Chevreuse. chronicler in

Guests
on

arrive here than

on

wrote daily,"

1638,

"

and

more

is

spent

them

the

armies." Duchess her of

Amongst
Richelieu and the first and Marie
one

these

was

the with

Chevreuse, who
a

filled the times this

of

Mazarin

intrigues.Of
of

of portrait made
and

celebrity

only

have particulars

been quiterecently

public. Chevreuse, was

,

de

Duchess Rohan, successively

women fascinating

Luynes
Her

of the most

of the and

period.

life

was

an

rupted uninterher

series of love adventures from

the
on

cabals.

Richelieu hated and drove

influence
over

Court

because

of her

inconvenient of
some

Queen
that

Anne,

and,
she

hearing of
to

the seizure
to

correspondencewith
was

princess,
whom

fled in alarm
were

Spain.
had

Here

she

well

received

at

Court, where

people

eager

the interrogate
been

of confidante

the
some

with king's sister,

all direct communication Olivares

suspended for
at

twenty years.
a

was especially

impatient to
remark, that
made her

welcome

person

of

kindred he
must

sentiment, and
have
so

after their first interview her She

a

Barajas,near

Madrid,
the

felt
a

at gratified

"the

exceeded reality

fame

of

great

minister."
was

entry into the

in

in capital
"

December

1637,
At

and
the

assigned

residence

the Alba her

Palace.
El

held royal hunting-party, of Queen

are

in

honour,at
of

Pardo, she
On driven

drove this

by

the

side
we

Isabella,with
as

the

Princess

Carignan.
were

occasion

told that that the

many

as

fortywild boars
three hours.
in

into the

enclosure,and
In of

lasted spectacle

January 1638 Velazquez painted her

A

French

costume

and
and

style
grace,

head-dress.^

fair

complexion, blonde
of

hair, animation
to

quick
woman

wit, and
a

knowledge

mankind,

combined of the

make

this eccentric But she would

type of the great Frenchwomen

found herself flattered in the
'

period.
our

have scarcely

portrait by
xiv.

master.

Memorial

histdrico

EspaHol^ vol.

272
It also appears found that

Velazquez.
Velazquez painted an palaceafter
of the

English lady,whose
that

bust

was

in his residence what

was

in the

his death*' DoAa

But which
"

has

become

of portrait in the Louvre

"
"

Juana Eminente,

in the

Spanish collection

(No. 298; 0-79x0-60 m.)?

says the Kunstblatt is

The
"
"

eyes do

of this
not

charmuig Spanish lady

model winsome with

(1839, plays speaks

a

166)

look, they speak ; the

smile." referred
to

of

the head

surprisingly
which

beautiful; a
a

lovelycountenance,
winsome have

mouth,

round

still more Can

Palomino "of
rare

any

of these

when portraits

he

of

lady

whose perfection,"
honour

portrait by Velazquez, was Bocangel composed

an

great

success,

and

in whose

Don

Gabriel

epigram

preserved in

the Museo

334) ? (iii.,
Isabella

of Bourbonroyal ladies
noble and of this

A
more

of good portrait

none

of

the

period would

be

acceptablethan
IV. and

that

of

Philip IV. 's

Her

first consort, the

pure

daughter of
brief
term

Henry
for her

Mary

dei Medici. the

character,her capacity
the of

government,

displayedduring high qualities

iier far above
to Philip,

regency, Isabella

her fate,raised lastly

was

all her whom

queen

contemporaries.
she
was

two

years

older
presence

than of

betrothed

in

161 5.

The

charming

the

young

inspiredromantic
the
ation vener-

enthusiasm, while her publicadministration

of the
and

later in life secured

years

people.
"

In the best

interval and

lay long
the
most

of

obscurity, neglect,
on

coercion.

The

queen in

lamented
at
on

the

Spanish
her

exclaimed throne,"

Bossuet

his funeral

oration

the the

obsequies of king
Olivares husband's her

daughter,Maria deprived her by diverting

wife
over
as

Theresa.

Fearing her political power,

influence
but

had

not

only

of

also

of her
gave

heart,

his

affections to

unworthy objects. He

his humpbacked

chief

and lady-in-waiting,

this viragoexercised

such

vigilance
of

the

movements

and

the very

language of her victim that Isabella became

She
was

the

object of universal
her

sympathy.
a

less free than the humblest

were

her menials, and

manner. was feeling

as feelings

Frenchwoman

in slighted

the rudest this

Yet

she took

the warmest

interest in the fate of the land, and of being certainty Olivares.

seat

but

embittered

by

the

able to

give

the

king

much

better But when

was

advice than the

he received from
went

king

off to

the

of

war

in Catalonia her
esteem

(1642),
homage.

Isabella

appointed gobemadora

and (regent), universal

administration
and

during these difficult times earned

1

for her

Inventory0/1(361;Documentos

iniditos^ 424.

Isabella
When the
"

of

Bourbon.
she

z^i
visited the quarters, headwith
a

Prince's

Regiment
the
men

"

was

raised in Madrid

addre3sed

and A
to

inspired the wealthy

Olivares

apatheticofficers having
received her her

spark
war

of

her

own

enthusiasm.
from
ten

tradesman ducats

increased

his

contribution

fiftythousand

public
against
this
up you

thanks, whereupon

the

Countess

openly

admonished
a

making
Isabella this
and

use

of

such
answer

condescending language
*'

towards my

subject. To
ancestors,
built

made

The
;

kings through
to

and the

queens, lack

monarchy by courtesy
your

of courtesy shown Three the

to

by

husband

it is

going

destruction."

days after Olivares*

Discalceate God
And

fall the
and

king

visited her
to

his

sister

Margarita, in
"

Nunnery
He
she

requested
him
an

recommend

his favourite

that when

might
asked

grant
who is
now

for enlightenedspirit

government."

might
the But

that be he

replied, My brought

"

favourite

queen."
efforts she
but the
on an

these which

mation, inflamfatal.
to

felt would
not to

prove

"

I shall come,

see," she said

had had her
a

the

Prior

of

Escorial, who
which
sent

invited

her to been

the grounds inspect, The

lately
set

enlarged.
from valued
"

king

of

diamonds that his

sent

Saragossa
her

with the

assurance

he

health and him

"

her life above

kingdom."
word in

''Let

not

come," she
Catalonian she
_j rr

reply,
of
r

lest the
"

expeditionbe endangered ;
,, "

and
I
"

added
^'

: ISABELLA
OF

XT

Now

^t_

BOURBON.

am

sure

the

kmg^s
wear

affection ;
"

but this ornament And

wrote

I shall came,

never on

he will

see

me

again only in
envoy

death."

when
"

the end She

October

6, 1644, the

Venetian

Sagredo ness good-

united with

the

higheststatesmanshipan through
of
a

indescribable
and

she

displayed her
the
in all who

virtues

friendliness

benevolence awakened

which
a

exceeded

traditional customs

Spanish

and princes,

heartfelt love

approached
likeness
a

her." the equestrian in Isabella, portrait that of the that

work
et

Spain possesses
the
to

only one
formed it was Here

of

Prado, which
Buen Retiro.

had

pendant to
seen

king

at

the

entrance

in

1679 by
of any
au cou

Frenchwoman, by Velazquez :
un

whose
"

the is apparently description

est
un

earliest extant
une

Elle
a

cheval,v^tue
blanche from

de

blanc,avec

fraise

gardinfant.
et
une

Elle

avec petit chapeau garni de pierreries,

des

plumes

aigrette. Elle
et

etait grasse,

et

: les yeux tr^s-agr^able

beaux, Tair doux

spirituel."
old, while
18

Judging

the

features

she

was

about

twenty-five years

74
and

Velazquez.
surroundingswere
But
besides
our

horse

evidentlyrepaintedmuch
master's of
a

later

by Velazquez
in the

himself.
are

style at

too

wide-apartperiods,there Everything
executed

also

obvious

indications
even

foreign hand. shinbones,

head

figure

except
more

the countenance, than half down of the On

the the

the hands, the dress, the

are

trappingsreaching
in the
to

horse's Court

studiously
of the
a

dry

manner

early
other
as

painterswithout
the

r^ard

or perspective

free air.
grey clear

hand

and

other

exposed parts repainted in

is

palfrey as
tone

well

the whole before

landscape were
1640.
to
a

very

not certainly

the year

The
towards
to

superb animal, compared by

the

Palomino

swan,
no

ambling

left.

The

rider, who
of her

turns

round, shows
The face

resemblance

the

well-known

features

father. the clear the

is

painted mih
the broad wide

extreme

delicacyand
ruff. somewhat
brown

luminosityin
are

reflected
brown

lightof

tulle

Speciallybeautiful
a

large

eyes

standing
The
sleeves
a

apart under

elevated
with
a

forehead, which
white

is brushed

free of the
are

finelyfrizzled
shown of
a

hair silk

plume
with

behind.

white

jacket embroidered being

on

silver stars, the

similarly
and

ornamented

high neck-band

attached
which

to

heavy, nut-brown,
are

gold-embroideredriding cloak,
which The
"

her

initials

repeated
the

fall down

to

the also

border chosen

of
a

the

housing.
ground
scrub
tone

painterhas
waste
or mass

white with

for

landscape
without
a

hilly
flat
a

sparsely strewn
of the

and

underwood,
On

single tree
is
a

foliageto
left
a

indicate

the

foreground.
up
a

the

right

on hill,

sloping ravine

opening
a

vista of wata*

and which

little church the

with
are

four-pointed tower,
outside portraits after

fort with

look-out, beyond

hazy
the

hills

from scarcelydistinguishable

the clouds.
are

The

majorityof
eye

Isabella's of
the

Spain
to

ing by pupilswork-

under somewhat

master

his

sketches, or
have

else with

his

careless

co-operation. Many
her lifetime. Of the reduced
year

appear all the

our

been claim

presented to
to

foreign Courts
is
came

during

best

originality
have

possessed by
to sent

replica of
the year

which equestrian portrait

lightabout
to

the

1874 in the Uffizi.

Possibly it
the

may

been

Florence
now

towards

1638

with

equestrianportrait
have also been
sent

of

Philip IV.
The

in the Pitti Palace. Court

same

large figurein Hampton king

and
in the

appears

to

with
'

that of the
"I shall
on

year.*

Here

Isabella stands

before

Hopeton during

the

the king and picturesfor the queene," writes Sir A. queenes October July 26, 1638 (Sainsbury's Rubens, p., 353). On 29, 165 1 of with the Commonwealth, was sold, "the now Queen Spain at length," Mrs.

have

king's portrait,for ^40.

Jameson

calls

it "a

very

face, intelligent

with

an

276
Since
the year

V'klazquez.
1638 Madrid

possessed one
wonderful standard and
the
was

of the

prototypes
Titian's

in

this

department,the Worship fancy.

the the This of

of Venus, that become

like
nature

of idyll of
the

youthful

paintinghad
which
men

the

Roman

artists, by
to
recover

study
way
to

Poussin amid

Fiammingo by
few

sought
in the

pure

childlike that
needed

of the times. vagaries rivalled of

It is remarkable

Velazquez
for the

soft,easy,
that
some

transparent
of his

touch

treatment

childhood, and
But
master

freshest

laurels

were was

gained
at

in the
same

nursery.

this

artist

of and

powerful
He

characterization

the

time

of

aerial

lighteffects. probably earned

the
warmest

applause of
Balthasar The
and

his patrons of and the

by

his representations Prince sister.

little

his later bom fond

rapture of their
of

parents

the

Court,

attested
in

by
this

countless
case

repetitions,is

shared

by posterity.
and copyists,

Their
dents stu-

are portraits

still besieged by the

and

general
more

appreciation knows
to flattering

nothing
of any

say

charming
she
bles resem-

little blonde
one

than

that

of

Velazquez'princesses.
were

But Teutonic asked

one

these

children
it may
us

of
be

stock,
he

and

why

has
blood.

given
"

only
Little

of

Spanish
"are

The

Spanish
VELA/A"UfcZ' DAUGHIER

Maidens/'

says

Madame than
to

d'Aulnoy,
and
so

whiter

baster, alasure

lovely that they

are

taken the sun, the

for

angels,though yellow by
Museum would doubt

be

they change strangely, parched by

The id88
be
same

turned Madrid

the air."

two

half-lengthportraitsin
058
x

(Nos.
in
one

1087,
case

size

0*46 m.)

are

so

like, that
almost
two

they

any and

taken

for

sisters,were
But
as

they
and
assure

not

beyond
be

the

subject.
in age

the

painter had
1

only twentydaughters differing

somewhat
were

months hunters

(born 1619

621), it would
us

surprisingif

the and the

for titles failed to

The year

that will

these

in fact Francisca

Ignacia. style.
Of
the

1626, however,

suit neither

the

costume

nor

two

the

better

drawn

and

more

deftly painted, and

conse-

Celebrities

and

Obscurities.
a

277
roses.

quently the later,

attitudes seated
on

is

No.

1087, holding
'

lapful of park
views

In

similar
or

ladies and the

grass.

children
Is

are

seen

in

strollingabout

this
us

some

aristocratic little lassie, whose

no

almost floral
to

sad, pleading

look

tells
a as

she

has

intention

of

giving up
roses

her

plunder?
"

or

is it

who flower-girl,

timidly offiers her budding

shoulders

for sale face

lady ?
rather

Anyhow,
she
short

she

stands

th^re,looking you
a

full in the The

with

large eyes,
and

is herself the

pictureof
the

rose. are

round

head
two

neck

resting on
is

high

enframed

by

heavy
The
the

brown
tone

from plaits falling of the carnations

temples

downwards.
and The

warmer distinctly

deeper

than

in

all

paintings of royal
slashed
in the second

children
grey

and

ladies.

nutbrown

frock with ties and bows

puffedsleeves
of ribbons The

with

is relieved

by
be

ornamental

hair,on
the

shoulder, neck, and

wrists. taken for

a

picture (No. 1088) might

child's restlessness
.

first attempt, correct in-

where, through
The But
hands

or

the

painter's hurry, some

eyes and is white be and

drawings
are

have

t)een

made

in bow

the
on

positionof
the breast
no means

mouth.
red.

held this

apart, and
be

the

however from

the first
and

painting can
was

by
Its of

taken

for

study

which

the

finished.
the
traces

genuinely
lead
some

childlike expression
to

touched lightly that the first also the other.

was

off

growth

the

inference after

taken

from

the

life, perhaps

little time

Celebrities

and

Obscurities.

Quevedo.
Above oblivion
towers
or so

many

contemporary
to

writers, whether
man,

already consigned
de

to

still known and

fame,

one

Francisco
at

Quevedo
still a

Villegas,
than

head
modern

shoulders.

His
no

words

least have

livingforce
a

for the

Spaniard,who
of

longer entertains anything more

even

distant sentiment
as

veneration patriotic

for such

name,

for instance,

that of Calderon.
It

might
and

seem

as

if

beyond

the

Pyrenees

there

was

general dearth spring

protest against
in

in

the seventeenth

century of that hardening of the

and discoverers. of
But

brain, whence
as a

statesmen

thinkers captains, stands the

name

this

assumption contagion of

Quevedo

(born 1580
even

Burgos),
escape In

probably the greatest intellect of the

the the heart
at

period, although
of morals
national

he did not

general decadence
the

and

good
was

taste.

his

sympathizingwith fully
amid
the

old

ideas,he

still thoroughly

home

surrounding actualities of every

order.

With

one

hand

278
he

Velazquez.
great truths, some
a
now

scattered
he

uttered himself

for the

first time;
the

with

the

other

painted,with

brush
as

Zola

might

envy,

foulest

dr^
of

of his

Spanish Society,as
own

well

the turbid

secthingsand
born
as

riotous

storms

heart undisciplined

He of

depicted himself
to

as man

"

man
as

of honour

unto

evil ;

person

birth,

become

of

great
;

powers of

weaknesses,
results ; the of

of

good

understanding and
to

feeble memory
to

poor

sight and
up
to

consigned
and
ha\'e In

the
and

devil, pledged
conscience
;

the

world, delivered
and

flesh; largeof lofty brow

we cojuelo)

eye

black-haired

black-fated ;
him
as

thoughts."
the the elements

As of

he

also

limped (they called

as

el diablo
could
as

the

satirist

complete
of

well well
as

be

wished.

crushing bitterness pitilessly

resembles

his scorn, he

in his his

powerful
Dean

intellect he

Jonathan Swift, as
case

also does without

in

shipwrecked
The
a

life, only that in his

of St. Patrick's harmless of

misfortune the

came

from

alone.
to

missed

goal

of

his

ambition

thanks
to

tolerably feelings frightful

which

on allegory

Church

which parties,
gran

happened
tacano
was

offend

the

Queen

Anne.

Qucvedo, whose
awakened seriously

spiced
the in the

with

never blasphemies,

the
the

suspicionof
company such
a

Inquisition.
on

His in his
truer

although absent portrait, day

he
threw and such
tone
a

from

Prado,

sharp, often
that of careful
any

still exists, lurid, light,

in colour Aureliano
are

than Orbe's

other

contemporary
numerous a

poet

In

Don

Guerra

biography the
back
to

engraved
and feeble the Pamaso
Alonso

likenesses medallion

and critically discussed, de Noort On

on

all traced

small

by Juan
poet
a

the

of copperplatetitle-f)age but in
not

Espaflolissued Cano,*
thinks
the

in 1648.
is

this

sheet,drawn

designed by
of the

being

crowned
a cave

by Apollo points to
the time this

presence

Nine Guerra

Muses, and

satyr lying in
authentic

the

which medallion,

the most should

but
more

of Quevedo. portrait before of Carmona poor is have

Why nothing
drawn
It is
two

all engravers
or

given
inch

us

less free

copies of they
never

medallion, which

was

years

after Quevedo's understand how

death, and

which have

only

36

high ?
of

difficult to

could left

remained

ignorant

which Velazquez' original portrait, which is the

was

Spain

till the present century, This

described of
the

by

travellers and

often

even

copied.
no

originalitself
its present

source

small

medallion,and

it is

secret

that

is Apsley House. resting-place Lately a still older and finer engraving, quitedifferent from the medallion, was supposed to have been discovered in
one

also

by Juan

de

Noort

standing
AL" CA ^^^

before

that

of

the

poet, Epicteto

'

D.

J. A.

Inv.

luan

de Noort

Sou.

Celebrities
y

and

Obscurities.
this
is

279
the sheet in the

Phocilides

Carderera
which the

(Madrid: 1635). collection (now in the

reappeared in
the is

But

merely

also

Library)mentioned Antwerp edition (engravedby

Palomino

National

by Guerra,
Clou

wet),and
last

of which authenticity The

questionable. by
(Museo iii., 333) was
it
was

Velazquez
A

described

in the
seen

century in Don
Twiss.^ similar the

Francisco
copy

Bruna's

where collection, Seville, in the

by
a

rough

hangs
in

National

Library,

Madrid^and

replica,formerly Gallery,
from Camaron.
in
was

Yriarte

acquired by Jos^ Madrazo,

and is known
a

graph lithoThe
the

by
small La Caze

head spectacled

Gallery (No. 28)

to

ascribed excellent

MurtUo,

is
not

an

but portrait,

of

Quevedo.
To
an

the

poet, who
of

was

admirer

Velazquez,is
mony testilence excel-

due

the earliest known

to
our a

master's

by
It
occurs

distinguished pen.
in the Silva

{Paris

naso)f where
mentioned the great
all the

Velazquez

immediately after
and Italians, where
are

distinctive
upon, have

notes

touched writers his

which discovered Such

later in
are :

paintings.
not

quevedo.

Truth,

merely

resemblance

and perspective
to

fulness, softness
the

of

carnations, animation, accuracy

of

compared

that of

mirror, mastery
last confinement

technique,unblended
Our
cannot original

touch.

have

been of

painted after Quevedo's

St. Marcos,
near

in

the

underground dungeon
a

Leon
time

whence (1639-43),
of It his is
a

he

emerged
when

broken
he
was

man.

It

dates
to

from

the

prosperity, powerful,
A fine

perhaps
*
"

secretary

the

king in 1632.
the
same

An

of Quevedo, portrait original of this

with

by spectacles,
in the

Velazquez.

by Carmona, engraving,
"

is inserted picture

4th

vol. of the

Spanish Parnassus^

Travels

in

Spain^

p.

308.

28o
massive
on

VeLAZ(,)UEZ.
head covered
brown with

abundant

hair,turned
becomes

little sideways,painted
above lighter the

quitea
to

dark

ground, which
colour
is and his

somewhat
a

right shoulder.
similar

The

uniform,of perfectly Menippus.

poetry
a

cool, coppery

tone,

that of the
has

iCsop
us as our

Quevedo
his outward
agrees broadest

left

in

detailed

humoristic
man, is

of description

appearance

the

mirror

of his inner
brow

and

this
the

description
strongest,
bosses

altogetherwith lightbeing
broad

portrait. The
on

high,
part
he
was

concentrated

the upper of its

the
two

middle
and

broad

also ascend of
his

obliquelyfrom
open

the

root

nose,

rather
"

proud

forehead

with

horizontal

scars

iesiimonio de

valienie. The whose

observer years H** eyes frame lie here

behind
a

the

large round
on

glassesof
For

horn

spectacles

projects
been

shadow

the

face.

this

sharpsighted
his university

had

afllictt^ with
he vision he took

intense the

since shortsightedness

in Alcaic, where had

theological degree reading

a

in his fifteenth year.

at
a

injured

his

by

incessant
about in

in

bed,

his

meals,on
ver}'

his journeys, when

small

carried

leather

pouch

hundred

volumes,
eyes

some were

in Oriental round large,

as a

type.
and open,

**The
were as N\e

clear
and

as

crystal," says
Behind

Lerma; and
the

by

himself described
see,

at

once

**dim

bright."
from

glasses,
cratic aristoof

here

they

have

fixed,cold, steady,penetratingstare, and the

stare

painterhas
rank. It is

this apparentlydistinguished
which he elsewhere

the somewhat for

side-glance
the the

usually reserves
nor

persons

look
man

neither of
the words touch

of
world and

poet

but philosopher,
outward

rather

of the
to

of politician,
motives and

piercingthrough
just
in

show
to

the

concealed

behind
a

actions,a look calculated

as

embarrass,
itself
are

accompanied by
and

of contempt,

the

mouth

expressed scorn Owing

a

defiance.
the

to the light reflected from

glasses he
his

seems

to

emerge

from whole

deeper
the

and

darker pose of
as

background. Despite
the well
of

observant

gaze,

his

features
of the

and

head
as

betray a
a

certain

combativeness,something
For he lacked when the

swordsman

of

person

quick at repartee.
courage.

neither qualities served still of

a an

physical nor

moral

Although
of

occasion he
was

master

of irresistible

and flattery

diplomatic reserve,

and

vast

outspoken temperament, possessing, through experience knowledge, a right of uttering the truth such as mere of freedom
of

speech
a man

and

the press hold least

wavy

is

apparentlyincapableof imparting.
at

That

such
that

could
was

his ground

Court in the

till his

sixtieth year

shows

there

at

nothing petty

despotism of
brownish

PhilipIV. eyebrows,
falls full

The

black

hair, contrastingwith

The
and the
on

Sculptor
sides of the

Martinez

Montanes.
ears, but

281

loose

on

both

face, covering the

a

rolling up
The head

above
rests

and forehead,
stout

already revealing
and
a

few

silver threads. The

true

shoulders
to

very
the

high
behind
comes

chest.

inflated nostrils which character,

enable
it must

the be

observer confessed This

terra-cotta

read between

lines the man's

these
more

is somewhat

masked

features. apparently expressionless

to

character restless, fiery

bust

the surface

in the remarkable

in the

National

Library, the authorshipof

In

which
to

has

long
Cano
is

been

an

unsolved
not
a an

puzzle. Although generally referred

of this artist's plastic manner.
was

Alonso

it shows
the work

trace

my

opinion it

of

and Italian,

probablybrought
of the
contrasts

back

by Quevedo
Bernini's
if not in

himself

from while

Naples.
its free
manner

It has

something

of spirit with

Lorenzo the

heads,
monious cere-

Italian treatment of
to

reserved

Spanish portraiture.It disadvantage by

the

is the
a

only

instance

which

Velazquez
the
same

shows

side of

contemporary

treating

subject.
bust
on

The
the
scars

has the

neither

name

nor

but signature,

is

easilyidentified by although
that
no

forehead.

The
"

likeness less of
a

also
and

is obvious, defiant

the

expression is
whose

somewhat

different

firm
man, for

than

of

Velazquez' portrait. It
purpose,
'*

is the head

whose the

life had
whose

settled
were

writings were
"

pamphlets
who
in
or

hour,
in

poems
out

occasional

pieces;
on

a some name man

man,

exile and

prison spun
of

longin

winded fact
as

treatises well
as

biblical resembled whose

storm

classical text, whose Dreams,

a

chief work fancies

in
a

wreath

strung
who

looselytogether;
like the helmsman the clouds, and

eye

peered

out

into the
of

but infinite, his

star

in the

catches

glimpses only
on

between

who

at

last makes

shipwreck

the

rocks.

The

SculptorMartinez

Montafles.

In the year
the
to
no

1636,

when

PhilipIV.'s equestrianstatue
Martinez head of the
in

was

in progress,
summoned

alreadyaged
Madrid mention
to

Sevillan
a

Juan sculptor,
model plastic
such
a

Montanes, was
for Florence. voluminous

prepare

Although

is

made
and
a

of

model
on

the

correspondence
although there
fact is

between
is
no

Madrid record
of

Florence
bust

that

great
than

work, and
life in

of the

Philip larger
of Trade of that
for

Italy,the 1648,

placed beyond
by
Cean
In
*^

doubt
to

by

petitionof September
both the

19,

addressed

Montanes Bermudez
the

the
in

Board

Indies

discovered

by

the archives
of

Court.

terms
an

this

document

the

sculptor was
which

invited
was

by Philip
be
sent to

to

prepare

effigyof

His

Royal Person,

to

282
the Grand In Duke
of

Velaz(^uez.
Florence of months who this
at

had had

requested
abandoned

it for house

the and

equestrian
business

statue.

consequence
seven

he

and
so

spent
much

over

Court, and

also executed the

his commission forthwith

to

His

Majesty's
treasury

satisfaction

that

effigy was
been
the
at

despatched to
The

Florence." whose
must

king,

just then
an

have
on

the

lowest

ebb, had
of

in lieu of fee for

a was

given
to

him

"order" be

Sevillan himself

Tribunal from But

the
as

Commerce

merchantman
trade

to

chosen
on

by
been

Indian
no

which fleet,

with

America had

his account

such

ships had
and
now

long
in

been

available,he
age,

kept waiting twelve

a

long
in

years,

his old
was

encumbered
in petitioning
at

by

large family and

He died
in
crowns.

needy circumstances, he
ten

still

vain.

soon

after,and

years

later
a

(1658)
for
a

his widow

last succeeded
a

ating negotihad

the order

with

trader

silver

ingotworth
due

thousand

The known
was
no

summons

to

Madrid

was

probably hearing
do

to

Velazquez,
of

who

the

artist in

Seville,and

from him

Pacheco

his

poverty
the that

doubt
the year

glad

of the

opportunityto
the

this service. the

In Madrid of

1877 I

had

already conjecturedthat
name

portraitin
old for
"

Museum

bearing
Doubts

of

Alonso

Cano

might reallybe
banknotes

Montartes. had

had

already been
with Cano
the

expressed regarding the

head
on

title,
one

which

been

engraved
The

the

thousand

pesetas.

aged

had

quite a
high

different appearance
bosses
as

long,
eyes,

haggard face, retreating forehead languid yet

reliable

with

above

the
the

still passionatelook, delicate in the Cano's

is the

mouth,
'

figured in

only
well

crayon

National

Library, Madrid.

These

traits agree

enough
whereas

with
ours

well-known
head

vehement, quarrelsome character, restless,

a

evidentlyof
an

very

grave have from

person. been

Moreover

this portrait of Cano

old

man

could
returned

painted
to

at

the

earliest in 1656, when

in order
to

had

again
not

Granada the

Madrid,

solicit the But the

king's favour
does

in his harmonize

with litigation with the

Cathedral
than

Chapter.
life which outlines
the of

this date

bust

larger although

sculptor is
bust
are

in

the

act

of

modelling.
with
a

And few

the

this

merely suggested Philip IV.'s

be in head

rough touches,
as worn

characteristic thirtieth
turn

lines of
cannot

with Nor

the hair should

we

about the

his

year

mistaken. fact this

overlook

animated

of the

face,which
other

Tacca's distinguishes

equestrian

figurefrom
*

nearly all

of effigies

king.
from the

The

Annals engraving in Stirling-Maxwell's

an

(ii. 780)
the

Spanish

collection

in is

the

^Louvre represents

old

clerg"'man, while

head

in the

Hermitage

(353)

different. altogether

284
Although
it chronicles brain The
will
so

Velazquez.
simply
life.
as

treated The
were

few

hands

are

more

expressive than
its forms from

this;

quivers

with them
be

searching eye
;
we

ieams this

Nature,
the

it

feel that

of modelling activity of this

presentlyset
on

free

by

the

impulse

modelling

hand.

left The

rests

the

crown

of the
a

bust

head

belongs
of my

to

met type frequently

with

in Castile ;
saw

on

one

of
the

the

first

days

arrival Here
we

in

Madrid
a

myself
small

its double

in

Variedades

Theatre.

have

arched broad,finely eyes

nose

forehead; thick,
somewhat

bushy,

close-set

eyebrows, overshadowing
;

standing
broad and

apart ; prominent cheekbones

bridge
the

of

the

slightly white)
we

depressed. already very

the
labour

The

grey

hair

(mustachio
fruits of in
years

and

imperial almost
In these
are

is

over thin, especially

brow.

features
so

read

of

long life,the
numerous

which

still
the

completely people
of

preserved in those
which South
The

works

Seville have
saints.

and

provinces,works
for the

for

nearly
the

three

hundred

realized

Spain
man

ideal

of their national
you with
a

impresses
head
we see an

sense

of the
an

confidence,

and

even

of

dignity.
his
statues

The
;

agrees that

altogetherwith
he
was

impression derived observing

nor a

from
very

neither with

fanciful artist,but for

a tradition, man

idealist endowed

noble

taste, full of respect

sentiment.
a

of
a

steady
loose

industryand
coat

genuine Spanish
leather unless of Titian
were

The silk very

artist

wears

black

with
dress

girdle and
sitter
other
were

black
some

cloak, scarcely a

suitable

working
the

the
and

distinguished person.
statuette

Since the

time

Venetians,

in this sculptors,

from differing and

painters,
in the

fond

of

being depictedat
also with

work, holding a
had the
was a

surrounded

objects. Spain by plastic portraitof Pomj)eo

chisel
seat

good exemplar
bust of

of

this sort
and

Leoni This

marble
in In

PhilipIf.
is

the

by
at

El Keir the
once.

Greco.
in

work

Sir W.
most
cases

Stirling-Maxwell's country
one

1879.
;

puzzled

to
we

know
see

what it at

sculptor is doing
Here the in his

but is

in

the

portraitof Velazquez
his
most

artist

represented in

characteristic

occupation, absorbed
the
pose

model.
that

Apart
other

from

the

attitude of the arms,

the

differs little from

of

where portraits,

subject is unoccupied.

Cardinal
In

Borja^

or

Borgia,
to

1636

Spanish
in

cardinal Like

returned all his

Madrid

after

twenty-tveo
had very

years'
'

residence

Rome.

fellow-countrymenhe
more

Borja

is the

original Simnish form

of

the

familiar

Italian

Borgia. ^Trans.
"

Cardinal

Borgia.
his
was

289
The

reluctantly quittedthe Holy City however,

which he

and

prospects there.
doubtless

reception,
to sweeten

received shall
y
we

at

Court
his

calculated

the bitterness

of

"

say

exile ?

Caspar Borgia
born
at to

Velasco, son
Leon
in

of Don

Francisco
and
at

Duke

of

Gandia,
of
the

was

Villalpando in
the

1582,
VIII. eldest
popes

the
1.

request
The Dukes

king
the

raised
were

cardinalate from
to

by

Urban

in
son

161

of Gandia and

descended

Don the

Juan,

of

Rodrigo Borgia,
be sure,
one

family had
was

given
the
such

Church
one

two

to (though,

of them

Alexander This
was

VI.)
a

and

the third saint,

generalof the

Jesuits.
the

St.

Francis

Borgia, whose
theme with

departure from
in

world the Casa

bier

has

been

favourite his

Spanish painters. 1625

us

After the the

when canonization,

body
in

was

solemnly consigned
Khevenhiller

to

Professa (Mother House)

and banners
were

Madrid,

tells

that

borne of the

by
which

forty-sixmembers
that the

of in the

fourteen

princely
a

houses, branches
tournament
was
or

Borgia stock, and nearly all

with

evening
were

mask

held, in

company

either blood of
the

relations

connected

by marriage
now

the descendants had borne

ox,

saint's

family.
on

The
was

and ex-Minister,
embroidered

Cardinal,Lerma

the standard and

over

which
name

the
the

Borgia escutcheon,
Ut poriet nomen Church
to two

the

it

the that

of had

Jesus, with already

here the

legend:
His

meum

("To
of

show this

God

entrusted recall the

ox

members

House").

All will

prophecy plus
from

of

St, Vincent

Ferreri, Ter
some
was

mugiet bos (" Thrice

looked for third

shall bellow

"), which
a

according to
while saint),
House
as
"

fulfilled by this canonization

a successor

(two

popes

others

still

of St. Peter

the

of

Borgia.
"

Cardinal

Caspar,
would

at

that time
to

residingin Rome
have

protector

of the

Spanish crown,
was

appear

adopted
''

the

latter

He interpretation. the and people, from

highlyesteemed
vaunted

for his sound

judgment, revered by
as

his

princelymunificence
his

known

Father

of the

Poor."
and

But, although
others talent,"
at

Giustiniani

"exquisite discernment, tact,

and Cardinal
a

thought less
he

of his endowments,
upon

Zapata
to

sneered tiara.

the restraint trait most

vainlyimposed
his
at

himself

with
was

view

the

The

conspicuous in
and times
even

publiccareer

energy

of

will,stooping to rudeness, personal

be the courage in

to

combined pettiness, State.

at
a

with undoubted seemed

the
to

defendingthe
stillleft to
the

interests of the

These

only qualities
fallen into

Spanish statesmen
the

time when

wisdom, the military genius,

and enterprise

organizing facultyof

former

days

had

abeyance.
*

The
"

other

was

the

feeble

Calixtus

III.

(Alphonso Borgia)

who

reigned from

1455

to

1458.

Translator.

286
In the
when

\*1.L.\/"JLKZ.
of history
this
name periodBorgia's

is first heard of

in the year

1620.
the

he

was

entrusted
of the

with

the delicate

mission the

removing

Osuna

from

government
that
been As for the recalled

Naples.
cardinal

The
had

of difficulty

undertakinglay
full powers,
nor

stance in the circum-

neither

received

had

the duke

by the Crown.
the
**

of viceroy

Two

Sicilies

"

Osuna

had

inspiredthe highestrespect by oppressive imposts,

so

Spanish

fleet
he

throughout the
had
his earned

the memories Mediterranean, reviving hatred

of

Lepanto.
his

But

universal

alienated the nobles

by

and high-handedbearing,
the Court
was no

compromised
to

himself
any

by

scandalous

life that

longer able
Venice

lend

him

countenance

in the face of

the open the

plaints com-

of hostility

and

dailyarrivingfrom
Hence
the

Naples.
removing

necessityof

him, but,as
as

Borgia understood,with
as

much

consideration

possible

for his

personalfeelings.
of his great
was vinced con-

In the consciousness
name

and

services

Osuna

that could hold

by
his

determined

action he

ground againstthe
the Madrid the
an

irresolution of He
was

Cabinet.

credited with

foolhardy dent indepenhad

projectof setting up
in principality

how Naples. Any-

by
so

underhand
on

dealingshe
of

acted

the

Neapolitanpopulace
1620

that in
CARDINAL BORGIA.

the

spring
*

they

rushed

throughthe Toledo

fare thoroughno

shouting,'We'll have
but

regent

Osuna
armed

!"

The

nobles, fearingplunder
letter Borgia's Don he

and

arson,

fortified their his

palaces
he
can

and
up,

their retainers.
"

announcing
in

approach
what I

tore

exclaiming,
"

am

Pedro

Giron, and
to

will let all know

a

do

in

Spain ; adding that

But

hoped

pack Borgia off

had

ship to

his diocese

of

Seville.

Borgia, remembering how

to

Mendoza

of disposed

Cardinal

Granvella,

resolved
of his own

outwit

and crushinghim by him, surprising

of the supreme power.

the
to

accomplished fact
an

assumption
Governor thence
to

Coming
he

understanding ready an
hour

with

the

of

Castel

Nuovo,

in

Procida,

repaired secretlyto

and Nisida,

the Castello ; and

when

everythingwas

Cardinal
before sunrise the
new

Borgia.
the

287
bells announced hastened
was

guns

of the

forts and

church

the
to
a

arrival of the the Castello

viceroy,
hear
that

Osuna
was

from starting

his slumbers

to

Borgia
in
a

already in possession. That

forsaken

sudden When crisis he

fall to

find himself

moment

by

all.

Borgia reportedto
ventured
to

Madrid

the bloodless
severe

solution of this

dangerous
on

read

III. a Philip him

lesson,layingthe blame

his

shoulders,and

admonishing
and
as

in future to look better to the

stration, publicadminiarise. This

else similar
as presumption,

worse

complications
Duke of Uceda

were

sure

to

well

his

ignominioustreatment
six months.

of the otherwise forthwith

to
remove

renowned

viceroy Osuna,
His

induced

the

Borgia
the famous Urban
and
to

his government himself,

name

lasting only

became

stillmore

widely known
the

in connection

with

protest

(1632) against the Anti-Spanish and

protest in
II.

anti-imperial policyof
this

VIII., a
Ferdinand

which

conflict between

patriotic pope
Urban refused
the

found

its dramatic
to

turning-point. When
the Catholic powers the
but Imperialists
to

grant the subsidies,or

for
as religion, was was

exhort

joinin
him

struggle

pretended by
up
at
a

by

denied ; that

protest
which
to

drawn

gatheringof
was

the cardinals of the

Spanish party, at
which had

the read

imperialambassador
in the

also

present.

The
of

document the

be

Consisiorio

by Borgia,as protector
with the words submission Catholic
on a

Spanish

Crown the for

and

head

of the
his

party, concluded

that he
and

protestedon
that
the

part of
whatever

Majesty, with might

accrue

all dutiful
to

reverence,

harm

the

religion through pious and

this

pope's king,
on

wavering
but
on

the blame policy

must

not fall,

most

obedient

his Holiness

himself.
at

It

was
"

at

the

reading of

declaration

March

8, 1632, that
him
to

the

word
even

cunctatur'* Urban

interrupted Borgia, pope's nephews against Borgia,

of royal position

on calling

and to stop (iace)

to withdraw, while the

own

threatened

take the law into their Urban fostered base

a

hands.
rancour

Henceforth
whom

of deadly feeling but ingratitude, The

he

reproached with
his

whom
in

the

envoy
his

protectedfrom
was

vengeance.

nunzio of

Madrid
never

vainly urged
sacrificed to for the

and recall,
a

told flatly who had Thus

that the incurred

Kings
her

Spain

had

Rome

servant

hatred

through

his zeal

interests of the State.^ with

Borgia

continued

three years
never

longerto endure
meet

Spanish phlegm

the wrath

of his

Holiness,

to failing

his

* which when Once the papal notary wanted to apostolicrescript, publish an Quiroga, Vicar of Alcali, snatched the trespassedtoo closelyon the royal privileges, from his hands and tore it up. When summoned document by the pope to answer rewarded in Rome, he was for his conduct by protectedby Philip II.,and ultimately promotion to the primacy of Spain. De Pisa : Descripdon de Toledo (Toledo : 1619) i.,267.
"

288
bitter taunts Corso. For
with

Velazquez.
a

retort, dignified

and
but

"cutting"
to cut

his

nephews
the

in the

Urban

nothing remained
dioceses.

the knot

by

bull Sanda

which SvftodiiSf
to

under requiredall bishops, their

the severest
was

canonical

penalties,
of Se\ille,
to

reside

in

Borgia, who

already Cardinal-Bishop
see

of Albano, in vain for

to resign the expressed his willingness

just then

(1635) Philip IV., needing

laden with honours. But

his

services, recalled him

Madrid. Here
stood of
at

he
the

was

then the

wealthy cardinal's
the he formed

name

head
and

of the list of contributors

towards in

heavy expenses
with the the queen.

the war,

during
del remained
out

the

king's absence
to

Aragon

grandees, a Junta
Here
measures

Rey (regency) under

true

the

presidency of
advised while But

also
to

he

his

character, and
revolt.

sanguinary winning
with
the

stamp
Court

the

Catalonian

hearts
vases,

of and

the

ladies

by
He

lavish found

distribution himself

of sweetmeats,
to

fanq
the

other

he gallantries,

unable

cope

haughty
the

canons

of Seville. the

got

to
on

loggerheads with
the condescend reverend

the

Chapter over

appointmentsto
vuestra
vuestra

prebends and
he

they weighty questionof titles,

on insisting a

seHorta, while

would
these

poor

merced.
was

Thereupon
arrogant and

nothing beyond gentlemen complained

to

to

the

king

that he

a mere inexjDerienced,

tool in the

hands

of
to

his

an father-confessor, ignorant friar,and

consequently incompetent
on

administer
a

his

diocese.

They

even

went

farther,and

the

occasion his

of and

diocesan smashed

synod
his

the rural

one parish priests

night stormed
to

palace

while furniture,

he

thought

it well

sleep through the

to

uproar. At last in the

new

year,

1643, Philip raised

which had shown resistance
new

him

the

highest given by
Curia
in

ecclesiastical

dignityin

the

kingdom,
The

already
to

been

Philip II.

also in

of recognition

the

Roman

the interests of the State.

a

primate accompanied
crowns

his thanks
"came

with
in

substantial

thousand giftof fifty

in

hard

cash, which
in

very As

opportunely."
the
'*

chair

"

of St.

Ildefonso, Toledo,ranks
have he had But
he

Spanish opinion next

as

after that of St. Peter, Borgia may for his shattered

acceptedit
it

some

compensation
years survive
"

hopes.
'*

enjoyed
still the

only

three
to

(ob.
the

December

28, 1645),though
11 and Cardinal
seen

satisfaction

fall of the Barberini. Genoa had

wrote Signor Condestabile,"

Ameyden,

reached
that he 15,

Borgia entered
downfall of the

Paradise,the
Barberini"

better

pleased

first

the

{Diary: September
the end
to

1646).
The

vanity of earthlygreatness

seems

towards

have

over-

Cardinal
come

Borgia.
thousand of the ducats Star bears for in
no an

289
altar with

him.

In

his last will he left twelve the wished

a

chaplaincybefore
under which he is indicated The

image
to

of

Our buried.

Lady
The
cross.

the

cathedral,

be

tomb

and inscription,

only by
of his

glittering gold
which

Chapter
line
now

St. Ildefonso

which possessed a portrait,

was

he its

probably place
in

presented on
the But have

and induction,

intended

to

take

long
it
was

of Toledan decided made for

kept in the Winter prelates

to

Hall

of the Cathedral.

hang
of the

this

above

the

unomamented Here
the
new

tomb,

and

another

the

portraitgallery.
war

painting
when

remained
was

till the outbreak for greater de {pficina

was

of
an

independence
in
to

in

1808,

it

removed

safety
unknown

to

ante-chamber

the
this

underground
circumstance remained

office of works the

la ohra

fdbrica).Owing
to

which portrait,

the

early writers, has

the

unnoticed A Gandia.

by
This

all

biographers.
all details
was

replicaagreeing in
cradle with

formerly in
Dukes of

Borgia by

Palace
a

at

of the extinct the title to

but been

and familystill survives, the the

strange
of the The
been

has passed fatality the cardinal's

Osuna,
of

descendants from

deadly
here

enemy;

statelybuilding, dating
a

fifteenth century, has

by

them

left in and

sad

state

neglect.
to

portraitwas acquired by
Frankfort.
A is

seen

by

Palomino, passing
one

appears him
to

later Salamanca

have
and

Cean

Bermudez,

from

finally

(1867)for twenty-seven thousand

third

hundred

francs to the Stadel

Institute, painting,
is

exemplar by
Mr. been

in black dress,a

a hasty one, apparently

studio

owned

Walter

Ralph Bankes,
one

of

Kingston Lacy, Dorset, and

by
a

said to have The the tone while

cap

given to
work

of his ancestors
more more

Duchess the the down.

of Gandia.

Frankfort

excites

confidence

than without

Toledan, in
The

which

of the face is fresher and

are

ruddy

yellowishlights,
red of the

the shadows

grey the

and

but

softened slightly

also is richer.
use

Both

thick

priming,whence specimen of
choice
to

and exfoliation, incipient

the

of

glazing are
the

unusual.

This
us

is portrait

only known
left the returned

the

Spanish hierarchyleft
between

by Velazquez.
For the
date
we are

of

any

time

1636

and

1645, ^^^ style

cardinal
one

having
would

Spain
to

in his

fifty-fourth year.
the end, but lean
It is the
on

From from of its

an

its appearance rather

man

feel inclined

refer it to

to

the

beginning, of
and

this decade. grey hair

head

elderly
grey

with delicate ossatura, thin shadows

the

temples, very

thin

imperial leavingcontour
nose

of the chin to show

In

through,wide

mouth, tipof the

reaching far

down.

the

firm,penetrating glance
19

"d*.

."

4-

,r

,,

^-

'*

."

.-f-

:
^.

:*"^r.i"i.'.tri

-nor-

-r^^w

:t

-si

""

""

-"

'
"

'^

-"t,

wmltr

yellowish tinge
^^ hit

'-

vr..:f-r

'"

.-:

p^iL.ar
-as

ro

a;^^

^^

off ic

*"'-"'' ^""^* -.-:-.-"

,^

h*^n

acrompiished i?"^naily
in The
the

with

mud

half-tones, red of the

?t.lo\ '*^=^

us

U^

^,^Uxt i^
.

th":
""

''^^'^'

"^'^'^'^

"'

'*'"'

^^^vas.

"^"''U .loak

292
envoy, Olivares Now
as a
"

Velazquez.
of jovial mien, friendly, tall, animated,frank."
"

The

aged

Duchess

worshipped
the

him." usual round of and festivities, him

to

followed

it

was

remarked

that,

specialfavour

Philip invited

the

at grand hunting-parties

Dl

KE

OF

MODENA.

Balsain,an
Parma young his
nor

honour

shown

neither

to

the

Prince
his

of

Wales,

the

Duke

of

the

Elector

Neuburg.
of

Through
and

prowess

in the chase, the his heart

prince earned

the

king'sesteem,

quite conquered
Torre

by

unfeigned admiration

Philip's pet creation,the

de la Parada,

Duke

of

Modena.
the

293
on

Philip himself
St. Michael
to

showed him for

a

him drive

over

Escorial,and
the Maria

the

feast

of

took
to

through
the
to

capital, seizingthis by
Cardinal

occasion

ask

him

stand
was

godfatherto just
the then

Infanta

Theresa, future Queen

of France, who the Palace Then

be

christened

Borgia

in

Chapel.
he received chief command of the Cantabrian
a

and

Atlantic

fleet,^'a fantastic title" accompanied however

thousand ducats. the the

with
of the

stipend of fourteen
of the the Had

Lastly
duke

chapter was
at

held the
crown

Order

Golden
was

Fleece, when
conferred foreseen
in
on

highest decoration jointly with

later

disposal of prince.
be

Court

the he

they

but

that
'^

eighteen years
the

would

strutting about

Paris

this

golden pelt!" costly presents given and

ornament

Amongst
of
an

mention taken, special

is made form of
at

the

diamond

presented to
On the
**
"

the

duke, which

took and

the

imperial eagle,consisting of thirty-seven large stones

ducats.
reverse so

valued
a

eighteen thousand
of the the

of the

eagle was
What

miniature Testi at become had

king

inserted

by Velazquez certainly
Testi
a

like

and

wrote beautiful,**

time,

"that

it is which

thing

of

wonder."
from

has

of this ornament
cost

ascertained

trustworthy sources

the "The

thousand thirty-three king altogether

ducats ?

duke," Palomino
and

tells
rare

us

331),"highly honoured (Museo iii.,

when him
as was

Diego
to

Velazquez
his

praisedhis

gifts ; and

Diego

painted him, much

a

he generously rewarded satisfaction,

with especially

rich gold

chain, which
the

Velazquez generally wore,

when
the

customary,

on

feast

days

in

palace."
At the time Marchese

Campori
and in

wrote

his book Lefort's

since

about

the Este

this portrait was artists,

unknown,

Paul

Lt/e of Velazquez
1843
^he Modenese

(1888)it is
duke.

said to have
an

disappeared.
been

Nevertheless

Gallerycontained
lire

undoubted

the original by Velazquez representing

young

In that year it had

purchased as
curator

Van

Dyck

for three thousand from Count

by

the

historical

painterand
It is

Adeodato
a

Malatesta

Paolo

Cassoli Lorenzotti. Rocco

that conjectured

the secretary predecessor,

of Duke The

had bought Lorenzotti,

it from
a

him. taken during hastily the call

portrait gives the effect of really

the continual
in sketch, especially

likeness

short intervals between it a sketch ; but this

round the

of festivities.
is colouring,

Many

would

made

from

the final

impressions.
The directed scarf. head is

disposed
the

in

the

usual
across

way

facing right with

the
armour

the

glance
the red

towards So

observer,

and

is thrown
taste

completely had

the duke

comformed

to

the

of the

nation,

294
with Uken whom he
was a a

VKLAZtjUtV..
guest, that
but
as

for it

the

data

his

would portrait

be

for that of

Spaniard. But,
the still thin

is, this proud, somewhat

in falling
wax-es over

scornful
the

highly friz/led black hair air, the riLh, lo*"se,

side Golden of the of the

right

forehead,
all

upturned mustachio,
bom recedes the chin

the
actor.

the golilla^

Fkxce,
ni"se

the the pliant Italian, pr^^Krlaiin while

The
the

tip
full

forward, ixrrtly pri-jt-cts

behind

underlip.
Ihe head
to

has the
a

certain

unaffected air, with youthful,

seems

an

expressionwhich
It shows
a

according

thtn studied

standard

scarcelycourtly.
different

genial

carelessness,
in the The darkened

ver\simplicity

from

later

painted portraits
is

French

taste, where

he looks

colder,paler,more
without

refined.

face, originallypointed almost by

Yami^h.

shadows,

now

much

This
upon

reminiscence

of his
would

Spanish
account

vtl leities may

have

later been
the

looked ducal

askance, which

for its

disappearancefrom
another himself,

palace.
But
was

besides

this work

intended

for the duke wanted

an

on

horseback

taken

in hand of their

for the king, who

common

equestrian probably portrait,

duke
in had
a a

in memory'

hunting parties. The

as

left him

team

of

eight sut"erbblack
21, 103S,
from
**

horses, NeajK'litan
we

mentioned he wanted

letter of copy the

November

which

alsc) hand

gather
of the such
a

that

of the equestrian

portrait, but
It is
to not to

by

the

painter who
work in would

is

doing

original."
by
the

be

sup^x^sedthat
we

be entrusted

king
in

any

b;;t

Wla/qv.e/,and
ic^39
on

tind that

point of
**

fact he

was

engaged

the March

spring of
12

a
*'

of p^'rtrait is

the duke.

Velasco,"
your

writes

Testi, on
will
never one

of

that year, But he and

dting

the

portraitof
other the

Highness, which
that he artists,

l"e admirable. finishes hundred

has
never

the

of failing tells you

excellent truth. and the

right k^
and

have

given
been

him

pitccs of eight on fifty

Malvezzi Viigilio

account,
at
cne

pricehas
doubloons.
as

arranged
is dear,
to

by
but

the Marchcse does

hundred

He

well,and
other
to

his p^^^rtraits I regard ctrtainly the

most

not

inferior

those

of any
him up But this work

of

farce

us

old

or

modem

painters.
his

I will keep

it"

the

duke, having
was

soon

after fallen away

to

from
of

to Spain, allegiance

apparently allowed
the
as

drop

out

sight. In 1647 he openly

the

declared

for France, and

is in French costume,

in lii'esizeequestrianportrait is also that

Sassuolo
was

Palace
in the

given

in

Litta's work, w*hich

possession of Count
our

Valcntini, of McK^ena.
the Modenese

Of
made

master's

later relations with

of his seo^rd

Court,mention

will be

when

speaking

Ital:a:i journey.

Admiral

Pulido.

295

Admiral But where

are

Adnan those

Pulido,
courage

the

of figures

whose Spaniards,
made

and

cruelty,
of

haughtiness and
nations ? On

genius
the whole

for maladministration the works the

of

them

the terror

the than

Velazquez
in which

smell
he

less of

powder
The

might

be

expected
of

from

period

flourished. the
in

most

brilliant types

Spanish captains and

must

governors, be

Legan^s, Ferias,
the

Colomas, Moncadas, Bazans, Mirabels,

Van
moment

sought
the
to the

iconography of
times for
a

Dyck.
to

Of the

the

numerous

figuresbrought by
few
was

boisterous Court

but surface,

found
a

their way

studio painter's

and

although one

of these
most

grandee they were

of

mainly
this class

nobodies. is the
of portrait

Unquestionably the
Admiral
and

work interesting

Pulido,one
This

of the

extremely rare
one

pieces that
some

Velazquez
to

has

signed
the
and

dated.

fact enables

to

form had

as conjecture so

the circumstances that

of its origin. The

year

1638
Buen

been

in events, prolific

ensuing
amongst
"

twelve the

months

were

absorbed entirely

in their

commemoration,
one was

playsproduced at
Fuentarabia."
to

Retiro

on

this occasion

entitled

The

Victoryof

Richelieu's
a

attempt
"

shift the

to Spanish territory by seizing operations

frontier
"

stronghold
had
thrown

and, of
Court
and

all

in places,
a

the

unconquered

land The

of the

Basques
said
sound the

public into
like
a

ferment. perfect

blow,
a man

Jesuit Joseph Moret, acted

Since

sudden
no

thunderclap on
whole

asleep.
invaded
seen or

the time of Charles

soil ; hence
^^

V.

hostile force of any land

strength
was

had
now

Spanish
heard
and but

throughout the
from
The

nothing
formation

warlike

notes, the

of recruits, the raising

of all

companies
directed
to
a on

squadrons, marching provinceof Guipuzcoa.

and

province cityof
and

to

province, but
was

the

Madrid

transformed

ground great enlisting

place d^armes,through Fontarabia,conducted

which

daily passed
and

brilliant, well-equipped troops,

The

levied by towns

nobles."

result of the
and

siege

of

by

land

sea

by
The

Cond^

of Bordeaux, seemed Archbishop Sourdis,

been

doubtful. scarcely
a

place

had

taken

and by surprise,
to throw

was a

so

littleprepared for
men

siegetha garrison

the Admiral
on a

of Castile had

in

few hundred

to put the
some

of footing
as

defence.

The

Spaniards had

also suffered of

heavy losses,

such
and

the

burning of
of But

the death their fleet,

a

the commander
an

Miguel Perez,
at possible two

the

destruction

which bastion,
were

rendered
time

assault entrench the

different the the

points.

they

allowed

to

themselves

in

while breaches, French camp

the
to
an

between bickerings

Cond^
in

and
a

archbishopexposed

attack,which
to
a

ended

general stampede, Cond^

saving himself

by wading

boat.

296
This boundless coincided
A

Velazqukz.
brilliant
which exploit, took

place on

September

7,

1638, caused

in Madrid, jubilation
with

and

was

celebrated

which by great rejoicings,

the visit of the Duke

of Modena.

certain
on

captain,Don
well
him

Adrian

Pulido, had

especially distinguished
of the
how

himself
a

several

criticaloccasions
we can on

during

the

course

siege.
the

He

was

and Madrilefto,
were

to picture
as

ourselves
of

during
fell; when

festivities He
had

all eyes
been

turned

the mirror

Castilian Perez
in

heroism.
the

wounded
was

in the sortie of blown

up
on

August 8, when
i, he stood head

Queen's

Bastion
and
was

September
in the Adrian

the

breach

for six hours; of

again
6.

wounded If this Don

during

the last

sanguinaryassault
of the
same

September
name

be identical with

the person

who

afterwards

became

it would admiral,

be difficultto
to such
our a

imagine a

better

than opportunity decorated

him

the present for his the Cross of

promotion

position. The
Adrian. of portrait,
he

king

with

and Santiago,

Court

painterdoubtless
which

paintedfew
Such Palomino of picture of

others with such therefore

a

pleasureas
to

he did this Don

would

appear

be

the
*'

originof
In the

that

gives us
Don

detailed Pulido

account.
a Pareja,

year

1639

made

the

Adrian

native of Madrid,

Knight
about

of the Order
was

Admiral Santiago,

of the Fleet

of New with

Spain,who
His

that time This

here

various transacting
is amongst

official matters the

to
a

Majesty.
seldom
anno

is portrait

and life size,

account

most

famous
he

painted by Velazquez, on
otherwise did
1
:

which LHdacus This

he

put his

name

it,which

/K, Velazquez fecit; Philip,

excellent Such
is testing, the inscription,
on

cubiculo,eiusque Pictor^
to

639,

belongs at present picture

an

the Duke

of

Arcos."* need

of which, however, might authenticity

found

the
a

in Longford Castle, Wilts,which portrait

is said to the year

thus
:--

have 1828.

been

acquiredby

former stands

Earl
rather

of Radnor

some on

time

befere

The

which legend,

high up
a

the left side, runs

Did,

IV^ Philip, Velasq^'

cubiailo

ciusq^ pidor 1639.

ADRIAN PULIDO

PAREJA.
has capitals,
"

where

the name,

in Roman
us

been

added

by

later hand. xisit to him

the

Palomino
the
'

tells

that

the

king one

day, paying

his customary

mistook painter,
Museo
:

the

for picture
With

the admiral
be

himself,and rebuked
the

for
lost

iii. 331. pictorico, IHdaais

this may

compared

signatureof
Pictor

Moriscos iusu

Velazquez
;

IV. Philip. Hispalensis.

Regis Hispan.

ipsiusqut

anno fecit,

1627

ibid. p. 327.

Admiral
in tarrying

Pulido.
ordered
:

297
his Perceiving you

Madrid

when

he

had

been

away.
assure

mistake

he addressed Is such
a

Velazquez with

the words

'M

was

deceived."
a

? deceptionpossible with his two III., deceived himself rather

smart
a

We

know

that Vasari which

when
to

tells

similar story
a

of Titian's Paul
to

nephews,
who did the

placed on
his Holiness.

terrace

dry

in the
as

sun

many,

homage
occurrence

Vasari The have

speaks

if he had have
some

witnessed false

xiii., {Lives^ 35).

may
"

king'swords
grown
out

ring,and
as

the anecdote

perhaps

of

such saying,
so fact, even

no Verdad, pintura as

common

enough By

in those

days.
a

In
very

pointof

far

vigour and

life are

concerned, the
means

takes portrait

high place
he

amongst

Velazquez'works.
a rare

of his well-known In accordance

processes

has here achieved the

success.
"

with earlier methods

any

light yellow-greyground
and

darker

above,

and

without

relation to reference

the

limits of wall

floor

"

has been Adrian

specially prepared with

stands
a

to the black velvet

costume.

Don

littleto the close

his left,

glancedirected towards
at
a

the

observer, legs again

colour is

brought
more on

feet almost together,

right angle. The

applied patches

than usual, the freely the

otherwise

rarelyemployed dazzHng

white
on

deep

lace

flowered collar,

satin sleeves, plumes,bows

the knees,,

accoutrements, helpingthe illusion.

Nor is there like
a

anything of
soldier

the courtier

in

the

for attitude, officer. Andres

is not in the de

he

stands

bolt

upright

before

his

commanding
of figure that

He

is

broadin

robust shouldered,

person We

like Murillo's
see or

Andrade
man

the

Northbrook about
breach.

collection. his
own

at

once

he

the

to

hesitate
of
a

risking
browned

life

that

of others

deadly jaws
not

The

face with

gleams of

white
an

light belongs to
and

uncommon

Castilian type, of which

this, however, is

grim exceptionally stout, sturdy,

specimen.
above
the hair

The

thick black the

shady eyebrows, very bushy

enframed in

nearlymeeting
of the forehead,
mass

the nose,

wrinkle perpendicular -the whole

rightin the middle

an

uptwirled mustachio partedon

the
man one as

abundant

of black

side and
he

profusely crowning
on

the defiant
of

head,bespeaks the
he will yet

dauntless stand
on

soldier

stood

the ramparts

Fontarabia, as

of quarter-deck who may

the admiral's
to

ship in
to

the hottest of the fight. For

to

he is the
if it
comes

be trusted

stand

to his guns

the last ; and

who,

to

that,will
wear

coollyapply the match

the
a

the

powder magazine.
the underside and turned

Both admiral's outwards. enamelled

hands

yellow
is the

leather

gloves, the right holding

felt hat, the scarf the

the staff, On
his

left

very

broad-brimmed

breast of

red, gold-hemmed
of

red-

decoration
to

the Order

Santiago.
executed

According

Palomino

Velazquez

this work

with

brushes

of

298
unusual
distance. in length, order in
to

Velazquez.
paintwith greater
have
been

force and

effect, standing
with

at

It appears
than

fact to

very

broadly treated
"

more

fiery \ngour
Yet

delicacy. Still Waagen

of Titian. bears his
to

detects

careful execution," while

Thor(3 is reminded this work

the
Art
"

same a

date

as

the Crucifixion. of
how
at

They

are

the

oppositepoles of
can

notable

instance

the

genuine
free

artist from

lend

himself

any

and subject,

keep

his hand

all times

routine.
A the

of correspondingfigure the Duke of

the

admiral

had whom

already passed
it was instead

in

8 18

into

of possession

Bedford,by
Cross

placedin
to

his country

seat, Woburn medallion

1
can

Abbey,
he
no wears

Bedfordshire.
a

Only

here of

of the small

tical ellip-

largered
But which

Santiago sewed
may
to

his doublet
a

detect

foreignhand
the
master.

in this work, which this would

was originally

well

be

porary contem-

replica by
for
as

apply

the

figurealone,
as

the

whole

environment,

probably left
years

empty

in the firstexemplar,was
owner.

filled in at

least

twenty-two

later at the

request of the then

Here
on

the admiral

stands

before

wall, from which

The view

red

curtain

hangs
in
a

the left down

to the

level of his shoulders.

to

brown
opens
on

floor is scored the

sea

broad naval

polygonal cracks,and
engagement
clouds. the

the
on

rightthe
hand
en

with

The

sky, blue
the

the horizon, is overcast

of
an

higher up
has

with
also

heavy

All this
shield

betrays the
the

who inferior artist,

introduced

with

name*

the

left below, the

place it

often
in

occupiedon
the

o( portraits

period, as,
on

for instance,the
the

Spanish Capuchin
its removal
to
some

Prado.

This

was

probablydone
collection title
was

occasion

of

largeportrait galler"\ A Marquis

of whose
that of

of

famous inherited Pulido wife

was captains

possessedby
the

the

Legam

s, whose

by
the

the Altamiras, at

sale
same

etVocts in

1833
with

of portrait
that of

was

included. sale of

Is this the
the

is nuntioned
iSco ?

his

in

Aston

Hall

in paintings

T/a- CoitNt of Bi'uavtnte,

The is that 0S8 of only jx^rtrait
o\
a

soldier Alonso the in

^^n

p^^ssessed by Pimentel,
of
the ninth famous

the

Madrid of

Museum

Don

Antonio He
was

Count

Benavente

(1-9 Pon

m.)*

Neapolitan viceroy,
calls
to

Jr.an Aloni^o,who

died

1621.
rendered

Khevenhiller
many

him the

''a

distinand
de the

Christian gv.ishtxi
"

sub'tct, who
n I :: %^ /\ ; a
;.

services

king,
y Flcia of

"".

// AV. /.V

/y. i

(;././*"* ^.v*^.;/ dV U Anmsda

,\j \sir:\i IVrif Cnts l66a~

mu^ia

F.sfKi*u2 /V.Vi-

i'*

'a

(;*.:*.;.." Jr

Size

300

Velaz"^)Uez.
side.* almost It is
a

planted against his

with
nose
"

noble

specimen

of

the
brown

race

"

long

head

short, square
which the

vertical

forehead, glowing
seems

eyes,

aquiline

obliquelyprojectedshadow
brush the
contours

still to

prolong; rather
artist's

prominent under-lip. Although

intention carried
is
out

the

traces

the only sketchily, the

to

unmistakable.

It is
was

perhaps
needed

portraitof
realize
the

friend, not
effect.
The

beyond
below here

what
ser\'es

just

earthy-brown ground
which
have

without

further

addition
with

for the
grey
same

empty

ground, backspaces
serves

is

so

covered carelessly
on one

that open

remained
for the

and

there

the
end

contours; of the

the

ground

also
side

leather face.

gloves, for

and golilla

for the shaded

of the

Nevertheless

this unfinished in the

well

productionis readilydistinguished by
parts from
the similar of

the

clear,true
works of

carnations

luminous
as

executed hastily
as

the

as period,

present

time, painted
of Rome.
a

if with
the date.

Its tobacco-juice.

condition
the and

affords

little means

determining

Possibly it
Besides

belongs to
the

period before
the

his first visit to House

Quevedo
was

Pope, Apsley
for
a

possesses

third bust

(No. 159),which although the

of rapidity shade. The
the

formerlytaken
the

of Velazquez by himself, portrait The charm of this the of

form

of

head

is

quite different.

pale,
and

somewhat aristocratic, first cast

lean and very

though youthful face

the
out fully

lies in

unity

treatment subsequent spirited

and light

head

stands

from and with

the dark

brown

ground, which figure. light

nose

is somewhat
F'ew and
on

on lightened

the averted modelled

shaded such

side of the

portraitshave
surfaces.

been

toned broad, scarcely

shade

Thus,
clear.

for instance,the line of the cheek is indicated

bridge of

the

the

quiteuniformlycoloured
forms
are

by

no

adventitious

aids,

yet all the

Palomino

mentions

several
no

portraits of

for courtiers,
are now

whose

possible
Amongst

identification, however,
them
were

trustworthy data
Nicolas
"

available.

those

of

Don

de

Cardona

Lusigniano,and
and celebrated," of

Pereyra,. "painted
Don

Knight
with

of

the Order

of Christ
and Ruiz

the

latter He

"very

unusual
de

mastery
Fonseca
of

skill."
de

also

speaks
Simon

of portraits
la

F^ernando
of

Contreras, Marques de

Lapilla, Knight

Santiago,and
in In the

the

queen's confessor. Fray

there
x

Roxas, painted at
of

his death

1624.
Dresden
;

Gallery
size

is

the

of protrait

such

Knight

Santiago (No. 698

*

065^
089
x

056

m.), an
; from

elderlygentleman
Dusseldorf

of aris-

No.

293 ; size

0*68

the

Galler"\

The
tocratic appearance. the
on

Marquis
The the

of

Castel

Rodrigo.
bore
a

301
the little shield, touches
a

gold

breast-chain

perhaps
with
grey,

red the

cross

of

Order

being
of

indicated turned

few

broad in

cloak.

The

hair, already
that
seat

painted
the

strong
ance appearof

light, speaks
seems

of past years
to
a

trouble;but
he
in in

his present full-bodied

indicate comfortable

has
some

now

exchanged royal council

state

hardships
the
on

the

field for The bust middle in

chamber.

is

as interesting,

its unfinished
head

it shows sketched with Then

a

painter
a

in

the

of

hi"

work.
and

The then

is

again

clear flesh

ground
tone,
was

lightbrown,
skull when itself

uniformly treated
have
even

medium

the

being

apparently included.
must

the
a

elaboration somewhat
are

begun,

the work The

been

for interrupted sides

seem

lengthy interval.
in

hair, and

both would

of
to

the

mustachio,
two

different colours, which strikingly which

was

point at

sittings,
a

between clear
tone

the

original had
the
seen.

turned

grey.

When the
may

retouched

fresh
and

applied to clearlybe
the

face,

where

spared locks, eyes

be

whiskers under

may
this

Possibly it especiallythe Perhaps

into
that

due

to

chance
eye, grey

that have tones half-

process

eyes,

lustreless

right

acquired an
was

inflamed
to

sicklylook.
been worked

the

modelling with
somewhat
to
a

have

clear
a as as

carnation, which
empty,

being
feeble

omitted, forehead, cheeks, temples,neck

surface. the of

formed
a

They
but
master.

might only

possiblyraise
to

doubt

the

of authenticity

work,
our

if it had

be

regarded

finished

production

The Room remained may

here

Marquis
for
a

of

Castel

Rodrigo.
has

be found This of

which problematical portrait,

the

hitherto
in the for

unidentified. Prince Pio

is
at

Marquis

of it

Castel

Rodrigo
the

palace of
an

Savoy
The

Milan, where

traditionally passes
on arm

original by Velazquez.
be certainly
more

p signatureVelazquez
the

of the ancient

chair may

than doubtful ; but the

figureof
would the

the

Portuguese
to

nobleman
an

and

painting of
At least
on

the
my

face

scarcelyseem palace
in
as portraits,

need

such 1880

attestation.
at
once our

first visit to the ancestral

October

singled it out
master ; Giovanni

from

bearingthe cachet of
also

the eminent Morelli,

connoisseur,

regards it
to

as

genuine.
tall
nor

The
is turned

three-quarter length figure,neither

the
but left,

of
on

powerful frame,
the

with

a a

searching glance
chair
on

observer, in
black. The

black

silk

doublet

and
a

cloak

by

also

upholsteredin
the About the

right hand
index

holding
on

letter rests the hilt of

the sword.

arm;

left witn
nape

extended there is

finger lies

his

302
a

Velazquez.
of the

trace

droop
hair.

of The

old

age,

and

the

scalp

shows

clearlythrough eyebrows dark,

the
and

thin

white

complexion
of

is very

pale, the
with

mustachios

imperialwhite.
clearness

Delicacy and
and
or so so

modelling,combined

vivid characterization

the air of much

be expressed with simpler means, could scarcely authority,

physical and
and white

mental shade.

realityimparted
The in unshaded

to

any

human

figure
head

with

little colour
a

aged statesman,

his venerable
a

resting on

ruff, stands

light on
empty

clear perfectly

ground,
in the

with

only a
left

slightlyshaded
space
corner.

triangular
lower

The which the

works

glance, through
man's with ality personthe wonted if in
is accentuated
a

as magical effect,

focus, and

which

only by
tells points,

small
a

dark

of

long life State,

mand com-

passed
a

in

affairs of
to

life accustomed and

to

obsene closely

mankind. No other known

portrait
this but

by Velazquez equals
in

its

clear be in

tones;

it would with his

the
CASTEL

accordance
to tune at-

practice
whole the with white So the

ence referof full

the

RODRIGO.

to

grey

hair.
to

of

expression is
of the
man

it that

one

feels

inclined irresistibly
I had

infer

nature
structing con-

from his

this

feature.
on

myself

the

after satisfaction,

character
an

this the

foundation,to
At the
is
not

find it later

substantially
Girolamo
at
once

confirmed

in

extract

from

report of the Venetian

same

envoy,

for Giustiniani, added that the

the hand

year of the

1649,

time

it must

be

Velazquez
dress, even
man,
must

everywhere apparent
hands,
been
too

in

this
and

picture. The
smooth for

ground,
an

the have

vigorous,plump, repaintedor

such artist.

old

either

added

by

another

The

Marquis
escutcheon

of

Castel
upper for
a

Rodrigo.

303
the work Don the Manuel
arms

According
at
an

to

the have

in the

right comer portraitof

must

early date
second

already passed
of Castel with those

de

Moura,
De Manuel's

Marquis
He
on

Rodrigo ;
of

for these

are

of
of

the Don of

Moura

family,united
mother. him

Corte

Real, the
shield of

name

is also

indicated

by

the he

the

Order

conferred Christ, in favour The

it

by

PhilipIV.,when
of the

resigned that of Alcantara might

also

of Olivares.

chronologiesboth
a

artist and
to

statesman

render

possibleto assign
limits. From
and

probable period
163 1
to

the

portrait within
was
never

somewhat
with

narrow

1648

Don

Manuel
years

entrusted
came

foreignmissions,
with The and
summer

during
him
out

these

seventeen

in contact
to

the

paintertill the Velazquez

of
set

beginning of
too

1648, when
to

he

returned

Madrid.

portrait represents
as

aged
have

have

been

painted before
either died
on

1631 ;
the
or

for

Italyin

December
been

1648, returning in
in

165 1,
second

the

work

must

executed

1648,

during 1652.
The
over a

the

half of

165 1, Don

Manuel

having
unusual of the

January 28,
of distinction ;
acts
was

count

had

been
a

received at Court

with

marks

quarter of
him
a

century
and

previouslyone
from To
the

king'sfirst
had all
been

to

make
an

grandee,
on

his removal Olivares. finished

Spain
head
others

the

result of
need but
rest

intrigueset
assumed

foot

by
to

reconcile

points,it

be and

that
the

Velazquez
be

alone, sketching the

for in reception

leaving
The

canvas

prepared by

the State

apartments.

painting has
the
words left
comer

experienced many facing the

Rodrigo
also Rubens arms,

vicissitudes. has
been the Manuel work

The

name, coated

which
over,
so can

stood that
now

in the

partly

Castel

alone, without

Christian

name,

be
the

deciphered.

painted Don
In that and

earlier in
the

and life,

had
a

engraved by portrait
different
our as

Pontius. the

head

presents

somewhat
in

look

from

long

pronounced aquilinenose,
On the other, hand
other the

whereas

it is almost portrait

depressed.
head and

such traits,

the

form

of the

long

eyes,

correspond in

both

pictures. Noteworthy
at
was

is the mff, which Madrid. and It

since

the lead

year
to

1623
the

was

no

longer worn
work

the

Court

of

might
is

the
of

suggestionthat the
many

executed in

abroad,
the

this

but

one

questions

and

doubts

which

is portrait

still involved.

304

Velazquez.

The

Equestrian

Portraits.

the first In consideringequestrian portraits

to

place belongs unquestionably profoundlyacquaintedwith

was

the

horse.
an

Velazquez, who
different
movements

in

his

magnificenthunting-dogs showed
also

himself

was unsurpassed animal-painter,

the build and

in

of the of

horse, and

happy particularly
and

depictingthe physiognomy Nowadays

they
have
must
career

incomparably

beautiful

life-breathing
enthusiasm

heads.

the

direct

impressionproduced by
strange, heavy
cavaliers
a an

these
; but

superb creatures
what

is somewhat
must

impaired by
awakened have
in

their

forms

in the

of those of the

days !
horse in for Seville, Doubtless Pablo
he he de

Diego opened
knew

already made
Madrid
with

study

his

equestrianpainting.

by heart

the

famous
the
a name

lines

preserved by Pacheco,
steed, adding that
their treatment

in which
many

Ctspedes might
have

describes made future

Andalusian
with

who artists, their

much

higher things,have
would

established
of the horse.

present and
Animals
at

on exclusively reputation

of the

Velazquez type
differ

probably
from the

in

vain

be
to

sought
which

for
the

present in Spain. They

breed
is

widely
crossed
armour

Arab,
from Flemish

Spanish
studs. the

traced, although they reallysprang

Andalusian for the
are was

the

Cordovan

Perhaps
under del rd.

the

by the
and

stock, to give
Venetian
la

strength needed
As
were

heavy
from

trappings. The
these

envoys
razza

Philip II.

full of
a

the

praisesof

Andalusians,

is evident

glance at

the relative
at

size of rider
that

and
were

charger they
looked
on as

small,

but

and well-proportioned, in

time

the of

of equine beauty perfection

of made

Europe.
mounts

William

dish, Cavenhad

Duke been

Newcastle, says
and painters,

those
to

in

his
as

possessionthat they
for
were

models
But

for

serve

kings.*
of
care.

notwithstanding their

apparent

strength,they
needed much

delicate The

constitution,and
noble animals
as were

being easily heated

watchful

and docility, highly prizedfor their swiftness, intelligence, courage

well

as

their
were

in
more

battle

and words

bull-fights. They
than

had
and

good

memory,
to

and

guided

by

other

means,

seemed

read

the

thoughts of
in
our

their riders.

Their
a

bulkiness
ridden

pictures is also partlyexplainedby the fact that

never

horse, once
the

by the king,could
*'

again

be

mounted

by

others

hence

remark

that

the

royal steeds, through idleness,burst

of fat in

the mews."
General
\ System of Horsemanship (\ni\vQT\i 1658;

London:

I743)-

Equestrian

Portrait

of

Philip

IV.

305

The

EquestrianPortrait of PhilipIV,
cherished

One
was

of

Olivares' of
a

projectsin

connection
to

with
"

Buen

Retiro

the

erection the

grand equestrianmonument
the

Philip,
But
at

the greatest
an

king

in

world," as
the
entrust
was

poets

proclaimed him.
of
to

such

taking underwas

being beyond proposed

Florence.
to

resources

Spanish
Italian
statue

Art

that

time, it
of that

its execution
to

the

Pietro Tacca, in sculptor, the model of

It

be

bronze horse

after be
on

Philip
or

but III.,

in

which
in any

the
case

was

to

representedas
his hind

galloping,
and the

but curvetting, In the

summer

restingonly
of

legs. drawings
when of

of

1635
a

the work

modellingwas king,
as

in full progress,
as

Tacca
costume

now

requested
and
armour,

of the portrait order

in hand
to

well

in

reproduce everythingaccurately.This September 1635 ; sculptorhad

At
the

portrait Velazquez
Florence, it became
and
the model

had

in

but

it reached

evident
to

that the
over

missed

the main

point,
the end

had

be

done

again.
this

his request, towards

was

of 1638
to
serve

another for

lifesize

of portrait

king
was

prepared by Velazquez
Ponz^ hand halffirst for

modellingthe head, and work, painted in

not

despatchedin January 1640. according to

On the
as a a

This

second

1639,
to

and

has length figure,

yet

been in may

identified.

other

the model

executed equestrianportrait, Tacca's

in the

1635,

serve

complete

work,

now

think

after all be

the well-known

small

painting

Pitti Palace, although I

formerly (1883) questionedthis view,misled

erroneous

by
in

the

commonly acceptedbut
which be it is the
an

date

of the

largeequestrian portrait
am

Madrid, of

exact

but

reduced

replica. I
described

now

convinced
ten

that

this cannot

work

executed

by Velazquez nearly
as

years

later at fact the have

may

Fraga Fraga

during the
work

campaign

of 1644,

by

Palomino.

In

is still extant, while

the

large

Madrid

picturemust replica
statue.

been

painted about
the work nowhere

its 1635, and consequently that served

as

small

Florentine

well* be Palomino
as

the model

for Tacca's
was an

states

that the

Fraga

work

equestrianportrait,
describes

is

generally but
as portrait

wrongly
"a

assumed.

But

he

Philip's

costume

in that

scarlet

doublet {encamado)gold-embroidered short Now

in

and

hose,
a

smooth
hat in

leather collar, a with

two

commander's such
the
an

baton

of smooth

wood,
the

white

red

plume."
"

by Velazquez original

actuallyexists
other owned this fine

exemplars
Mrs.
is

one

Dulwich

Gallery (No. 309),

Norfolk. In
about

by

Lyne-Stephens, of Lyndford Hall,

portraitthe king

representedthree-quarters length,and
"

Viage,vi.

109.
20

3o6
forty years
as picture,

Velazquez.
old, which
he
was or

agrees in

exactly with
1605.
and
is

the date

(1644) of
known

the

Fraga
its

born

It is also the

only

portraitof

him

in

red

scarlet

costume,
the

otherwise

distinguishedby

gorgeous

and colouring,
now

gracefulease 1635, when

for Tacca's

of the attitude.
we

Coming
agrees

to

the

in Madrid, largeequestrianportrait

find that it
was

quitewell
to
ser\'e

with
as

the date
the model

the work
statue. not

was

paintedwhich forty years

and

intended These

features

and

this

carriageare
him
as
"

those

of

man

old.

of Stirling-Maxwell s|"oaks

in the

glow

of

youth

health,"while

ECJUESTRIAN

PORTRAIT

OF

PHILIP

IV.

Bermudez

and

Viardot
year.

thought it might
But
series that the of

be the lost
even

taken portrait determined

in

Philip's
to

twenty-third
evidence. follow the in this

date
extant

may

be

by positive
enables
us

The

long

of this portraits
space

king
of
over

slight changes face,which was

and

took

placeduring the
so

thirty years
traits.

otherwise

uniform

in

its fundamental

These

in the hair of modifications lie partly in the growing corpulence, partly

the head different

and

face,which
life.

of In
our

course

vary

in

colour style,

and

quantity at
the short hair

periodsof

we equestrian portrait

stillsee

thin

gentlycurved king.

mustachios, which
was

have

not

yet developed into

as a

the
of

which bigote levantadoy

a

popularlyregarded almost
far could be

mark special

true

national

The

picturealso

agrees

as

as

expected with

Tacca's

statue,

3o8
The
.

Velazquez,
sky
is

clearing up
the range

to

the

so right,

that the rider in

a

seems

plunging into
the movement

the
of

light
The

But

of mountains
same

nmning
back

line with

the horse

falls off in the is

direction. in the

light itself

stronglyreflected
toned

gold, the glistening

warm

burnished

the youthful countenance, nearlyall in the silk, steel, local colours

are

rays.

But obtrusive the hose

down,
a

the

plume being white

reflected
rays.

and

brown,
In

nut-brown, the pink scarf in

the

whitish

light
The face

the

landscapeall
contrast to

is transmitted, but only in light

cold

alone,
no

with its whitish the

blonde

carnation is

and

cool bluish reflected

light, presents sky.

ground, but
the

the placeddirectly against

clouded

The

question arises,Is
a

the small

picture in
another

the
was

Pitti Palace, Tacca's it Tacca's

statue

model,
that any in

of replica occasion this and

large one

in the

Prado, or

gave
case

to

the

preparationof
an

? equestrianportrait

In

small
are

is portrait

originalwork.
in Madrid
;

Copies
often

are even

naturally

demand,
on

yearlyproduced

they are

palmed paid
for

off

the

sketches,vaunted publicas original

known
to

by
in

connoisseurs

and

accordingly.
The
best copy
to
me

is

that

Hertford been

House

(24

24
a

a inches), pendant

the Olivares. the

tone

This
is

has

evidently painted by
lacks the shimmer
x

very

hand practised the

; but

heavier, and
Thomas

and

limpidityof
from the of Lord
wild

original.

That

of

Baring (23
and
now

17

inches)
imptisto, formerly
of

collection of the poet Samuel

Rogers,

in the with
the

possession

Northbrook, is
and

sombre, unsteady
where inches), the

botchwork
was

thick
copy

strokes

glaringlights. Still less faithful (18

x

in
a

Leigh
Bramarba

Court with

king

has

the

scowling look by

lineaments, sketchily misrepresented yet harshly painted.

in equestrian portrait Mr. Curtis
to

In the lifesize
a

the

Uffizi, supposed
the work
sent

even

such

shrewd

critic

as

have

been

to

Florence

for Tacca's

statue, the

king
war

appears

surrounded

by hovering allegorical
and
a

beings, a
cross on

goddess
the

of

hurling thunderbolts
a

Fides
a

planting the
From after who

globe, while pupil

visited

Moor

runs

behind

with that

helmet.
a

such

Rubens-like
some

figuresothers
of

have

suggested
or

it is de

copy

Velazquez by
is known with the
to

Rubens,

by
his

Caspar

Crayer,
and that
to

have

Madrid. Ferdinand

This
in
so

Antwerp
later the

painter was
years,

intimate

Cardinal-Prince the cardinal

once

Caspar's
the

of portrait
wanted

(1639)
from

had

pleased
of

Court

king

for

to

swerve

his resolution

sitting only
age

Velazquez. king, here

but

Crayer's authorship,however, representedas

How this
well advanced

is excluded

by

the

of

the
reasons.

in his

and forties,

by

other
is

equestrian portrait reached

Florence

unknown

so

The

Fraga

Portrait.

309
found its way
to

early

as

the
as

seventeenth
a

century

it had

already

the

Pitti Palace

work

by

"

Diego

Velasco."

The Since desire of

war.

Fraga

Portrait, revolt
a (June 9, 1640), general

the outbreak
been

of the

Catalonian
that
own

had
As

expressed
was

the

king

should

proceed
at

to set

the
out

seat

this
on

also his

ardent amidst

wish,
the

he

last

from of

Buen the

Retiro

April 26, 1642,

dashed
to

universal

acclamations

public.
But their

hopes

were

from detain with

an

the him

first.
in

Olivares

following
where the

in

the

king's wake
of festivities interest
in

managed
was

Saragossa,
General
cry,

round took
was no

resumed

''abyss of
the French

exj)enses." Philip
Lamotte

the
to

while operations, the

entering Barcelona
is When

mutterings of
with

the ominous

EspaHa

se

pierde ("Spain
he

being lost").
from Roussillon,
on

Perpignan fell,torn
wept

the

monarchy
of
"

for

ever,

jointly with
leave
to

Olivares, who
throw himself

the from
rouse

arrival the

Job's
And

Messengers"
when of of he

craved

window.
to
a

the reallyfell,
"

king
one

endeavoured

to

himself in the

sense

the situation.

In

matter

alone," he

said

State
way;

Council that blood energy

January 1643,
set

"I

tell you
to enter

that you

shall not be

stand the

in my

is, my
and

resolution the

the field and

my

first to

risk my old

life for has this

welfare

of off

vassals,to
the events the

reawaken of these

their

which On

greatly fallen journey

to

during

years."
his Court
at

Aragon
was

king

was

accompanied by
it

painter; in
time of

this there

nothing remarkable,
have In artists at hand
the in

being
to

usual take

that

for commanders

to

order

sketches the
.

sieges and
To

battles.

1643,
was are

^^^^
to

recovery
a

of

Monzon,
the

Aragonese, Jusepe
works.

Martinez
we

sent

make for
a

painting of
notes
on

siege
him did

this artist this

indebted
"A

few of

Velazquez*
asked

occupationsduring
to

campaign.
that On the
to

cavalier The result

Saragossa

paint
work
a

his

tenderly loved pleasure,so

of him. took much it away

daughter.
the

painter consented, and

was an

the in

with

excellent
was (it

picture,
a

word

worthy
to too

completionof
finish it at But when
any

the head

half-

he length figure) the

home, in order
he

not

to

put
she

lady
to

trouble.
none

brought
When
not at

it

back

protested she
as

would she

have told
the

of

it at that

price.
wore

questioned
her
at

the

reason,

her

father

it did she

please
the

all,
was

but

especiallybecause
with the

collar

which

sitting

trimmed

finest Flemish

lace

{valona)y

3IO

Velazquez.
During
the journey of

1644 Velazquez painted at

Fraga
accounts

the

already
the

mentioned

portrait of
de the

the been

king.
found Colomo
in

bundle

of this prepare

from

Jornada
of all

Aragon
also three
"

has

bearing on
had Court
to

transaction.
an

First for six

room.

Carpenter
put
a

Pedro window

easel

reals, and

the

windowless painter's
on

During
a

the

reeds sittings, for

were

spread
to
was

the

ground,
The
on

and
was

at

last

door

put in,

people were

unable

get in."
also For taken both

king

kept

amused

by

his

dwarf, El Primo, who

this occasion.
were

cases pictures

then made
to
wore

to send

them The

with forth-

Madrid.

king
he his

the

dress,in which

usuallyapf)earedbefore
army
as

commander-in-chief.
the that

From
is evident

figure itself it
it
was

taken the

far from the Alcazar.

tall
are

atmosphereof

It is freer than those

figures in

black, which

patches, desperpetually receiving and

which of

are

the

incarnation

unrelenting
weariness
this effect

monotony,
of
the for

of

the

etiquette.To
colour the

contributes

much,

is._ail light pictureThe

and
seem

brightness.
to

legs
to

stand in and the

but profile,

the the
PHILIP

body

head white is

face

IV.,

1644. the

right;
holds both

baton

in the

right hand
the
arms

planted
on

against the
the
in
a

hip;
the

the elbow

01

left,which

hat, rests
are

hilt of

sword, and

curiously enough
in

disposed

somewhat lines of

parallel position.
the
now king's features,

The

his The

thirty-ninth year,
otherwise the shoulders
most

are

firmer, the
hands

colour

fresher
a

than
broad

hitherto. lace collar the white

inseparable
; the

is here golilla
are

replaced by
in

on falling

white the

unison

with
"

sleeves, the

luminous

parts of

whole "washed

picture well-nurtured, royal hands, ringless,but

out,"
as

by

no

means

has

been

supposed by

those

unac-

The

Fraga
of

Portrait.

311
shade
to

quainted with fingers. Philipwears

covered

the

artist's habit

dispensingwith
with

indicate

the

rich the

lightred
leather

doublet

the hanging sleeves, Of like colour and

narrow

opening showing
with of

jerkin underneath.
are

and

also The

silver

embroidery

the

bandolier
else
"

hose. of

only patch
/This
'* V

gold
the The
may
to

is the

all golden fleece,

sleeves collar,
"

jerkin

lace (" pearl tone "),lace cuffs,

ruffle of boots, silver sheath the well-known effect of

in

being white.
a

white

on

red hat

produces
alone
be

lighteror
the
the

camelia

red." and

is black, which
due
on

is not
on

keeping with
dark
same

costume,
who in
the

probably
avoid
to

to

licence
and the the

the

part of
needed At the
a

artist,
part
time
shows

here

wished

white

white,
of

who whole.
red

softeningcontrast
red

the

silveryred plume
the
the
on

the

of

the

bandoHer

and
to

of

doublet

the

indifference 'painter's To
all
an

such

matters.

this

must

be

added from

full

flood

of
on

daylight^which
to

even

projects
and and

oblique

shadow effected

mustachios dark grey

to

the

cheek.

The

relief is stuj)endous

by

the

empty

surface

of the the

ground,

by
hat.

the spare

brown

shadows, which
still in
the

help

bring out
Palomino

collar, arm,
wrote

This

picture was
but

palace

when

under

Philipv.,
found
to

before
to

the

middle It

of the

eighteenthcentury
from Stanislaus'

it had

already
estate

its way Tronchin

Paris.

probably passed
to

Bouchardon's

the

thence collection, Dulwich

King
'

agent, Desenfans,

and
A

lastlyto
second Sebastian sold for

the

Gallery.^
every
to

exemplar, correspondingin
Martinez'

respect with
the
at

this,passed Gallery,and
of
that

from
was

Cadiz, collection,
thousand
sent to

Salamanca the

seventy-one
It
was

francs

first sale
Exhibition old but

collection in

1867.

the Alsace-Lorraine
owner. i

of 1874

by

Mrs.

Lyne-Stephens,
copy.

its present

It is

only an

carefully

executed

Equestrian
Of has all works

Portrait

of

Prince
young

Balthasar, ) Prince Balthasar Carlos

of this class that of the been rightly,

a

always, and

the greatest favourite. of the

sale

Here
"

is concentrated

all that is
*

in captivating

creation

Art pictorial
the

life and
// tieni

motion,
heaucoup
couleur

In the

Catalogueof Fran9oisTrouchin's
II
est

(1798)occurs point.

entry

de

Van

Dyck.
La

peint

avec

une au

naXveti^ ufte

et legirete^

une

fraicheur de
ceUbre
*'

admirable.
Thor6
comme

viriti et

Veffetysout

plus

haul

II vient du

Bouchardon,
et tendre

also hits off the le plusfin Metsu,

impressionit makes
de Chef-d^ceuvre

in his usual couleur

unerringway

:
"

Clair

et de distinction^

3^2

Velazquez.
prospect in the distance, air and
artist and of
consummate
mass lustre,

lightand all-pervading
contrast, the
soul

and

of the and

mastery

of his

technique; firmly and

holds
the

unclouded lastly, in his seventh his baton

intact state
is seated
on

the

picture. The
the

little fellow, now

pony
as

year,

his

lightchestnut
head in

as lightly

father, the
extended Don

first rider in
over

kingdom,
a

and

he

marshal's
not

the

animal's

style that
very of

could
as

be

surpassed by
remarks,
The
**

Juan plays

of Austria

himself.

His

mount,

Palomino
his

smelleth

the

battle afar off,"sure

more scarcely a

victory under
than
with

rider.

part he

is here

pastime
and of

his for

father the

grandfather, Spain
to

kings

had

long forgottenhow
this staff of command
earnest.

wield
in full

The
out
scene

little steed frame

bounding
the

of the is

athwart

more

fore-shortened In this shortening fore-

than

usual.
the

body

is rounded which and

almost flutter

to

about ball,

the

long
And
all

mane

sweeping tail.
is decked
"

the his

prince
dark

in

bravery

broad

plumed
red

hat,

green

velvet

jacketwith
scarf
in

white

sleeves,

diversely
boots.

embroidered
PRINCE BALTHASAR CARLOS.

gold, long,
the

close-fittingleather By
all this has of
a

contrast

with
and

scape land-

made

the
gem

picturethe
of tone

most

shimmering harmony"
bluish and

dazzling
is

"a equestrianportraits,

and with

(Imbert).It
lustrous
a

fresh

morning sky
the

in and

spring, streaked
mountain
a

white

clouds,
aerial

heaven

ranges

permeated by
Hill
a

blue-green
dale
are

tone,

uninterruptedby
the

singlejarring note.
eminence rises
not
a

and

bare, except for

the clad mid-distance.
crests

sparsely wooded

behind

sandy steep
snow-

in

From

j^the depths
the
sun

thin
a

haze, leaving the

to

in glittering

; but

single tree

indicate

the

foreground.
On
the red cool and

rich

ground

stand

horse The

and

rider, with
sheen
is

their

brown,
reflected

yellow,

green" harmonies.

golden

again

Equestrian
in the silver of

Portrait
and
concert

of

Olivares.
as

313
with
a

clouds, snow
a

haze, interwoven
of

silken face the the

tissue of metallic threads, alone is soft and

guitarsand
with thin

mandolins.
;

The here
in

luminous, painted
in the
and

pigment
is well

and

quiet pleasureof the

dark the
eye

billowy gallopingmotion
distance. A

expressed
is

steadily gazing

second

contrast

given by galloping
animated

deep stjUnessof Njlyre

as

the metallic clatter of the steed had

by,
group

if the in the

magician's wand
midst of the
be

suddenly conjured
solitude. the than
to
as

up

this

surrounding
taken
as

This master's
of Art.

picture may
second
he manner,

most

perfect example
other
to at

of
measure

the
/

more

suited
able

any

afford the

u^

what

intended

and

was

accomplish
a

height
Rubens

of

his and

Patriotic here

enthusiasm

placing him
Dulwich colour

colourist

above

Titian The
copy

becomes

intelligible. College
and
is
not
a

small
a

picture in
trace

sketch, but
of the

an

old

without

of the

lighteffects
Richard also

original.The engraving, formerly

of
not

best

is reproduction (including paintings)

in

Earlom's

publishedby Boydell
in

1784.
the Charles

A
now

but larger,
in

inferior, copy
the Duke

the

Salamanca The

collection is
in

the

palace of

Fernan Prince

Nuftez.

picture

Hermitage
II.

(426) represents

Balthasar, but

probably

EquestrianPortrait of
The himself smelt The
was

Olivares.
wars now

minister

who

had

stirred
a

up

all those

wanted had

to

see

also in the

saddle,as

although he general of cavalry,

the "great protector and the

never

powder.
famous of equestrianportrait Maecenas" in the last century in the

possessionof
new

Marquis
In

of Ensenada, and

later known

acquiredby through
strove
a

Charles feeble
to

III. for the

palace.

this work,

generally

the master Duke

not

that Bermudez etchingby Goya (1778), of the for in Rubens' outdo himself, equestrianeffigy considered

of

Lerma,
be ambitious

also

painted in
wished
to
own

full

armour

(1603),he
depicted in

had

prototype

easilyto
The

surpassed.
minister
to

be

the

attitude them
in

of

field-officer
to

leading thousands
the risk of his in

the attack, and life. Thus

we

showing
see

the

path
scarf,

honour

at

him

rich

armour

damascened
mounted
on

gold, with
Andalusian

broad
gray towards
on a

plumed
in the

hat, gold-embroidered red

correct

his

the

pose

charging
seems

at

full have

speed

in

diagonal line
the woods

background.
a

He

to

emerged

from

spot commanding

view

of

an

extensive

3H

Velazquez.
squadrons calling upon
From
were

plain,where
to

of horse them the

to

are

already engaged.
in

He towards

turns

round

his

men

join

the

combat

which

his

baton

is directed.

hamlet

beyond
a

the

battle-field rise columns of the

of smoke, which which he had him

later
to

as interpreted

symbol
land. Rome

cohflagration
afterwards the

kindled
to

the

ruin

of

the

Quevedo
from

compared
Rock. The

Nero

over rejoicing

burning
of

Tarpeian

picture thus
Buen

takes

the

form

definite action^

recallingthe
treatment

in battle-pieces

Retiro, and

Jos^ particularly
of

Leonardo's Duke the

the

of

Feria ;
is

only
which
rear

here

attitude
a

explained by
the is

message

officer

in -the
to

communicating Although
taken

the

duke.
never

he

had

part in
sibly pos-

or military operations,

for that very Olivares for

he war, war, could
was

reason,

always raving protesting that

live without the
most

not

assuredly
the annals
none a

frothy, bellicose
in
**

dilettante of

Spain.
of the
tain," cap-

He

lacked

of qualities
wrote

great

the Qjurt

torian his-

Virgilio Malvezzi,
OLIVARES ON HORSEBACK.

"except that he had

seen

never

active service." may

a

The

academic

and generalship

stage battle-scene

raise

prejudice
his his
was

against the
brown enemies
so

for the picture, is

a

general is
habits

undoubtedly
"

humbug, just as
but and military, old man," who
at

hair

sham.
at

His
*'

were

anything
and
a
"

sneered

this

heroic
to

minister
go
on

grand

delicate

that

he

refused

board his

vessel,as

Barcelona for sale

in in

1632, for
Madrid
at

fear of seasickness.

When

was portrait

exposed
same

in

1635

it

was

pelted with

stones, and

the

occurred

again
that
sub-

Saragossa in 1642.
But these
are

outward

and considerations, rO/e. So

true

it must

be

admitted the

the

suits figure

well the assumed

is this that,were

3i6
to tatingly

Velazquez.
the

period between
the

1639

and

1642, no
Panneels

reasons

are

given.
bloated

The look

head

of

Olivares
in

lacks certainly

the

elderlyand

somewhat after

already seen
Hence from it the
can

print engraved by
been
the chiaroscuro,

Velazquez, in 1638.
to

scarcelyhave
and than the

painted later
work Prince

than
be

1637, while,to judge

referred
even an

tone

might

earlier date

of portrait

Balthasar,executed

about

the

year

1636.

The About
run

Portraits this time

as none

of Philip III.
the mania remained for

and

Queen Margarita of Austria,

seem

would equestrianportraits the

to

have

high,and

amongst
were

livingworthy
on

to

be

enrolled

in such Such Titian

between

exalted

company,

they

fain to Charles
was

fall back and

departed royalty.
executed fill the

picturesalready existed
and

of

V.
now

Philip IL,
upon
to

by
gap

Rubens, and
rulers and his

Velazquez
the

called

those

reigning sovereign.
in

Hence

equestrianportraits
our

of
master

both

parents, enframed
del Reino. them
in the

gold, were
be

duly supplied by
whether ?

for the Salon

never seen

Having
had
any
entrust

it may flesh, Court these

asked

Velazquez
Or his did
he

such them
any

portraits by
to

former For

paintersto guide him

show figures But then
no

associates ? its

nothing of
other of the

peculiar

Art

at

of j)eriod

development. complete
the

artist in Madrid

could

any

longer paint
undertook the
to

like this in the

fifth decade

century, when

Velazquez
do

series of

equestrian portraits.Nor
and anyone,
at

they give

impression of
no

being copies;
refer the

apart
a

from

other

would considerations,
or a

doubt

heads have

least to

Pantoja

de la Cruz 161 1, when Hence

Bartolom^

Gonzalez.

They

must

been

painted before only

to

Margarita died.
old
must equestrian p)ortraits

have

already existed
it
was

the

style now
them

seemed

somewhat The and

and old-fashioned,

decided

have
changed unso

thoroughlyrecast.
; but

heads, costumes,
no

and

housings were
to

left

horses

landscapes,which
one

longer pleased,were

completely repainted that, in

the
nature

case,

it is

impossibleeven

conjecture
heav^

of the

outlines. original size 3-oox3'i4

No. 1604; PhilipIII. (Prado, white

mane

m.)
down in

is mounted the

on

and animal, gallopingthree-quarters right, and tail flutter in

has

stirring up
to

dust,while
Here the

the fresh
in

Seabreeze
as figure,

the pasterns.

something
covered

been

revised

the
more

the

right arm

holding

baton,which
over.

has been

brought

being only loosely forward,the original

Last
The
scene

Portraits

of

Olivares.
the shore

317

is

spaciousmarine
blue hills and

where inlet,
a

beyond

the restless

waves curling

shows of the

summit. square-shaj)ed all been retouched in

a

Colour
tone.

horse,sea, clouds, hills have

to

white

This

imparts

the the

picture head,

somewhat there is

feeble
a

which, ^^ character,
of

however, accords

with and the

where

strikingabsence

intelligence, energy
The

expression.
queen

picture of
heavier

(No. 1065 ;

size 2*97

3*09

m.)
harder

is

much

deeper and
than in the

in the

colouring. She
its hawk-nose of
a

seems

aged,with
la Cruz
small

features Museum
has hat

beautiful portrait by Pantojade delicate, The

in the

(No. 926).
and white She

face, with
the is in
a

and

contracted

mouth, high

acquired somewhat plume

mounts

look

cockatoo,with

which

the

small

keeping.
which palfrey,
as

suj)erb chestnut-and-white
that

also towards

moves

so left, obliquely

king

and

queen

appear

if

riding

each

other. Here underwood detected enclosed the the

landscapeis broken,
the But ravine^.
and
a

with hills underneath

and brought close together

dense be
/

in

the

slopes and
with three is

thicket may

park original

ornamental

grounds, with hexagonal parterre

fountain The tiers of
a

by tall trees, and

statues
"

sumptuous

shell

basins and dull green, To

probablyAranjuez.
overcast

distant

view

painted dark, equestrian

land Cumberhim in

the

evening sky

with
to
seen

clouds. layersof yellow-red be in

the appreciate

effect intended doubtless

be

produced by

all these

portraits they should

describes in

juxtaposition.Richard
made
on

eloquent words
the
new

the

impression they
both

the

of largebanqueting-hall

where palace,

Olivares, royal couples,

PhilipII.

by

Rubens, and

Vauloo's

V. Philip

were

brought together.

Last

Portraits

of

Olivaresof his power

less share.
at three,

Of

of portraits
are

Olivares

datingfrom

the last years

a

least,

extant, in which
three
or

Velazquez had
several executed
to

greater

or

There ascribed

are,
to

moreover, the
master

four

two copper-plates,

of which

have

been

and himself, have

been

copies.
before
suppose

All

must

the fall of the that Olivares

own

minister would

in

January scarcely

1643.
borne

It is also reasonable
any

have

to granted sittings out

artists, except his

of

protege^and
may

this inference is
be

by

the

character

these
in the

portraits.There
he is

shades
or

of less

diflference in the number

or expression, on a

tone, accordingto the greater

of colours
as

the

and accordingas palette, But

depictedfull-length,
agree

or half-length,

bust.
as

all features, modellings, details, outlines,

almost

as

completely

in mechanical

reproductions.

3i8
Thus which the all

Velazquez.
point back
of
to to
one

prototype, and
took this
more
or

are

in fact studio
a

works,
the

in

hand

the

master

less from

part. amongst

But

I should
extant
now

scarcelyventure exemplars.
known. the On Dresden Nor

single out
the

prototype
Hermann possesses

is

originalof

Panneels'
a

engraving
Modena.

the other Portrait

hand, Germany

in replica well-painted

from Gallery (No. 622), originally

the

Here Cross
on

Olivares, a
doublet
a

half-length figure, wearing

cloak,stands
A
on

large green
of the

Alctotara

and

the

rightside
exclude

or frame,receiving was

ing deliver-

letter.
and

change

in the treatment
to

of the the

wig, which
of
a

at

first drawn In

broader with
a

deeper,

seems

idea

copy.

harmony
But

this false hair,which

completelycovers
accentuated work
are

the ears, the face has received

ruddy tone, which

as

is stillfurther

by

the whitish

ground.

doubts

to

the due
same

of authenticity
to

the

suggested by

the weakened

effect plastic After the from

the

lack of

high lights. Hermitage

is often the
with

is original

bust in the the broad, vigorous, fiery

the Coesvelt
a

collection.

But,
of
a

as

case

hasty works,

this is almost
a

monochrome,

dull

earthy tone, giving the impressionof

black velvet Court for

person

stricken with fever.

The
a

expressionis repellent.
in portrait full-length

The

Hermitage

also possesses

dress,which, with

the

PhilipIV.,was companion piece, eight

at

acquired in 1850 King

This thousand

thousand thirty-eight
of

hundred

and

from fifty florins,

WOliam five
what some-

Holland's and

collection.

It had

previouslyfetched only eleven accepted only as

and third decade resembles
a

hundred

twenty francs

the

sale,Paris 1825.* Laf)e3rri^re

the work of
a

overvalued corrections with the

picturecan

be

pupil with
respect
head

by

the master.

Attitude
in the

surroundingsagree

in every

executed portrait

(p.1 19), except

nervous,

that the

is that of the fifth, while with lustrous the

mere

the

tone

that of the Dresden broken-down favourite

work, only
old man,
and

lights. The
of the

glanceis that of

ruin

high-bom nobleman, 1640, and

and

the

smooth

wily

{Stirlingpolitician Maxwell),
Since the disastrous his
year
more

since particularly
a

the treasonable

proceedings of
taken of mental

cousin features The

Medina-Sidonia,

notable

change
with
at

had

place in Olivares'
disturbance. the Austrian
a

complexion,combined
lineaments, which
here
to

symptoms
one

heroic of
an

time

reminded

envoy

emj)eror, have

disappeared, giving
loss of teeth the thus

place to
mouth

swollen,bloated
somewhat

appearance.

Owing
chin
to
curve

the
more

has
a

contracted, causing
also appear

the

upwards,
to

imparting
The
eyes
*

compressed, cunning expression

sunken, with
even lowering,false,

the

features. The

cruel

cast.

It had

passed

to the

Lapeyri^refrom

the Delahante

sale,London, 1817.

JULIANILLO.
thick, reddish

319
the

wig enframing formerly in by

a

the

whole

completes
of the 18 14

pictureof
of

really

sinister countenance. The

to

bust

the

collection sold

Prince
to

Peace, brought Lansdowne,

the is

England by

Buchanan

and

in

Lord

described

critic in the Athenoeum But rej)etitions. somewhat crude

(January27, 1877) as
the in and qualifying the
correct

genuine
:

of original
"

countless

addition

Excessivelydark,
the of

shadows,
of
a

and

rather

heavy
the

in

half-tones,"will relieve all connoisseurs

Velazquez

from

trouble

testingthis
red

statement.

It is in fact

sombre, crudely painted

and

botchwork, with
The Ford's which

carnations.
over

brought portrait
is

by

General also

Meade

formerly in heavy
brown

Richard

is better, but p)ossession

painted
small

in that

tone,

foreignto
interest
one

our

master.

Some

is

presented by

two

each copper-plates, Olivares'

known is
cribed as-

only
in

in

extant

print. Velazquez' conceptionof

so

features
been

both

so

and carefully the

that accurately reproduced, however would

they

have

to

painter himself, who

Madrid

surely have
hard

preferred

the

etching needle.
The in the first, the in who
was

National

Library, with
a

metallic
engraver.
to

cross-

hatchings in second,
now

face,is evidentlyby
the
wrote

very

indifferent

The Cean the

Berlin
a

Copperplate Cabinet, belonged

on

Bermudez,
the face

memorandum

the

back The

of
head

the

sheet, to
is

effect that it

"engraved by Velazquez."
a

alone

finished,
The

being evidently stippledby

state

practisedFlemish possibly
be

engraver.
to

incomplete
sudden

of

the

work

may

due

the

minister's

downfall.

1JULIANILLO.j^
This which son,
a

event

was

by preceded,perhaps precipitated,
survives
in

an

occurrence

of natural

reminiscence

Velazquez' portraitof
a

Olivares'

The Julianillo.
was seen

picture,representing
Altamira
at

cavalier Lord

about

thirty years Egerton, who

nominal

old,

in the

collection
a

by

Francis for the

afterwards of

(1827) acquired it
It is
now

sale

in London House.
a a

price beauty,
Seville

"^7
This
in
to

1 6s.

in

Bridgewater
parts
in

son Julianillo,

of Dofta Isabel de Anversa,

many
:

notorious

Court

had page there and de

his

time

played

in Madrid

street-singer ; in
and after

the

archbishop;
the

Mexico

mendicant, peasant
And
now

gaol-bird,
Flanders Leonor

narrowly escaping
he Italy had
a

gallows.
up

serving in
he

again

turned

in the

where capital

married

Unzueta,

dama

publicadc la Carte.

320
Otivares in had
it

Velazquez.
lost his
now

the only daughter,

Duchess
to

Medina him his

de las Torres, that

name

1626, and
son

(1640) suddenly faute

de

occurred

this scapegrace and title.

might
to

serve,

mieux, to perpetuate
estate

He

and accordinglypubliclyadopted JulianiUo, leave him

the
not

decided

with

his wife's of San received

consent

Olivares

togetherwith
act

the

duchy

Lucar. him de
name

Philipalso
Court
cdmara

only recognizedthe
quarters
the
crown as

of

adoption,but
Retiro Then with
as

at

and and

assigned him companion

to

at

Buen

getUiihombre
the ominous
was

la

! prince

Julian^ regarded in
for the
more

Spain
he

synonymous

Judas,
"

( exchanged wish,"
of
my

sonorous

Enrique Felipe de
shall my for and

Guzman the

"for I
memory

remarked

Olivares,**that
father,
and
atone

worthily sustain
errors

great

my

less

worthy

memory."
His

wife, who

had

been

banished

to

having just then Seville,

him
to the first lady of the

tunely oppor-

Olivares departedthis life, Dofta

married

palace,
Frias,

Juana
of

Fernandez Castile.

de The

Velasco, daughter

of
on

the

Duke

of

Constable

wedding
to

took

place

May
and

28,
the

1642, the haughty

royal couple being

Castilian

witnesses cardinals

the

marriage contract,
other Retiro. Guzmans the Order
his

nobles, the

and

dignitaries obsequiously paying

in his of Court

their respects to Don

Enrique
the

in Buen

Velazquez
his

painted this heir of the

shield of

new

dress,
But
the

hand
was

playing with
too

Alcantara, he

artist

proud
of
taste

to

take much

pains with
here

work, which
new

executed
to

with
a

only

"half
The

his of

leaving the sumptuous spirit,"

the

costume

pupil.
The

upstart
our

obtrudes

itself in

the

garish

colours

otherwise

avoided that
of eyes,
a

by

master.

figureis

slim, comely youth, with straight bushy broad-bridgednose,

He
wears a

brows, eye-

kindly brown
narrow

thick

red

upper

lip,high
linen scarf
a

oj)en

forehead.

leather

jerkin,wide
the

white

sleeves,with
and

deep
white

lace

cufTs, puffingout
lace blue
at

through

slashings ; red
he holds

hose;
with

top-bootswith
and

trimming;

in his left hand Pose and

hat

decked

ostrich all this

the

plumes.
next

expression, halfthe

pleased,half-embarrassed
This
event
was

finery, betray
year

the parvenu.

followed Olivares He of

very

by

long pending
"no

when catastrophe,
creature

like discovered, withdrew

all fallen

that favourites, then of the

to

loved Castilian

him."
town

first to
he

Loeches, and
on

the
same

small year,

Toro,

where

died

June

20

1643.

Don

Enrique

was

banished
"

from

the

Court, dying within

in his
"

the

same

decade; Dofta

Juana

their

son

having

died

infancy retired

to

Prince
convent

Balthasar.
Lucar

321
the Duke
of Medina

; and

the titleof Duke had

and
a

of San

passed to
de

de

las

Torres, who nephew

married

Olivares' Don The

only daughter. Haro,

appears
never

Olivares' have Lord

successor,

Luis

to

given Velazquez
Northwick's Rothschild for

sitting.
in

equestrian portraitformerly House,

had
no

in

Thirlestane collection,

and doubt

purchased by
been

Baron
as

James
a

;^966
of

1859,
in

described

specimen superlative
a

Velazquez'Art.
the either with

But

this work Van

is the

production
and has

of

Flemish

painter executed
do

style of

Dyck,

nothing to absolutely
or

Velazquez,Haro,

the

Spanish school,

the

Spanish nation.

Prince

Balthasar

Carlos^I
the of

Velazquez
last had the been Court
born

was

still in Rome after ten of two the

when
years

glad tidingsarrived disappointed hopes

It
now

that
an

at

(October 17, 1629)

to

heir of

the

ruler

worlds.

became

the

duty
a
"

painterto
"

chronicle

growth
to

of the young
year,

prince in
when this followed

long light
no

series of of the

from portraits
was

his second

his sixteenth
"

palace
sun.

suddenly extinguished
what in the
an

bright dawn
fund of when mortality of

by

mid-day
the
at

Yet
even

inexhaustible of

shiftingphenomena
disclosed

lies embodied

feeblest flower Painters with

a

by

magic

touch of Art ! have itself has

world but
a

prominent personalities repetitions.Here

of
ever

their command

left

us

nothing
extracted

monotone

from

monotony

been

little world

new,

ever

creations. fascinating The year

a

Child.

"

According
from
an

to

Bermudez and

Velazquez painted
reference of which
to

the

child for

the such

after his return in

Rome,

the From

charge
the
bore
same

occurs portrait

official document Castle and

1634,

period
title of It
was

dates

the

picture in
of

Howard,
which
was

formerly
to

the

"the first

Prince

Parma,"
a

ascribed

Correggio.
from

recognizedas colouring and

Velazquez by Waagen, treatment," pronounced

in little figure,

who, "judging
it "an

tion, concep-

admirable

pictureby

iii., Velazquez" (Treasures, 323).

The flaxen-haired somewhat
animated
a

long dark-greengold-embroidered
surface brown of eyes
the

frock, stands
soft

back, the only by

rests
on a

oval the

face

painted in
it had of

light,and
The with the

which the

its the

mother.
baton

left hand

the sword, while

right holds
it
as a

grip of
is

an

heir to

throne, although using

walkingflood of
21

stick. The scarf alone

red,but

the whole

figureis enveloped by

325

Velazquez.
and scarlet
"

imperial purple
lies the black Two white in
one

curtain, hangings, carpet, cushion

its

on

which

velvet in

hat with
a

gold

band

and in

white

ostrich
coat
a

plume.
with silver

steps
apron, hand the is and

advance

dwarf, also
the child
to

dark

green

large
bell

encouraging
an

follow, holding out

apple in
series this

the other. is

Of

whole

perhaps

the

most

carefullyexecuted, style.
and in
a

an affording

excellent

example
the

of the master's

middle alone

The

same

figure of
silk

child,but

quite
the

light grey Gallery,

House. It fetched added
to

silver-embroidered but A
has woodcut
now

frock,was
other

formerly (1853) in
of portraits

the Standish Hertford

joined
of this

two

prince in

appeared
that such

in the Art
*'

Journal^ 1852, p. 361.

possessor of
up

;fi68o, Ford
his the

remarking specimen speaks

of

the
as

fortunate the

will have
can

gallery a
means

Queen

Spain only
the The Museum

furnish Madrid."*

of also
the

when rivalling

she

shall break

at

Waagen
execution The

"its flesh

marvellous
tones

charm.

conception is highly
and the careful

animated,

delicate

luminous, positively
*

of every

part unusually sustained."

young

Little Rider," ^Tht

prince showed

from

the first

talent for referred

on

horsemanship,which
the
matter sent

his naturally delighted

father.

Philipoften

to

in his
back

correspondencewith
from
"

his brother such

as

Ferdinand, who
suit of
armour
came

his
two

part

encouraging presents, Lombardy

receive

and
a

Italian

greyhounds
as

in

1633.
before

There

also

pony
to

described stallion, bridled carefully

go

little devil,"who half-a-dozen this

being

mounted

was

be

and

to

lashes,after which
identical pony is
on

"he

would the first

like

little dog."
in

Perhaps
the
scene

is the he

which

prince
lessons Two The

is mounted in the

where

represented taking his

in

ridingschool.
of such of
scenes
are

sketches

extant, both
but with
; it
was more

English

collections. better
a

the first,

smaller

the

two,

figures and
the
the

executed, belongs to Sir Richard

memento
arena we

Wallace

apparentlypainted as
In

of these first efforts in

see

horsemanship.
a

background royal mews

where
are

of the
on

the

blank

wall

of

house, perhaps
and
ten
a

the
two

Palace ladies

Square,
and
a

with

turreted Below

dovecot stand
an some

balcony
looks

dwarf.

figuresranged against
like
a

the

wall, two

mounted;

in the middle

object which

lai^e red

'

AtliencBum, 1853,i.,710.
80. Treasures, iv.,

George

Scharf

calls attention

to the

quaintness caused

by

"

the

between discrepancy ^Manchester

the age of the child and

the costume, which

is pleasantly old-fashioned.''

Exhibition, p. 81.

324
and
costume

Velazquez,
of
and

Philipcan
leather

clearly be
boots,
as

in distinguished
as

his

black

jerkin,
in the

plumed
the
convent

hat

well

of

Isabella
two

accompanied by
ladies,one
as

and little princess,

between also white

them

farther back is
now

habit.

Here with

Olivares

introduced

the

prince's
in his

caballerizo mayor^ left

hose scarf,

and

shoes,holding his
a

hat the
ears

hand,

and

extending
the

his

right to
a

receive

lance

from

ridingand

master.

Behind

latter is

bare-headed

figurewith

large

white

ruff in submissive

attitude.
are figures

Here
and

again all
and be

the

shadowy,
such cabinet

but

delineated still quiteclearly Had

reduced

according to
executed in

their several
many

depths. perspective
little
the pictures,
to

Velazquez
school

conceived would with

now none.

Spanish
fear

possessionof
in 1806

piecesneeding
Welbore Ellis

comparison
collection

This Earl
was

sketch

passed
Is

from

the

Agar

to

Grosvenor. in the

it the

which highly-prized picture Olivares'

in Palomino's

time

possession of might
well the

nephew,
a

the much for

a

Marquis

of

Heliche?
and in

Palomino's

words, however, would

foretaste of

suggest

larger canvas,

fact this abozzo It

supply the

foundation
an

magnificentpainting.
to

gives a
The

Meninas, forming
the

open-airpendant

that

chamber

scene.

of large equestrian portrait

prince (p.312) placesbefore

also

us

the

result of the noble

equerry'straining.
Balthasar his boar
was an

The Little Sportsman, -'"Don

;

accomplished sportsman
mere

nor7young
the

as

he was, shot
a

were

in exploits
in

the field

child's-play. going right

struck
a

In

January 1638
in the

he
same

wild

the Sierra, the in

two
a

bullet

through, and
steer
was

year, To

from firing
commemorate

his seat these

he buU-ring,
events
a

forehead.

copper-plate presenting
in
the

engraved in 1642 by
gun
to

Cornelius

Galle in Brussels. de

Here

he is

his

Don

Alonso in leash
on
on

Martinez the
a

Espinar, both
an

trophies lying holding

the
up

front,two royal arms

About

dogs

right,and
been
the

attendant

emblazoned this very

lion's skin have

(Curtis^ p. 59).
executed
the in portrait
near a

time must ri3

the

Prado open

(No.

1 1

18; rs8

m.), where
Pardo

prince stands
dress his left
the

large

balcony-window
belt.
entered
to

in

in black

like that of

the

equestrian
the swordis
even

his right hand grasping the portrait, This has picture

been

little gun,
in

on resting

doubted, and
the by pupils, of invention in

for 1872 catalogue

amongst

the works

hand

of the novice

being supposed

betrayed by the poverty and hesitation sketchyimpasto,

Nevertheless
its

be

in the

accessories, by the thin,

drawing
not

the features.

does authenticity

appear

quiteso questionable. The

Prince

Balthasar.
known

325
while painter,
not
a

colouringis
trace
can

unlike

that of of the the of

any

contemporary
The

be detected

hand. copyist's

thiri flat modellingoccurs

the

also in the head unmistakable

A

of

and equestrianportrait,

landscape
been

bears

the

stamp
the

Velazquez' hand.
still extant, which in been Flanders. may It is
in

of replica for

figureis
Ferdinand

have
now

the

portrait
Duke of

painted
render
black

Prince

in the Sir

Abercorn's

collection, having 62^ (size

plumed
x

purchased
is

1837
the

of

George

Waron

for ;^4io embroidered

are

52^ inches). Here

surrounded
the
a

prince has put by

three the

his
two

hat, and

hounds,

of which

from repetitions
has
now

Madrid

hunting portrait ; but

the

brown

greyhound
In

found

companion,
to

couple being possibly those

the
:
"

presented by
a

Prince

Ferdinand
in

his little nephew.

letter received Balthasar God

the

spring of 1639 thanking

Ferdinand writes
was

king for
The beside
.

ture pic-

of Don the with

by Velazquez,
preserve,

of portrait

prince,whom joy,and
is
a

is

splendid; I
for this be

quite
. .

myself
protect
is

kiss your

Majesty'shand
lad." Whether

this memento.

God

him, he

handsome

the Abercorn

paintingit
lies
above

difficult to decide,owing to
and figure,

the present condition suffered. On

of that work, in which the mountain

range

the
a

still more

the

sky, have
of

heavy dark-greenlayeras
has remained
A

while repainting,*

the clear

light-blue sky

unaltered. Don Balthasar is

picture,in which
Sir W.
one

representedloading George IV., May 1885

and the hundred
to at at

his gun,

was

purchased by
sale
and

Knighton,

physicianto
I
saw

the
one

Lapeyri^re
of Christie In

(1825)for
Manson's 1888

thousand

francs.
it fetched

it in

sales,where
it
was

only a
Fraser

fifty guineas.
of the
a

February
Masters

sent

by

S.
;

H.
but

Exhibition there
is not
a

Old of
a

in the

Royal Academy
it may
be

in this work it is

touch
not

Velazquez,
modern

and

doubted

whether

even

copy,

and

forgery.
"

\The Little Wooerl

thoughts run
As
on

^When

the
a

hopes

of

dynasty depend
the when
sent

on

singlelife,
future father heir. had

the choice of

bride from his tenth

the very
year,

birth of the
age his

Don

Balthasar
to

approached
dressed

been

betrothed

Isabella of Bourbon, his in black

was portrait

off to
in

friendly military

Courts,
uniform.

sometimes The

gala costume,

sometimes
it

varietyof expression is remarkable, making

the

probable that

his features underwent Until his fourteenth

women

great changes accordingto circumstances.

year

prince had
was a

been

the

unwilling associate
even

mainly

of

and

priests. This
Ludolf's Theatre
has been

subjectof general comment Historythere

is
a

abroad, and
^
"

in Job

of

Universal
"

copper-

Here

Reynolds'hand

suspected." Athenceum, 1878,p. 56.

326
plate illustration
damsels. and and
his

Velazquez.
of his
the

education,where

he

is

figureddancing
a comer was

with

Court

in Still,

curriculum

of his studies

left for letters,

teacher,Don

vaunted Juan de Isassi Idiaquez, in Latin,

his

quick apprehension
so

rapid progress
was

geography rhetoric,
at

and

forth.
the

To

the

king, who

thrown seemed time

into ecstasies ridiculous.

come
**

his

prowess the

in

chase, such
ventured
to

accomplishments
suggest that the
foot down, had
not

But

when

teacher

had that

Xo

initiate him
not
were

in statecraft, Philipput his with

remarking
for
the

he

should

meddle

things his
which

ancestors

meddled

with." future. in portraits

the

Utterances

already heard,

seemed

ominous

Amongst

the

Court

dress

is paintedfor presentation

the full-

lengthfigurein
Balthasar's had

Belvedere

(Room

7, No. 6 ; size 48 the

by 38 inches). Don
III.,
and announced in
a

betrothal with

Mariana,daughter of
not
on a

Emj)eror Ferdinand

long

been

planned,although it was
1646.
He here appears silver embroidered
on

formallysettled
rich

~-^ill the year velvet dress black

purple ground
of
on

black

with

loops,bandolier
the
arm

of silver tissue,short
a

left hand cloak,

his

sword, righton

red

upholstered
Above

chair,red

table-cloth and
an

curtain,broad-brimmed

hat

the table.

the stiff rises go/t7/a This

is portrait

almost indifferent,
a

sulky face. pictureseen

at

repeatedas belonged
Lord

bust

in the

the

Manchester in
the

Exhibition,which
much-lauded collection. confidence The in its

to

Colonel

Mugh
is

Baillie,and
came

again
from the
not

in figure

Hertford's the

which gallery,

Wells

where latter,

dress the
same

dark-green, does
been
us

inspire
of
as

though authenticity, though

deserves
of

colouringhas
critic
assures

spoken
that

"quite
''is

and Titianesque,'* and

brown

the
much

the

work

highlyesteemed
the
moreover

admiration."*

The

colouringmatter,
and

in especially

floor and

sky, gold
the

shows

wide

cracks

is

even

and clotted,
to

altered by the

tone

of the varnish, probably due

a a

repaintingin
to

England.
the

Behind

prince is

casket

covered

with

red

velvet,which

Maxwell StirlingPrince
"

thought exactlylike
in much

dressing-case presented
in
a

by PhilipIV.
Our
"'

of Wales.
a more

little wooer
as

appears

sympatheticmood
is

two

where, pictures,
but captain,
in

in the

he equestrianportrait, like his

represented as
statues

bom

resplendent gold armour

the

in great-grandfather

Titian's

in magnificent portrait and

Prado, and panoply

war, he
to

like Pietro Tacca's

was

of his father his mother

at

grandfather. during the

December On

In this

wont

to appear

with

reviews

Catalonian 31,

the intense envoy

of delight
wrote:

the Madrilefios.

1639, the
made
:

Tuscan

"A

portrait of
sent

the
to

crown

prince

has

been
'

in coat-of-mail
Manchester

and

full

gala, and

G. Scharf

Exhibition^ p. 81.

Prince

Balthasar.
that
were princess

327
close at hand. humour and

England, as
But
many

if his

Highness'marriage with
been
done

think In the

it has

only to keep pictureof

the

the

king in good
Prince the of

hope."
the entry the
same

catalogueof
p.

Charles **The of

I.'s collections there the

now

occurs accordingly

(No. 14,
recurs

170):
to

Spain,"and
A

in the

papers the
been

sale under

Commonwealth.^
to
an

portraitanswering Windsor,
in

above

descriptionhas
away,
and
now

come lately

light in
apartment

where

it had Palace have

packed
22

hangs

in

Buckingham
This time
we

(size 39 by
the
The

J inches).
a

of picture

cheerful, healthy, bright lad, proud rightleg well

a

of

his

armour

and

golden spurs.
The broad

attitude with the holds

a

advanced

is bold and
rests
on

spirited ; the
metallic

righthand

baton, the left in

the collar,

steel

gauntlet ground
tone

his baldric.

white

lace
a

largegold-embroidered
on warm

red

sash, the

sheen, produce
of curtain chair,

brilliant effect table. The

the dark

between of the
armour

the crimson interior with

and

and

saturated reflected

the

play of the broad

a

silver and

gold

of lights the

lace forms

contrast

to

the

with equestrianportrait

cool,

uniformlydiffused
A in replica
to

shimmer

of the free air. William Il.'scollection may be

The

Hague Galleryfrom King

Cabinet these

traced back
the

the Rainer of

(1821).

It would

be difficult to determine

mutual-

relations in the But

works

without allowance

studying
has
to

them
be the

side made
same

by side,
for
time

as especially

English specimen
were

the in

varnishing.
discordant

both
A

obviouslyproduced
and

about

Velazquez'studio.
a

certain harshness the Dutch

dryness even
the

in the
is

face

strikes

note

in

where picture,

ground

light grey
last

to inclining

green.

When
remembered

the

prince reached
the future that there

his

fifteenth year,

it seemed

at

to

be

that understand

"greatest monarch
was

in the

world"

should He order

also
was

begin to
now

such

thing as publicbusiness.
Councils.
In

admitted accordingly
a

to take part in the Cabinet

to

give him
him wonder Now the

vivid

impressionof his
to

great-grandfather's largemind, Philiptook

showed
him in
one

for the first time of the world." he

the

and Escorial,

day

the

*'

one

received

his separate establishment,and

was

henceforth

free from

"confinement of Austria
to

of the
was

palace."
Court

Soon

after

(June 1646) his

and when "the
as

betrothal with his

a

Mariana father

announced, officially
a

he

accompanied
new

the

seat
as

of war,
he strode

poet

described

Adonis

of

Teutonic The
* **

Venus,

along pike in hand, bold

beautiful." 144
of

in portrait
Oct. 23,

the
To

Prado
Edward

(No. 1,083; size

Harrison and

2*09

m.) probably
Spain,i. loo.'*
"

1651

Mr.

Company,

Prince

Hunter's

British Museum. Certificates^

328
represents him
those of his in the last year father and

Velazquez.
of his life. It forms executed
a

perfectpendant
dress

to

uncle the

twenty

years

previously. Don
with
short

Balthasar

stands

facingto

in right, the
arm

sombre
a

black Court

cloak,his left hand

on resting

of

red

chair,which

is

partlyhidden
dear

by
The

curtain.

The

glovedrighthand
a

holds his hat, in which

is the left glove.

with firmly

on well-grown figure,

dark

greenish ground, stands

lustreless eyes, somewhat
one can

brow, sunburnt
on or

brown complexion,
about figure
one

dull shadows

the face,a bad. It is

which

scarcely say anything either good

of
our

of the few indifferent works

runs

master, the

only one

in

the

which gallery Soon after the

bad
turn

the risk of the

being passed by. princecaught

life to
a a

betrothal

cold in When

Saragossa, which
the

taking a
hand

brought
the pen

his young
to

close.

secretary's
the governors,
must

faltered in the attempt took Philip

communicate
wrote to

the terrible
:
"

to tidings
"

and

Leganes
Mine

Marquis,
It has
now

We

all
to

of

us

yield to
son

God's
me

and will, about

a an

more

than
ago.

others. is

pleased Him griefas

take my
can

from
at

hour

such

you

conceive and

such

loss ; but also full resignation in the hand

to
we

of God, and

courage
are

resolution
if
to

providefor
have lost
one

the defence
we

of my preserve this
you

lands,for they also

the others ; and
so

my

and children, you

not

must

I beseech
is

relax in the in the Lord.

of operations From have here

campaign
shall be

until Lerida

as relieved,

I trust Well
may

energetically
have

supported." sought a
With
more

Giustiniani
to

remarked

that the
over was

king might

suitable occasion the fate of

his display

command

the affections !

this death

dynasty and monarchy

down with
age

sealed.

Doubtless
the

fifteen years

later the ruler,broken

and
name

ailments,saw
of Carlos.
**

birth of yet another what also

a

heir,who
the

also bore

the ominous

But

contrast

between

of feeble, languidfigure

this

child of old

age,"
had
one

and the blithe,lively frequently depictedby painters, youth, who in his I The in perished prime manly sports and exercises, which the skill and
acted delight, and cowl
a on depressingly

such displayed
more

the other,a

weakling
within

suited for tonsure of his birth.

an
"

than young

for the

crown

placedon by
"

his head
in the

five years the other

One

wasted life,

the

worm

bud,"

apple rotten

at the

heart."

Town In the year

the

Views taken

Saragossa.

had 1645 Philip

of the

the

crown

princenorthwards
states, which
were

to
was

receive
to be

customary homage

Navarrese In

and the

Aragonese
As

followed by the betrothal.

August

of Aragon privileges
a

solemnly days

confirmed by him in the Seo

at

Saragossa.

reminiscence

of these

Saragossa.

329
to

Philip commissioned
been chosen

Velazquez'son-in-law,Mazo,
The
on

prepare

view

of the
to

the royalsuite. with figures city representing

pointof view, said

the and left bank

have

by

Don

Balthasar
in

himself, lies

of the the

Ebro,
local

below

the stone

bridge
rich

the Altab^s

suburb, Lazaro, a

according to
of War the

tradition in the the

monastery
structure

of San
was near x

foundation

King James
of pendence Inde-

Conqueror.
This view of

This

destroyed during metres) is

not

^"ut it stood (1808-9)

the site of the present 3 '31 and

the

railwaystation. landscape left

that
true

Saragossa (p8o
a

best

us

by Mazo, painted with

ancient also
an

clearness It

conscientiousness
us

reminded

Stirling-Maxwellof
the
but

Canaletto.

gives

only
of

picture of
the

that genuine type Aragonese capital, "instantaneous

round

old

Spanish towns,
company
at

photograph"
his

of

the

varied

time

grouped

the has

sovereign.
own

Although
that

Mazo

introduced been

name
on

alone

in the Latin

tion,* inscripThey
here
be

certain critics have the

numerous

led to conclude

strong internal evidence

himself.

figuresare good
that

by

the

hand

of

Velazquez
closer

seemed

in fact too show

for Mazo.

a Nevertheless,

comparison might
cannot

perhaps
Under

touch Velazquez'peculiar

and

coloration

recognizedwith
a

absolute

certainty. by
thin streaks rolls down of clouds, and
its

deep-blue sky, broken mighty

higher

up

by
now

few
at

lightcumuli^the
its lowest
summer

stream

dark-green volume, awnings

The and in the old

animated level,
a

by

craft with violet

sails.

But

it has

left

memorial in
one

of its fierce the fifteenth and

periodical ravages
century

seven-arched
central

bridge
a

erected
span

(1437).

great swept
met
a

arch, with during

of

hundred

had thirty feet,

been

away

the floods

of March of the
and

1643, and
the traces
most

the

costlyrepairs had

similar fate in the

convents
were

February
away, the
the

present year

(1645). Many

houses
are

and
seen

washed

of all this devastation

in the

where picture,
the

bridge is the
their
sea

conspicuousobject.
from
west to east

Beyond
churches

river

city spreads out

the of

with

its tall

massive belfries,

palaces with
up

and loftygalleries

watch-towers,huge period of decadence, spiritof

that
once

looming
mediaeval

above Italian broken

resembling houses,a prospect closely

still in
a

^hose

of

towns.

Even in

symbolized by powerful
of and

the

arch
race

mid-stream, the neglect.

MAX. VLTIMVM HISP.

highly-endowed
followed

speaks eloquentlythrough

these

stones

dogged
"This

energy,

by

indolent

runs:" inscription

IVSSV

PHILIPPl. AVG.

REGIS

/ lOANNES
IMP.
. . .

BAPTISTA
ANNO

[^ \fS VRBI
MDCXLVII.

CiESAR.

PENICILLVM

330
The
stone

Velazquez.
bridge,lying
to
on

the

main

highway
windows
is

between

Madrid flanked
a

and
two

leads Barcelona, buttressed

towers

the Puerta
two

del

angel^a strong gateway

seen

by

; between

balconied
is
as

of picture
a

the

angel. tutelary
of
to

Here

coach-and-six

followed by approaching, usual

long line
gate with
the old Behind
it

pedestrians. It
the
and

is the

king,seen

only in
on

the distance, returning

that large buildingstanding out palace,

the left of the This

was

high tiled roof

residence rises the On

decked balconies,

with
the

arras

hangings.
acroteria. the

of the

Aragonese kings,now
side is the of the

archiepiscopal palace.

by Seo, with cupoladisfigured

the

wooden is
seen

opposite
which

gate

municipal consistory,
its four
corner

connected towers,
stone
a

with

Lonja (Exchange),recognizedby
1.

completed in 155 grand pile

was

The

site of the

the Pilar,

foundation church

of which

not

laid till 1686, is here Further

east

occupied by

the modest

of Sta. Maria

la

Mayor.

rises the famous and twelve the

leaningtower
feet

(Torre

nueva) of San
and

three Felipe,

hundred

Castilian that

high,whose
Pablo with

singular ornamentation
Moors its slender Moorish Gothic

commemorates

fact

Christians, Jews
San

co-operated in

its erection.

Then
the

follows
town

and belfry,

lastly, beyond

walls,the
of

massive
the

citadel of the
1 27 1.

where Aljaferia,

St. Elizabeth

Portugal saw

light in
Brick
tone.

being

here
can

the be

only buildingmaterial everythinghas imagined

more

dusty pale,
these here
and

Nothing

dreary

and

than inhospitable
a

river

banks,whose
costumes

clayey bareness
a

is unrelieved

by

tree. single

And

the artist has national

below in the

conjured up
waterside

motley company,
the

whose

Court picturesque Some

groups up,
a

supply the place of flowerymeads.

; but shut
are on

linger
with

by

the

chief persons
the

are

higher by
some

probably
wall

convent

garden,

off from

promenade
in groups,

crumbling parapets.
seated
on

They
out

disposed some
the grass,
or

(the ladies)
to

carpets spread

else

are

down sauntering

the

landing-places.
All in

whose

faces

are

shown in the

are

some portraits,

of which On
the

recall
we

figures
a

the

huntingpiecesand
very

Louvre
the

Group.
young the

left

notice in
a

tall ecclesiastic, and

red
not

is striking and

blonde

cavalier and

stiff

cloak

standing apart
head
to

looking in
In
the

distance,horse
front is seated white

equerry

far off*. The

had in be

had

evidentlybeen
left
corner

injured intentionally
a

or

effaced,
fruitin

and
woman

repainted.
Of

trim
rose

provincial garb (blue smock,

low-born
this company. and

broad persons

sleeves, a
alone

her
the

peaches. bosom) selling privilegeof intrudingon

the truth and

mendicants
we

enjoy

Here Van

have

the

of Callot, esprit

varietyof Hogarth,

Dyck's

aristocratic air.

332

V^ELAZQUEZ,
cannot

sequently it
instead
flowers

be

the
arms

work
we

in

Apsley
see

House.

In
a

the

latter wreath

also of

of and

the

Navarrese

above, within

heavy

shield with wheel a fruits,

be

supported by
or a

two

cherubs.

Hence

this

can

only
work
to
crown

either its

first sketch

reduced

replica. Pamplona homage

was

The of
to

had

origin in the
of after for
a

king'svisit to
at

in the
to

spring
be

1646
the

hold

the Cortes

Navarra,

which
the

paid

prince

confirmation contribution refused the

of

statutes

of
men

the

kingdom,
money.
"

and

made requisition
the

of three the

hundred

and

As

had requisition

been

by
of

stubborn
envoy,

Navarrese returned this the

Home
anger

as Rulers,"Philip,

related

by

Venetian
act

had Then

in

to

Saragossa
as a

the

day

after the of
one

homage.

picturewas
life of Don

painted
We

memento

of

the

last incidents

in

Balthasar.

"

learn

further that

from Don

document Francisco

in

the

palace
hundred

archives

{Museum
for
the

Catalogue^443)
purpose expenses the

Borgia

had

recommended
crowns

painterMazo,
order
to

who

was

to

receive two
and

travelling
view of that

in

proceed
the

to

Pamplona

"paint
we see

the

cityand
which

citadel."
in the the

On

however, pictureitself,
over

the citadel alone,

stood

south-east

againstthe
was

St. Nicholas consecrated Don

^

Gate,

on

the year
de

spot where

basilica of St here

IgnatiusLoyola
wound,
became

in the

1694.

For

it was

that the

Guipuzcoan hidalgo
on

Lopez Iftigo
which Order

Recalde, had

receiyedthe

memorable

recoveringfrom
the founder of the

he of

exchanged
the

the sword

for the

cowl,and
of

Jesuits.
Here
is unfolded
a

the view

broad of

river

valleysome
are

seven

miles
on

in the

with circumference,

coronet triple

which hills, lofty

wooded

right,and
a

on

the miles

left fall
away

abruptly with
still towers and

rugged
a

ravined

slopes. Beyond
range.

saddle-back Within the

there

blue
moats

mountain of the scattered

stout

ramparts
with

flooded

stronghold
in

the

ground
close
centre.
are

is laid out
the

garden plots and

left
two
a

some

houses, while
gateway
the

to

ditch

on

the

path

leads
a

to

the

main

Along

this track
dense

coaches,one
rows

six- the other

four- in-hand,

driving between
The
whom

of spectators.
an

foreground is occupied by
is
a

animated

motley throng, conspicuous

and
"

amongst
linked the

circle of

eighteen ladies

gentlemen

on

the It

left,
was

with

and pocket-handkerchiefs

dancing a
hands here

merry-go-round."
except with
the

custom

for ladies to

dance

in

gloved
manner

king, and
red

princesses with
Further doublet
and in

grandees
front is
a

in the

represented.
the
crown

gentleman, perhaps
on a

prince, in
and

plumed hat, mounted

prancing horse,

surrounded

The

Conversation. dress, four of

ladies seated
them
on

533
bareheaded. the
grass, and

by

seven

others of the

in

black

Court

In

the

centre

foreground are
in
the

three

round

about

women worn

Navarrese Roman

costume, with

white

tocas

like the

dress head-

by

the

campagnuole.

The

Conversation.

No

words of

need

be

wasted

to

show

that

the

choice

work
in

depictinga
the

collection does
can

thirteen
so

Spanish
many

cavaliers

now full-length,

Louvre,*
It the

not

represent

as Spanish painters, as an

is often
at

assumed.

scarcelyeven
for
a

be

regarded

independent work
some

all,or

as

sketch

pendant, for instance,to

a as

group

of Dutch of

sharpshooters.

It is rather such unless works

it be

collection of studies the View of of

for groups and

spectators suitable for

Saragossa
some

the

royal hunting parties,

has

the

fragment

large

painting that

disappeared.

GROUP

OF

CAVALIERS.

A them of
the

couple waving

are

seen distinctly

turning
the

towards of

the

background,

one

of
any
two

his

hat,

the

only
on

manifestation

feelingbetrayed by
to

assembly. Another,
one

has just stepped up left,

those

distinguished persons, shoulder, and

*

of whom
state

places his
The

hand

on confidentially

his

explains the
was

of affairs.

majority, however,
of Charles

some

This

littlework After

presented by
five hundred

Don

Gabriel, son
hands it in
was

to the Duchess III.,

of

Alba.

passing through

several

acquired

for

the

Louvre

by

Laneuville

for six thousand

francs

1851.

334
seven or

Velazquez.
eight, turn
scenes,
on

their take
in

backs

on

the

as spectacle,

in

some or

of

the

hunting
remarks
not

and
actors

the the

opportunityof exchanging
arena. our

ideas

passing
do

the

Even
comments.

when

out

of

hearing, we

face willingly The

the

subjectof
connection

grouping
the No which

of this

leisurely company
of the
about

seems

to

be

studied, carefully
circles in is the in in
loose other the

although enough.
groups,

general
one are

five his

several

troubles

himself

neighbours
be

figured at

varying though
in
on

slight distances
may

perspective.A
direction and from

off gradual falling left to those right,

more

social rank the left

noticed

the

mostly wearing
are

their hats,

conducting
The

themselves

these listlessly;

also

more

elderly

persons.

is picture

an

authentic demeanour individual

document of

on

the

subjectof good
on

manners

and

the

becoming
each this

well-bred

Spaniards
as

such

public
of all
are

occasions, where
eyes.
none

regarded
in

himself

the

cynosure

Hence the less

this ignoring of others, who seeming indifference,

every

considered carefully
the

gesture, glance, and

pose

attitude

The

fourth

figure from

left takes

the

in

which

the

king
be

had

himself

frequently painted
groups of
occur

Quite similar
studies have in
come

courtiers, which
in two Madrid small Alcazar.

however

cannot
are

mere

for

larger works,
from originally inventories ;
to

that pictures,

said mentioned

to

the
but

They
Danish
at

are

not

the
were

royal
the

1408) Stirling-Maxwell(iii.,
Mr.

states to

that

they
about

brought
year
18 18

England by
were

Bourke, by
in the

Minister the British of

Spain,
tion Institu-

14, and

exhibited
are

him

in

16.

At

present
Wilts.
is
not

they
^

Marquis

Lansdowne's

country
Here

seat, Bowood,
the scenery

park,
or

but

rural district, although the

appear

figuresinstead
Court
costumes.

of

wearing hunting They

to
are

garb, travelling

in gorgeous
very

and merely portraits, their charm be

in evidently

studied
we

situations.
possess the

How clue

greatly would
the incident 1
us

enhanced,
with

did

but

The

first group

transports
of the
In
to

to

broad

glen,

a a

slope
woman

on

the with in
some

left caused
a

by erosion
the
grass.

surface the

soil; here
rises

is seated
an

child

on

distance

imposing
merges

summit

irregularlines, while
dark
two

the

right the
like
in
a

landscape
red doublet

behind the green hose with

brushwood rivers
meet.

in

an

expanse
cavalier

marine

surface.

In

glen
wide

deep

and

"

Curtis, 53, 54;

Waagen

Treasures

iii., 164.

The
slashed from the

Conversation.
on a a

335
black

yellow sleeves,mounted background wearing

to

stout

horse, rides
on on a

straight
in the

towards
a

second

awaiting him
A

bay piebald
foot

animal, and

light blue
in
a a

doublet. leather
in
see

third and

foreground
In the

the

right
hat and
on

wide

doublet front.

has riding-boots

placed his plumed

second

large stone picture we

of water; foot the

richer

beyond
middle is
a

the
a

mead mountain
and

shady
range in

valley with
with
a

sparklingstreaks
at

in the of
which

deep saddle-back,
a

town,

the

distance
In

blue middle
a

crest.

the

of the

field

an

aristocratic
wrap,
we

lady
serves

is seated the

on

the

grass.

She modem
gown

wears

rough

grey-green

which catch
is

purpose the

of

our

dust-cloaks,for
with in wide
her

underneath Her holds

sight of fan,
thus

flaming
black the

red

gold

braid. she

head
an

enveloped

in

tilla; man-

right
this

hand

unfurled
one

while

left is ray of the red of

coquettishly withdrawing light fall

cavalier doublet
to
on comer

the mantilla of the is face.

from The

eye,

a letting

glance
left

is directed who
wears

towards
a a

the

right,who

addressing her, and

his
his

pale

with

wide

lace collar; falling

on a

hand, holding

pair

rests long yellow gauntlets,

sword-belt.
young

Near and

this

chief

figure lady

second

cavalier,in

stiff blue of the

cloak

stands top-boots, the

young

somewhat is

out aside,looking straight

an

canvas.
a

Behind

seated

elderly dame
holds his
out

in

dark his

costume,
He

duenOf

towards
in
a

whom loose

an

elderly cavalier
mantle,
and

hand.

is

wrapped
coloured That
two

brown
us

strongly wrinkled

olive-

features the

interest

despite their ugliness.

to

lady belongs
in

the

Court

is dress

evident
on

from left.
a

the The

figures of
ntfio

Court

dwarfs his

loud

motley gala
slashed
the
no

her

de

coria wide His

showing
silver head
is

plump figure from

towards directly is his comrade, the

behind,

wears

blue

smock
to

with match.
a

trimmings, fieryred
turned him

trunk-hose

and

sleeves he

lady, at

whom
more

points\vith
doublet

jeer.
hand hose

Beside

taller but shoulder.

the

shapely,laying his
wears

condescendinglyon
of
a

other's In

He

and

yellow

brocaded
group.

fabric.

mid-distance

is still another

sketched slightly That these The

scenes name

originatedin
of

the will
to

Court
occur

of
to

Philip IV. everybody,

is
but A

beyond chiefly,
closer
of

question.
no

Velazquez

doubt, because

the

belong figures
of

by him. types represented

the

examination

raises
the

many

doubts, and
the

transparent
the somewhat

grey

tone

the

landscape,
are

outlines

mountains,

scanty
a

foliage light

certainlysuspicious.

The

elegant,party-colouredfigures in

336
hazy landscape
Mention
been
ever

Velazquez.
treated with made

glazing suggest
of that famous
at

the

name

of

Wouwerman. had
has

has

also been and

up

Dutchman

Terborch, who
of his

to

Madrid

painted
there.
been

the

Court, although nothing

all

yet turned
Both

pictureshave
of the

enlarged on
frame

sides, but
close
to

most

above, and
groups
are

the

marks

originalsquare
with

running

the

stillquiteperceptible.The
and

however, i"ainting,

has been

uniformlyretouched,
in

is

now

covered another suitable

in The

tiny cracks, apparently

later hand which
*

consequence

of render

repainting by
these
'

and for

had

for its object to

sketches

public galleries.
Gallery (No. 258)
is

The

Landscape

Hague

wrongly

ascribed

by Thor6

to

Velazquez.

SIXTH

BOOK.

THE

SECOND

JOURNEY

TO

ROME.

1649^"1651.

OCCASION
IN

OF

THE
"

JOURNEY

"

PICTURE-DEALING TO
"

IN

VENICE

"

NAPLES
"

IN

1649
DE

"

ROME
"

1650

VELAZQUEZ'
X.
"

RELATIONS

THE AND

ROMAN COLONNA.

ARTISTS

JUAN

PAREJA

INNOCENT

The

ANTIQUES

METELLI

340
the

Velazquez.
adornment of this
as

well

as

of other
were

apartments,

statues,
much
as

casts

from

the

antique,bronzes
the
to

and

the like

needed

quite as

paintings.
the scope

Hence

purchase of such Italy. suggested

this
been

works plastic

naturallycame object of projected nothing

founded
*'

within

of his mission It has

procure

that

the for

main
a

the

journey

was
"

to

the

materials

required
certain
to
an

Royal Academy probably rests

of
on

painters. But
the

for suggestion, that

it is

more,

circumstance found

casts

after

Velazquez* modelling by PhilipV.

the

quently subse-

their way such

the

academy
at

According
in

to

Jusepe
of

Martinez

institution had whose

already been
advice
a

proposed
of
statutes.

the the On

time

Philip III. by Carducho,

drawn of A up
a

painters of

capitalhad
the accession

memorial
the

embodying
been

series

PhilipIV.
programme

was project

and again discussed,

encouraged
the

by

Olivares.

had

framed, embracing lectures, prizes,

been also favoured views
"

diplomas ; but
themselves.

its realization, which

to

had
"

by
of

Castilian

Cortes, fell through owing Velazquez

in he

the

discordant

the

painters

left Madrid
the

in November
was

1648, and 1649.

French

as

war

was

still raging
and

Catalonia embarked

and
at

plague
on

rife in 2,
the

Alicante,Valencia
The
sea

Seville,
was

Malaga

January
with

voyage

not next

free from year

to danger, owing especially

a

who privateers, and

the

captured
artist
to

Spanish ship
the
route

Don

Juan's secretary
and Genoa.
who

despatches proceeding Landing

on

of the nunzio Our

to

on

between

Alicante

joined the
receive
at

suite of the
new

Spanish
Mariana

envoy,

was

Trent

the

queen,

of
on

Austria. without Lombard

February
Milan
and
to

nth

Genoa, Velazquez again passed

to
a

delay through capitallong

and
some

Padua

Venice, tarrying only

to

in

the Last

enough
the

give

hasty glance

Leonardo's

Supper

of

churches.

Picture-dealing

in

Venice. all nationalities, who

at
were
"

Amongst
time
a

the

distinguished persons
as

of

that
not
modity com-

visited Venice

one

of the
means

gayest cities in Europe, there

few

provided with
"

the

of

purchasingpaintings. For
"

this

the

"

Queen
in

of the the

Adriatic

was

the chief mart, amongst the Venetian school

other itself

reasons

because

seventeenth

century
estimation. Charles
of

held

the foremost

place in general
potentates,

Besides 1. of

Italian and

foreign Leopold

artists,the
Ferdinand

European
II. of all eager

England, Philip IV.,

the Archduke

Tuscan}^
to

Christina
secure

Sweden,

William,

were

specimens of this school.

Picture-dealing
Some Duke the

in

Venice.
the

341

reigningprinceseven
II. of Modena Charles
II.

personallyvisited

place,amongst
of Brunswick

them

Francis

Marquis
as

of

Anthony Ulrich (1648), Mantua (1660). The

queen,

(1656),
had
some

Dutch

painter,Daniel
be

Beck, came lofty plans

sent

agent for the Swedish

view. Rumours
; and
were

giving out
of two
to

that she

in

afloat

paintersabout
the Archduke all quarters,
to

to

by

the

emperor

in his poem hunters

dedicated

Leopold, spreading
off "our

Marco
out

Boschini
their

speaks

of the

coming

from

nets, and

spending gold lavishlyin

fancied
to

order

carry

gems."
But
a

if

Velazquez
in order

one

had

only

to

appear

in the Titian

market
or

with

long
was

purse
soon

get the first offer of works

The
very any
wares

by
for

Veronese,
on

he

undeceived.
to

did not

wait

buyers,but

the

contrary buyers had

historical
up
now

wait
was

for patiently

the

wares.

Scarcelya single
a

piece by
The in

Titian

longer to be

had, though
or so

turned portrait
were

and

one then, fetching

hundred

doubloons Landi

if the hands the

shown. attraction Widmans

picture of
the Senator

doge, perhaps
Landi's
two

(ob. 1545),was
was

chief the

which collection, hundred

ducats in

bought by
the spot, or half

for three
to

thousand up
some

1656.
on

In order
to

pick

bargains it was
be

necessary

to be

else

be

representedby by
the

thoroughly experienced agent,

on

connoisseur,
on

half dealer, who the of

a

could

the

look-out

for the
a a

good things thrown

in the

market

pecuniary difficulties of capricesof

of
an

nobleman, the secularization

cure') a
person them
fidence con-

convent, the
of the Art

abbess
not

or

Shylocks,and
some
*'

above

accompanying

in tell

disguise
us

through

the

halls

ancient

palace. The
were

chronicles

little

of the countless

knowing ones," who bought

a

always discovering apocryphal

great Pietro da Cortona
for

Leonardos, Correggios, Holbeins, Giorgiones. The

himself
But
on one

occasion

sham

Veronese

Cardinal

Bichi. Venice

whoever doubtless

possessed
with Such

really wideawake
in
were

representativein
or so

might
a

princelymeans
brokers ; and the

twenty years
Niccol6 del

scrape

together
of
some

princelycollection.
and had
a

owner Rinieri,
a

fine Veroneses
who collector, in

Bassanos
house
on

Paolo Grand He choice

Sera,

wealthy
had

trader and lessons IL he of had

Canal, and
was

who for

taken

painting from
and the

Prete

Genovese.

agent
to
.

Ferdinand with

Tuscany, always Sera, presented

as

whenever

anything
the
were

had

be

parted
But

first offer "in

who

strictest confidence."
able
a

strangers rarely
with "Old these
men.

themselves said
he
one

to

come

to

terms

he and

wanted himself, it from

king's ransom

for his

Curiosity
quez' Velazheirs sold

Shop,"

received

Archduke

Leopold. Shortly
sons

before

arrival

of VincenzQ

Grimani

three Calerge's

and

342
to
a

Velazquez.
Genoese had
a

trapestry, after

cartoon ten

by Raphael, for
ducats. Palomino

which

the

Earl

of Arundel Of

previouslyoffered
our

thousand

paintingspurchased by being
that in
a

master

four, the specifies

had several Others the

best times
were

doubtless treated
two

Venus

and is
now

Adonis in from of

by Veronese, who
the

subject; it
Mto,
risk
"a

Prado

(No.

526).
did
not

works the

distemper,scenes
marvel of

the

life of which

Christ,one
he of Tintoretto

Healing
to

of

Blind
to

Art,"
Of

venture

expose

the

transport
of Paul

works

he

brought history
finished

back, besides
of

the

Conversion

from a ceiling-piece (?), of the in

the

the Moses, representing

Purification

Daughters

of the

Midianites

(No. 415),and
who Boschini, describes tells
met
us

lastlya

Gloria

abounding
in the made
a was

figures(No. 428), a Consiglio.

sketch of Tintoretto's
on

chief work this occasion mirror of

Gran

and Velazquez'acquaintance,
courteous

who

him that
one

as

the

distinguishedand
his most
in

cavalier,
The

the

last-mentioned in the ducal of the

"

cherished admiration

prize.
of
work. that

poet

him

day

palace lost figuresin

would

the

artistic
**

grouping
it

and

animation

this

stupendous
immortalize

This

picturealone," he
seems

declared,
labour
us

suffice -to

painter;

like the tells

of

generation." Velazquez
but

Boschini thousand
two

further that
five
two

laid

out

altogether twelve Paradise, he

poor
tions men-

crowns

for and

paintings ;
Veroneses.
to

besides It seemed

the

Titians
was

rather

gleanings^
when he would

but

"there

nothing further Velazquez

before
some

be

had."

Nevertheless
assured be able the
to

showed

sound

judgment
sent

enough,
to

king
secure

leaving
of
the

Madrid best

that, if

Italy,he
few
an

things **by Titian, Paolo

like. For there
are

Veronese, princes
extent

Bassano, Raphael, Parmigiano

who
as

and

the

possess

pictures by
shall
as

these

masters, and
my

least of all to zeal."

*

such

Your

Majesty
too

acquire through appeared

from
the

But of the

unfortunatelyhe
Venetian

arrived market Thus

in

soon,
next

records

picture
for sale

for the
some

few

years.

of the first the

masterpieceswere
the
consent

unexpectedly offered
of

1657,

when the

with republic, of

Pope
and of of of

Alexander
the

VII.,

suppressed Amongst
and

Orders religious
estates to

the

Crociferi expenses Descent wonder

the

Holy Ghost,
Turkish
war.

their sequestrating these

defray
Cana

the

the the

masterpieceswere Marriage
of heads.

Titian's

Holy

Ghost

Tintoretto's
most

(1561),a
Even before which

golden light full

the bull
was refectory,

of the

lovely female
*

of publication
in

this work, dissolvingthe Crociferi,

hung

their
118.

Jusepe

Martinez:

Discursos

practicadles, p.

Naples

in

1649.
Court four

-343

secretly offered
whereas
and

for

sale

to

the

Florentine

(March
thousand

1656).
silver

The

however provincial, the

wanted (PaterBarbaro), duke

would
not

crowns,

grand

bid

higher than by
was

fifteen hundred of the

piastres, republic.

meantime

the bull appeared followed

the intervention

UltimatelyTintoretto's

Marriage

Feast

secured

for the Salute.

Naples

in

1649.
Rome when
he

Scarcely Naples
Count
every in

had

Velazquez
to

reached

had
to

to

start

for

order
In

present his letters

these letters the his

of recommendation
was

the
to

viceroy,
in

Oftate. way the

viceroy
a

instructed in

further Lives

objectsof

journey, and
some

notice the

Passeri's of those

of

the Painters

(p. 267)
reference the

throws

light on
these that

nature

objects.
some

They
bronzes Madrid

had

more

to especially
as

certain

plastercastings and
were

after till

antique,and
it is
to

objects

not not

despatched
to
were

to

1652, only
had
been
a

probable
renewed since

Velazquez

-had

prepare taken.

the

but castings,

select the he

antiques from
his their first
more

which

they

On

this

occasion

acquaintance with
fruitful half
been

Jusepe
years their
from
was

Ribera. which artistic Ribera's

Twenty
for
career.

years had What

to

elapsed
the

meeting, twenty
of

both

greater and
of
creations

series

had
two

despatched
There

studio

distant

lands

during
executed

those in

decades!

the

great

Immaculate

Conception
of the sink
come

1635 for Monterey, Martino,

of
a

followed

in
as

1637
an

by
the

the

incomparable

Piet^

for San

work

before

which,

embodiment

solemn
mere

majesty
theatrical

grief,all

similar

of representations

century
Then had

to

spectacles.
Domenichino

the
to

times, when stimulating

teach the

appeared

on

the

scene,

in

order who

Neapolitans what painter,made

he desired

monuniental
no

painting
to

meant.

Ribera,
in
at

was

no

fresco

attempt
show
as

rival
too

him had of

this

department.
what

Nevertheless those
was

to

that
a

he

his command

North then

Italians

regarded
he

monopoly
the

their

grand style.
with
in

It

(1643)
now

that
in

painted
Park.
a

Holy
a

Family

St. Catharine

for

Genoa,
both

Stratton with
grace

It is

genial family group, nobilityof

fervour Next
and

which
a

women,

drawn

delicacyand
and subdued

outline, breathe
cause us

spirit of
tear

grandeur,
ourselves of the

that

to reluctantly

from

the

picture.
of
one

year

Ribera
he
was

received

the

Cross the

papal
to

Order

Christ,
of
the

in

1646

with gratified

commission
an

paint
much of

for altar-pieces

the

Chapel
The here

of

the

Tesoro,
the

honour

coveted

by

contemporary
a

artists.
stands

subject was
as an

Martyrdom
monument

St.
over

Gennaro, against

work

which

eloquent

344
Domenichino's feeble
here

Velazquez.
performancesaloft expected
had in store
same a

in the lunettes of the

execution
a

cupola.
and he

His
gave

opponents
them
a

had

gloomy

scene, in

glorified, calmly triumphant figure,

the

poem

lightand
for He
meet

colour.

But

fates, which
had
now

befriended steadfastly
for

Ribera blow. often

was

well-nigh
had
in
two

thirtyyears,

him

crushing
we

charming daughters, the picturesof holy

bloom for the
a new w^omen.

whose

features

so

his

Maria
so

Rosa, the younger,

then her
as

in the full his model altar of

of her
very

beauty,and
in

as lately

1646

he

had

used

large paintingof
church the

the

Conception
of Sta. the revolt

destined
in

for the Madrid.

high

Convent witnessed

Isabella

The

followingyear
son,

headed

by Masaniello,
sent to

when

natural Philip's
his

Don

Juan
Don

de

Austria made

was 11.,

Italy. During etching (1648). ruling dynasty

he
to

busy
his

life in

Naples
last

Juan

the acquaintance of Ribera, who

an

painted
But

his

equestrian portraitand
contact

multipliedit by
a

first and fatal for the any

with artist before

"

member

of

the

proved
**

Spanish
years
to

From had
a

his native

land

had

never

expected
hard
to

boon, and
was

expressed himself
mother his for Hence
:

that effect
a

he Sp"ain,"

wont

say,
own

is

tender

strangers, but
never mueva

stepmother for
well
now

her

children."

determination
esid

quit Naples, actingon

the

Spanish
victim

maxim

Quien

bien

no

se

("Let
But who

alone").
Maria her have the
to

Rosa
a

fell

to

the seductive The cursed

wiles

of Don
stem

Juan,
father

removed
to

nunnery
on

in Palermo.

griefof
thrown
to
an

the

is said had
been

bordered occasion of had

to

despair.
his ventured

He

himsejf,for
with

his the

vanity
young
tainment. enter-

daughter's being
to

prince,whom
house
at

Ribera

once

invite
now

evening
to
a

According however, bearing

visit of
events
a

the

local tradition he
soon

he

withdrew

country

whence Posilippo, his

after
to

disappeared.
year

His
as

paintings,
as

signature down
it evident works The of

the

1652,
the

well

this ail

Velazquez,make
few
years.
a

that he

survived this

catastropheat

dating from
show The

period betray a maturit}'

his mental powers Museum had
is

of
not

finish and been

depth

which feeling,

that

impaired by
most

sorrow.

St. Sebastian this tlieme

in the
so

Naples
In the

the but
now

last and
here the

of glorified replica

often

treated

by

him

takes transfiguration
he
seems

place after sought

to

death.

Shepherds by

in the

Louvre features

to

have

consolation

in his affliction heavenwards. in

giving the
Then

of his lost
song

daughter
the

the

Virgin gazing
his

came

the
.

of

dying

swan,

Last

Supper

San Here

Martino, richest in
his

and most figures compositions. of Titian's colouration youthfulimpressions are glorious again revived.

artistic of all his

Rome
combined
truth

in

1650.
devotion unrivalled in

345
its

with

an

expression of
in feeling, of

sacramental

and

depth

of

the

dignityand
in

solemnity of the
where

attitudes.
to

daughter, issue
Convent of

the

unhallowed Nuns

union, obtained
so

admission

the

Royal
House

of Barefoot

Madrid,

many

ladies of the

Habsburg

lived and

died.

Rome

in

1650.
the
was
eve more

Velazquez which,
than this thanks usual.

entered
to

the

Eternal

City
of

on

of the Universal

Jubilee,
attended
on

the restoration
the
swarms

of peace,

numerously
flocked
to

Amongst
after the

pilgrimsthat
there
were

Rome

occasion, besides

princes

and

nobles,

also many
riots

sinister into

who figures,
the

suppressionof the
time

Masaniello

had

passed

Papal States,thence
had
even

raidinginto Neapolitan territory.A occasionally pitched their

French the
tents

band found their

for

in the

Coliseum, while
Here

others

refuge in the
of these

palace of the
over
"

ambassadors, who
houses.

also extended
were

right of asylum
in

neighbouring
as

lodged
Cardinal

hundreds

Masanielli,"
had

they
the

were

called ;

and

Barberini, who
was now

1648
// of

introduced

first Frendh

wigs by
the

into Rome,

dubbed the

di Casa principe
the Roman

Masaniello,

Then

fury
who

populace They

was

fanned

the

Spanish
on

enlisting agents, operationsin

the when Piazza
a

with

the sanction
way.

of the government
even

carried

their

high-handed
with

fell upon
were one a

pilgrims;but
race, in and

peasantry
a

their silver-ferruled

staves
on

sturdy

troop of- these

San

pious
the

folk aid

were

occasion

attacked

the the

Pietro,with
"

of

the

populace they overpowered

Don its
'

and officers, recruiting uttered

carried them Rome also

off to

prison. Thereupon
Masanielli.' for the
"

Pasquino

the threat

produces
a

c^
study
of

In

short, the

Holy City was

and

classic land had then

military
stirred

subjects. The by
in
the

Italian national

sentiment

been altogether

deeply
at

Neapolitan outbreak,
was

just

the

positionof the
himself the
to
was

Spaniards
heart he
once a

Rome

none

of the the

pleasantest.The
Venetian the
contest

pope with

good
to

Italian.
:
"

During
the
our

papacy

exclaimed

It is

impossiblefor
voice
own

ecclesiastics is too
on

ever

forgettheir duty
have from ourselves

their country; it in

of

Nature

strong.
our

We

experienced
entered in order the
^

person:

when,
to

arrival
open
our

Spain, we
*

this
at

cityby night,we
the

hastened Piazza

throw and

palacewindow,
to

sight of

the

Navona

of

Pasquino^

enjoy

return The

to

our

fatherland."
after stands Pasquino, the tailor,
at

famous

torso named

the

converging point

of two

streets

opening on

the Piazza.

346
This pope
measures

Velazquez.
had
censured
as

and impolitic of

inhuman
and

the the
very

sanguinary
force The of

repressive
circumstances

of

Don

Juan
him

Austria,
the

generallyalienated
first of IV. of the

from

Spanish party.
then of the
had

sight

of

the

envoy,

Portuguese clergy,and
the

"Tyrant,"
filled the brawls. The of

(that is, John Spaniards with

Even
at

driving down Braganza),

rage, which
were

Corso in

sullen

presentlyfound
to

vent

bloody
the

Court

they

regarded with
cavaliers assembled

akin feelings the character

to

hatred. Duke

Spanish agent Ameyden, questionedas

Arcos

of

by

the

and prelates first

in the ante-chamber
was

during
of

that ambassador's
a

audience,answered
the

that he
called hear

"clean the

hands, Spanish

as justice (Justiciero^

people

had
to

Peter in

Cruel),and
courteous

courteous." ministers never," A

*

"Oh! had

as

to

that," he had
seen

reply,"other
and but just,

been occasionally

of clean

hands

lies copper-plate of

before

us

by

the

Marseillese
an

Dominique
be

Barri^re
in
to

in this

the taste
year

which Callot, in which

vividlyillustrates Velazquez
himself

event

that occurred

1650, and
a

may

well
at

supposed
on

have 17,

taken Easter
in the

leading part. Sunday, by

the

It represents the feast held of Confraternity the the Glorious

dawn

April

founded Resurrection,

1579, and
ambassador

comprising
and

Spanish colony
made whole

in Rome

presided over
of the

by papal
the
as a

Ferdinand

Brandano, oficial mayor

a

of whom secretariat f The

Velazquez
the
most

portrait.
Piazza Navona
seen

shows perspective
comer.

of the

from used

south-east market
was

This
owes

characteristic of Roman
to

squares, innocent Pamfili

since 1477,
on

its present conformation who here erected latter

Pope

X., who
with
the

bom

the spot, and and the

solid

the Palazzo

contiguouschurch
constitute
scenes,

the obelisk,

bearing the
amid

date the

1651.
varied

These festive

the

more

architectural

features

temporary

fireworks, and triumphal arches,processions,

the

tions illumina-

figuredon
The back

engraving.
also
caused made
were a

Jubilee had
were

stir in
to to

Art

circles.

For

some

time

great efforts
and

being

have take

everythingready placeon
Laterano

for the

augurations in-

that unveilings
was

this occasion.

most Fore-

amongst

these

the interior of
it
was

St. Giovanni

modernized

by

Borromini, of
much

whom
or

boasted

that, without

touching sustaining
had

walls,ground plan
basilica Ludovisi
with
so

hallowed

memorials

of the past, he
and

made

this

more

pleasing,richer
to

lighterthan
of St. its marble

before.

Prince

also managed

get completed the Church

Peter's had
di

IgnatiusLoyola
pavement,
the

Algardi's facade.
*

St.

received

Diario

Ameyden, January 25, 1646.

348
French fountain Then
or

Velazquez.
and sculptors) in the
came

two

Italians

on

the

four colossal

for river-gods

the

Piazza

Navona.

the Court

paintersand
with Such

cavaliers, who, like Algardi,strutted

on

rode

through
great

the streets their side.

decorations
were

doublet

and

cloak,

and

rapierdangling at
and the
whose painters,

Matteo looked

Preti,Lorenzo
with
scorn
on

Bernini,
cabinet

fresco

painters.

These among

productionscirculated
tavern

the second-hand

dealers,mere

dilettanti and Amid

painters.
there still lingeredin and

these

motley groups
the is
a

solitary grandeur some

such antiquity,
as

worshippersof high priests,

Poussin and excellent
more

the

beautiful du

of classic

Francis

Quesnoy,
of
"

whose

Susanna, pace
of Greek this three works
"

Winckelmann,
than
many

charming example
in accordance there is with Rosa

imitation

executed In Salvator

the

precepts of
of all these
can

great

Art

teacher. Our much

to

something

classes.
had

Spanish
do with

Court any

painter and
associates

royal agent
of

scarcely have
without bravura. the year made

except those greater cosmopolitancelebrities.

as

Those

mentioned

by

Palomino the

Velazquez
the

are

exception
best

of representatives He may of have

modern

style of
in Madrid

movement

and

already met

Cavaliere Calabrese^

travelled

contemporary

painters, who
the

by

his

thirtieth had

had
the

already Hearing
compete
But

visited

S["ain, Paris,and
and since of Lanfranco's

Low

Countries,who
been
a

acquaintanceof Rubens,
in

1642 had
death

Knight

of St.
to

John.
to

Venice

(1647),he
della Valle

hastened

Rome

for the

frescoes carried

in St. Andrea off the first St.

left unfinished

by

him.

although he
Calabrese
as

prize offered
because he

by
was

the
so

Academy
in

of St.

Luke,
Cortona Later

failed in

Andrea,
in

ill-advised

by

to

attempt
to

to

outstrip Domenichino's
order
to

frescoes

magnitude.
over

he

wanted

revisit Rome Palace the

pass

the sponge the Water

those the

fiascos. The
Rock and the Pietro Palace the with

Madrid

already possessed of
now Baptist,

him

from

Infancy of
of from

in the Prado
two
were

(Nos.343, 344).
in the
even

Berettini
scenes

Cortona
the

had

adorned

apartments
much
was

Pamfili made
name

J"neidfwhich

lauded and formed him from

of subjects
read
"

Flemish Corona d^

tapestries.An
and pittoriy^
In

anagram

his

which

called d*Argenville the

time

the

greatest
was
a

painter produced by Tuscany.

Combat of Gladiators

of

Charles
the

II. there National

by

him

in Buen

Retiro, and

Museum

still possesses

his Feast also found

to

of the
here

Lupercalia(No. 141). aged

sent

Velazquez
1642,
since
had

the

Nicholas
his works

Poussin, who
true to

in November,
In the

returned

Rome,
visit he

henceforth
had

home.

interval

Velazquez' last

Madrid,

and

Philip IV.

Algardi. possessed
appear
to
a

349
a

Purification been time

of

of

the

Temple

and

St. Laurence
now

by him,
he

which date

have the

lost. of the

All the other Poussins Bourbon blind from

in the Museum

only
on a

from

dynasty.
Birth, and
he
was

In
on

1650
that

was

engaged

Healing
This

the

Man

gloriousportrait
de

of himself
years.

(Louvre,No. 426),with
very
a summer

which

two occupied altogether

he

sent

it to

his

patron, M.

Chantelou,
the

together with
The
was a

copy

for his friend

Pointel

executed

by

himself.

Bolognese Alessandro
person of This
of

Algardi(born 1602) patronized by

amiable the
the

Pamfili,
The from

statelypresence,
year

and

accommodating, jovialand
his
career.

combative.
bronze
statue

1650
X.

was on

culminatingpoint of Capitol,which
the he

Innocent

had

wrested dei

the

hands
to

of

in Mocchi, the portraits

of refectory
the

Trinity

Pellegrini
in

founded the

commemorate

the

foot-washingof
in in the Doria

and Jubileepilgrims, the

loggiaof

the

Palazzo and of

Gonfaloniere

Bologna ;

busts of the all

pope's

brother of

Benedetto

Olimpia

are Gallery,

by

the hand

whose Algardi, But

earlydeath (1654)was
admired
in St. the Peter's,

by deeply regretted
the Leo I. and

Innocent. Attila for the the

most Algardi's

was production

altar of St execution share.

set

Leo

grandest relief
after the

of later

in sculpture,

of

which

in

marble
a

his associate silver cast of

Domenico

Guidi

had

large
was

Philip IV. received

an

model, which original

the lapislazuli^

in

architectural
a

mounting

and gilt-bronze

whole

restingon
The

lion. with this and

be

part played by Velazquez in connection

for

other works

prepared by Algardi
of the may
the

the

Madrid

Court been
to

can

only

conjectured. The
him in the
same

Bolognese sculptor may

after antiques,
have

possibly have
with

consulted
be

by

choice
artist

which

were castings

taken,and
for the
new

the

suppliedhim
models
and

many

objectssuited
were

apartments

in
the

Alcazar. the
wax

Algardi*s last
for Ercole
in

works which

the

four

chimney-pieces for
which
were

king,
But

he

and finished,

cast

by

Domenico

Guidi the
to

Ferrata. this Art The death

the

chief Court

event

circle

was

the

restoration Urban

of Lorenzo been
been

Bernini
the

favour.

of his patron

VIII. had

signalfor

the storm immediate had

by
to

which

architect of St. Peter's had

structure

long
one

the threatened, clock

pretext being the defective

be

of
to

of the

towers, which
he

pulled down.
in

But,

thanks

his buoyant
the

nature,
statue to

survived

this
a

disgrace and

occupied

himself

with the

lovely

of

Truth,
over

like

Rubens

marble, while
with

watching
the removal di Bove

opportunity
the

triumph
This

his enemies. in connection Circus

opportunitycame formerly

(1648) of
to

obelisk

in Caracalla's

from

Capo

the

Piazza

3 so
Navona
to

Velazquez.
form the central Bernini's

piece of

the

new

fountain.

Innocent

was

so

delightedwith
its four declared
must not

design for this monumental competitive

eternal

work, with
water, that he
*'

the river-godspersonifying it

flow

of

life and

impossibleto dispense with

at

this artist's services, adding : is

One

look

his

designs unless
after the

one

prepared

to

adopt
cast

them."

gilt-bronze group
was

model, original

but

surmounted
a

by
of

the

Spanish arms, study

As

who presented to Philip, David

in

also received

of Bernini's

earlier work, the

a

the Villa the

Borghese, besides
large
bronze

his Head

Seneca,

after the

antique,and genius was Velazquez.

in their

crucifix for the

chapel in

the

Alcazar. this remarkable also

one

of the

most

admired

portraitists something
of the
same

amongst

contemporary
with

one sculptors,

would

gladly like to know

both
were

of his relations

Although
and

children bent
averse
was

epoch, the difference

^-one a

character

natural
observer
a

fundamental from

formal phlegmatic,

Spaniard,a
restless

calm

applause
and the

and
a man

of incapable of

the other courtingpopularity,

and

ambitious fiery,
ever

Neapolitan,
new

glowing fancy
effects.
with

after striving activity, Bernini extolled how

on

unheard-of Doria his

We

may

fancy how
the

that

in portrait

Palace

characteristic with

hyperbole,and
views sculptor's charm
to

Velazquez expressed portraiture.

the

hearty agreement

gernini held
hand with these of
its Art
own

that

Nature Nature that

lacked knew for how the

no

needing
the

supplemental
parts each
to

; that

endow

several

beauty;
each

artist the
strove

question was
to

recognize subject
to

beauties

in its

place.
those
to

He

discover Nature heads of

in had

each

its characteristic
no we

those qualities, he
a

that qualities wonderful

imparted
in resemblance

others.

Thus
detect
consummate

created

popes, The

which

fancy we
the

akin spirit command breadth

Velazquez*last style.
of the material
in

lies in the in

of their the

Arts, respective
yet

animation

and

of

treatment,

intenselyvivid
such of all in

supremely period of
At

free characterization

of the

individual. the
wane,

Later and
as

in qualities the

were portraiture plastic

on continually

most

the

so-called

renaissance

of that

Art,

appears

nowhere

more

than depressingly that time

in St. Peter's.

Salvator^-Resa was
most

amongst

the chief celebrities of the of had

Rome,
world.

unquestionablythe
His
not
or a

romantic Pincio Sacred

was

figure of
the
resort

contemporary

Art

house

on

Monte of
the

princes and
shown him

and prelates, there

once

member

College but
of
an

himself

again.
a

If he of

walked admirers man's

abroad
"

evening, behold
honour

surrounded of the first all.

by

throng
for the

poets, musicians, and

nod
was an

singers

rank;

great

eagerly sought by

Salvator
Nevertheless insurrection it
he
was an

Rosa.
that
on nor

351
the had

open

secret to

report of
he
may
ever

Masaniello's concealed
his the

had

hastened

Naples;

strong

patriotic sentiment, a
Court

circumstance his

which

have

obliged

Spanish
It is of
not

painterto
in

avoid this

society.
that
many in

noteworthy

connection

the

Madrid works

inventories there
is

the
a

seventeenth

century

amongst

so

Neapolitan
this master's
even

singlepaintingby
have Rosa's other smiled that
at

Salvator

Rosa.

Yet

landscapesand though
he may

must battle-pieces

greatlyinterested
conceit that he
were

Velazquez,
was a

have
and

great

historical fancies.

painter
The

those
who

things
to

of
be

his the

merely passing

Spaniard,
than
powers

"preferred
amongst
the

first amongst

subordinate

painters
his
to

second
;

never foremost,"

attempted anything beyond vanity,exposed

heroes

the

blinded Neapolitan, historical

by
whose

his

himself
were

public
mostly

derision

by

pieces,

and

saints
and

malignant
straw

fiends

demeaning

themselves

like bad

actors

painted like
evident

puppets.
the
two

That from
at
as

artists

were

acquainted with
by
Boschini Here he

one

another if not

seems

the

conversation
be

recorded

which

verbally may
Rosa him still the
made

least
to

correct. substantially

Velazquez, questioned by
did he shake candid
not

his

opinion of Raphael,
good
and

whether

consider
seen

best, after all the

to to

the

beautiful

had
of

in
head

is Italy,
:
"

reply
be

with

somewhat
you,

ceremonious
I like to

the

Raphael,
not
can

plain with
at

for

be

and
"

outspoken, does
In that
to
case we

pleaseme
crown." the bears

all."
be

Whereupon
in

Salvator
to

remarked

there

apparently

nobody
Don
to

Italy
I

your
"In

taste, for
Venice
are

him found

yield good

the and

But

Diego
their

retorted:

the

beautiful ;
the

brush

give
with

the

first

place;

it is Titian

that

banner." sentiment is in accord

the
two painter's

This his
were

visits to He the and bias

Venice, Raphael
was
so

purchases, and studies,

in
a

with affinity

that

school.

certain towards

sense

antipodes.
his

With
he

Raphael might
from his

decidedly
better of

draughtsmanship,
from possess time

that

be

supposed hasty.

to

be

understood
we

drawings

than

paintings.

But

Velazquez
At the
same

extremely few drawings, and Raphael

be

those

loved

by

those

who

may
seems

however,

Velazquez
he may

duly appreciatedand even may unwillingto accept him as a model. Here, to speak of him harshly, asserting that he
this
so we

still be

thought nothing
sake.
or

of him. have have

Were

should

regret it for Velazquez*

somewhat his
own

But

may

possiblyexpressed
him
too

himself in

differently,
sense, and

Salvator

understood

much

352
may

Velazquez.
have
even

himself Rosa
more

quite
was

well

uttered

these

words.

Passeri,whose
that

with acquaintance of Paolo

was

of than

tells us long standing, of any

(p.434)
that the hand the
case

he

spoke style
most

Veronese

others, and
On the

Venetian his

according to altogether Raphael

were

his heart.

other
was

relations

to

not

speciallysympathetic, as
Sanzio that his

with

who Neapolitans, It is further to and

thought
be

"stony

and

dry."
of

noted

Velazquez speaks,not
His

Raphael!s_^grace
.

expression,
influenced the
no

nor

yet of

drawings but of his technique* j:iving__the

process.

preferencein
seems

this respect to

the Venetian

incisive
way

language
protest
was

by

the
'*

of contention, perhaps spirit Sanzio-mania studied and

"

by

of

against

prevalent
time
more

of

the

times.

Raphael
be

probably at
from
the

than during the -glorified fact may the

not

seventeenth evident he
was

in Rome, century, especially

although the period.

in interests In

always

productions of by
at

that

sixteenth

century
the the

overshadowed while spirit,

Michael

Angelo,
he

the Art

eighteenth by
students and

classical emotional

present

public alone. Juan

When his Holiness
master
de

Pareja.
intention of

announced

his

granting a
Prevenirse

to sitting

Velazquez, the
his hand,
used
as

felt the

of preparing himself, and getting necessity

it were,

again
and

into

working

order.

is the
not

term

by Palomino,
brush since

it is

probable enough

that

he

had

handled

the

leaving Madrid, being mostly busy

curators, stucco-casters, and
creative In short found Art he than wished much
to at

with

picture-dealers,
is
more

brokers,owners,
detrimental works
to

sculptors. Nothing
discussion

inspectionand
make hand The
a

about
the

of Art. vile"

and preliminarytrial, in his

servant

"corpus

he

opportunely
de have
to

and
been

colour-

grinder,the
more

Morisco that he

Juan
would
same

Pareja.

trial may
a

have

all the

needed Italians
to

deal with

repulsivesubject. specially
to

The
and

apply

the

both word, olivastro, of Pareja. portrait

the

the

pope's complexion
of the

the colour

of this he

When himself
text to

finished
some

sent

picture by
their

the

hand

original
beheld

friends to
with

have

opinion on

its merits.

They
at

and which

copy

amazement,
answer." related The
in

"doubting
Madrid
new,

which

they
it the

should

address,
that time with of
at

from in

receive afterwards

painterAndreas
that
to

Schmidt,
was

Rome,
good

when

taken

other

paintings,old
the
"

and St.

adorn 19,

cloisters
was

the that
the

Pantheon
time

on

Feast it met

of

Joseph (March
such universal

1650), as

customary,

with

approbation

that

in

Juan
unanimous

de

Pareja.
various
all nationalities, else

353
seemed
a

opinion of
alone Academician

the

of painters In
same on

this painting, Roman Such besides San

truth.
in

of recognition year,

this, Velazquez

became

the

1650."

public

exhibitions
as

festivals took San

place
Giovanni
verses,

in

other

churches in

the Pantheon, dei

for instance,in

and Decollato,

Bartolomeo
were

Bergamaschi.
to

Printed

both

laudatory and giving

a

the reverse, rise

to

affixed

the

more

important works,
Salvator
led
to

the latter
success

livelyrejoindersand
exhibited last in
on

worse. an

Rosas his

with

Prometheus In the

such

occasion

removing
of

to

Rome.

century

Francisco
he

Preciado,

Director

the

Spanish

Academy
had

Rome,
this

thought
of

rediscovered
in

of portrait dinal CarThis

Pareja
is

the

residence

Trajano d'Acquaviva. probablyone

of the two
now

almost in

identical

exemplars

land, Engthe

by preservedrespectively
and

Earl of Carlisle in Castle Howard,

by the
Castle The

Earl of Radnor

in

ford Longthe

(size 30x25
out
on

inches).
the
a

figure of half-length
stands with

mestizo
grey

light
broad,

ground, traced
Thus

firm brush, and the

canvas.

spare he

impasto on
stood in the

presence
the

of his master, hand somewhat

facing to
the
JUAN
DE

right,his
with
a

holding

cloak

plebeian
has almost

PAREJA.

grasp, the The

head

carried very erect.

eye
a

flashingblack
observer,
as

haughty
at

gaze,

taking

the

measure

of the and
A
at

if he felt of air
"

highlyexalted
the
the
to

being paintedby
virtuosi. the

his master,

the honour certain

appearing before
seems

Roman

sly

betray
a

secret, of which
The

master

is
hair

still unaware,
has been

that
as

also
as

am

painter."
be
to

kinky refractory
mode

adapted
and the
nose

well
are

may

the

Spanish
respects
the
red

of

frizzling.
type is

Eyebrows
shown
in

beard
narrow

thin,and
forehead
at

in other

the

African

bulging
the

about

the glabella^ and lips,

large

cheekbones,
brown

depressed

root,

everted

coppery-

shiny

skin. of Pareja is reallythe portrait evident

from its

That

it is

agreement
23

354
with his
;
own

Velazquez.
likeness in the has

Calling of
accentuated

Matthew
the

now

in the

Madrid

Museum

only Velazquez
with Both
stand in

racial himself

whereas features,
to
one

Pareja has
standard.

intelligible vanity
somewhat of Dumas dark heads

assimilated
the
same

the

European
another,
as

relation to
son.

do, for instance,the

father and
doublet

Pareja wears
white

smirched
lace

green

buttoned

up,

and
to

broad
dark

collar

with

border, which

is

very

becoming
Castle

the

figure.
The
in

impressionconveyed by
Gower's
in

the

picturein
of

Howard, published
Schmidt's truth
to

Lord

Historical Galleries^ agrees that To rich

in all respects with

description. Even
life arrests

assembly
of
the

its good portraits of

be the
seen

attention.

judge
each

relations

two

exemplars,

which

so

closelyresemble

other, they should

together.

Vlliiii OCEMT

X;^
Innocent
was

Although majestic
"

now

in
"

his the

seventy-fifth year
constitution had
was

still
a

tall,
close

figure,with
His
his

voice, complexion, and

had shared
not

carriageof
been

young

man

(Ameyden),
in his

robust

injuredby
distractions

study
to
scorn

youth,

for

he

always
still an

in the

and

pursuitsof
admired

and associates, of
way

active,lusty walker, laughing

had
been

the

warnings happy
the
once

his

physicians. Mignard's portrait

it

for the

in which

depicteda ripe old

of
a

age

without

decrepitude.
Urban of audiences
a

After

haughty
more

reserve

his pope the

Florentine for whom

predecessor,
the

VIII., Rome
often relief from the

in rejoiced
as

giving
was

to

large numbers,
a

in He
on

Quirinal garden,

rather

toil than

labour.

himself

spoke

with

lively
to

of gratification him with

who throng of pilgrims, shouts

of

May
the

27, 1650, Chiesa

accompanied
his

deafening
of

jubilationfrom
and

nuova

palace. Although thoughts, badinage

the throne taciturn with
a

saturnine

temperament,
and
his
a

often in

prey

to

moody
caustic

Innocent

freely unbended
who

indulged

playfulor
He had

those

enjoyed
as

full confidence.
and diplomatist

reached his his

to

through
of men, unwearied his his

his services for

nunzio, where
and
in sceptical

passed disposition
not

depth.
grasp

He the
of

was

wary

judgments
the

quick
the

to

but situation,

tenacious

and

last

in

conduct marks the

affairs.

On

all from

weighty public
the

questions policy of changed

administration

the

transition

aggressive
the

predecessors to
of the held
he

temporizing attitude temporal orders.

in
no

required by
;

relations

and spiritual

Personally

militarydisplay

account

yet

he

was

356
Olimpia
feminine
was a

Velazquez.
person

of

masculine
been

will and

intelligence, although
insatiable
to

her

political sagacity had

she qualities

hitherto

displayedonly
but

in conversations; of

possessed nothing
a

greed

and

tion. ambi-

She

had

been

spur

and

guide
and thanks

her
now

somewhat

vacillating
tied

brother-in-law and gratitude

a

during
habit
to

his

upward

career,

he
to

felt himself he
was

by
to

this woman,

whom

exposed

storm

of

jeers and

gibes.*
vied
on

Contemporary
his the
and

writers dwelt

with
course

each

other

in

their

of descriptions

ugliness; they lowering almost

nose,

his

lineaments,broad
of the

heavy forehead, vulgar

When mouth
a

malignant glance
blotched rendered

deepset

eye,

bloated

and

countenance,
more

flushed

colour,thin beard,
age. Guido dilatoriness
to

certain
was

innate

roughness
the the

repellent by
St his Peter's, he Pamfili,

painting the History reproved by

by giving
the then

of Attila in Cardinal of

having
the

been

is said
to

have

revenged
under

himself

features in the this

his

Eminence

the

satan

feet of his St. Michael

to

Church

of the

Capuchins,although according
was

others

originalof
of

satan particular

the
to

Cardinal have
been

Spinola. ui^;ed
the in It seemed

In the Conclave
as a a

1645

his satanic

aspect
to

was

stated

disqualification againsthis election

of

the

chair. pontifical

sort

that fatality of St. Peter

here

in Rome have odious

the most fallen to

repulsivehead
the lot of and the

amongst

successors

should
most

Velazquez,who
least

Madrid
of

had

to

paint the
few

of ministers

interesting
at

royal types.
There
are

few paintings of portraits,

any

kind,

that

have

all To

times liave

so

taken instantaneously evidence of

possessionof
need

all classes

of observers.
ten
or

auricular
in

we this,

but From which Some

lingersome
the is
one

fifteen
a

minutes

the the

of vicinity

the

picture.
us,

unsightly features
more

glance

of

blue-grey eye
the the

reaches

potent

than that

the if he

brilliant

purple and longer at

inner

glistening gold. head,

the
man so is,

remarked him
in

gazed any
The Here

would say, the the

haunt

his dreams. the head.

on

angle of

the eye

to

magnetic pole of
furrow while of close of

is the
cuts

deepest patch
of the

of shade

; here

thought by

the

forehead the germ

the

in, pressing the

eye.

eyebrows
Here

down,

flashes

moist of

mirror

lies the

spark
is the

animation, the
with
to

youth

still survivingin old age ; here all the that

most

psychic contact
to

spectator, but above

the hearts the
of

potent impulse of the aged ruler

to

search
itself
"

men,

determination

penetrate
and

the

thing
The
loves

through
Don
more

veil

of
//

whispered promptings
atna

half-truths.

Thus

Pasquino:
than

Papa
"

piu Olimpia che VOlimpo

(""The Pope

Olympia

Olympus "). Translator.

Innocent
drawn glance,
and

X.
of whole
a

357
character
at
once

from

the

deepest recesses
in itself the

suspicious
the

^,

concentrates reserved,,
was ever

being

of the

aged statesman, portrait,

of this

''who this

unfathomable"
at

(Passeri),Like
time
an

the

styleof
the
very

glance has
Painters
"

the

same

eminently papal element.

indifferent I"
"

cannot

possibly remain
is advanced

in
a

presence modern

portrait.
some

How

that hand

What

!" painter

may

exclaim.

It is not, that

however,

the obvious but rather

tricks of the

legerdemain
of these under the
way

of the

artist practised
the

impress them,

absence

tricks ; not
most

harmony

of the colours,but

the

effect

produced
here

unfavourable

combinations; in short, the

seemingly unstudied

the

eagerlysought-for goal of the

The

portrait painter appears merely

of
to

to be reached.

"It looks dashed

off justanyhow ! "

due
not

impression is
here other
with

the

Spanish painter's general

most

which qualities, his

have

the charm

noveltyfor
him,
not at

observers.

pared Com-

the portrait was productions,

who

really an
members

extempore

affair.

The

persons he
seen was

usuallysat
for the
short

to

were so

of the Court, artist

can a

with whom

in

daily contact.
a

But time
must

here, for the audience, or

been his made

only have
distance.

the

pope of
was

the
have
at

else from

The

study
that he How

features

during
presence
were

the of

brief interval his Holiness.

permitted to
more

stand

easel in

much

favourably

circumstanced

other

paintersof
Hence evident been of The
was a

famous the

! pontifical portraits the discordances,

hesitations,the
the

technical

solecisms, the

wrestling with
the

opticaldifficulties. Impasto
lace

has
over

occasionally
the of

applied to

glazing; the
the

handkerchief
the

falls show the

surplice (/
revision.

quite identical white right hand, with

more originally

colour, and

hands
over

signs
arm

signetring hanging
traces

of the throne, still be

seen,

bent, and

of

the

old

fingerscan

covered partly which

are

with

white,partly giving the

a

half-tone The

for the present

fingers,
also
to
^

appliedwith
is due

lightflesh
the

tint.

extremelyplastic appearance ground,

a

of this hand the

to

dazzling white
the
more

and

perhaps

contours faltering

producing on
is of somewhat
runs :
"

eye

effect. stereoscopic
to

The have

left hand

holding

letter,^ although

still seems finished,

undergone revision,and
*

vulgar form.
Sig"
:

The

on inscription

this letter

Alia SanttJi di Nro Innocencio Per Xo.

Diego de Silva Velazquez de la

mera

Ca

di S. Mt^ effaced.

Cattca.

Then

follow

some

words

that have

been

(Size1-40

1-20

metre.)

358
Yet
^

Velazquez.
to

this haste charm all the

the of

is partlyindebted portrait it concentrates

for its within

powerful effect.
the
space

It has few

the

directness;

of

hours

powers

of observation of

and

exposition. It
take the
not
a

differs from in hand

as ordinarypaintings,

the works

who sculptors

marble

at once,

and

without

models, differ from those in which

step is ventured
but
tests.

without

rule and

compass.

They

may

stumble; occasionally
severest

in return

alone capable of standing the they acquirequalities To

in
some

judge

of the

resemblance Roman

we

possess

good exceptionally
sure

material
or

excellent

effigies by
the

whose sculptors, in their accuracy. marble

hand Such
are

boldly giltin

realistic execution bronze

bronze
statue

confidence inspires

Algardi's
his in the

in with

Bernini's Conservatorio,
bust and

bust

and
bronze

head

porphyry

in the the

Dona

Gallery,the
statue
on

South St.

Kensington Museum,
here

marble

his monument

Agnese.
But
we are

confronted

by

remarkable

circumstance.

Whoever
find

first makes that man's

as

the busts

aged pope's acquaintance through Velazquez, will by

no means seem

these

answer

to

the in

idea
the
some

he

has

formed the

of the head
no

personality.They
as

at

variance

modelling of
fundamental

well

in the in
numerous

character

and

in expression,

traits

less than In the and

details.
seem

painting we
full tolerably

to

recognizea
the touch

head lower of

with

compact

bony

/ frame

flesh this

covering; region a

jaw appears
defiance
or

somewhat

prognathous,imparting to
which, combined
with the

and

harshness,
plexion, coman

searchingglance and agreeable general

the

rubicund The

flushed

gives a
unbridled
survey

far from in

effect.

impression of

temper,

fact,outweighs

intellectual

and qualities,

in his in the
to

of the
"

different portraitsthe

pope's latest biographer finds

an

and painting something crude, material, trivial,

air of

passion-due

the

sanguineous complexion."
But
the

marbles

and

bronzes

give
the

rather

the

impression of phlegm
and

with Thus South

of predominant intelligence, Edwin Stowe remarks that

experienced statesman
in portrait metal

jurist.
in

''the

[the bronze
high

Kensington]is suggestive of
we

majesticdignity and
in the
more

intellectual

which faculties, qualities In the

a

fail to discern and

truthful canvas."^

the glance is calm sculptures of cold At old

in

sometimes attentive, sometimes Innocent with

was a a

perhaps with
touch
man

dash

scepticismand
the time of of his the
:

contempt,
accession

of who

genial
had Curia.

humour.
grown

the work
*
*

Congregations and
di Innoccnzo

of
200.

the

Roman

Ciampi

Vita
y

X., p.

Velazquez

p. 61.

Innocent
In

X.
above forehead, projecting their wrinkled for
a

359
the

harmony

with

such

career

is

the

bushy Cap,
the due

eyebrows
short with

and

shading the

small eyes

with

surroundings.
of
a

Pontifical cloak
or

leave portraits cape,

little scope
are

choice

colours.

chair,hangings,
varied

all alike of well

as

brilliant crimson

unimportant shades, and

the features

only, as

heightened,by
was masses

snow-white

the surplice. Here, therefore,

to

problem

to

give

u^

prominence
colour. In this

amid

these

overwhelming
still

of gorgeous

case

the

problem

was

rendered

more

difficult
or

by

the

fact

that the The almost its

pope's complexion was

result and isochromatic,
and

itself ruddy, a tinta accesa,

an

''flushed hue." becomes

general
direct

is doubtless
on

unusual

uniformity, which
some

which

unquestionablyto
on

extent

depends
of the

irresistible effect less considerably this main

the

eye. and

But

the

redness

countenance

being

surcharged
seems

pure least

than

those homogeneous

purple tones,
of the whole. This but white
nose

feature

the

conspicuous part
of chiaroscuro ; The
on lights

result

might

have

been

avoided

by

vigorous use
shadows. the

j^

the

figure is painted
is surplice

almost

without

any

dazzling
forehead,
defect had
not

of the and

also

to injurious
more

the face and than

cheeks, which
been noticed

give
of the

lustre who

relief.

This

already
From

by Richardson,
in

censures

the

artist for

having painted the

the

linen

surplicetransparent Apsley House,

a

of Innocent portrait
may
see

the head

of which
have

is

we by Velazquez himself,

what

different effect
the

might
dull

been

produced with ground

How work London the of the
not

different

arrangement
and

of

surroundings.
has
a

Here
rose

the
tone.

is blackish
was

brown,

the the

pontifical cape

great
in the

my

surpriseat
of
a

as striking difference, sun

I beheld the

this

early light
and

March

strugglingthrough
of
the

foggy
of instead
was

atmosphere !

The

contiguous

tones

bright

red

cap,

pale collar
in

the vivid fresh

complexion of
other.

the hale old man,

injuringmutually heightened each

same
as

Although

this carnation
red

the

Doria

the suppression of the picture,

had
on even

curtain

had

only removed
flesh colour
under

the

but injurious glare,

given
the dark
warm a

rise to contrasts.

The

seemed

bright
red

and

clear the cap,

ground,
tone

soft and the the

tender collar solid In chain

was

the

gleamiAg

of

and
even

by

the side of
in

to inclining

violet,while approval
his

it

assumed and
the

golden

the lightgrey lights, token and of

medal

half-tones Innocent
own

reflected

lights.
with
a

his

presented Velazquez
in and
a relief,

gold

bearing
upon

likeness

distinction which
to

commemorated

the

tomb, painter's

which

my

knowledge

360
was

Velazquez.
shown
statue.
to
no

other

artist

except

Algardi

after

casting this pope's

the pope
sent

bronze

It is also related
his chamberlain
to

{^des IValpolianop, p. 6j)

he the artist,

that

"when

pay

would with

not
own

receive the money, hand. The

saying the
humor'd

king, his
him."

master,

always paid
of the

him

his

pope

After the extinction Doria Corso

been in the Landi
over

Pamfili

passed to family(1760)the picture

in

the the

branch, and long held the placeof honour against Sebastian

from del Piombo's Andrea and gallery

the

palace on Lately
a

Doria.

it has

removed

the tribuneita in the hall.

met

placed under

canopy

largeentrance
"

From
in

the first the work which

"

with

great approbationamongst
than
"came
to to

Art

circles
"

Rome,

is

more

to strangers partial

her

own

children however
ment amaze-

(Passen).
to learn

Our

Velazquez,"writes
all

Palomino,

not Italy,

but

to

teach ; for the

;

of Pope portrait
it
as a

Innocent looked
to

X.
on

was

the
as a

of

Rome Much
as

copied

study, and
be

it
same
"

marvel

"

63). (ii.,
even so

Italian 1794

testimonymight
Tonci

adduced

the
as

and effect, for

late

Salvatore
the

spoke

of the work the

misfortune

all its

neighbours;
the

gloriousGuido by
its side

amongst
mere

rest

shipping (the Virgin wor-

Child)appears
This
and
to

parchment."
of Guido

In Th. it "the

Moore's finest the

Memoirs^

it is stated Rome.

that Sir

Joshua Reynolds pronounced

St. Michael
were,

picturein only ones

Curtis

the

they

say,

he condescended

copy."
such

mentions

sixteen

copies and
But

all professingto replicas,

be

or original repetitions

sketches.

the little faith in their knocked

a

is authenticity

shown

by

the low that

figuresfor which
''

they were
sale of
was

down
our

at

public sales.
to

Curtis states the writer,in

at

the first auction

or

pictureby
a

artist known

England
time

elsewhere."

such

head

of Innocent

X., sold

Cock's
At

in Poland
same

Street,London, February 19, 1725.

the

Velazquez king,and
that he feet

may

probably enough kept

a

have
some

repeated the
such
own

at portrait

least for the in fact tells

us

have

study for
a

purpose.

Palomino
a

brought high by

back

copy

by

his

hand, and
new

half-length figurethree
Palace,where
work This

occurs

in the Bermudez the

inventories of the (v.,179).

Bourbon

it was

seen

Cean

probably disappeared during

is

Napoleonic wars,
to

for the

in the Escorial large painting with altogether

by

another

hand, although the figureagrees

Pietro Berettini.
doubt

that of the Doria

to

work.
me

It is ascribed that has work (London: been in

The

known only repetition

master
'

beyond Apsley

executed As the

by

our

is the
Edited

already mentioned
by Lord

House.

John

Russell

62. 1853),iii.,

Innocent
measurements

X.

361
the
a

also agree,

this

might

be

regardedas
rather of

mentioned replica

by
pleted. com-

Palomino,although it has
Its all respects This
amateur

the appearance

study afterwards
Le

genealogy also
with had
we

militates

againstthat assumption,for published in

the

it agrees

in

the

outlined

engraving
in Madrid
Ponz he

Brun's

RecueiL D'Azara in

purchased
also know

greater part of the

had

and collection,

from

that this envoy

discovered for the

Rome

head

of

Innocent, which

regarded as by
Camail
or

a some

study
other

Doria At

the portrait, the Le Brun

bust sale

having

been

added
one we

painter.

(1810) it fetched
of this
sure canvas

thousand

and form

francs. fifty
some

In the presence
care

begin
which
were

to

idea of the
head

scientious con-

and

touch

with

this remarkable

has

been

studied and of the

delineated.

The then

surfaces the crimson shadows

solidly prepared in glazed on

also
with

the clear note of the

and carnations,

tone
were

exclusion

high lights. The

The
be

small brown
in the

appliedafterwards.
also with
can some no

so-called sketch
to

Hermitage might
But the

probability
but sketchy
master
a

attributed

Velazquez

himself.

if so, it

be

replicaexecuted spirited
needed subject,
no

directly by

artist, who, being

calls such
a

of his
a

studies. preliminary

Whoever

work

sketch

puts the
The Bute's

cart

before the horse.

best

complete copy
but

known It

to

me

by

strange hand

is that

in Lord

London.* collection,
the pose,

skilfully reproduces the

the

luminous
and

the purple, The

lustre and

has

nothing of Velazquez' touch hands, where

These the
master.

manner. more

vacillation copyist's
he
are

is

betrayedin
less

with far

appliances
extremities off with the

tells us

far less than the and

executed laboriously dashed originals

less defined
means.

than plastic

scantiest

Another

copy
was

acquired in
But when that

Rome

for the Gordon

to sup)erior
are

Galleryat
the of

the

beginning
the
tone

of this century features and

we

thought by

Wilkie

in original
as

of

hands.

these parts somewhat

spoken
in the

"more

complete,"
Bute
copy

begin to suspect
The
head

they are
House

styleof

the
warm

The

contrasts pricealso (nineteen guineas)

strangely with such

be

praise.
wares

in Lansdowne for the

must

classed with

the inferior House

manufactured work of
an

market, while

the

in portrait

Chiswick

is

the and the

eccentric and
in
a

mannerist. repulsive raises

a

His
very

Holiness, enthroned

wrapped
I
one

loose

purple mantle, by
his similar the

large hand
Italian

to

bless

and repels them faithful,

can

glassystare
the

and

long-drawn pallid,
or

features.

call to mind

no

of painting

Spanish

and schools,

begins to suspect

forgerapeing according to
of the master.

his

lightsthe sparkling

touch splendourand spirited

"

No.

6 in

J. P.

Richter's

Catalogue(London: 1883); size 54

45 inches.

362
After this

Velazquez. triumph in
the

higher placesall the palacewanted

mentions he Donna

itself

painted
Pamfili,

by

the great

Spaniard.

Palomino

Olimpia,Cardinal
with
the

Monsignor
Massimo

Camillo

Massimi the

(whom

apparentlyconfounds Ippolito ; the

hitherto
been

painter

Stanzioni) ;
and
any

chamberlain, Abate

major-domo, the
not identified,

pope's barber
But
even

others. such
not portraits
one

of

has the

the
to

Major-domo disposed
be
"

of

at

Salamanca
"

sale, January 1875,

an

declared

unquestioned and
three hundred

unquestionable by
francs I

expert, and

sold

for nineteen

thousand

(jji"L.
But

meanwhile
and

Velazquez
Alcazar. the X.

had

not

lost

sight of

his

commission, special
to

the selections

castingsfrom
Now

the
it

antique intended
so

decorate

the

new

apartments

of the

happened

that the very of

the

year

of his On
to

arrival witnessed March 9 Innocent

now

opening paid his

the

of the

Roman

Museum
visit to

Antiquities.
order

first solemn

Capitolin

inspect the
At

of the nearlycompleted building

Museum. Capitoline had

set
were

this

when juncture,

Treaty

of

Westphalia

its seal to

the
at
a

tendencies anti-papal the

of the
were

efforts European Cabinets, in other

being

made
Rome

papal court

which

destined

relations to constitute

chief centre had spirit

of modem

culture.

During
and

the Anti-Reformation

perioda
but

hostile

been frequently
was

stirred up
more

againstpagan
more

antiquity ;
the the

henceforth

papal munificence publicdisplay of

Roman

directed

towards
to

and preservation
the

the

classic remains

confided

safekeeping of

pontiffs.
of
the the

One

first

measures

of

Innocent

X.'s

administration
at

was

the
were

completion of spoken
to

buildingson
for

the del

Campidoglio, which Popolo

Romano,

that
the

time

of

as

la

fabbrica nuova
some

But

interior appears and

have

remained

time

tolerably empty,
adorn
an

for the Pamfili

own

other great families and villas.

was

requiredthe antiquesto
been

their

spaciouspalaces
had of
been

Still a great step had well The stocked

true

taken ;

asylum
popes

erected

which

by

the of

highly cultured
the

the

eighteenth
was

century.
Clement

founder

present

Capitolinecollection
1730
to

XII.
,

of the Corsini
to

who family,
account

reigned from
full

1740.
had busts
to

According
Roman
At

Palomino's

{Museo iii., 337-40)Velazquez

besides the head the

get castingsof
many

thirty-two statues,
of the list stand

length
of the

and figures

of

effigies, togetherwith
head so-called AntinOus
the

of Michael

Angelo's Moses.
Belvedere, Laokoon,

the

statues

Apollo,the

the (Meleager),

so-called

Cleopatra(Ariadne),

the Venus, and

Nile.

364
been

Velazquez.
again
summoned
to

by
it

the

king
but

to

Spain
on

in

order

to

accompany
coast

the It

Princess

Margaret
whether he that

Germany,
was on

died

reaching the Spanish

is uncertain
to

this last occasion,or the famous

during Velazquez* \4sit Apotheosisof Claudius,

was

Rome,
had

presented Philipwith preserxedin

at

which
most

hitherto been

the Colonna the the

Palace, and which

the

importantoriginal antiquepossessedby
Extant
accounts
are

Spanish
extent

monarch. which
to

variance

as

to

to

Velazquez
he Bellori,* in bronze But and that

personallyexecuted procured
and
not

his

commission

in

Rome.

According

only

the

forms, gives

but the

the
"

castings themselves
alone in
to

stucco, and

Malvasia

price thirtythousand
the forms
return

crowns.

Palomino's the

statement not

is that he obtained made

de

Rome,
the

castingswere
and

till after his

Madrid, by
with

Gerdnimo from

Ferrer Rome.

Domingo

la is

Rioja, who partlyto

set

had
same
new

come

forms

Passeri's account
statues
were

the

effect.

All the best

up

in the
were

apartments, and others

to

on

the and in

steps of the
the lower Castle The

Rubinejo,while gallery. On
is
seen

several the

sent

the B6beda

del

Tigre
Mariana

north

of portrait

the

Queen-widow

Howard

the statue for

of the 1686

Dancing Satyr.
without
; eleven

palace inventory
and

mentions
in

giving
and
ten

any

details

twenty-sixstatues
in marble and
stucco

twelve

heads

bronze

respectively
in the
two

reliefs ; ; thirty-one

thirty-onestatues
and lions.
scenes

and of

heads thirty-four

clay,eighteen
the
appear

statues

bacchantes,besides
the bronzes Retiro.

planets and
Leoni would Four

twelve

bronze

Most
been

of

by

the

at that

time to have

in Buen

of the
seen

bronzes, the Hermaphrodite, Venus, Thorn

Extractor, and

AntinOus,
the seated The founded

by

Ponz
with

in the

new

are palace,

now

in

the

Prado, as Academy

is also

Nymph
stucco

the conch.

forms

passed

later
same or

to

the Ponz

San

Fernando
many

of Arts

V., where by Philip

both
these
at
a

the

still saw

Flora, (Hercules,
must
no

in bad Venus, Gladiator) have found

condition
and

patched up.
earnest

But

Raphael Mengs
he makes
to

the old

for castingsunserviceable, desire

was

allusion to them moulds of the

time when from

the

his most

acquire such
villas.

statues

the Borghese Belvedere,

and

Ludovisi

Metelli Besides
engage the

and

Colonna.
of
new

one purchase of pictures

chief objectswas Velazquez's works

was

to

Italian decorative
was no

for painters

the

in the

royalpalace.
of died out

There
any

lack of

engineers ; but
even

Spain
the

destitute absolutely

school of decorative

painting,and
*

fresco
399.

techniquehad

Vita di A.

Algardi^ p.

Metelli
with
were

and

Colonna.
and such
oil
on

365
places
canvas

the sixteenth

century.
with

archways, cupolas Cloisters,

scenes

usually covered
Hence the
a

nearly always painted in nothing

as

nailed to the surface.

Art-loving monarch picture gallery.

upon,
or

saw

for it except the treasures

a

to convert

his

palaceinto
Art
to
a

So

long

he

had

of Venetian

fall back

could command
a

the services of

Rubens

capable
had
no

in

few years of
to

covering
the

whole

with mythologies, he hunting-seat Yet of

it
was

reason

complain of
even a

result.

to impossible not

shut

one's

eyes

to not

the fact that

even

Pinakothek

masterpiecesis

the

only,perhaps

the most in

form agreeable,

of

for embellishment, especially pictorial

apartments
On the

dailyuse.
hand the

other

performances of Cano, Arias, Camilo,

called successful. of all The

and

the

could other native artists, of the

on

hardlybe

realistic tendency nurtured of the make from like these

case

Spanish

school at that

time,destitute
here

imaginationand
the
was

conventional

religious pabulum, was

was

for ill-adapted No
one

treatment

free this

poeticpaintingthat discovery than

Saviour and
and

required.

quicker to
scenes

the

king himself,who
like the
were

ridiculed

Camilo's

Ovid's the

Metamorphoses gods

in Buen

Retiro,remarking
Madonna.
too

that

Jupiter looked
of
; and

Juno

The

physiognomies gloomy

Hellenic such

goddesses

Spanish,too
cut
a

in any

hasty and
few

works ill-paid

must

have

sorry

figurecompared

with

those of the Venetian The

gave

apartments.
Italo-Spaniards still survivingin Madrid
even now

or Italians,

most

satisfaction.

Angelo N^j^

suppliedall manner
Rizi and

of fantastic Pedro Nunez

things king's

for the the

new

royal privateapartments.
theatre ;
"

Francisco

painted
the

JuliusCaesar

adorned Sginin

the west

and gallery
water
secure on

boudoir Hence

with flowers,festoons, but children," the constant fresco efforts of the

in oil and Court

to

colours. renowned
or

Spanish

competent
have that
gave

paintersfrom
to

Italy. Velazquez appears

mural
us

this occasion to

paid specialattention technique.

a

painting, although personally despising 336) that (iii.,

of Lazzaro
in Genoa

Palomino

tells

he

at

all events

cursory

glance

to the works

Calvi (bom

1502, ob.

1595),

who

had But

imitated
on

Perin del

Vaga.
had
an

his return best

journey Velazquez
works of the in
were

opportunity of studying
the

nearly

all the

two

artists of and

Bolognese school,
Michele the Colonna inventors the

Agostino

Metelli
near

(born
or

1600

(born 1609 Como), who

a new

Bologna)
of

Angelo

universally regarded as
and wall-painting, with the who

of perfecters

system

enjoyed
"

patronage
to

of several he

princesconnected
in

Spanish
most

Court.

According
galleries
"

Palomino

visited them

Bologna,

where

of their

366
and decorated

Velazquez.
apartments
one were

to

be

seen.

The

Oratorio

of San
was

Giuseppe, destroyed
their

which
a

contained years
ago.

of But

their the

finest works of the

in that

place,

few

Chapel
not

Rosary
till also had

in San
"

Domenico,

last
to

was masterpiecein Italy,

executed

1656
saw

that is, subsequently

one

Velazquez' visit.
the

In

Rome,
di

however, he

of

their

best

productionsin
and redecorated The

Capo

Ferro

Palace, which

been lately

purchased
be

by Cardinal
introduced
counter-movement
on

Belardino

Spada.
two

system
as a

by

these
or

little-known

artists

may

regarded
with

protest against the

vaulted

overcrowding
is

figuresespecially
to
seen

and ceilings the decadence

treatment

surfaces,which
which is

usually They

supposed
older, as

characterize
in
taste

period,but
of the

reallymuch

the

woful

Florentine

Duomo.

developed the
space, walls

for architectural
on an

painting by transforming the given

spective per-

and

roofs The

independent plan combining poeticand

a

features. the decorative

figuresthus played only

The

subordinate

part amid
of this had

surroundings. right moment,

which had had
and

general approval and

imitators show the

adoption
that

system
come

by
at

numerous

though greatlyinferior
that

they

the
scenes

public were
the
out to

tired of the crowded

historic This
a

prevailedsince
died it

fourteenth in

century.
had
an

process

never certainly
was

but Italy,

fallen to
Art

subordinate

positionuntil

raised
his

the

dignity of
Metelli it the
name

by

Girolamo cultivated

Curtis the

(// Dentone),
same

As

associates

and

Colonna
of the walls

manner, because

the he
was

former

giving
from

\vedutd\
visual
and

("view," "prospect") point.

The

departed
a

the

unity of
up

fundamental
some

idea

moderate

opening
in
at

of

ceilingby

apparent

architectural

structure,

which The

the

various
are

parts of the
narrow

real

building were
more

still echoed

intervals.

result

vistas, perspective
colonnaded for

suggestive than
with
most

manifest, in
courts; the

clear

riors, inte-

halls, houses
the

of steps, flights

all in

marble

colours, and
and

disposed by
walls But

part obliquelyon

wall

surfaces,

surmounted The four

low thus

carved resemble

galleries.
a

courtyard on
first
a

which with

open

magnificent
mouldings
above the

apartments.
in

the

being ceiling,,
transformed
to

prepared

rich

was strong profile,

loftydome
is set with

suspended
Pantheon. niches

whole The marble had

space,

with

large elliptical opening, as

of the walls medallions

in the

simulated and
to

architecture

off with

showing
Dentone
a plete com-

bronze

tablets, or

reliefs where this of necessitated

learnt

command
and

apply the Hghts with gold. All of Vignola'sprecepts, as well as

had
in fact been

and perspective

relief,

Metelli himself

appliedto

by

architects for designs.

Metelli
The
the

and

Colonna.
however would
Jiave

367 scarcelyraised extremely

for

impression of
of

such

surfaces
but

enthusiasm

of the observer

for

toned, lavish,althoughstill finely Metelli

for created
an

employment
solid and

light.
in

For

this

purpose

durable

fresco

technique,mixing,
He

instance, selenite powder

and

with the

the

lime, as

Pompeii.
the

passed

in

Bologna

elsewhere

first fresco To animate

but

painter of
and

period.
the

complete
were

poetic illusion livingfigureswere

in

indis-^
In

pensable; Empire.
from the
a

they
the
page

sparinglydistributed agreed
down

suitable

places.
the

this

respect also
A
mass

system

with the

that

prevalentduring
a

Roman
roses

hurr3ang
the

steps,
the few
vase

lady cullinga
on

few

of
over

flowering plants in
balustrade,
a

the

a gallery,

negro
some

hanging
from

rug

figuresconnected
the of flight
an

with

simple daily incident,watching

various
were

for instance
sufficed

escaped parrot
Or

parts of the

room,

for

this purpose. the

perhaps
with

they
wreaths

replaced by
of

ideal

figures above

cornice, amorini
the

flowers the

and

women fruits, allegorical

and

like.
been
so

Probably

horizontal here.

for figures has perspective These

nowhere time
scene

happily applied as
with
tone

figures at

the
over

same

complete they

the

effect; sparingly dispersed general pictorial

their

the
the

stand

vivid colours

in

pleasant contrast
and

to

prevailingcolourless
and

of the

marble,
both

bronze

gold.
the

Although
since

artists
to

had

mastered

perspective
devoted

figure painting,
to
a

they began
Metelli
but

work

jointlyeach
the architecture sketches
a

himself Colonna

separate

department;

painted
after the
was

only,

the

figures,
ciate. asso-

statues, flowers,

previouslyprepared by
historic prolific and he palaces,

his

Although
shown

Colonna
in the

skilful and

as painter, was theless never-

by

his works

Bolognese churches
to

self-denying enough
ornamental shared fame
accessories. and
'*

confine
a

himself

henceforth

to entirely

these

During
so

of fellowship that

twenty-four years
suspect
two

they
he

profits," working
to two
as

nobody
the

would

hands.
as

Velazquez supposed, quite

1650.
with clear

appears

have

concluded

at negotiations,
or

least

the

artists either
may be

in

Florence
a

Bologna, it
the December

is not

which,

inferred
to

from

letter of
I.
on

Modenese 12,

official Gennaro After

in him
"

Poggi, addressed statingthat

the
over

Duke unable the

Francis
to

he

was

let
"

Velazquez inspect the

the

collections
to

palace, of
the

which

duke of

had

keys," offering
instead, Poggi
that he

show
:

neighbouring palace
fresco

Sassuolo
told
me

adds

Touching
Colonna for His

the
and

painting
that in

he

has

takes
order in

S"^ Michele
to

with Agostino [Metelli]

a

him

to

Spain
would

in

paint

Majesty, and

few

days they

meet

368
Genoa. This
may
news was as

Velazquez.
as displeasing

it
run

was

unexpected

to

me,

and

reallyone
life than But find
on

well fear that Colonna

will

greater risk of losing his

of acquiringwealth." [have prospects]

reaching Genoa
left him

Velazquez
We

must

have have

been

to sadlydisappointed

they had

in the lurch.

Nor

I been

able to discover Malvasia that

any

motives
same

for their conduct.

learn, however, from

in the

year,

1650, they
in

were

Florence,working again busy in^ They painted his

as

for Cardinal della Scala for the his in

Giovanni
and
a

Carlo
saloon

dei Medici. the

house
a

in

the Via

Pitti Palace,

well

as

villa at

Camugliano
to

the

Marquis
with

Niccolini. with

Probably
he
at

the in

cardinal, in order

appease used

Spanish Court,
influence

which

stood

close relation, afterwards the

who the artists, mediation

last undertook

journey

to

Spain

1658, through the

These

of the cardinal and his last

on

the senator

Marquis Cospi. probably the

was

days

in

Genoa,
ever

Italian soil,were He
went

most

unpleasantVelazquez
to

experienced.
became
the
aware

but reluctantly,

fain

obey, and
had

here also he which

to

that his efforts had

to

been

bootless heart.
and

in another This

matter, reference

king

appears
some

have

had

greatlyat
in

the

of acquisition

Correggios
from Madrid

Modena,
appears the duke.

which the Nativity, especially Ottonelli's letter of On

the

Velazquez
13,

failed to

obtain,as
to

from

January
two

1652, sent
and
to

arrival of the

Bolognese
the

artists in

1658,
But

all the

ments arrange-

entertainment for their reception,

to

the especially

work

they

had

take

in hand,

were

left

by

king

Velazquez.
incessant

everything that
these works

they
the

executed old

during

nearly four years

of

activity perished with

statements, inaccurate.

palace. Detailed accounts, however, are given of and Some of Malvasia's Palomino.^ by Malvasia,* Passeri,^ for such a writer,unusually confused and however, are, even
Metelli's last work which he
had
was

the

dome when

of he

the
was

Church

of

the off

Mercenaries, by
fever
on

scarcely begun
Colonna 1662.
"

carried

August

2, 1660.

completed

this work,

surviving his

associate

till the year

"

Felsina, ii., 406.

ViU

dei

Pittori,272.

'

Op, cit, p.

344f ^t seq.

SEVENTH

BOOK.

LAST

DECADE.

1651

"

1660.

THE

LAST GALLERIES
"

YEARS
"

"

THE CROSS

OFFICE
OF

OF

PALACE THE

MARSHAL COMPLETION

"

ADMINISTRATION OF THE
ESCORIAL

OF

THE THE

THE

SANTIAGO

"

"

MEMORIA."

24

372

Velazquez.
In fact it was that also
and
not most

yellow leaf."
the

till this last decade

that his brush

acquired

language
Now

appeals
he
was

eloquentlyto
those

artists and outward

men

non-professionals
marks of of his

alike.

with gratified

esteem,

honourable
and

influential posts and

decorations,that

position

trainingstill delightin. Yet,

whereas
men

the cultivating the

intellectual faculties
ease,

usually consider
all

that
and
so

years

give

them

right to
our

live at
master

exempt
now

from

disturbing
first time

absorbing
burdened than would

outward

cares,

became

for the

with his spare

such

that occupations,
to

he

could

henceforth

give

little

more

moments

his Art.

These

ever, howchanged conditions,

be scarcely

surmised

from

the works
more

produced during this period.

summary,
more

His
than

manner

of

paintingdoubtless
no one

became
better

expeditious
make
as a

heretofore ; but

knew

than
ever

he
to

did how

to

virtue

of
now

necessity. While
for the he

he

belonged
others.

less than

himself, he,

it were,
in

first time

thoroughly discovered style we figures

horizon absence
to meet
"

himself,producing works

which

least resembles third his and last

This illustrate

in

which pictures, echoes Court

again completely
of his Roman

many-sided genius

mythologies,
town

inspirations; grotesque subjects; royal

these years persons, above

from

and

circles; religious
star
rose

especiallythose
:

princesses whose
queen who

in

the his

the

young

had

made
bom
a

her few

appearance weeks But

during

in

Italy,and time,however
with
two

her

daughter,
in

after his

return

the
at

capital.
this excellent
seems itself,

everythingproduced
casual

merely

''fallings" compared
of

incomparable creations,the

visions profoundestpictorial

this master.

The

Office

of

Palace

Marshal

de Palacio), {Aposentador In of
a

the

opinion

of competent
and

contemporariesVelazquez
Since the Madrid

was

the the

mirror

Spanish Moro,
to

nobleman
no

courtier.

days
in

of
be

"stately" points
Uffizi ;
us

Antonio

cavalier of the
in

professionin J.
"

could the

remembered

comparable
to
'*

him

this

respect.

Burckhardt
about

Cicerone the

something
in

almost

noble affectedly
answers

his
the

in portrait

and
those many and and

fact that
who

likeness
him. in the

to perfectly

lefl descriptions
the

by

knew

When
Court

he and

petitionedfor
were capital

Cross
on sense

of

Santiago,
matter, honour ethers of

gentlemen
their

consulted of his

the

testimony was
of

conclusive. his delicate

One
tact

speaks
and

dignity,another

imposing

presence,

The

Office

of

Palace

Marshal.
Francisco Gutierrez

373
Cabeilo

again

of

his

magnificenceand
"one

while gravity,
most

pronounces

him

of the of
an

splendid men
firm
at footing

of his time."
in

Velazquez, scion
had
usual
was

ancient

Portuguese house, who

Court than of
the

his

youth
the He
:

thought
Art

more

of in

securing a

of

making

tour
means

Italy, fullyshared
indifferent to
at

social ideas

his class.
or

by

no

the minor often The

offices of usher formed the

chamberlain
even

Court
sole and and

employments goal
other

that

time

highest or

the

of aristocratic

ambition.

Castilian

nobles,sinking deeper
the commandos the

deeper into

frivolous indolent

habits, no
them

longer valued
from gay observed
en

appointments that
for, is that
the

banished "that

capital. "The
the

only office,"writes
all
care

Grammont,
of
and

I have
cdmara

grandees

at at

gentilhombrede Majesty."
from

because ejercicioy

table, at
the

robing
also,
and

unrobing during

the

weekly service, they enjoy

he

of privilege Our
master

seeing
on

His

his return

Rome, where
was

had
with

been the

honoured
and spirit

by

his Holiness

the world

of Art,
the

again imbued
show that Now which
he

of aspirations became
the

the

and courtling,

empty

despised by posterity
had reached his
years
a

loftiest aim

of

his ambition.

golden prime, capable of producing works,

are

after two the

hundred

still the

goal
I

of

Art

he pilgrims,

for petitions

post

of

royal
before
"

quarter-master
This his return

del rey^ which post of aposentador from

much

had

been

vacated

the year

Italy, althoughno importance

with
his and the

aristocratic honour" tacit

was office,

still regarded as

charge

of

(JusepeMartinez). Velazquez
the

applied for
suited
to

it doubtless based

approval of
the
and

king, if
that

not

at

his
was

suggestion. He
his differed from of convenient which The his

on application

ground

this office

tastes peculiarposition,

occupation. Unfortunatelyit
were a

previousappointments,which
as

rather number

in of

the

nature

inasmuch sinecures,

it involved

petty duties,

deprived him stipend was

both of the leisure and thousand

ducats

for nobler disposition official residence

pursuits.

three

with

in the Casa

del Tesoro, The

aposentadormayor
queen

de

palacio de S,M.,
house

or

palace marshal
Alcazar

to

the

king (forthe
of the
the

also had

her

had charge marshal)

of the interior that encircled He

had

royal residence, consequentlythat courtyard; and

appear doors the
and

part

of the

second
to

also

organized
without of which decoration

the

Court
or

journeys.

always

in

his

cloak,but
windows

hat he

sword, in
He
was

the

king's

dwelling,the charged with

arrangements

and

opened.
in

specially

and furnishing

of the
he

including palace, sanitary

his

heating.

The

key

which

wore

girdleopened

374
all doors ; he chair when

Velazquez.
assigned the palaceladies
made the programmes he had
to

their quarters ; he for dispositions for

placed the king's

Court

he dining in public,

the

festivities,
and and

his Majesty on consulting

tournaments.

balls masquerades,plays, for the often Court

On

journeys
to

provide quarters
other minor
but bed
no position

all attendants, and

and
even

fulfil many made

troublesome

menial such

which duties,

the

of roses,

especially by
tenure

amongst
For

sticklers for the

as etiquette

the

Spaniards.
was

Velazquez
and
one

greatest loss of time

to

doubtless

caused the

the

journeys periodical
Cortes office
to

of the Court
seat

the It
so

royalcountry seats, to happened

to

provincial
of

the

of

war.

that

during his

of

those
his
meant

tremendous life. On
at

journeys
these

the
he best

frontiers occurred, which

rode
on

in fact cost
a

him

occasions
can

mules, and
have
over

what

tripin Spain

that

time those
**

judge who
a

travelled,
the bare

say, in the Balkan

Peninsula.

We

got nothing but

roof

ground," writes
attendants
or
"

Sagredo. Dining-room, kitchen, beds,

to

chairs

and
no

tables,
rivers

all had
to

be

brought
often

across

country, there

being
in
a

canals

transport
the

them, while
land

the looked

highways
for

were

state

of
a

utter

neglect, and
should
to

miles

and

miles

like

wilderness. One read find had the words

to

lamentations

of

the
to

foreign envoys,
express
their

who
at

are

scarcelyable
Madrid
a

strong enough

wrath

the
or

hardships they
few

endure.
up

They
and
even

generally reached
the

Saragossa

completelyknocked days'rest
and

Spaniards themselves
Giustiniani Toulouse "No
to

needed

before

attendingto
on

business.
road

days spent fifty Madrid,

the
as a

in November died says Not The

soon
a a

December his
"is

the

from

and

after

arrival

(February 3, 1660).
to
or

private purse,"
to

Venetian,
scrap of
to

long enough
but
cost

follow four
up

the times

king
as

country."
in

food Madrid

three swallowed

much

Italy.
year

journey
In

alone

the

suppliesof
the

whole
the

(1624).
'snowed

winter

the

vehicles

often

passed
"

night

in

fields

up.'"
wants to

"Whoever
"

try

his
"

let

him

come

here ; Convent."

he

will

patience says the same made find more proficiency

"

Venetian in it than

"

in

Franciscan But for

an

artist the

worst

of all, as with
the and

seems

to

us,

were

the interminable the

harassing worries
The

connected
are

financial

chaos

of

royal

hold. housethe

coffers

empty,
I

payment
of the Court

suspended, whereupon royal apartments

dames bed.
must

underlingsstrike
want

work heat

The

denizens The

freeze

for

of
corner

fuel to for

the

stoves.

send
go

round
in

the

or provisions,

go

supperlessto

People

about

Administration
tatters, and
a

of

the

Galleries.

375
no

the

jobbing

tailor to

his

Catholic

Majesty
occasion
were

doubt

does

roaring trade amongst

The inevitable result

his courtiers.
were

debts, and
reals of his such

on

one

our

aposentador owing, thirty mitigated by

complainsthat
thousand the for

sixtythousand
alone. But

yearlystipends
were no

1653
it

carkingcares
had

doubt

heedlessness Spaniard'sproverbial
was

in financial matters. overdrawn seriously with

a

At

Velazquez'
million

death,however,
his
two

found

that he

his account, of
one

office of hundred

palace marshal
and The

being

saddled

debt

twenty

thousand
was

seven

hundred the

and

seventy maravedisi
mayor

say seal

;^730.
on

consequence
what

that
meant

mayordomo easilybe
the

put

the from

his

and effects,

that

may

imagined

the

foregoing description. After

had
was on

five

years' continuous
claims
be
on

it investigation

appeared he
the his
sentence

his

part

some

heavy
to

Treasury, and
effaced

that half of the debts

; but

should

regarded as
encumbered
to

by
he

personal estate
and
a

the other half had del

be made

good by Velazquez' though

this arrangement

son-in-law
was

executor, Juan Bautista

3,

Mazo,
Thanks

with

large family (March

removed

1665).

the

was sequestration

(April11, 1666).
that this office would

Palomino

justlyremarks speaks
to oA

requirea
that he

man's

whole

time, and
have

this

point with
under

boldness

would
et

scarcely

ventured

indulge in
in round

the old
those
seems

dynasty (p. 340

who
to

seq,).He
"put
it the
was even

fair is, however, scarcely

square

blaming
He

in this instance
have

block

in

hole."

forgottenthat
was

himself V^elazquez suited

to

who

petitionedfor
He birth.
to

the

office, statingthat it
to

his

"genius."
his

consequently was
have the had

blame

for

having

thus

paid

tribute to

high

Palomino
some

appears
even

also

certain

information the

respecting
Cross of

honours,

higher
the

than had

marshal's

office and

which Santiago itself,

king

in store

for him

(pp. 341, 350).

Administration In his los Santos

so

of

the

Galleries. the Prior Francisco

de

Description of
tells
us

the Escorial
*'

(1681,p. 67)
Velazquez'care

it

was

owing

to

that the
become

royal palace,
one

far

as

regards
he had

its endowment Even

of

has paintings,

of

the

greatest in the world."

marshal mural

before his

appointment to
monument

the office of

palace
in the

superintendedthe
The old Alcazar the

somewhat
was a

frequentalterations
of his the

adornments.

long-continued
archives the
course
us

and many-sided activity, the continual

inventories

in of

palace
in
even

show of
to

and acquisitions

changes

collocation

Philip IV.'s reign.

The

inventory for

the year

1636

enables

376
realize the
state

Velazquez.
of
as
some

of

the

compartments
that had
be

as

they

were

left

by

as PhilipIII.,

well

the transformations
must

alreadybeen

commenced. for

The

inventory for

1666, which
the

supplemented by

that

1686,
of the

contains

the final results of The

five-and-forty years' government inventory mentions

hundred and any
ten two

Art-loving sovereign.
six hundred
and

last-mentioned

altogether
more

fourteen
the

and originals

copies ;

remarks originals, could

at

author, Bernardo
of

Ochoa, than

other

sovereign

that time of
new

boast

possessing.
came rarely

Purchases

works

within

the

provinceof

the curators, He
was even

although
consulted envoy,

in this respect

stood high. Velazquez' reputation in Madrid; diplomatists when for treating Duke

by
de

the

Italian
trust

Guidi, the
fourteen

Modenese

placed full
Vos the

in him
the
estate

hunting-pieces

by

Paul In

from

of the

of Aerschot. had
to

third decade in the

of the

century

Philip IV.
a

alreadybegun
more

some

alterations
room

with Alcazar, especially

in

view

light,more
as

and

convenience

the
were

livingapartments.
is here
matters

Others, such
adorned first meet the
same

those with
a

of
more
name

the

summer

quarter,
collection of who

entirelyrearranged,and
that in
we

choice of

paintings. It
stood in these
to

with relation

the
to

Rubens,

Philip IV.
The

that Titian decade

had
was

Philip II.
almost

fourth

entirelyoccupied
the Tower
in

with El

the

artistic

equipment
absorbed

of Buen
most

Retiro. Rubens'

Then

followed

Pardo, which

of

productions. Lastly, after

it seemed
a

the

completion of

the
to

Pantheon

in the Escorial

this ''Wonder

of
been

the

World,"
school

which

royalduty again to give a thought since the death of its founder,

however,
been
all the

had Philip II.,

left to

itself. Now, that had

choice

religious 1656
the

paintings of
removed

the

Italian
and

meantime From the

acquired were
year

thither San

arranged by Velazquez.
took the

Sacristyof
In
master

Lorenzo
to

foremost Crown.

place amongst
not

all the

picture by

galleries belonging
consequence
were

the

Spanish
Alcazar,
1686

of these
in

arrangements
where

many

more

works

our

hung
The

the

nevertheless mentions
are

nearly all
no

had

been

produced.
three
as

inventory of
of horses

doubtless however

less

than

forty-

Velazquez ; amongst
the

them

many

trivial

things, such equestrian Forge

Retiro. of

sketches antlers,

with cavaliers and Surrender

were

the like. of

All the

of portraits

fourth

decade, the
and others

Breda, the
to

Vulcan, the
It is

Water-Carrier

transferred
of the

Buen for the

the

noteworthy that
no

the

inventories
to
names

Alcazar

Philip IV.
great

period

contain

reference

Zurbaran,
are now

Murillo,or
most

other

Andalusian

whose painters,

intimatelyassociated

The
with the

Cross
Ribera

of

Santiago.
seems

2^11

Spanish hung
must

school.
as

alone

to

have
are

enjoyed this king's mentioned, five

A
man

favour, and
which
were

of him

many

as

works thirty-six

of

in the have with

royal sleepingapartments.
found
more

of

Philip's

temperament
in

pleasurein
appears
seem

mythological subjectsthan
have had little the

Art, religious
now

which

he

to to

sympathy.
of

Ribera's

lost that

Jael and
found

Delilah

have

been

first works

this master Here

as

their way

to
was

the

Alcazar. far the

as

the it

mythologicalsection
was

by

most

interesting, sented repreand Artemisia

by

such

consummate

masters

and Titian,Tintoretto,

Paolo

Veronese

; Rubens

and nowhere

Van

Dyck
of

Velazquez,Ribera
it be

Gentileschi.
to

Probably
the

else

would
these

possibleso

conveniently

compare

merits respective

great artists in their different

treatment

of classic themes.

\rHECROss
The till the service. the
a

OF

Santiago^ painter never

occurred
to

idea

of

knighting his
been

Court
earned
our

Philip IV.
of faithful

distinction had Thus

cross

by five-and-thirty years
master
a

it

happened

that

of wearing enjoyed the privilege

red

mantle

for little over

no

twelvemonth. also
more no rarer

Possibly it
distinction

had

been fell to

long coveted honour, for

a

higher but
How much the able
a

ever

the lot of

Spanish painter.
So seldom Palomino mentioned
a was are

fortunate
on a

the Italians in this

respect I
Pacheco

Cross
to

conferred

Spanish

artist

that

and

specifyall

the recorded

instances.

Tradition had been of

made

only
of

solitary case,
awarded the

that of Antonio

Rincon,
to

who

Knight

Santiago by
several

Ferdinand. merced

II., Philip although a

del habito
to

friend them
pope.

had painters, his

successor

never

any

of

; but

favoured

Italians in this way

met two

please the
vanni Giothese, Pacheco

During
the

his first visit to Rome

Velazquez had
had

of

Baglione and
how

Giuseppe Cesari,and
was

perhaps reported to
"

Santiagohabit
others also had

not

good enough
how
he

for that vain Cavaliere ''mended

sent

d'Arpino,
XIII. for

because

aod it, and

had

that is,exchanged it, him

it for the

gold
a

chain
was

sword

of St.

Michael
the

by

Louis

And

what

stir

made the

in 1625 when of

Duke

of

Alcaic

obtained

Romolo

Cincinnato

honour

painting Urban
Now and had

VIII. ; who also

At

rewarded
pope,

the artist with the Order

but
was

of Christ.
a

Velazquez had gold

chain.
been

painteda
time

had

only
one

received

medallion

that

there

only
had

Spanish painterthat
the of

knighted,Jusepe Ribera, why

that

who

also received lack

papal
at

Order

of Christ. the
reason

Possibly this
matter

precedents was
last

Philip put
Titian

the

off

so

long.

But

he

remembered

signed

378
himself would The had the
be

Velazquez.
Eques Ccesareus^ having
now

been

ennobled
as

by
of

Charles

V. ; and had also had

this done.

be

an

opportunityof doing
not

the

great emperor

analogy

could

be

more

for striking,

Velazquez
Titian alone

Olivares
to

said that he emperor. vaunted

;

alone

should

paint the king, as

master's

paint
ako

And there

the
were

Spanish
his

could and felicitas facilitas in the

to

equestrianstatues
without of

Alcazar from

confronting
such close the most had had

Titian's

stupendous

work,

having

shrink

proximity.
competent
but

In fact the
in

Marquis
a

Malpica,as mayor-domo
declared
that

mayor^

judge
the

such

question,had
of

his

Majesty

followed

example
occasion

Philip II. (meaning

the incident the
is
not

Charles

V.)

who

knighted Titian.
The
to

immediate the the

of

so

clear.
to

According
in in
the

Palomino in

king Holy

first Week

broached of

subject
varied of

Diego
desire

Escorial
way the
to

1658, expressing
and The of
and

his

this

reward of

the the

artist's Order of

skill talents, him.

services,and

leaving
ex

choice

to

King duly

Spain

was

officio

perpetual administrator Velazquez

with chose the the usual

those

Alcantara,Calatrava,and
was

Santiago. complying
with

last named,
and

installed

after

formalities

receivingthe
to to

pope's dispensationrequired
*

by married
the tedious
on

laymen. According preliminaryprocess

both

the official documents

prove
was

connected

lives irreproachable
on

and

spotless

descent

sides, the
on

habit

conferred

him

immediately after

receipt of the papal brief

July

29,

1659.
Escoriau.
thrown

jThe
In
unusual

Completion
and

of

the

March

1654 the Court

in in

provincewere
with and the

into

state

of

excitement

connection

solemn

consecration
of

of

the

sepulchralchapel
of the

the
to
a

Escorial

the

consignment
formed

the

remains

king'sancestry
erection of such for

this national mausoleum

Pantheon. had
an
"

The

essential

part of the
"

plans
at

Philip Il.'s huge only part

of

building.
the Escorial remained

Yet that

this had

family
not

vault

was

preciselythe
the
a

been
state

completed
for
over

founder's

death, and
1594
the

had

in this unfinished

half

century thereafter.
the had
year been remains

In

of

all

the

former

members and

of

the

dynasty
placed

removed old Church.

under
now

by

Philip 11. to
Their last

St. Laurence

temporarilyto

in

the

was resting-place
'*

be of

an

octangular
"

structure

the

high altar,
histdrico

after

the

model
been

the

These

documents,
in the Revista

in the

Archivo

nacional

have

published by
402.

Villaamil

Europea (Madrid: 1874),ii., 39, 80, 105, 275,

380
were

Velazquez.
Philip II.
the and

Philip III.,then

the

emperor

more

elevated, and

altar,the four queens, Elizabeth of Portugal,Margaret of Austria. of Austria, Elizabeth of Bourbon, and Ann
next lastly,

The

ceremony

produced
The
the
to set

profound impression on
too

PhilipIV.,
ere

now

in

his fiftieth year. in

been

reflection that he remark

the

would

long

fill a

niche
it had

that

Pantheon, and
for him

of
crown

his Court
on

that theologians

reserved

Philip II.'s ''eighthwonder,"

San Lorenzo el Real. which paintings,

awakened He decided

the desire to
to

make

further

provisionfor

give
come

the

Church

forty-onechoice
as

during

late years works

had such

into his

possession, mostly
Italian
masters
was

gifts. They comprised Raphael, Titian, Paolo

calculated than such

by

pre-eminent
and Tintoretto, the

as more

Veronese, and
a

nothing
los

donation
''

to

enhance

splendour of
De

the Escorial.
"

His

Majesty," writes
a by selecting

Santos,
in

noticed

that he
at

several
once
came

places
to

the sacristy, were especially

our

poor of

and pictures,

aid

number

from pafttings religious he shows

amongst

those

in his

palace. By
for this will

parting with holy house,

them
and

gives

fresh

and
to

special proof sumptuously

own

of his love adorn

how,
to

in order

it,he

never

if necessary, hesitate,

deprive his

mansion

of its most

costlycontents."
the had
most

Amongst
Luis of
the de

valuable

of

these

paintings were
Pearl of

the

four

Don

Haro

acquired at
were

the sale of the effects of Charles so-called

I.,King
for which 23,

England.
; Andrea

These

the Edward

Raphael,
on

commissioner, Major
del Sarto's

Bass, paid ;^2,ooo 534);

and

October

1651

No. 385, ;^230) Holy Family (Prado, ; Tintoretto's

Veronese's of the

Marriage
Feet When

(Prado, No. "2So), (Escorial,

Parliament 23,
in

of

Cana

Washing

voted

the

and sequestration Don

sale

of the
de

king'seffects
a

(March
terms

in 1648),Spain had fortunately had

Alonso

Cardenas

matist diplobest told

London, who
the

managed
The

from

the

first to

keep

on

the
are

with

Parliamentarians.

Spanish ambassador,
first to

we

in

contemporary

document,* was
from
the the

the

purchase
to

these the

things;
value
of

he

had

acquired some
from

timber-dealer, Harison, others,

two

;f500;
a

Murray,
seated
and

tailor,and
the old

paintings by Titian,

and Venus, half-length, cardinal

two

Jewellers for
men

No. ;^50 (Belvedere,

508).

behind Caesars
of

him, by Tintoretto,;^8cx".

The

government

gave

him Van

the eleven

twelfth

painted by

Dyck.

Each

togetherwith the by Titian, these had cost the king ;^ICX);

Museum.

Egerton Manuscripts^British

Completion
and
Venus the

of

the

Escorial.
He
possesses

381
the famous far

;^i2,000 (?) had

been

offered him the

for them.^ had

been

by

Titian

for which

king

offered

;""2,500.^So largedog
Titian's

Egerton
There
were

papers. also the Gerbier Portrait of Charles for

V.

with

the
;

secured
on

by
the

Sir

Balthasar
to

;^I50
No.
David

on

June ^i,

165 1
Head

Rest of

Flight

Egypt
No.

Paul No.
two

(Prado,
324,

325,
and

(Prado, "106);
twelve

472) ;
with

Palma's the

Conversion
of

St.

Goliath

(Prado,

"io6)f

fifteen others, including altogether

Titians,besides
the Florentine

Madonnas,
reached
who Philip,

and

the

Caesars,which, according to
London
not

envoy,

Madrid after

from all
was

in

September 1652.
of

destitute the

feeling, may

well

have

had
once

his been

own

thoughtsabout
the

these

effects of

who unhappy prince,

was now

had

his guest in the Alcazar.

For, strictly speaking,he

to

priating appro-

property

of the Stuart

heir rightful his

son

the

throne

of

England.
time the
on

The the

followers
eagerness

of Charles of the the

to
more

and

at spoke bitterly
secure

the
in

European
such

princes

to

their

share of

plunder, acquired
direct that the but

as especially

dispersion abroad
restitution valuable
accounts

removed
various

all

hope

later in

restitution.

With
many In

view

had royalists

fact

of the the

things.
also
no

Spanish

mention
It is

is

made

of

any

of PhiHp participation

in the

transaction.
and

stated distinctly
Don that

pictureswere
then of
on

purchased by, reaching Madrid

to

consigned to,
it
at
was

Luis

de

Haro,
were

their shown

discovered feet

they

worthy
to

being
That

the

king,

whose

Haro

hastened

place

them. the public conscience the account

in
were was

not

quite clear
Edward
envoy of

in

the

matter

appears

also who

from
was

given
with
at

of it

by Sir

Hyde

(Lord Clarendon),
II. when both It
these received
was

Madrid

Cottingtonas
Corufia. later the should
In
true

Charles

treasures

landed

January 1651 they

reason

their passports, and

learnt
that

of this step.

not

thought
their The
and

desirable

they
the

be
to

eye-witnesseswhen
the

the effects of

sovereignwere
arrangement
chief
a

being
of

transferred

royal palace in Madrid."

entrusted the
which
to

was forty-onepaintings

Velazquez, sacristy,
No

the
was

place chosen
hundred
and above

for

their

receptionwas

beautiful
was

which nine

eight by thirtyfeet,and
the

lightedby

high
*

windows

mouldings running along

that the

the left side.

Walpole,
This

however

states (Anecdotes ii.),

ambassador

paid ;^i,2oo for 1651.

these.
*

is the Venus

with

the

Organ-playernow

in the

Prado, No.

"

Clarendon's

Historyof the Rebellion,vi., 457, Oxford ed., 1826.

382
more

Velazquez.
advantageous site
under

could

have

been

selected. he

SigQenza, Prior
felt his honour heart
over

of

the

Monastery
every

Philipp II., declares, that

entered the The sacristy.

enlarged
the

time
was

he

place of

high
the

altar

assigned to Raphael's Pearl. despite

Sta. all these

But Aula Here

de

splendours,the
the monks Titian's famous had

was sacristy

eclipsedby
in
two

Escritura,where

received

instruction
the

divinity. principal
with
the

had

already been
and

hung

Gloria;
the

largepieces

that Veronese church

Tintoretto

painted for
El

high altar
last

of the

(Annunciationand
and

Titian's Nativity);

large St. Margaret work,

the
ever an

Dragon
Madonna

Penitent To these

St.
were

Jerome;
now

Mudo's
as

the

Burial

of

St. Laurence. with and

added,

from gifts this master

king,Raphael's possessed by
Entombment

Tobias, the
true

finest work
gem

by

Spain,
the

still the
an

of the Madrid

collection.;
in

of Christ, and

Ecce

Homo

by
works

Titian ; Christ

the

Vestibule,and
present century
have
gone

Martyrdom
The

of St. Gin^s
all these

by

Veronese. have
some

majorityof
Madrid
and but

migrated
have

in

the

to

the

Prado few
a

Museum;
now

disappeared or
Escorial. The of works

abroad,
have from

remain

in

the

vacant

spaces

been

filled by

somewhat

collection pitiful

scraped together

various

quarters.
The
**

Memoria."

It had

long

been

known

that

Velazquez
that the

had had

also

wielded him

the in
:

pen.

Palomino, after stating 343) (iii.,

with the

king

charged

1656
**

arrangement

of the
a

removed pictures

to

the

adds Escorial,
in which
on

Of

these

Velazquez composed hung,

so

or Memoria, description,

he

gives

on particulars

their excellence,history, authors, and in order

to

the
to

place where
His
is
are

they
and

were

them explain {ntanifestar) that propriety,

; for

Majesty,
a

with his

much

elegance and
of his

the
so

document

proof
these

of

learning and

great judgment
he

important give
them

that paintings,

properly speaking
the

alone

could

their

due

praise." Although
it
was

this

was

only
it

known

allusion
be

to

the

document,
in
some

still the
And

probable enough
in

that

might

hidden

away

of

royal archives,as
so

fact had

been

Maxwell. suggested by Stirlingwas

it

happened
that

that in
de

1871 the Art world

Castro
to

surprisedby
succeeded in

the

ment announce-

Adolfo

of in

Cadiz

had

discoveringthe solitary copy

for
a

Memoria, but, strange

it
was

say, in in

printed form.
Memorias in

From the

this

re-issued

by
and

Cafiete

the

of

Spanish Academy
with Davillier,

August 1872,

again

Paris

1874

by Ch.

The
French

**

Memoria."
etched

383
the

translation, notes,
consists of
two

and

an

portraitof

painterby pictures
The the

Fortuny.*
It

parts,
in

respectively describing the

Escorial,thirty-two pages
"find"
next

new

and

their arrangement of

the
at

altogether. damped
new

joy

Velazquez'
the

friends booklet

the

was

somewhat

by

discovery that
or

contained
de

to

nothing
had

either in form in his Short

the

contents.

Fray
the

Francisco

los

Santos

already (1657)

of Description
whole
document

Monastery of
without the
traces
was

San

Lorenzo
but

el Real
so

embodied

acknowledgment,
of
a

that nobody skilfully

had

hitherto detected
The and

second

hand.

pamphlet
Don

itself

not

printed by Velazquez, but

of

by

his
years

pupil
old,

admirer

Juan
De

de

Alfaro

Cordova

then

eighteen

impelled thereto
to to

by zeal for his master's

los Santos'

which literary reputation, his

seemed

be
save

imperilled by
the
time

plagiarism. In
a

youthfulimpatience
appears
to

required to
the
device

obtain

proper

imprimatur^he
and
an

have office

hit upon
on

of

putting

Rome

imaginary printing
far concerned

the

title-page.
failed hundred
to at completely,

Alfaro's

however, object,
the
next two

least

so

as

posterityfor
nor

years.

The

booklet

rapidly vanished,
discovered in

has

a or

single reference
elsewhere.
Thus

its existence the Memoria

hitherto remained

been

Palomino
as

till, entirely forgotten

silence of

the

fortunate has

discoverer
at

remarks,
been broken

''this

profound
Don Pedro

nearly
But

two
even

centuries before

last

by

Madrazo."

Madrazo's

allusion the

(1870), Stirling-Maxwell had

MemoriOf
in his but
had

already
that it
"

in
"

1848

not

only

mentioned De

suggested

probably
Had

had

guided
shrewd

los Santos

of Description
the
matter

the Escorial

654). (Annals ii.,

this

Scottish
out

writer

pushed
in De few

little
book

farther,
and
us

had
to

he

simply picked

the

passages

los Santos'

referring given
When his

those

forty-one paintings,omitting a
its most
as

sentences theological

arranging everything in
the Memoria

natural been

order, he
discovered

might by
De

have Castro.

pretty much
that De
to

it has Castro

it is remembered

forgetsto specify the place where

be

unique copy
hint may upon
^

came

light, may

it not
on

suggested that Stirling-Maxwell's

soil? If taken
up and acted

not
a

after all have

*'

fallen

barren would

by
The
nuestro

clever

it manufacturer,"

certainlybe quite possibleto

title ran : Memoria / de las pinturas / que la magestad Catho / lica del original del Escurial este Senor Don aflo de / IV. embia al Monsterio Philipe la ofreece, LVI. / descriptas dedica M.D.C. ycolocadas/ por Diego de SylvaVelazquez, / a la Posteridad / D. Juan de Alfaro / Impresa en Roma, en la Oficina de y consagra Ludouico / Grignano,afto de M.D.C. LVIII. i6 Bl. 80.

Rey

...

384
produce such surrounding
than
a mere a

Velazquez.
document
as

and this, of easy

on

such

supposition many
It may also Castro's

difficulties
be
more

it would

admit

explanation.
of De
one

coincidence
a

that

another
so

finds,Calderon's
to

BtiscapU} proved
Timeo Danaos
et

mare's

nest,

that

feels inclined

exclaim

dona

ftrentes. feeling of
the

Anyhow,
De the los

the

strong

indignation against the

academicians of
at

"usurper," reading of
as
a

Santos, displayed by
and the

Spanish
have
on

the

document,
so

correspondinglaudation
yet
to

Velazquez
De

master

of style and

forth, may
the

be

moderated.

los the the

Santos'
script manu-

received Description
must

privil^e
been
as

October

15, 1656; and

some
a

consequently have
of the

already for
this
was

time

in

hands

of

the

censors

Press,
the

always
have with
one

somewhat been
was

lengthy completed
certified

process.

The March
censors.

printing of
20,

work

must

also

before

1657, when
But
a

its agreement of

the

"copy"
and

by
must

the

folio volume

hundred sunset." the time been of the

eighty-four
this book
could

sheets

is not have
seen

struck

off "between

sunrise

and

Hence

been the

completed in Memoriae
in
moment to

all essentials about could

not

its author up

have

which

have

drawn

before

1656, when
and
at

Velazquez superintendedthe
the EscoriaL the
last the

removal De

forty-onepaintings
must

their arrangement

los Santos
contents

have the

sequently con-

appropriated the
foist into the
text

of

Memoria^
have done

and

even

taken
own

time

those
And

theological passages
he must remained

after his

taste, by which

it is interlarded.

all this with such

skill that, as literary De Castro find.

alreadyobserved,the fraud

unsuspected till the

That this monk artistic sections, was in the
one

availed

himself

of the aid of
; nor

in specialists, especially

the

natural

enough

did

he

make

any

secret

of it, for
not to

prologue he
to

acknowledges
competent

his indebtedness
: a

in these De

respects
Castro has

but

several

persons

point which
words
not

again
it

overlooked.

But, assuming might

still be

his

of appropriation
its author's

the very
name was

of the

Memoria,

argued that
at

mentioned, with

the

consent, and
that time held

even

the request, of

work Velazquez himself, literary the

being at
it seems

rather in contempt that De los

by

Spanish nobility. Anyhow,

was

scarcelycredible
have in

Santos, who
of whom
must

also Court the

at

would chaplain, and his

this matter

done

to anything likely

offend have

king
once

highl3'of

favoured
the

palace marshal, both

the other hand
'

become

"aware

plunder.
But
on

how

could

Velazquez

have

immediatelyafterwards

Ticknor, Historyof Spanish Literature,iii., 404.

The
sanctioned Alfaro's issue of the

**

Memoria.

385
his
own name on

Memoria
expose

bearing
in

the

and avowedly publishedto title-page, And

the monk's

theft ? literary furnished los Santos his

then, after the

with
a

appearance

of the Memoria

which print, could De

everybody
in

proof of the assumed

of his work
An

how plagiarism,
some

later editions

avoid

explanationor
such had
to
an

of palliation

previous silence?
of picture
the

excellent
1

opportunityfor 681,
where

explanationpresented Velazquez'
for took

itself in the edition of

he
had

describe

Joseph's Coat, which

In

PhilipIV.
with this

in his lifetime destined De los Santos

to

Escorial.
to

connection

matter

sion occa-

make

the

followinghighlylaudatoryreference Velazquez
Escorial,no
as on

the

Court

: painter

*'

Philip IV.
to

honoured The

account

of his excellent

and qualities

faithful service.
is indebted

less

than

the

royal palace[the Alcazar],

for its

his efforts that it is

It
was

remarkable who

paintingsas

it is for aulilla
he

its architecture.
and

Velazquez by
man

fitted up very

the

the sacristy,

the

priory chapter-house;
these

nay,

the

paintings with
and
was

which

adorned
of

places were
He
was a

himself

brought togetherfrom
that he
not

various

parts

Europe.
took
.

of excellent taste
see

in judgment, especially less he

so

portraits ; but
he
*'.
.

in this

paintingwe
it may he
some

in all that
to
we

in hand."
even

Here when him

be

asked, Why
the brush

does

forbear

add

excellent

exchanged
valuable

for

the pen, this

for

have

ourselves to thank

for

for suggestions
ever on

etc. book,**
more

Scarcelyany ought
relics
to
or

discoveryin Art
this commentary
a

literature has

been

hailed with

than expectations
possess

by Velazquez
than could how the

Italian claimed

paintings. It
for the
rarest

higher
here
del say,

interest
we

be

curios ] for

might

learn
to

the

Titians,Correggios,
such
was an

Raphaels, Andrea
that artist,
conversant

Sartos, appealed
an

understanding of Spanish Crown,

of

is to with
two

artist who

for

nearly forty years studying and

of

daily
who

the

treasures pictorial to

of the

and

had

made works.

journeys
of

for the purpose Italy

collecting

such

The
or over

purpose

the Memoria

was

to

make

sort

CatalogueRaisonn^,
of their distribution But it is not made

of the descriptive inventory,

the
new

forty-one paintingsand
them
in

space which
were

assigned to
in

the

Escorial.

quiteclear
come

works. these forty-one precisely the order

in which in

First and been

foremost

most twenty- four,

they had
new

received

by

the

king;

then

follows
and

their arrangement of make

some

their

home Escorial.

jointlywith
Thus in

that

of the others

few which
not

already in
are

the

it is not

to always possible

out
are

the

new

and arrivals,

pointof
had
not

fact

five of the very been

finest

mentioned

at

all,because

they

yet

hung.
25

386
To the

VeLAZ(,)UEZ.
twenty-fourin question are
laconic remarks
even laudatory,

devoted

brief notices,varying from

three to still more

notes

lines, twenty-five rapid sketches

on

of the

composition interwoven
The qualities.
tone

with these

their excellent
and

of

is in

enthusiastic is
more

solemn.

The

ployed terminology emmore

the characterization

aesthetic than devout

artistic; it deals than

with

the

on impressionproduced especially

temperaments

with

the distinct
As

of qualities

the

representation. Memoria,
the

regards the

form
to

of the

Court

paintershows
in

himself

indifferent curiously He

the official formalities customary without cavalierly, he has received

he
as
so

such
as an

documents. address
even

begins the report

person

somewhat

much

to

the exalted

from

whom

his commission, without

to

mentioning the
Instead
of Charles

commission
name

itself which of of

is about
one

discharge.
expect,
executed
we

of the

PhilipIV., England,

should been
res

find 'that

Stuart,King
author
who essayist,

who

had

eight years
the
manner

previously. The
a

thus rushes
seeks
at
once

/"/ ntedias

quite after

of
some

modern

to rivet the

reader's attention

by

sensational What

remark.
he

should
we

have read
too

introduced
:
*'

at

the

opening
with

is reserved
some

for

the

conclusion, where

His

Majesty, noticing that

furnished
the

places
no

were [in the Escorial]

poorly
"

lost paintings,
on

time his

in

making good
For
and

the

defect

foresightdoubtless
he still left abundance the

part of
the

grandfather.
this
so

if the

latter in his

great piety undertook

erection of

wonderful that

holy work,
and in

of space

unoccupied,
his
pray

by adorning
his monks

enriching it
such

royal spiritof
life."

grandson
God for

might
the

induce

to becoming gratitudeconstantly
a

blessingand
Such
De los

prolongingof
may

valuable
with
to

fulsomeness

have found

accorded

the official

styleof

the

period;
in

but

even own

Santos

it desirable

tone considerably

it down
to

his

work.

Thus The

Court former

and chaplain writes

Court

painterseemed
to

Ijave here

changed places.
one's to justify

simply and

the

the point,

latter in the

absurdly inflated styleof Byzantine adulation.

doubts
as

All this is
the

surely sufficient

to

the

of authenticity

Memoria,

*-t""g-f"et#

i"t'ig""r""g4"-c"""^""""?"^"j?""^"""^""r"H"""f$

The

Third

Style. is derived is often the current alone

meant notion

FROM
of Art

the works

of the last decade

a stylewhich style,

of the

so-called third

in

speaking
; for the
an

manner. Velazquez's

Nor
a measure

is this

popular view
last

altogether wrong
full

stylein questionis
command

in

merely the
and

phase,the

of ripeness

fundamentallyone, though continuouslydeveloped by ever-increasing

of
not

and technique the precisely

even

more

more one

vision. perfect

elegance, Facility,

spirit
fire. himself

are

qualities
in

expects

to

find in

youthful force

and

Nevertheless
a

his

earliest works the

Velazquez already
his
as rapidity

shows

firm,broad

delineator ; and
even

Cardinal- Prince

Ferdinand, who
a

quittedSpain
characteristic. But what

in 1632,

at

that

time vaunted

special
to
or

is

this third

style?
of
not

One
least

was might reply his principle

the produce.lh"Lgeatest effectjvith that here

expenditureofmeans
fancies

and

time ;

the fundamental
one

laws

draughtsmanship are
what
to the
one one

attended to, seriously

sees or

what painting

reallysees,

infers ;

or

again coloured
less
we can

effects carried light

measure or

pointof

optical delusion^But

the
more

grasp be the

this hand

the specialobjectof painting,

delicate and
mental
a

steady must
Hence

that

and precipitates

the crystallizes

picture.

the broadness

of treatment, the
hence

artist

working

with of

full grasp

of the general

impression ;

also the incalculable nature the moment.

none

the

touchesjnspired by
Of
the many
so

the .subtle

of opticfeeling

of Velazquez' works qualities

upon
as

has touch X.'s

been

so

early

and

dwelt frequently
a

the

free,unclouded
in Innocent

of

his brushy

Boschini,himself

Venetian, alreadynoticed
Venetian de teintes couchees

el vero portrait
to

colpoVenetian (''thetrue
la
and

touch");Richardson
sans se'parcnient

called attention
ctre

grande
it
was

variete

noyees
a

ensemble

this that

Mengs

had

in his

mind

when

he

said of

that picture

it seemed

paintedwith
overstrained be

the will alone. the

Others
brush

point when
somewhat

they

declared

each

stroke

of the hand

might

counted, adding

that close at inconsistently

\
390
allelse
was a

Velazquez.
chaos
"

that

general designcould forms, figures^^

property has
is meant also been

only

at

distance.
in

This

called the

by spirit? In who those are for the most part whollydestitute of spirit possess it in that is, and thoughts thoughts, in which allegory and in the sense language be said specially to possess them. or caricature, painting programme may who sack full of spirit, Trust have their not those," said Diderot, which they scatter about on all occasions. They lack the demon" the that is to say, "fine frenzy,"
brush. But what painting
. "

distinguished liis spiriTof Arts the plastic

be

**

**

"

"

that from the bow

that spans that

the
never

sky
die.

in heaven Bringscolours dipp*d

not Titian, Murillo, were Rembrandt, Correggio, spirited painters, scribblers material o r they possessedspirited imaginings, gave in glance and for declamation and they had spirit essays, but because is finger.True spirit, genius, unexpected expression, pregnant and such confess themselves would have as masters not even expression occurred who to them ; genius those possess what the see profane those whom how it of foreseen will cannot be cannot treat they see, a who, as Kant says, do things that given theme, those consequently

because

"

"

may

not

be

reduced

to

rule and

.measure.

plays of his contemporary Calderon, often look unfinished or should greatly err were we we to improvised, studied before being rapidly executed them less thoroughly than suppose the other more finished compositions that artist's were to we fancy ; or and intention has casual been not fullyrealized with these summary It the from vivid is precisely from the clearness of purpose, means. inward that with such that of flows the firmness hand, impression and effectively so apparently irregular rapidly processes says what it has '* Richard to say. Velazquez," Ford, never put brush to canvas says without intention and meaning.'* an alone could have held these paintings to be mere Insipidplatitude decorative thus or even sketches, Velazquez to be pieces, proclaiming "the first scenic painter of his time." "His authority style," says an of high repute, in the all that an was artist could presume upon
" "

If

Velazquez' works, like the

matter

of

blind and
these

who licence, success thoughtless

executed

bold

trusted reserved

in his for the

and

works drafts

between
^

,1652

genius and felt sure of his brush products 1660 are purely and

of the
. . .

All

simply

rough

{ebauchesy
'

P. Madrazo

in

LArt, 1878,iv.

The
Thus based
on

Third

Style.
from
as

391

the

lowering
was

of

this master

his his

place

of

honour

is here inimitable
form trans-

what

elsewhere if breadth
a

regarded piece!
invention
!

special and
the distinctive is
a

characteristic.
a

As

and

well-calculated As
A
to

perspectivecould
sketch fix and

painting to
did
not

decorative lie
on

if

mark

of

the

latter

in
a

preparatory
the

whether painting,
or a

it be

reduced the
as

scale

test

motive,
Hals
to

dead

colouring preliminary to
But it would
be

of application

the
a

finer touches Franz

a

and

local colours.
as,
a

unjust
In

to

call

sketch,
that life and has has he her made

for few

instance,a

Holbein.

fact

it

simply
to

comes

this,
he he and

with

light touches
and

Velazquez
Charles has

contrived
*'

give
another

his

figures

character, substance
a

proportion.

Where

thinks

beginning," says
last touch. He

Blanc, "Velazquez

considers

given
with

the

scarcely grazed (effleure) nature,

already
a

grasps,
second
same

possesses, life."

represents

her,
that

and

in

doing

so

endows

At the the
rare

the Art

time

it is

true

enough

no

one

better understood say, of

of

"preserving the
the tedious vividness. hardest ; needed beside
meant to

sketch,"that
For
as

is

to

retainingto

last,throughout

the piecemeal execution, what

to

first impression

in its full

unimpaired
the

seems non-professionals

easiest is in truth
years It

Lemoine

said

after

Diderot, " thirty

virtuoso^^if
combined
at

of
was

practiceare equally

preserve mark
mere

one's call

sketch."
a

the
a

to

Velazquez

least
an

is by virtuosity

and facility

el^ance

with

ostentatious

display of technical
more

of difficulties, artistically for whom called virtuosi^

more or

slightvalue.
the
new

Those
means

paintersmight merely
their of the
to
an

justly be

subject
tions variais the

opportunity of repeatingwith
In this such artist, his

less

cut-and-dry processes.
true
as

sense

the

virtuoso

reverse

Velazquez,
that
so

who

adapted
So of he

his technical little did his

to

methods possess but

his the

not subject,

subjectto
and

his methods.

he

of

virtuoso's assurance, of revision ;

scarcelyone
indifferent
was

paintings polished afar, he

to

shows

signs
he

elegance that
of
so

concealed scarcely the he

such

retouches.
and

Everything savouring
from rather anxious

that effect which effect,

habitues
at

epicures sniff

thoroughly despised
to court

that

times

seemed

repel

than

favour. this
manner was

Doubtless

in

measure

due

to

the

artist's southern the main

temperament,
effect and those

alien to

tedious

painstaking. His
also caused Palomino
him

of appreciation
to occasionally

disregard of

details

employ
enabled

long-handled brushes
*

of which

speaks,and

which

KOlnische

Zeitung,February 8, 1874.

392
him
to

Velazc^uez.
work from his
the

distance time

at

which

the

picturewas
in

to

be

beheld. be

Nor

should

limited

and

official duties

later

years

forgotten.
But the

deeper
after

reason,

as

well

as

the

artistic worth We

of

this

tnanera

golpeada,lay
certain surface BrQcke and and if the has

all

in

his

opticalobservations.
out

know from
the

that

class of

phenomena
how,
at

stand
and

better be

and

clearer
the

painted
eye.

blend

of touch the

colour

left to

retina of the the separate

shown
the

point of

transition in
a

from

lines
tone

patches to

commingling

of the whole

uniform perfectly flatness

in the consequent

the impression of uncertainty, this

yieldsto

that

of relief.* It is
**

on precisely

property
was

that the the

depends
most

that

inimitable
which

sparkleand peculiarto
the The

which vivacity,"
this
master.

Wilkie Heiein

first to

notice, and

is

lies
and

striking difference
at to
a

between

paintingsof Velazquez
of his

Titian. times
seem

startlingvividness
to

figures,which
move,

not

merely
his
a

stand

out, but
has

actuallyto
been

leads

consideration "This of
artist

of
is

which technique,

pronounced conjuresup
in
In

unfathomable.
all
manner

remarks fairy,"
seem

Thor^, ''who

it apparitions,

might
no one

but instantaneously,

possesses

the the

secret."

of which reality by mysterious spells of the analysis this case, the difficulty

is enhanced

by

change

in his

methods, not
of the
the

only in
same

the

sequences
even

of

the so-called
in

periods,but
asserted

even

in works
as

period,and only

works It may

of identical nature, such

be

equestrianportraits.
all great
age, but
not painters,

in general that of the

Van

Eyck

and

the of
the

Italians

golden

also very

the

bold

Dutch

colourists

seventeenth

century, possessed a
and

solid

technique
the

capable
to

of

resisting change
this respect,
were

decomposition.
minor

The

Caracci,

first for

fail in

also

lightsin higher things,as,

instance, in invention.

Everything leads
even

to

the

inference careful

that
to

attention Velazquez paid special

that it
was

to

the

priming, being
canvas.

see

absorbed
thinner the

to

the

utmost
or more a

by
more

the

When tissue the

to

Palomino the
canvas

says

that the
the base

priming
and
on

the

the

of

is seen,
appears At
to

clearer,firmer
his
statement

durable tradition
as

will be

he painting,

going
and

back

Velazquez.
were

least other
a

Spanish painters,
latter

such
to

Murillo detriment

Ribera,
his

partialto
most

thick

priming, the
The

the

of

works, while
of the
seem

of

Velazquez' paintings are limpidityand

with this
be

remarkable

for the
of

thinness the
*

first in

coating.

resisting power

colours
Die

fact to

connected

der Farben, 285. Physiologie

The
as peculiarity, seen on

Third
our

Style.
master's
most

393
admirable works
"

preciselyin Horseback,
these

Prince The

Balthasar

the

Meninas,
due
so

the
to

Anchorites. his
come

of durability

works

is also

avoidance

of

dark the

those grounds, especially surface after the

occur

of ochre, which have

often In

to gratingly

applied colours
those

dried.

his

early works
which he

alone the
to

occasionally
have
were

broad, dull, brick-red

school
are

surfaces,by
the old

productionsof
indebted
As

the

Bolognese
a

disfigured.Later
to

appears

mainly employed
in the
treatment

white

ground,

which

Flemings
in the

also

for their richness of the

of colour.
is also

ground, economy
to

the rule

use

of his with

pigments.
fewest

He

evidentlystrove
and

produce all
l*he his

necessary
tones
were

gradations probably
that he

the

possiblecolours
the work them several

blends.

alreadyprepared on
had
no

according to palette
up
on

so requirements,

need
to

to

the

canvas.

Thanks
dark
nor

these

expedients his

colours

have

neither
to

become
less

cracked, nor

otherwise

impaired, as by
more

happens

those

skilfully manipulated.
This
to
manera

golpeada^however,
It
was

was

no or

means

rigidlyadhered
and

throughout.
is

always

'^a

little the

less," here

there

disappearing altogether, accordingto

Art from thereby, distinguished Hals.
it
was

nature

of the

subject. Velazquez*
as

Titian's

lat^r manner,
of the
brush

well

as

from

that of Franz

Probably
in

his

perfect command Velazquez by

he "the

that

Beuld

had

view, when
we
are

he
to

called

greatest of colourists."

ever, If, how-

understand

this

expression a
of colour, he
a

painter who
can

lays

most

stress
a

on

vigour,beauty and
at

harmony

scarcelybe pigments perhaps

colour.
earliest far
even

called
the

colourist that

all.

Nor

was

speaking strictly
charm for him

tone

and painter,

fact that

he

worked
colour

almost had
:

exclusivelywith
no
"

opaque
was

shows pathetic. anti-

of intensity

At
tones

the and It

same

time

he

had

very

definite

feelingfor
from

Certain
to

juxtapositions pervade
was
a

all his

works

the
so

the

latest. national
to

sombre,

almost

gloomy
of

and feeling,

betrayed a Juan
of

taste, although Spanish writers countr3nnen

some a

the

seventeenth colours.
on one

century ascribe
Don

their

preference for
told
more

beautiful

Austria, seeing
to

paintingsin
was

Brussels

put

side, inquired as

their the

and destination,

they
taste

were

going

to

Spain, where
than

most

of

upper

classes

"have

for

fine colours

for

Art"

{Jtisepe Martinez).
But

amongst

Velazquez'

favourite

tones

there

is

scarcely a

single

394

Velazquez.
colour ; all
are

bright,pure
colour he

mostly
crimson
his

cold

and

broken.

The

only

warm

(in the occasionally applied in surcharged brilliancy

was

Innocent
a

X.

it is of

predominant)
but

the In
occurs

red, which

at

least has

character
the

princelysplendour.
;

portraitsred
to

may

perhaps
sombre

occupy

largestspace
towards in
he

it
rose

nearly always
the
to

in

the

transitions cobalt
blue

blue, cool
and
at

down

deepest purple.
green;

His
and
a a

sky, vistas scarcelyuses

the

draperiesinclines all,while
olive
tree.

light blue
his
to partial

lightgreen dusty
tone ;

the

green brown

of

foliagehas plays so

like the
but
on

leaves of the other

hand

For

he is

faint orange

that

luminous
out

brown

which
extreme
so

in Rembrandt's

shadows

is doled

with

large a part parsimony.

never

Although Velazquez
imitated white On of
these their the
manner

studied

the

Venetians
the
warm

thoroughly,he
of of
the

of and

enhancing by
the

tone

flesh

by

the

collar such

saturated

colours

the

surroundings.
the

and that
our

like observations did not understand Wilkie

colour

Charles

Blanc

founds

hasty
showed
"

judgment
a

master

the chromatic

and scale,

tendency
as

towards
some

monochrome.

also, while
as

admitting that regards

without he
and

he
as

is
**

fine,in

instances, in
most

Titian, still

this

his weak

point,being
Those of colourist

frequentlycold, black
better
extreme

parency."* trans-

hit the

mark with

who

asserted

that

combined that this

the
was

charm
his In
rare

sobrietyof colour,and
much

merit.

his last

masterpiecesVelazquez
interiors. for him he
has But

was

occupied with
respect has
of
modem

the inore

study
than

of

light effects in
else

what

in this
and

aught
a

earned in which

the
no

attention

esteem

painters,
the

feature

rival,is the presentment

the the of
the
contrast

of
warm a

subject
cold

in the
masses.

all-difiused reflected With Titian differs

and the

daylight with
has in
common

of

and full

he

modelling in
tone,

light ;

but

his

tone

greatly from
nude and
on

that

Venetians, who

painted abeyance

countenance

in

warm

middle

keeping

in

the

grey

reflected tones

white

lights.
that the cool
grey

The skin the with

to

Spaniard
than

acts

the observation
are

tints in the less

to

predominate;
senses

his carnations of the

truer,

although they appeal

than

those

Venetians, or

Rubens* is
more

fiery colours
akin

their

reflected Hals.

luminosities ; here

Velazquez
master

perhaps

Franz
A

technique such
connoisseurs looked
too
s

as

that been
to

of
too

our

is not

made studies
tone

for imitators.
and

Yet

have
much

often

deceived

by

copies.
;

They
"

the

outward

the features,

and

the touch
14, 1828.

Cunningham

Letters /J/gof liy/h'f,

of October

29, 1827, and

February

396
heir to and
not

Velazquez.
the crown,

the

Cortes
to

clamoured

for

second

royal marriage,
There
were

the

king

hastilyresolved
who results.
were

step into his son's

this alliance in
as was

place.

wanting
no

those

regarded
Even seldom

boding highly unseemly, foreknown

that

good

Spain

it

marriages

between Six before

such months the

kindred had

blest. Balthasar's in death

not
was

elapsed since duly signed

year

(October 9, 1646),
But the bride

contract

Pressburg (April2, 1647),the

in

betrothal detained suite

followingnext
in Trent No

by
of

proxy of

Vienna.

was

till the

spring
a

1649, pending the

queen had
ever

arrival of
been

her

in Milan.
many

journey
and
a even

Spanish
consumed

beset

by

so

obstacles years year and

was

and financial difficulties;

thus it
now

happened
in

that two fourteenth

half

were

before

Mariana her the

her

received the

by

Philip, thirty years

was

senior, in

Navalcamero,
of

where

marriage
the

solemnized

by
once

Archbishop
what this

Toledo. But
her

receptionin
of

capitalwas
**

to

show

more

ancient "wished
everyone

land
to

Spain
that be
to

was seen

capable of.
that it could

The still the

Court," wrote ground."

this
to

Basadonna,
while

let it be

accomplish wonders

supposed
to

it

lay prostrate
the

on

All the expenses,

however, had
steadfast

paid by
the

city,and
seemed

and good disposition envoy

devotion

royal

house

the Venetian

the

greatest wonder
The

of all. took

entry

place

on

bright

November
"

day,
hundred

headed and

by

the

German,

Flemish, and

Spanish bodyguards
the

three

men fifty

all in velvet with

numerous

livery ; then
pages
rest

heralds ; two

hundred

riders ; the the ladies

grandees
"

and

retainers, followed
The rich

by

twelve

mounted, the

in coaches.
*

thoroughfareswith

their five

ficent magni-

triumphal arches,
and tapestries
nave

the

hangings, banners, painted sargas,

an

were pictures,

compared by
The queen Madrid
was

eye-witnessto
at

cathedral

in

its festive array.

welcomed

the

gate by the
the

of fifty-two regidors (aldermen)

in

gold

brocaded Palace.

robes,
To of

king early
loud
the

standing on
he

balcony of
still

the

neighbouring Lerma
tournament

Clarendon his the

in

appeared
At of

vigorousalthough betrayingevident
masked
;

traces

habits.

the

grand

he

once

more

earned

applause kingdom.
And
'

the

spectators

he

was

still the

first horseman

the

objectof

all these

festivities was

mere

a wayward silly, girl,

These noble

ephemeral
style
Cano.
were

structures

cost

twenty-fivethousand
the
one

crowns

each Prado
was

their

size

and
to

highlypraised and

erected

in the

attributed

Alonso

Mariana
little creature, showed whose
no

of

Austria.
the

397
reason

flat features,where

light of
extreme

bered, still slumthe

signs
the fresh
mayor

of

except beauty, nothing striking,

But thanks
to

family

expression about
noticed
The her

mouth.

her

youth
blue task

observers

chieflyher
camarera

complexion, fair

hair and

clear
no

eyes.
to
wean

had lady-in-waiting) (first

ways.

easy
a

from
not

her

simple,hearty German
so

When
the

told

Queen

of

Spain might
these

should

laugh

loud

at

the

jokes

of

Court would
be

dwarf, "Then exclaim; and

let this

irresistible jester be also

have

removed

she altogether,"

added,
at

"And Her

why
ments amusenone

should

majesty

inseparablytied to

buffoons
were

all?"

altogether
intellectual. of

of the

the

most

During
lot of

Carnival
were

1651
the

mice

let loose

amongst

the Court this

ladies, and

orginator of
had

practical joke was

who Philip,

rewarded. richly

neglectedthe
even more

and amiable, intelligent beautiful

now Isabella,

paid

duous assi-

court

to

this

insignificant
of
a

doll
age;

with he

the
even

tenderness became

old

faithful forth henceheir

husband,

for

everything
on

depended
to

securingan
To
this

the

throne.

royal
for
QUEEN
MARIANA OF

devotion
her
numerous

is posterity

indebted

portraits.
was

AUSTRIA.

Such

the

king'simpatience
return

that,without
commission forth all his
it made
to

waiting the

of

Velazquez
a

from

he Italy,

gave

the first

his son-in-law,Juan Bautista such who

del Mazo.

This

artist, putting
that the of

strength, produced
fortune.
on a

striking likeness
saw

of the queen
at

his

Palomino,
feast of

the

picture exhibited
it
a

Guadalajara Gate
the brush The first three

Corpus Christi,pronounced
Madrid Museum do
not

marvel

(iii., 372). portraitsin

those
sent

the

date

from his

this
return

period,

painted by Velazquez immediately

to

after

having apparently been imperial home

how she the
young
now

Vienna. had

Since

her

departure from
the

her

bride she

favourablydeveloped during
all eagerness
costume to

long

journey to Spain, and

see

was

let her Vienna

friends

looked

in the

stupendous

of the

Spanish

Court.

398
Her

Velazquez.
finest and
most

which portrait, interesting

in almost every

has

recentlycome
the

to

lightat Vienna,
in eyes in

agrees

with particular

picture
the

served preblue

the

Belvedere

(No. 617)
in the

since
the

1824.'
eyes

The

sparkle of
duller, the
is

is charming ; but
very
so

latter pure

are

modelling
a

clear

flesh

tints less

and

firm. and She the

seems

It

surprisinghow
can

being
eye

little favoured
her

by
and

the

Graces

Muses radiant without

please
the

the

merely by
honour. The
at

youth

health.
were

with

first

rapture of those
her

festivities which

kept

up

interruptionin
of had

first the in

feelingcaused
head-dress the of second and

by
half

these

is perhaps portraits
A
new

one

ment amaze-

attire. of
now

feminine

fashion The for

out

been

introduced

the

fifth decade.

hitherto
a

still

effective motive aimed

at

height was

completely discarded
line

style that
a sistency con-

breadth, the
which

horizontal

being

carried

with

challengedgood
and the the
to

taste

with

unheard-of

hardihood. of the side locks

now

The
went

lofty top-knot by
the

bunchy arrangement wig,

up

board, and

hitherto the

an

occasional with the

device,
natural
or on

became

for indispensable,
was

build

structure

hair

alone

of

course

no

longer possible. The

was

false hair

of silk then

wool both

(cabellos posiizos, monos)

sides tressed with

brushed

smooth five

down,
or

and

horrid

regularity in
decked
the
so

six

vertical and

ringlets jewels,

disposed with
and
cut

perfect symmetry,
even

with
A

ribbons,
row

rosettes

horizontally
came

with like

chin.

of

six
the

glittering dants penfabric finished whole

thus

to

look

many

while earrings,
above

off behind

with
the

large

ostrich of

feathers
an

this

head-dress, the
From under the the

producing
coloured lock
a on

general effect
the
brow. natural When round

open

shrine.
as,
cut

lightwide
in
are

wig
the

hair the bosom

peeps
gown and

out,
is

for
low

instance, in
the
hem the

also

runs

horizontal

line

shoulders, and

neck-chains

arranged. similarly
The
enormous
more

narrow,

straightbodice
gown, the

with

its

wedge-shaped peak
conical

fits into
now

the

hooped
and
was more now

which, formerly of
The

shape,

assumed

form. cylindrical

total

suppressionof

the

natural

outline
*

followed

by

an

amazing
not

the singlehoop which inflation,

with any

This other

new

specimen, which
name

does

the

the

of
as

Maria
to

Theresa,
the

in the cataloguefor 1881, bears appear Mariana's stepdaughter. Nor is there

reached Modenese Vienna. The Count portraits the in the archdukes that relates Mattei, however, Marquis February, 1653, Ottonelli, of the royal couple and the portraits hand in order to over to Flanders envoy, went the said most the hope of a marriage with I believe to foster in him of the infanta : infanta." serene {Despatch of February 22, 1653,in Modena.) information available how
*'
"

Mariana
sufficed
or

of

Austria.

399

in

the

first half of the

at

century
grass,

being

now

supplemented by
wire of
a

two

three

more, Thus

first of esparto skirt

later of brass
the
were

covered bell to

with
that
^

linen. of
the
a

the

passed gradually from

these

shape

clothes-horse.

In

skirts, which

called

antes guardainf

ladies flattered themselves also

they

looked

more were

and interesting
more

coquettish;

they

pretended
room

that

these

gowns

comfortable,allowing
the
on

plenty of
The

for wide
in

flowing underclothing.
rested
on

hands
as

walking

them

as

on

front

of

balconythe
same

seats, and
way and those

the

and play-bill
were a

gloves are

placed

these, in
of
the

"crinolines"

made

for receptacles
side

watches, little mirrors

coach
was

portraits.Such
had
to

dame squeeze managers

appropriated her through

of the theatres.

all to

herself; she
double
costume

doorways,
The

and

charged
the the

price by
also

the

other

articles of

acquired proportionately imposing dimensions;

looked like
a

pocket

handkerchief the

table-cloth ; the tulle collar covered

even course

nearly half

bosom
and

; the

and necklaces,

the

gold settingof
then
coated

the

jewels became

thick

heavy.

The

feet of of the

disappearedaltogether.
Eve
was

All that
not

remained

natural

with loud colours,

and hands ;

only face, eye-lids and however,

seemed it
was
was more as

earlobes, but
a

shoulders adornment. Court

a

this

rouge, To fashion When

of

mask

than of

an

such foreigners,

the
even

ladies

the

of

Louis

XIV.,
of

this

ridiculous,
first
seen

and revolting,

positive griefto
of
the

friends.
the gave

in

Rome

at

the

time

arrival
even

the Neapolitan viceroy, offence.

"

Duke

of Arcos, it excited
*'

and derision,

Rome,"
^

wrote

Ameyden,

stands

aghast at
with

the

vile and
when

offensive it
was

Spanish
It

female

compared dress,especially
be

past times

so

becoming."
barbaric
true to

would

labour

lost

to

ennoble

such Here

or figures,

improve
from

such

costumes

devices. by pictorial

also

Velazquez
shrinks
his

remained
no

the

Spanish
of

taste, which

softens
the

nothing, and
hand he without

however realities,

repulsive. On
a

other

achieved

purpose in

by
a

the

charm

thoroughly spirited treatment,

white clear
and and

shadows, and

silver

shimmering light. The

the The fair white
roses

silk,the stillmore
still further

sparklingbrilliants
artificial

and
means.

pearls suited

complexion
red

heightened by
was

of the cheeks of the

green

with lilac half-tones

again
was

reflected in the

diamonds of the dark

hair, and
curtain.

the

whole

effect

improved by
herself to her

the contrast of her

In the hands
new

camarera

mayor,

the Viennese the constraint

31,

soon princess

adapted

surroundings.
*

Under

of

Spanish etiquette

Diary, March

1646.

400
her features
became

Velazquez.
impressed with
in that of
"

that

haughty
case

and

wearied
was

expression
with
was

to peculiar
a sour

Spanish royalty ; only

the mouth and
so

her

this her

associated She

contraction the

betrayed

character. The

already called
weariness the king the Thus
to

stubborn

stiff-necked German." that in the two

no

air of fretful she faces

gives a

look

of age,

where portraits obvious.

is thirtyyears'disparity

longer so

she looks in the three

master's
were seems

in largepaintings She least

was

the Prado, which old at had

ever

must

belong paint.
is

the

last years.

twenty-five years
works he

his death,
to

and

these
best

probably the
to

attractive

The

be

the

full-length single figure (No. 1078),which

the

repeated with
with
her

all details in in
on

picture(No. 1079),where
She and
on

she with skirt

is grouped wide The

are

husband band

armour.

wears

black

gown

silverrose

embroidered

bodice, lap

lower
a

edge

of

the

chair,table with curtain,

giltclock
No
are

greenishgrey

ground,
can

softened detected
;

by

brownish in No.

half-tone. the hands

difference in the
more

brush

be the

only
a

1078

softlymodelled, and
the from

harmony

thought
The

better. likeness
was

same

the

originalof passed
In the
a

which half-figure
the

was

exhibited
to

in

Manchester, and
B.

which

Hugh

Baillie collection

Hercules

Brabazon.
at

Prado

No. picture.
seems

1082, where older, the

enframed somewhat Escorial.

she
eyes

kneels

opposite the king

This The
The curtain. curved.

broad

she prie-dieUj
a

lookingsore.
a

figureis
hands last

set

off" by

deep

red

ground
are

by

heavy

holding the

book

of Hours

awkwardly
It must of

royal couple was

come

executed
to

for the Vienna

Recently a
have

remarkable
been

has portrait

lightin

(No. 618).
after that it deviates
rouge

paintedshortlybefore
whose this
grasp
case

the

king'sdeath; and
colour-sense

Velazquez,from
in

of the
not to

subjectand
its

but altogether, vanished delicate from

black

disadvantage. The
ribbons looks
to

has

her
lace

face, and

the of

fieryred
hems

from
on

her

hair ; the

trimming
has

the

well round

the bell

light red
The the forms the

quilted gown,
warm

which
tone

again
reflected

reverted

the

type.

amber the

of the

here harmonizing with lights,

of

full and

still attractive curtain

figure,agrees
Over
a was

admirably with
lies
a

dusky
tone

gold
like
a

brocaded

red

behind.

the eyes of

tender

gold

veil,and

with

this accords his

touch

melancholy.
old. Thus it

At

death Philip's

only
the

son

four years of

happened
and her

that the regency

name was

fell to

least the

competent
of the

Spanish

queens,

associated

with her
as

days
a

deepest political degradationof

the evils of
now

the nation, which cowl

under

regime had to endure

after brief

and petticoat returned

to

government.

And

she interruption

Mariana
power
as an

of

Austria.
there
is
no

401
lack of portraits in
the

influential queen-

mother,

solemn

monastic is

Mariana black Howard.

and

queens- dowager. nearly always portrayed seated like

an

garb of the

in

an

armchair Mazo

robed
in

in

white Here

abbess,
taken and
ever

as

in

the

portraitby
as

Castle

she

is

in her

thirty-third year
in the

regent, without
washed widow's
away,

the inflated costume, fair hair and slender

jewels
neck

pearls laid aside, cosmetics

shrouded
narrow

for

headfrom

covering and
the
and all else The queen

heavy

black

veil.
the very

Bright colours
flowers
a

have

disappearedeven
are

surroundings where
holds

of
dull
we

the

yellow curtain
and
name

black,

monotonously
a

painted in
on

yellow
read the

brown.

letter the

which 1668.

Juan Bap**-de dancing

curtain ? faun On the

Mazo

(not Maino), and

here, with
seen a

date

But

what

is the

doing
Here dwarfs A

his

grinning face
whom of red
she

half hidden
a

behind

the left is the

lightedchamber
the cup.
as

with holds

group

like that of the

Meninas.

for prince,
nuns,
one a

the helm

of State, is surrounded

by

and

latter

holding him

by

the

leading strings. painted

Madrid with the

lady
Mazo

hands
was

him

followed

Court

painter by
a on

Carreno, who
to

in picture

the Harrach Bonaventura Here

the

Vienna, Gallery,
von

present
his
mouth the

the

imperial ambassador,
in the

Ferdinand
year

Harrach,
are

departure from
contracted
as

1677.

eyes

sad, the
this
as

weeping.

The

physiognomist would joy

and

regard

picture of

gloomy
describe
were

renunciation this devotee

all repelling
as an

sympathy
woman,

; but

the

chroniclers

evil,maladroit

in whom

mundane

desires

by
she
on a

no

means

quenched.
The
at
a

Madrid

exemplar
with
a

is

harder

and

colder, and

here

is

seated

secretaire

pensive air, her

an

right hand

resting
was

document.

similar

with portrait

expression of

soft sadness

in the former

National Thus
to

Gallery in
she appears

Fomento.
in Madame

d'Aulnoy'sdescription during balcony of

her
a

her

ment banish-

Toledo,
been

leaningagainstthe

window

in

the

Alcazar,
this

that had

hastilyprepared for
least
the

reception. period,also
widowed like since head
a

Claudio

last painterof Coello,

the old
of
me

tried

his in

art

on

subject.
Pinakothek

At

portrait
seems

the
more

queen

the

Munich than of

(No. 1302)
to

to

work

of

Coello
Don

Carreno,
de

whom

it has

been

ascribed

the
is
can

visit of

Francisco

Asis, husband
most

of

Isabella

II.

The

the

most

the repellent,

picturethe
the

of interesting this

all. with

Mariana
the

scarcelyany
arms

longer be restingon mouth,

26

recognized in
armchair.

aged lady
in the

prayer-book,her
the

But

swollen

features,

toothless

the

402
brutal chin, the and malice.

Velazquez
we scowling side-glance

detect

touch

of

senile

ness restless-

The

Infanta death
bom

Maria

Theresa. left with 20,

an

After Prince
his

Balthasar's

(1646)Philipwas
on

only child,
was now

daughter,Maria

Theresa,
the

September
and

1638.

She

to heir-presumptive

Spanish throne,

were preparations

made

for

"

i^.

r^^^

PRINCESS

MARIA

THERESA.

the

formal

ceremony
years

of

homage.

At

her
was

father's second in her eleventh of the

marriage
year, and

with

Mariana, three
twelve years

her
two

senior, she
young

for II.

these and and

descendants princesses,

Ferdinand
same

of

Germany
At

Henry

IV. of

France, lived togetherin

were

Court. infanta

feasts

audiences

they
charm

often

seen

together, the
the

her stepmother in eclipsing for the

such

and

intelligence. During
the hearts

festivities
"with
was

future queen's

birthday(December 1647) she

she
won

led the dance of all. But

vivacityand

grace,"that

she

404

Velazquez.
exclaimed: ''She
was

Empress Mary, Philip had

however, he said
sister may
:
"

my

only
you
our

sister." tell
me

Now,
of
ray you

am

greatlypleased with
she still takes
I have

what

[Ann]; I
write
at to

am

glad
that

interest in orders
to

concerns

so

France

given

have

the

taken portraits

in hand What Theresa Even

in

once/' of all these

;
one

has become
are

? paintings

Doubtless
to

of portraits her French

Maria

very

numerous

but

nearly all belong

of her

period.
the
*'

Madrid of the

not

remains

youthful years,
such several,
as

although
an

inventories

last century
in

still mentioned
Retiro

nal Origigone

by Velazquez"
abroad.
The

Buen

(1700).

All

appear

to

have

Prado

Museum,
as

however, p)ossesses
Maria
in the the

the

portraitof

princess,
i66o, and

which
a

is described

that of years old

Theresa fashion

(No. 1084).
her

It represents

child about

twelve

prevalentabout

in
as

Velazquez*last
will be the
seen

manner;
on.

but

subjectis

stepsister Margaret, genuine Maria

to

further hand

On
Theresa

other the
It
was

the

Morny

collection

possessed
in

of

Spanish period,which
exhibited is

afterwards

passed

Mrs.

Lynex

Stephens. metre).
red-brown

in the Palais Bourbon in altogether the

the

1874 (size1*49

r02
a

In this work, which curtain of

the

styleof

the fifth decade,

space,
same

is drawn
limits

across

empty

dark-grey
the

without
curtain stands
a

indication

between

floor and

walls, and

gives the ground by

a

who for the infanta, in

is dressed

in black silk.
on

She

high

chair

with profile, Charles

breed.

cushion, gold-fringed
makes himself
at

which
with

very
posure com-

aristocratic little Prince

home

the

peculiarto
ear

the

The
a

who princess, gown

holds
on

his

long shaggy
and

between

two

wears fingers,

trimmed

bodice

lower

hem

with

silver-embroidered the
neck

bands

of chessboard
;

pattern ; wide

lace collar
and

over falling

and

shoulders
The be

cross-shaped red impressive and

from
her

breast-knot

the make

usual her

string of huge pearls.

look older than
to

features intelligent
short is
stature.

might

supposed
The the

The
even same

resemblance
the full lower while the

her

mother, Isabella of Bourbon,

cheek.
hair also

unmistakable,
in the

to

part of the
firm round

is dressed

way, and

the

chin,

small

but

vigorouslymodelled
to

hand

glance imply character.

more

Although later,thanks
costume

the

incomparably
Theresa looks

agreeable French

and may

style of hair, Maria

nevertheless
still be

very her

this youthful face different,

recognizedin
This

portraits by Mignard.
also
with the the

pictureagrees
her

by descriptions
in

Madame

de

Motteat

ville and

brother

during

meeting

Madrid

(1659) and

the

Maria
foot of the hair

Theresa.
Her forehead blue

405

Pyrenees (1660),
the
not

"

was

large,the silvery light

charmed

loose; falling

very

large
was

eyes

through
; the

their

brilliance and
a

softness ; the

cheek

rather

thick below

complexion
the

lustrous

white ; the mouth should much

beautiful and

red."

Judging
Madame had

from de

Morny

we picture,

scarcelycall her
than prettier

beautiful ; but

Motteville
sent to

thought
France.

her

all the

that portraits

been

Mazarin

at

last

saw

his

long-cherishedproject
had
to

realized with

in
two

the

year

1659
The

after
solemn

Mariana betrothal Madrid

of
was on

Austria

presented Spain
Marshal
accorded

princes.
brilliant
with the

entrusted

Grammont,
to
a

whose

entrance taste

into

October

16

high degree
the

of the

Spanish public. Philip received

a

him

in

mirrored French

ment apart-

standing before
was

throne

"

of

value." priceless

The

nobleman V. and which horse

struck above

by
the

Titian's

superb equestrian portraitof

"

Charles
man

hung
seemed

throne,

so

wrote natural,"

his

'*

son,

that

alive."

Our
and
on

princess also
later the

produced
young

favourable first
in
"

impression on
in incognito the

the

ladies,

when

king

saw

her

apartment

Pheasant
her

Island (Conference)
he he

the

Bidasoa

river, although appalled possessed Philip

was

at

costume, that

still thought would his

"

that she
to

nevertheless love her."

much his

beauty, and
Maria
no

find it easy handsome

wife she gay

on

part enraptured with

son-in-law." of Louis failed to

French
was

Theresa,
but and
too to

the

devoted
"

XIV.

*'had

no

will but

his,
the
too

wish

please him witty ladies

inactive ;
women.

yet

fix his affections amid Court.

not

vivacious

of the
her

Her

mind
above

was

contracted,
of

education Her

raised

the

level like child-

ordinary Spanish
sensitiveness

monastic

devotion,
in

her

simple

excited
nature.

ridicule in some, From

the gone him.

pity

others, who
her

recognized
some, weariwas

her

gentle, pure although pain

she

first Louis
he

found

somewhat death

when
ever

she

was

declared

that her

the

first

had

caused

The The first fruit of

born

Princess

Margaret. his darling littledaughter, of

second Philip's 12,

she

nuptialswas
In
those
a

Margaret, evening
drew

July
life

165 1. appeared

days

steady decline
ray

and

humiliatingdisasters
of
a now

like

last sunny sins

and of its

in the

overcast

from suffering
even

the

youth.
time

The

child
who
a

possessed rare
a

charms, and

the

proud

cynical Grammont,
that

grotesque

picture of

the

Court

societyat

(1659),in

4o6
letter to Queen declares Even of
ever

Velazquez.
Ann

calls her

**

little

and angel,"
as

in another

to

Louis

XIV.

she
now

is '*as
in the

sprightlyand
presence

pretty

possible."
we

of her

portrait
the

feel the
and

triumphant power bright hopes

last the
to

still dawning rejuvenescent life,

fresh
sap

full of
up
a

like the

morning
so

sun.

So
the

long

as

wells

lingering
balmiest

branch,
bloom

long will

withering stem
Art
two
a

blossom

again

with

of

spring.
thanks
to

And
as

the

witchery of
her

this

lovely blossom
and

still survnves, ago.

as

dewy,
are

fresh and
able
at to

as life-breathing

hundred

thirtyyears
of
six
we

We

follow least
seven

during
in his
to

budding growth
and fifties,

years,

portrayed in
how this

still extant

originalpictures;
otherwise of the

and

marvel

now Spanish artist,

sensible

only
for

the charms

dark-eyed
find the

children

of the this from

no

South, could

blends

flower transplanted fair-complexioned

a

northern has
even

clime

"

blends
able the
to

that rival

successor

yet been
over

He

triumphs
of the

grotesque
us

fashion like
and
a

day

; she

affects

here

expanding lovelyvision,
soaring aloft
of young
to

her about

wings
the

hover

chariot

love.

Of all her
in the

two portraits

only remained
and
one

paternalhome
in the But
as an

in

Madrid,

of these
group. the
THE PRINCESS MARGARET.

centre

of the
was

large family
from
nesses liketo

she

destined

cradle
were

for

Austrian
from

cousin,
to

sent

time
or

time

Vienna, and
which The
entered
are

of these
the

the

imperialgallery preserves
the last.
at

three

four, amongst
four
are are

first and

earliest under of
her the

(No. 615), taken

name

the
;

age but

of three
the

or

years,
as

is

of

Maria

Theresa years her

features

unlike

those of
and

thirteen stepsister

senior, as
is that of

they
the

like those

her
not

authentic of the

portraits.The
year

style also

sixth

decade,

1641
an

or

thereabouts. of pale delicate

and oval

It is the somewhat
and

pictureof
Of

elegant child
this portraits The
is

complexion, with
face;
tone

languid,and
all the

still expressionless eyes

cool
most

silvery.
dark

perhaps
to

the

the brightest,

sparkling and
lace and

highly
jewels

coloured.
seems

sparingly introduced
only
render
more

black

of

the the

intended

dazzling

Princess
which figure,
and
as

Margaret.

407
"

consists

of lustrous, materials entirely light-reflecting skin of childhood iris.

;

silks

the silk ; with The

shimmering limpid white glittering jewels

the truth
and

fair silvery,

hair soft the

flashingblue
itself.

All this

appeals to

eye

of Nature

in bell-shaped, silver-embroidered figure, of

rose

frock,stands

against a

ground

surcharged warm
Turkish

colours

cloth, dark-green curtain,blue-green tablefloral

dark-red
the freest dark-red the best

carpet with
white

black

pattern.

It is

painted with

brush,some
about

being
How

afterwards
we on

added

to the

little hands, and

the

head.
be

shall

describe

this

picture? Perhaps
its in the

definition roses,

might

the nosegay and

comes

the

neighbouringtable,with
a

pale red
dew word and

chrysanthemums
sun.

lilies. It is
it that

flower-bed

morning
the of

morning
in
than better

How

this
to
a

painted bouquet, like

us

"rose"

Saadi's many

poems,
an

brings

home

the

charms
or a

living
?

flowers This

work exquisite

by
to
a

De

Heem

Huysum

is the secret maiden's

of
own

treatment. pictorial

The

being

comes

nearest

that of

flower ; her Still there

only
is
a

psychicexistence
certain
the

is to stand

there and

bloom

littlewhile.
"

in a refined dignity self-possession,

this attitude

budding promise of

dame.^ imperial Then follows the

paintingin
in the old

the Louvre, French

for Queen Ann, probably a gift

above

having already been

LINFANTE gold letters,
but elegant, the eyes

Gallery ;
Here
orbs

stands

the

name more
"

in

MARGVERITE.
with

the face has

still fixed thin

grown and

their

large blue
the
canvas

are

fancy
such
a

free."

This

is appliedto picture

with such

colour and

lighthovering brush, that

Merimde said of But {Stirling-Maxwell). the from It is
a

it is not also

as Prosper only the despairof dilettanti,

but himself,

"a

bone

of contention

to

the

copyists"
will notice deviates

those

familiar with this series of works modifies the

greenish-yellowtone,
the cool

which of the

colours, and

which

silver tone

of children genuine portraits whose in participation

the

by Velazquez.
execution I also

feature

peculiarto
other several
most

Mazo,
reasons.

consider Now
when

probablefor
come

of figures

in the littleprincess

or

about her

her sixth year,

she

was

for the fates awarded beautiful,

In

only the transient

from the

beauty of girlhood.
the

the Vienna in which

(No. 619) recentlybrought picture

she
wears

palace
Described Munich

at

Prague,
von

the

same

costume

as

in

in C.

Lutzow's

Belvedere

Gallery, and

etched

the A

Pinakothek

(No.

called incorrectly 131 1), Palace

was

Maria

by W. Unger ; a copy in IV. Anna, daughter of Philip

from the Paris here sale of the is hair

good replicaformerlyin
the

the Alba

withdrawn for the

1877
falls

thousand (upset priceforty-eight

over

francs) ; etched
more

catalogue ;

shoulders, and the fingersare

but the bunch distinct,

of flowers

missing.

4o8
Meninas,
meantime
young the

\'klaz(,)UEZ.
little face is
grace work
more

refined.

Her

guardian angel
of

has

in

the

breathed
This

into bears

into the the little figure, intelligence

sparkling
hand. the tints
very

eye.

altogetherthe stamp by
the

our

master's

From which few

the
are

all first, relieved

radiant with colour,it differs

of simplicity
and

by

dark of

ground, and conjureup

the

form and

life with

broad

full touches

brush.

The

ribbons
the merest fair

the

curtain, the
rose,

latter while

the following

outlines of the their silken

be

have figure, sheen and about

suggestionof
tone,
are so

the

with locks,
we

ashy

fine and

loose that Similar

fancy they must

to

blown

by

every

puff of

air.
the

this is the

specimen
will be

in Hertford
more

from House, originally modelled vigorously delicate contrast the figure,

which Higginson collection,

a

although much
noticed the

betrays
the

less

sure

touch. of the and

Here

the

between

golden
grey

tone

face and

tone silvery

of the

soft subdued

shadows The

the lustre of the

flesh tints.
ten

Frankfort

work, acquired for

soft

thousand
a

seven

hundred

francs,

from

the

Urquais and
as

Pereira collection, is

paintedrepetition, hasty,thinly gold powder.

It

executed somewhat

with

pastelsof
Vienna lost
was

silver and

is, however,
has

damaged.
is the third the in (No. 620), portrait

Noteworthy
been

which

recently
Palomino It would would of the little

rediscovered

long
which

work, which
sent to

is described in

by

iii., 349), and (Mtiseo,

thus

the emperor

1659.

before Velazquez' death, and painted the year her Here the square red surface represent Margaret in eighthyear. the is wall made the ground for the blonde to serve as pouch on

have

been

head,

whose

features would

seem

to

betray the first symptoms

of

change

for the worst. On

down the
to

left is

small
on

with dressing-table this table stands

an

heavy

festooned

cloth

hanging

the ground ;

supported by ebony timepiece

balustrades.
In the centre
a

lions and gilt-bronze

round with
a

flanked
been

by black

and

red

picturehas
clock-dial. The dark the muff.

let in

the representing
rest
on

chariot of Phoebus, the left frock, and

together

The

hands

the distended
costume

holding a
are

huge
all

ribbons

in the

hair,the

the breast-knot

painteda Although

olive-green. authorship of
A

this
to

is portrait
it
as

the

best

vouched
a

for,it

is

impossibleafter repeated study

under leaves

regard
dark

other

than

work

by Mazo

Velazquez' guidance.
no

comparison
The

with

the

preceding (No. 619)

of line
and the

doubt

on

this

point.

dead eyes,

colour,the careless drawing,

for
out instance,
"

the awkward

compositionof
the

the features" of the

lifeless eye,
the

effacement
on

characteristic

form

of

nose

mouth,

chalky white

the

face,the unfinished

the modelling,

lustreless hair,

Princess
the

Margaret.
the

409
all who betray the pupil, his father-in-law's

of unsatisfactory foreshortening

left arm,

however, despitedefective drawing, has masterly touch.

of Mingled feelings the
amazement

seized skilfully

and the first

admiration Isabella

are

excited generally whose

even

by

puzzling figure(No.
may well be

1084) in
the

II. room,

portentous amongst
not

costume

awarded But

prize for tastelessness

has
an

the

ladies of that

period.
in his

whoever of the

eye

for colour

will

be

thereby disturbed embroidered,white

diamond delicate
curtain and
rose

enjoyment
and

of astounding reality in
a

this silver-

silk gown,

shimmering
its bows
on

full

with light

its

sparkling
above,
brocade

gold ornaments,
below, the whole
a

and

ribbons of
a

fieryred
crimson

painted

the

ground

suspended like
the

frowning rocky cliff.

called Maria

In Madrid several

figureis
must

Theresa, a
argument

titlehowever
can

which

on

grounds

be In named
name

rejected.What
the
; but at

be
a

advanced

in

support of this name?

in size is
so

palace inventoryof
the time of Theresa.

1772

sponding paintingcorre-

V. Philip

the Infanta of the

has

Meninas this
not

also

bore the

of Maria

Yet whoever several

in is

inspected Prado)
the

are princess'portraits by Mignard (there

the

will

believe

such with

change
mother
for

of

features

possible. Nor
is
a

there

least face.
those

resemblance
The

her

for it Isabella,

genuine Habsburg
eyes, whereas

head

is remarkable Theresa
were

the

large, very
soft and

open

round

of Maria
has
a

rather
latter

almond-shaped with drooping lids ;

a

the former

the quick glance,

phlegmatic look lips.

are

one

inherits her

father's Both

ugly mouth,
costume

the other
manner

has well-formed of

and Madrid

painting

those
a

of

the

fifties ;
years

yet

according to
old; hence
Italian
taken

the

cataloguethe
been

face is that of

child ten

(?)

she must

have

paintedabout
same

1648,before Velazquez'second
the head
was

journey.
a

Accordinglythe

catalogueexplainsthat shortlybefore
At

at

and previoussitting,

that

the

for negotiations
all added
to

the this

French

marriage,bod}', costume, head-dress, hands, were

Will

head. girlish
into

anybody
to

believe this ?

time when
to

she

was

expanding

the of

ripenessof maidenly beauty,and France,we

up in
are

about
a

become

the bride of the childhood

to
was

King
such

suppose

that

head
was

taken

in her

dressed
an

this gorgeous
costume to recast

fashion.

There

sufficient time and

a

repaint

elaborate
no

hair-dress with all its rich details, the

a

ings, surround-

but

time
on are

face !

And

so

the head
teens

of

ten-years-old

is mounted girl But marked

we

the

of figure the

lady past
rest

her
an

told

face is of
the

painted in
of

earlier

in style,differing
In

degree from
not

that
an

the

picture.
manner

another of

style

but doubtless,

in

and earlier^

least of all in the

Velazquez.

4IO
The

Velazquez.
face is

in a grey tone, smooth and hard and without reflected painted to find a similar head painted by our master lights. It would be impossible be earlier of can the fifthdecade. trace not a Moreover, figure any during has recently been discovered a detected under the present. Lastly, picture above and at in Vienna, which fully agrees with this but for the shortenings the sides, and in which the relation of the face to the rest of the figure struck by the diflferent recurs Engerth was exactly. Here also E. von but also more of the head, which is paintedmore treatment diligently, in Were there two largeframed canvases in a stone grey tone. heavily, the rest of the picture Madrid with only a head in the middle ? and was
"

in completed The Princess

the
out

both

cases

after an

interval of ten years ?

accords head,however,

quitewell
features become her

with the known

are

of portraits

the

Margaret, althoughthe
have of

somewhat certainly

altered ;

forms of her mother of the

more

she is growing accentuated,

lovelybeauty girlhood. This process of premature No. 790). we see plainness completedin her portrait by Mazo (Prado, The side parting of the hair with the cross over locks falling vertically the brow she she stillretained even In the Vienna replica as empress. breast ornament as wears a the Austrian double-headed eagleen a fiery red ribbon. But even Theresa were of Maria that supposing portraits time before prepared for her marriagewith the Emperor Leopold some the event, the imperial would arms have been introduced as the scarcely the most before the formal Besides betrothal. prominent ornament with the French Court had long been in prc^ess, and the negotiations princess. place in 1664, when she thirteen years old, and the Viennese catalogue was estimates incidentally the age in our twelve at no But Velazquezwas portrait longer years. alive in 1664; hence we should have to assume either that it was painted the model of similar pictures on what is more of the princess, or by a pupil the face work of his some hand was probable, retouched,in order to by allow for the changesbrought about by the intervening three or four years in fact to it air of the bring up to date." In other respects the pleased damsel with her pretty little suits the bride well enough. happy nosegay
a

Bourbon

lilieshad

decided attraction for the with the emperor

betrothal Margaret's

took

"

"

The
The

Infant

Don

Philip Prosper.

of Princess Margaret, portrait painted for the was the two-years-old emperor, accompaniedby that of her littlebrother, PhilipProsper. This is the prince on the occasion of whose birth

above-mentioned

412

Velazquez.
a

by
and

snow-white rattle

pinaforeor
from

apron, the

with

all kinds The

of baubles, whistle, bell

look

suspended
tones stream

girdle?

little hands

like the

while drooping calycesof lilies,

red and

the

figureis
medium

bathed

in

flood of
As

surcharged
if

of several
fire could

from

the

the carpet, etc. heavy curtain, the

strength
of this

through
This

of colour
was

into the veins

being. pale,fragile
I, i66i.*

flame feeble, flickering

quenched

on

ber Novem-

Last His

Portraits
gave

of

Philip
to
new as

IV.
^

second
in

marriage
the

occasion

of portraits
a

the

ageing
such Prado.

monarch

full

figure with
number

Queen
of
he

Mariana

pendant.
in
a

Two the

couples
The
to the

increase

productions by Velazquez
is
and

earlier of these, in which

representedkneeling,is
comes

companion

already described
there
was

pictureof the queen,

small of the

from

the Escorial,

where

formerly a
last works

preparatory
master

sketch.

Amongst
so

the up

is the

aged
London

head

of

Philipthat
those
of

often
Prado of

turns

in collections.
not

Of

these

the best
the

specimens are
National

the
and

(No. 1080,
Prado

of quite intact),

Gallery,
full

Vienna

(No. 612, formerly in

head

the Ambras

Palace, also apparentlyan

that

original). The
armour a more

closely resembles
to

of

the

figure in

(No. 1077), which, however, through

martial

its vigorousmodeUing

produces
in De
about
to

effect.

According
the

Villafranca's dated work

may be

engraving
referred

los Santos' the year

Description of

this Escorial,

1657.
represents Philipat the
his time
of in his the

Consequently this impressivehead

treaty of peace attempt
to
recover

with

France,

before In
to

humiliatingdiscomfiture
darkest

the

Portugal.
and

this last and

period of
side of his After
the

ministration ad-

rr.isfortune seemed
the of

bring

out

the human

nature,

goodness original
his

inoffensiveness

of his character.
to

the death
his

only
then time

son

he

had

proposed
of another

to

himself
made

become
a

father of

people;
at

the

hope
the

heir

him
he

faithful husband, and

**a

that

Madame
At

de

Motteville
with

thought

had

physiognomy
a

full

of

goodness."
the

meeting
hecho

his sister Ann

after
made

separationof
him
exclaim
:

thirtyyears
Es

thought of
lo ha

all the

interveningyears
all the

el diablo que
at

It ('*

was

devil's and

doing ").
Louis

He

wept
*'when

bitter tears
he
saw

the

with leave-taking

Maria
his

Theresa

XIV.,

both
A

children

hanging

upon

neck."

'

contemporary

copper-plate of
more

Prince

Prosper

is extant,

in

which

the

hydro-

cephalous

affection is much

apparent.

Last
The
same

Portraits
firmer
no

of

Philip.
the

413
features
and
are

face

has

become

and

but fuller,

at

the

time
not to

stronglymarked, goiilla.This decade, and

mustachio
the

doubt
The of

betrayingearnestness
soft fair locks the

resignation,
introduced Charles II.

but
down in

yet decay and

the

illness. fashion became

still fall unwhitened

was

wearing
more

hair long

the fifth

still

exaggerated under
an

The face

grand
are

completes the pictureof

lines of
a

aged captain in
however still holds

whose

written
"to

long

career,

which

firm,

determined
The it may
we

die in harness." chin

that
now

massive
be said

for the
at

first time
any time and

comes

fullyinto play;
to
so

in fact

Philipnever
that this studied

looked

much

advantage;

accordingly find
been

broadly
and

solidly painted picture has

His

everywhere
natural
than

much

copied.
the however

gravity seems
white

even

more

in

early life, although

to

clear

flesh tint
hard

imparts a
head
as

certain softness

the

picture.
some

But

much

the small
may

painted by Velazquez
fundamental remained The
the traits
"

thirtyyears

before
the

have
on

altered,certain
the
and brow
"

even glance, carriage,

locks

have

unchanged
head has
in

throughout all the vicissitudes of years copied by Louvre,

are

fortune.

been the

Carreno the

(Academy

of

San

Fernando);
in Lord
more

exemplars

in

Hermitage, in
That

Bath

House,

Clarendon's

collection the head

also of the

copies.

in the Turin

Gallery is

decayed,while
earlier. After these

in the Uffizi is not portrait equestrian

much

days Philip's strength began

was

to

fail.

cold

caught

in

1659
The
worn

at

Aranjuez
on

followed

by

stroke
were

and of paralysis; much

even

the

military

disasters

the

Portuguese

frontier

too

for his stoicism. the

features and His

became

deeply furrowed, during

in the

the

glance vacant,
subsequent

expression Velazquez'
1117, This
and

bitter.
appearance

these

last

years

to

death H.
was

is

preserved

portraitby
a

Mazo
man

(Prado, No.
broken down.

Huth's

the portrait of collection);

the
same

head the

engraved by
which
f

Villafranca

in

Monforte's

Description of
but gifted, in

Obsequies in
Thus lacked

the

previousengraving was
main

repeated.
who Now his
station

ended

this
most

ruler,in the
essential of

noble, gentle and

will, the

quality for
wars

life. of
of

"

after the
he but

final termination
forward
to
a

terrible

and life in

the the

conclusion

peace,

looked

long evening
in

of

enjoyment
he

quiet;
of

harassed

by
with

pains

the

side, oppressed by ailments,

state

weary

business, giieving at the lamentable

the last blow

of

the

monarchy,

received

complete resignation."

414

Velazqoez.

The Las Meninas:

Family
**

Portrait.

The Maids
X

o/ honour.

{yiS
This

276 m.)
the master's
most

at all times regarded as great picture,

renowned

work,

and

most

clearlyimpressed
a

with

the

stamp
as

of the

his

genius,

is

speaking strictly
in
one

of .portrait

Princess

Margaret

central

figure

of the

dailyrecurring
the
Vienna the

scenes

of her

palacelife. The
it is
to

figureagrees
more

with perfectly

work blonde
with

(No. 619), only complexion

dark had

painted with

and fieryrapidity,
an

looks

better

advantage
somewhat
a

in

environment Her

treated

muoh

blue.
been

stepbrotherDon
way in

Balthasar

dealt
the

with

in

similar

the

Riding

School.
scenes a

But
to

daily
as

life of those

young

princessoflFered no by
the
the
more

such

favourable

the artist fond of

suggested
and of

varied Her

occupationsof
existence
was

prince
all the

horsemanship
apartments
a an room

field sports. Cuarto

passed by

in the

secluded

de la

Reina^
Madame

surrounded de of

restrictions of

relentless
account
:

Court of
is
a a

etiquette.
visit at
on

Motteville's the Infanta

Memoirs Maria
access

gives
Theresa's
to

us

the

threshold

"She
it
was

waited

with

great
that
we

respect, few
were

have
to

her,
the

and

special favour
When
as

allowed menin

linger at
the

door

of
a

her

chamber. who

she does

is

a thirsty

(maid) brings a glass to

on

lady,
a

kneels

also

the

menin
her

; and

other

side

is also
a

kneeling attendant, who

of Honour." The the
passage reads

hands

the

napkin ; opposite stands

Maid

almost
the

like

of description that time

our

painting. Here
in her fifth year, submissive

central

figure is
is

little idol, at

surrounded constantly

elfs, by ministering by trusty depictedas

the chief orb of
a

Ariels and

sprights ; for she shade,beauty

In
reason.

where sphere,
to

lightand
without
most

and

deformityharmoniouslycombine picture bears

damsels
were

do

her service.
not

Spain
The

the

the
at

name

of
rate

Las

Meninas^

noble

any
were

for the

Spaniards the
For

attractive of all the

race,

but they figures,

the

dark-eyed daughtersof
stock. Madame Love lurks is
an

their

lovely young
saw

blossoms

of
were

the old

Castilian

this office

in the who In
grace So

royal familybeauties
them in the year

and selected, specially them

d'Aulnoy painted."
innate

1680, calls

"fairer knee

than there

their

curtseying and triumphs even

was

bending
over

of

the

that

the

unsightlycostume
the
names

of that
all the

period. figureswere

famous

the

paintingthat

of

The

Meninas.
Dofta Maria

4^5

duly
she

recorded. of Don the

The

lady kneeling in profileis

Sarmiento
water

Agostina,
from which
a

daughter
hands
scented

Diego

she in
a

holds
red

gold
made

salver of

princess the
from

cup

bucaro,

fine and

clay brought

the

East

Indies.

The

other

facing

her

THE

MAIDS

OF

HONOUR.

is curtseying slightly,

Dona
y

Isabel de

Velasco,daughter
of Fuensalida. three
years

of She

Don grew

dino Bernarup
to

Lopez
a

de

Ayala
of
rare

Velasco, Count
died
on

womanhood These maids

beauty, but
the time

later. and the

on

of honour

attended when The

the queen
assumed

the

princesses slippers
shoes
worn

from
worn

their

infancy to
the
young of

they

or chapirt, wore

by
a

ladies.

meninas
which

themselves
like

low

and

kind

high-heeled sandals,

galoches^ were

4i6
over or

Velazquez.
the

others ; both

in

the

palace and
the

outside

they

went

without

hat

cloak.
On the
a

and right,

more

to

front of Dofta in the

Isabel, are
a

two

figures
apart,
the
mere

of

quite
of

diflFerent type, who

the

form

foreground
after

group

with jointly

mastiff crouched sculpturesque-looking

; for

half

asleep at
the Man

edge

the

frame

these

playthings are
With the
two
serve

all themselves
at

domestic
are

animals

in

human the

form.

Cerberus

threshold Barbola
of gallery'

naturally associated
Nicolasico

grotesque
to

figures of
our

and

Pertusato, who
and

complete

master's

Court
as

dwarfs,
**

who of the
on

have

suggested Wilkie's
in

of description Dresses/^

the

work
has
to

the

Picture foot the

Children

Grotesque
remind the

Pertusato

planted
slumber

his in

the

dog,
of

as

if to

him

that it is
round

unseemly
as a

presence
a

while royalty, of her

other,

tub,
brutal

gives

the

spectator

full view

broad, depressed,almost

countenance.

Farther officials Marcela

are

two back, in the gloom produced' by the closed shutters,

Court Dofta

conversing with
Ulloa
in

bated

breath

"

the
a

Sefiora

de

honor

de

the
it
was

convent to

habit,
with

and

guardadamas
of the
at

("ladies'
ladies
door the

guard"), whose
and stands

duty
the

ride

the coaches the

rear

Court open

conduct Don aside.

a

audiences.

Then

quite in

the

Joseph grouping
even

Nieto, the

queen's quarter-master,
have resulted suited

drawing
chance.

curtain Such

as

this

can

only by
for

Such

everyday
pass artist
so

scenes,

when
of

in their

themselves
constant

pictorial treatment,
unless da Vinci

unnoticed
be
a a

because

occurrence,

indeed tells
us

the

stranger.

Chance

alone, which
have

Leonardo here
on

is

often
a

happy

discoverer,could
It
to giving a sitting

detected
one

the

materials
the

of

pictorial composition.
were

happened

that

occasion,when painter in

royal couple
Princess

their

Court

his studio. The let in

upon open

Margaret
after window

was

sent

for to

relieve their
had been

weariness. Majesties'

light, which,
from the

the
on

other the

shutters
the

closed, had
also

been
in
to

right for
same

now sitters,

streamed

their little visitor. the

be door in the

At

the

time
to
see

Velazquez
whether
a

requested Nieto
front

rear,

in order

lightalso
affairs of the

might State,
circle.

available.
Thus the

king
to

sat

there,relieved

from

councils midst
an

and

and Then
a a

yieldingto
it occurred

his paternal

feelingsin

the

of

family

him, being himself developed before

moment

half

that something artist, He

see

like
is

scene pictorial

had

his eyes.
arose

muttered:

"That

picture ;

"

the next

the

desire

to

this perpetuated, and

The
without
more

Meninas.
at

417
on

ado In had the

the
case

painter was

work

the

sketch
be

of his

recuerdo

(memento).
just as
would

of recuerdos

details should

recorded, faithfully

they
be

been

casuallybrought together.
of
to

Hence

the

peculiarcharacter
been
canvas

the

which composition,
a

as

an

invention
the

inexplicable. It is, so
more
on

say,

tableau

and vivantj

figures
in
a

have might certainly semi-circle the moment

to

naturally and
the easel.

effectively grouped they

were

about

the

But

not

in fact at

mingled
bucaro
in the

in

single group;
towards her

the

royal couple,although invisible

the

the

observer,were
the

in the immediate

vicinity. Thus
mother Barbola
;

princesswhile
looks the

taking
a a

glances
same on

Dofia

Isabel
with

with of

curtsey trusty

direction ; Mari
those of her

hangs
the eye

eyes

watch-dog
Dofta
at

mistress;
an

guardadamas
on

while

to listening

Marcela's door
see

whisperings keeps
an

the

king; lastly
in

Nieto In from

turns
a

the
we

with

inquiringlook.
as one sees

word

the

company

the

audience
the

the who

pit
is had his

the

stage, and
mirror

preciselyfrom
on

the

standpoint of
the

king, judge

reflected in the seated himself

the

wall

by

side
to

of
be

the

queen.
to

He of

opposite this mirror

in which he

in order

able that
the

posture.
of
any

It may, work

remarked however, be incidentally appears

nothing
canvas

is known with

actually on
artist

same

Mariana. In
be

this instantaneous He stands

at

picturethe
his

himself

had

also

of

course

to

taken.

easel, but
the

concealed slightly whole group.

by

the

kneeling
The

figure in front,his
he holds
the

head

dominating
in

In his

right hand

long brush,
of this

his left the

paletteand

stick. painter's

hand,
of the On

like those

is exquisitely picturegenerally, painted,the

motion

incJicated by four strokes fingersbeing distinctly

his breast
he the
wears

of the

brush.
to

the

Red

Cross the

of

Santiago. According
reserved
a

the

legend Philip,on surprise

seized for

completion of Remarking
added this Red

painting,had
The

royal
been
ferring con-

its creator.
and

that

it still lacked

something, he
has
the

the

brush

Cross.

anecdote with

questioned, because
of the Order
to

the date

preliminary formalities
from
two

connected But the

years

later. of

although according
after

Palomino may

the

Cross

was

added

by

order

king
with

Velazquez'
at

death, it
time.
even

still have
was

possibly been
the
first
to

associated

the

work
a

the

Certainly this though

intimate
a

precedent
be

for the
in

figureof
a canvas

painter, depicting
proper the

palace marshal,
of
be

introduced Hence it may

the for

family circle
to

royalty.
to
a

have

seemed

him

also

promoted

higher degree

of

nobilityfor

occasion. 27

41 8
Such
is

Velazquez.
might
of
seem

to

be

the

probable historyof paradox

more

the of

Meninas. the the

most

Here

consequently
casual

the

apparent

that than

one

original
of

creations
a

modern

painting is
It is the
are

any

other

fac-simile
a

incident

picture of kept
on

the

production of

picture. they
their

The
would

subjectsof the
have
is
see, to
turn

latter their

out

of

sight, for
observers observer he ;

if introduced nevertheless what

see

backs

the The

presence

betrayed by
not

the

mirror.

sees

the

royal
be

couple
in
a

what
over

the

painter sees, against him.

mirror. of superfluity

for And

would

his

meninas
that

mirror

hanging
use

it is

quite possible
the

reallymade
There of the
is

of

such
a

otherwise

frames

in

picture
"

frames of
oU

mirror, of the

door, of the

easel, many
works

(all these
the

black)

perhaps paintings,
Democritus

those

copies of
and

by Rubens,

Heraclitus

and

and

the

Saturn

Diana, which
The
the
same

according to
inventories Yet
a no

the inventories mention animal

more

hung

between

the

windows.

paintings and
calculated
than

landscapes above
this to make
us

windows. it is

picture is
est

forget that

picture. Ou
fixed

done

le tableau 1 asked The This

any

Th^phile
would

Gautier. have naturally

at

passingincident
out

firstbeen
one

by

sketch.
to
us

which sketch,

is stillextant, is the

only undoubted
on a

known And
was

of this

paintingcarried
owes

by
work

the master
to

large scale.
that
it

even

perhaps
intention The

its existence
execute

the
in

circumstance
more

the

original
de

to

the

modest time is
now

proportions. belonged to
owned with Don Mr.

which sketch,

in Cean

Bermudez*
same

Caspar
Banks

is undoubtedly the Jovellanos,

that

by
the

of

$6 Kingston Lacy (size

is almost

48 inches). Its accordance

the

large canvas
distinct with
a

complete.
the

Under

pigments
her

we

see

the loose

delicate and

lines of

infanta's oval

face,of
mirror

eyes

and

hair, drawn

pencil. The

couplein

the

is stillmissing, although the red

curtain

is

alreadythere.
Regarding
this sketch

the most

diverse
a

views
copy.

have

been

advanced.

The

and jealous declared thoughtless

it to be
a

considered

it incredible

that
be
a

such copy,

581) iv., Waagen {Treasures, clear silver tone, work (delicate spirited
even a was

deep

could chiaroscuro) in

and

reduced greatly

copy. be
an

At

the

exhibition sketch. that

Burlington House
that occasion
made this

(1864) it
opinion was
for the
to

pronounced to
of it
on

original king's

On

the

i., 811) expressed {Athenaeum,

purpose
execute

Velazquez

sketch

securing the
a

approval,and
In

thus

obtain in

his sanction

large scale, as

something unique

portrait painting. ground

colours

the sketch, where

the light seems prevail,

to

fall

420
sunshine outside. Then

Velazquez.
the mirror

bringsin
as

measure

on

to

the

scene

the

perspective depth towards

The mirror
der

the

rear

well

as

the forward

depth.
as

plays this part also in De Hoop

shade Museum. Nor below. each
a

Hooghe's works,
the blank

in the
be

Pianist

in the Van

should

space

overlooked

in the mirror
^

itselfin left comer

Light

and

mutually aid
the door

other.

sunlight such
this of the

as

that

streamingin through patch affects us

on so

has

dazzlingeffect ;
we

rectangularwhite objects

overpoweringlythat
others

take the vagueness

the

wall

(for instance,those glare,and

any

undistinguishable oil-paintings, copies of apparentlythe Apollo and Marsyas)

the
as

Rubens*

Mythologies, amongst
stronger than

the effect of the

as

accordinglyestimate
colours could also In
a

of intensity Here
not

that
are

light
the
to
as

much

produce.

only

but objects painted,

the artist has

depictedthe
web.

very strain of the

groups
to

eye

discern them if with

a

through the gloom.

is caused

the good light This

appear that

veiled

delicate luminous

gossamer

is due
a

dispersion
a

of the radiations, which

by

the

proximityof
Few

strong lightover

dimly

illumined

space.
on only gradually more so

All this dawns continuous

the eye.

demand pictures much

such absorbed

study,the

that at first the attention is too

As but is often the
case

in the wonderful
we

figuresthemselves.*
we
see as

with

Rembrandt,
a

fancy at first that

oases.

nothing
we

colourless

with gloom interspersed

to stir
come on

few luminous

But

a linger

mysteriouslife seems
distinct ; the colours
some seem

the
;
one

surface ; the vagueness

clears up, grows

emerges
to

out to

figureafter another
the features, eyes

in relief; nay,
move.

even
a

turn, the
a

appear

The

golden frame

becomes

for setting

magic
hundred
truth And

mirror

which

annihilates the centuries, a of the

inmates

for telescope of the old

distance

in time,
two

the spectral movements revealing

years ago.

palace over

In

this picture the ideal of the historian has

become

and

reality. expedientshas
surface,we
if with
are

with what

all this been

amazed
at

realized ? their
a

When

the eye

is

brought close
is

to the

simplicity.The
coarse canvas

picture long
most

as broadlypainted,

reckless

haste,on
it

with

bristlybrush, although of
*
**

all his works

produces
personne
ne

the

softest and

Las

Meninas

que

tout

le monde
ses

regarde

et

que On

ne ce

voit, peinturequi
tableau
son

besoin

d'etre
ses

analysde

dans
;

infiniment n'6tudie

petits.
la dont

juge
ses

que

par

le

ridicule de

personnages

on

jamais
mani^re
et la

qualityde
les science
un

tons, de manias

harroonie
en un

g^n^rale, de Fair ambiant

la

la qui y circule,
verve

gris sont

mot,

qualityde la

I'audace,la peinture,

grande
obtenir

de I'ex^cution.

Au

premier
de

abord, les mains

il faut etre
un

paraissent parfaites ; mais

pour P. L.

r6sultat pareil

k si peu

frais,
213.

de premier ordre."" peintre

Imbert, LEspagne

(Paris:1875), p.

The

Meninas.
are

421
laid
so

tranquil impression.
In the shadows the grey
and
we

In

no

other

the processes

bare. completely in ;

the distinguish blends

brown

parts of dead
this

rubbed colouring
; the

surfaces in white
one

appliedover
off with

ground

local colours

in lights

place dashed
formed
the

rich,angular,formless
broad, grey

touches,in
then full

another The

blended. softly

figuresare
and

with

such

touches,and
their still dim

bodilysubstance
often with artist
a

pulseof life are

The of

imparted to
shade

existence,
the

few

sharp strokes.
means

local

colouringis
;
a

kept

in

reserve,

operatingchiefly by
green,
or

lightand
The

deadened here

greenish
and

blue, dark
small
red

white
to

is the

lightly applied above,

front.
secret

while

there
position super-

patches come
on

lies in that

thin

of dark

light, lighton
an receiving

dark, unblended, hovering one

appearance

above

the broad

other,the
brown the hand

outlines of

of

quivering motion
But
moment

by

strokes

the

brush

as

if
spur

stippled.
of

the

essential

point are
the

nuances

improvised on
the
to

the

the the

by

the

fire of

with struggling Peculiar

impressionsof
was

eye.

Velazquez* genius
chiaroscuro had
^

this delicate
processes

sensitiveness which Nature

to

the

differences He
saw

of the
no one

and

the

by
not

models.

what
means

hitherto

seen.

But this

does

the true

artist

always

find the

to

effect his

purpose,

being

the

of specialprivilege trick of Titian's their eye. Italian Luca

is the
or

genius

An

artist brush

possessing the
stillmake
on

receiptsfor every nothing of them paintingis

to to

Rembrandt's The

would

without

earliest known
is said

remark
to

this

that of the II. :

"

Giordano,who
expression ?
it
as a
**

have What

observed
are we

Charles

Sire,this
this

theology of painting!"
It is

understand that he

by

enigmatical
to

to scarcely

be
as

supposed

thereby meant
of the
a

nounce pro-

the first in the world,

commentator

theologyis the foremost saying.

its
"

sciences,"
it
in
"

Spanish

the interpreted

To

Frenchman what

occurred fact is

that the
more

point of comparison lay in

than

subtlety." For,

subtle

theology and
to

the

impalpableair,although
the work

itself

touching and
One
treatment

enveloping all
wished relief and the
the
''

Salons^L, 225). things" (Thord,

out single
as a

might fancy he
of
as use

standard

for the
was

chiaroscuro, just as
"

Lance-bearer Polycletus* But in that case, did

accepted
Giordano

Canon word

of

proportions.
27, 1827

why

did

not

rather philosophy

than
:

as theology^

Lawrence

in

his letter to Wilkie

of November

and **In all the objects

"

subjects
"

of his

pencilit is the true

philosophyof Art
eye

the selection of essentials of the

of

all which, firstand

strikes the last, truth

and

senses

logy spectator." Theoto

is the science of revealed the natural

powers

in contradistinction Hence the

that of

acquiredby comparison

of the

understanding.

point

422
would such
as seem

Velazquez.
to

lie in

the

directness,the
upon in another
not

inspiredcharacter
of the hand, seemed

of

the

work,
the had

Mengs

remarks
the

in Velazquez'paintings,
to

execution
any

of which

will alone, and

have

part.
In the
at to

inventory
ten

of

1686, where

it

is first mentioned, the

under

Meninas

is valued

thousand

doubloons, and

the It

Bourbons
was

(1747) the
by Goya,
process is
to

price rose
but

thousand twenty-five
was

doubloons.
been

etched
the

the

plate

destroyed, having

injured in
one

of the been

rebiting. Only
British Museum,

five

impressions are destroyed

The

known,
The the

of

which
said

in

acquired for ;^2I.

fire that
de

was original

have

injuredby
have
become

the

Alcazar

(1734),
may

and

afterwards

repaired by Juan

Miranda. darker.

general tone

perhaps thereby

somewhat

Velazquez' Family.

Fortunatelywe
at

also

possess
a

paintingof
of

the master's in the

family,which
Down
to

the

same

time
it

gives us passed

view
one

of his studio

palace.
Viardot

recent

years

for

Velazquez*masterpieces; Stirlingout

Maxwell
it to be
were

called it his most

work important and

of

Spain,while
as

declared

nearly
these
works
"

as

comprehensive
views Madrid.
so

excellent

the

Meninas with

itself. his

Nor

objected
Clc^ment
as so

to

even

by

those

familiar
not

genuine having
any The shrouded

in
one

de

Ris, however, could

a

remember
more

seen

feeble

this
true

by
to

who painter,

almost

than

other

remains

otherwise
the

himself." of this remarkable

been

historyof
documents.

origin and
nor

wanderings
trace

work

is

in darkness,

has makes

any

of it hitherto

discovered
in

in the

Spanish
year 1800 been

It
a

its appearance cf
to

for the worthless

first time

amongst
forwarded

collection from

otherwise

which paintings,

had

Italy
time it

Rosa,

curator

of
name

the

imperial and
of

royal gallery. At that Family, apparently from

In

already

bore

the

Velazquez'
the

some

tradition. long-standing nine

persons

the

foreground stand
from
age

all in
them
are

row,

off*in falling

direction

left to
and

right ; amongst
size just like
a

five children

disposed
line

according to
their

organ-pipes;consequentlythe
two portiere^

of

heads

describes
in still'

diagonal.
the
shade hat

First come,
as a one visitors,

of

green his

young young

persons

with
cut

broad

in

hand, with

lady
with has

in

light-grey gown By
her
and

quite straightand
a

low,-and
ten

round

hat who

red
come

plume.
with

side
wears

stands
a

boy

some

years with

of age, the

her,

black

gala

dress

golilla\his

noble

Velazquez'
features, which
earnestness.

Family.
are

423
overcast

recall those

of

Velazquez,
round

with

pensive
The

Then

follow has of the

four

boys grouped

woman,

who
a

is seated.

lady
the
vest

who

just

entered

places her
wears

hand

with

friendlygreeting on
cuffs.

head
and

first lad, who

leather boots, grey high light-coloured collar and

to

embroidered light-red the tall

jacket,lace
seems more

But and

he looks whose

towards

youth

who

interest with

him,

stylishcostume
His in hand
rests

and
in

attitude

he

is

studying
on

bashful of the
on

admiration. younger.

brotherly fashion
hair is

the

shoulder

boy
with

purple,

whose

plaited in
little
an

little tresses with

an

the

temples

blue

ribbons.

This

"good

boy,"
He

grandfather's big
air of heroic

crooked

stick in
to

his left hand, offers

young
man

orange

with stands is

generosity
stout to

the

just entering.^
or

leaning against the

with her back whom from her the hand.
be

woman,

his

mother

governess,

who

seated
to

the she the

visitors,apparently whispering something

little To reminded

girl
of

clasps round
defiant towards The sword mien
the

the this

shoulder

and

holds

by
needs

the
to

judge

blue-eyed

lassie

duty
and

guests.

last

jaunty

little fellow
a

in

red

hose and is

and

yellow jacket
his The black

by

his

side, holds

little bird
but
a

staring with
woman

round
wears

owl-eyes
a

into space,

absent-minded
gown,

self-satisfied.
wrap and

red

silver-embroidered

brown

velvet

jacket

with

clasps on
is
eyes

the

breast.

This
brown

altogether a
of in the their father's the

richly

coloured

picture,where
for

the

large dark
have

Castilian

children clothes From

like ''sparkle

jewels." They
festive
of

assembled such
as

Sunday
air

perhaps
the smallest

some

occasion,
young

the
to

birthday.
hit

composed pride
youngster
of disposition

that

cavalier with
to

wondering
humour

of the

the

has painter,

shrewd

off the

childlike

each

according

their The

respectiveages. diagonal line

studio space and of

this the
a

group

leaves
in

half of the front of it.

velvet
cover

background quite
At the

free for the wall

to
a

large space
table
are

opposite
down

of the

stands

with the

dark

reaching
woman,

the

floor.

On with

this table

marble

bust

of

drawings,
of
a

glass vase
the On

flowers, and

above, exactly in the central axis

the old

the

canvas,

half-length figureof
the

king
a

and

landscape in width, the

me

black studio
in the

frame.
^

right, occupying
made for this head which

over

third
in

of the

The

finished

study

was,

1879, ^^^

recognizedby

in Dulwich portrait

College(No. 222)
x

is there sometimes

called

sometimes Velazquez,

Pareja(sizeI4f

lof inches^.

424
opens
up,
are

Velazquez.
raised
visible
a

few

steps above
the
one

the

general level.
which

The has

trees

of

the

park
panes
A

through
still a
and

high window,
branch" has loud

very

large

for
nurse

the

period.
sixth "olive

with
nurse

slipped up,
crow, is about

and
to

baby
toddle
to

encouraged by
with
open
arms

a perhaps uttering

towards
not
on

the

man

in

black, who
the
buzz

with

his back

the The

company
canvas

has
stands is

yet been
the

attracted before

by

of conversation.

ground by

him, and
silhouette. Hitherto the

the

figure in painterhas
the chair

the

hooped
taken

gown

partlymasked
are

his black
persons ?

Who for

these

twelve children

the

been

Velazquez,the
the

for his sons, for

his

lady in

for his wife

Juana,
husband
as

lady standing
But
in the

daughter
known

Francisca

followed

by

her

marriage certificate of 1634

of any

Francisca
sons

is described Hence

the

only daughter,while nothing is

cannot

of his.

those
to

be

his

children, but
Mazo

for, according perhaps grandchildren,

had
a

Palomino, his son-in-law

Balthasar
and

large family.
met

Two

of

Mazo's

sons,

Caspar, are
above

afterwards

with

in

at good positions

Court. In the
arm

left

comer

an maze

escutcheon

has

been

introduced
a

"

a on

raised
a

in

armour

holding a

(mace,or
painter at

in mallet),

shield

red

ground.
The

question arises.Is
In the latter

the

the

easel

the

father have

or

the
an

grandfather?

suppositionVelazquez must for the alcove is furnished uncommonly lustygrandfather, chair," nothing but
Nor Court is he
two
a

been
"

with

no

father's grandblack
most

bare

folding-stools.
smock,
a

working

in
does
own

comfortable he consider

but

in

smart

dress ; still less for with

an

slovenly attitude
how
I be

the

becoming compared
On

artist's
is
now

portrait. And thought necessary might

empty

is his

studio

what

this

assumption the
at
a

son-in-law be

the the
to

second

gentleman

in

front,who
March between
in

pinch might
and

identified with I
am

portrait by
any

Est^ban

the

Prado
woman

(No. 779).
the
both

unable the

detect

resemblance the so-called for

the stout de

of profile

or Sibyl,

with

Juana

Miranda,
the death

of which

have

on

insufficient

grounds passed
had

of Velazquez' wife (seepp. 266, 267). portraits After

a

of his first wife time with

be

(about 1658?)
de la

Mazo

contracted

second

marriage,this
these
of the

Ana

Vega.
were

All the date The

questions might picture.

a

answered

anything

known

as

to

hand

of

pupil in

this

paintingwas

first

recognizedby

Sir

J. C.

Portraits Robinson, who

detected also

of

Velazquez.
In has the
been year

425

suggested Juan
of

de

Pareja/

1874

I fancied
taken

the hand Curtis.

all the

Mazo,

and

this view

independently
often

by
if

With
.as

impetuosityof
starts, with
silver
in

its

rough
the here

and truth
we

ready touch,
of
its

applied
all-

by

fits and

all

delicate

children's

complexion, pervading
sure
we are

silk and
even

sheen,
the

still miss

Velazquez'

clearness

dim the

his lights, lifesize bust

sobrietyof
of the
a

his colouring,
as a

draughtsmanship. Taking
see

king
steps

standard
back

that
on

the

figuresin
small

the alcove
a

standing
his
was

few

farther

drawn In the

far too

scale. artist shows in view, but

many
to inferiority

composition also the

the

the

master. to

He

had certainly

Meninas
may

anxious evidently
have

avoid
a a

which coincidences,
row

explain
the the
on

We peculiarities. the
the

again
before
;

of

children

facing

spectator;

painter
same

also

stands Mariana

large easel-piece, perhaps

the

figure of
the

Queen
in

lastly
of the

portraitof Philip IV.

opposite wall, as

the mirror

Meninas.

Portraits The certain and of

of

Velazquez.
the
own

figure before
of portrait medium and the

the easel
master

in his

Meninas hand.

is the This

only absolutely
spare

by

figure seems eyebrows,

head
to

size, with
well-marked

somewhat
bosses
over

oblong features,rather
the

high steep
concave

forehead
nose a

bushy

black

with

prominent tip,wide
is not
rare

lower

jaw, full chin.

The

This

belongs
down

to

type which
in

in

Spain.
of

hair, lying close cone-shaped

the

scalp and
to

parted
the All

the

middle, falls in
was

slightly wavy
the time.

masses

as collar,

the

fashion

other

extant

portraits, except
but

that in the

Capitol in
different that of

which

have also

recognized (pp. 163, 164) the pictureof 1630

show

mentioned
a

by Pacheco,

him and

in
cast

advanced of of the

years, eye.

with

quite

position of
in the

the
manent per-

head

While

resembling
features. and
to

1630

form

forehead, nose,
more

chin,and dreamy

mouth, they
In

differ from

it in the

glance
the

and

the

strongly marked
open,

the

youthful portrait
the

countenance
more

is

almost

in thoroughly artistic, former

we

later works him

a man

disguised. According impulse

others
a

the

might
love

suppose

of the

and

first

impressions,quick
observer.

to

and

hate,
Pittori

according to
Of of the these

reserved, silent
best known
are

the portraits have

the

two

in

the

Sala

dei

Uffizi,which
*

often
on

been

graphicallyreproduced. Judging
:

Memoranda

FiftyPictures (London

x868), p.

44.

426
from
taken

Velazquez.
the

badge
in

of

Santiago (1658) perhaps

on

one

of
not

these, it

can

have

been It
is

only
cavalier of

his last years,

even

till after his death. the

nearly three-quarters length, showing

and

the

graceful figure of
also

painter
but and

(No. 217).
the

The

hair is here

parted

in

the centre; far

down

instead
across

leaving the rectangularforehead

oval of the head The

free, is brushed
in

it, whereby

seems profile three-quarters

narrower.

serious, proud,

almost
is here

pained, glance
to

is

turned

back

towards

the spectator.
not
even

Nothing
the wished

be

seen

of his
he
a

no profession, as

painter's gear, did, who

a

look. painter's
to

Perhaps only
as

felt

Congreve
as

to

the

world

be

known

gentleman, not
varnished
seen

playwright.
This

pale face, as
marshal's

well

as

the In the

whole

is figure,

now

over

with the

soft, dark-yellowveil.
the

right hand
wear

is to

be

the

key

of

palace
The

office ; the

hands
that

long

leather

gloves, and
been

the

style of
the

paintingapproaches
the for Valencia

of the

master.

exemplar in
House
one

Museum

(No. 684)
from H.
came

has

etched

by

painter Fortuny
of
the in
worse

Davillier's

Metnoria

(1874).
from

The

portrait in
an

Bridgewater
copy

(No. 217), acquired

Munich
seems

Farrar, is
the

inferior

(No. 366), which

to

DOsseldorf the

Gallery. Gallery
Less the
and while red in

Still the

have

been

the

replica in
Uffizi

Spanish

Louvre. is the second is falls

in portrait

attractive

the

(No. 216), where

oblique wavy
The

fulness

of

growing
The

age

strongly accentuated, the expression cold

on

phlegmatic.
on

hair

the

left side in the

an

line,

the

right it
its

is brushed

straightover
the

forehead.

glaring
Girolamo

reflected
as

the black lights,

shadows,
This

wide

collar raise serious falling

doubts Rossi How

which
come

to

authenticity

picture was
and

engraved by
unknown.
may

in

1748, by Colombini
these

in

1769,
the

by others.
is

portraits reached
in the

Uffizi

The

second,

was

engraved
the Roman

Florentine of
was

work, portrait
St.
a

possibly have
the
members

from

Academy
In

Luke,
which

to

which
a

left their likenesses.

in

1685 there

of portrait the

Monsieur hands
a are

Velasco

Prince

Ignazio
It has

d'Este's

in collection, with the

merely
in
to

sketched. the-Modena

been

identified however

picture of
not

painter now
resemblance

Gallery,which
the
two

shows

the

least

Velazquez. Formerly Apsley House

of
the

fine

portraits of
House
also executed

unknown

Spanish portraitsof
second

cavaliers the

in

and
of

in Lansdowne

(the
in

latter from

collection
master

Prince

Peace),were
Both
are

taken

for his

the

painted by

himself.

manner,

and

the

428
discovered he forthwith The
in

Velazquez.
Salamanca took
one

Pedro

Gutierrez, a

tapestry weaver,

whom

into his service which the

wares. were

(1572).
abroad for such

large sums
for these
and

sent to

objectsmust
of the emulation with

have

naturallyawakened
market the aid the Chinese
of

desire The

make

Spain independent
of
a

foreign
of the
at

Duke

Pastrana

had, "in
in

Flemings," founded
of the of

workshop
of

Pastrana

and foreignartizans,

products 1623
could
to

this

place

exhibited

Corpus
that

Christ i
"

procession
in

Netherlanders excel have them." been

themselves

had

declared In

no

brush

the

world

the

year

1625
Antonio his he

that

factoryseems
a successor

removed

to

the in

where capital, 1622

set

Ceron,
risk
an

of

Gutierrez, had
in

already
from But

up

at

own

atelier with
means

four looms

the Sta,

Isabel manca, Salahis had

quarter.

These
and

worked

by
up
was

of

eight hands

brought
the trade.
a

also

brought
aid
to

eight apprentices to presumably rejected, Tons,

a

for application

State

because

grant

already
The of this

been
scene

made
here

Franz

Fleming
takes The of
a a

in

Pastrana.
one

depictedprobably
in Sta, the Isabel.

place in

of the
was

chambers doubtless share in also

manufactory
in

establishment national series of

popular
at

the of

as capital

beginning

effort to

this branch that This

a

industry; the possessionof

ambition has
somewhat
sort

was tapestries

time

the

of all aristocratic and the appeal

ance

wealthy
of
a

houses.
on

workshop
arched the

chapel opening
raised

small

alcove,a
the

of four-cornered On
two

apsis,which. is
of this
recess, been

two

steps above
entrance

general level.
window,
to
some

walls
has

facing the
three
is

and

tapestry
But

hung,

which
canvas

ladies have

advanced the front

inspect.

the greater five

women

part of
are

the

occupied by
The

chamber,

where

engaged

in

the

preparationof
a constituting

the

yarn.

Spinners forms, strictly speaking, a

distinct
scene

double

each picture,

section

of itself
"

one

broad, half-darkened

plebeian, pit
the

the

other

radiant,aristocratic
So
true

scene,
at
some an

with first

like heightened lights,

and

stage.

is this, that taken for

the

glance

the

picture in

background might
case

be

theatrical

performance, in
some

which

the

hangings

would

represent
select

episode in
those of

mythologicalplay,
with is the
a

the
on

some ladies,

of the
as was we

audience,being
in
sort

accommodated Nor

place

the

stage,

customary
notice
a

days.

orchestral
a

music barocco

lacking,for
armchair.

contra-basso, leaning against

In the
studies.

one disposition

seems

to

recognize free
of
the

reminiscences

of Venetian front

Thus

the

lines intersecting

contrasted

figures in

The
and window
rear

Spinners. heads;
the way
scene,

429
from thejsunlight the
second

with

their
on a

strongly foreshortened
heads ;
even

the

falling

the female
recess

little scene
are

is introduced familiar to But

one soon

in

behind

the
"

chief

all these

motives

the admirer this

of Tintoretto.
no

apart from
sees

analogous invention
from the
same a

is known

to

me,

although
Meninas. the action

that it sprang
we

brain

that devised

the

For

here

also

have

picturewithin

round picture,

which

THE

SPINNERS.

moves

directlyand
characters
one

Only indirectly.
behind the the the

the

picture in
face
a

the
the but

Meninas,
invisible
the

where

all the

other

towards

royal

couple,acquires somewhat
seems

aspect of

tableau ; how

here
be

painter

to

be

occupied with
of the Here them
or

problem,
of
the

far it may concealment

possible to appliances
an

carry

the semblance Art itself.

the seeming casual,

none

of the

of the

dratnatis personce suspect that

the
scene.

artist is look
more

watching

from

behind
in
an

The

groups

could

not

accidental

unstudied

instantaneous

photograph. They

430
are a

Velazquez.
also, as

mostly
"

in actual novel

life, exclusively secondary

a

persons

without

central

figure
the

"a

without

hero." of the

But

essential
proper

point lies

in the management

light
introduced work

In

fact

lightis

the

object of
other

this

picture ;

the

are figures

only
shows in

for the sake

more

of the

which light,
any

acts

its part with

them.

The
was

clearlythan
From
two

how

deeply Velazquez something

the of Art

interested sake.

problems ; opticpictorial above,

in
two

it contains
"

for Art's the

large windows
in the

one

breaking through
"

background

from

the

other

workshop

sunlight streams
the full, Madrid that

in, consequently
latter limited.
A

beams, separate parallel

a

the

former
a

joyous sunbeam,
into
a

stragglingray
a

from

summer's tumbles

day, headlong
This

pours from

the

small the

"

show-room," like

cataract

cleft in
owes

rocks, and
blaze
on

disappears in
the the

the

powdery

spray.

beam,

which sheds the

them the

its
a

refulgenceto
of the

dusty atmosphere
woollen silken,

of the and

busy workshop,
tissues and of with

such

lighton
that the

golden
moment
or a

tapestry, and
the
woven

gaily attired ladies,effacingshadows

dazzled
were

bodily forms,

eye

might
"in the

for

fancy
else that in the

figures themselves
so

actors

scene,

the sefioras

conveniently disposed at
arras

the

corners

formed

group

foreground of the
The would

itself

subjectof gladly wish

is

the
to

tapestry, here

the

specialobject of interest,one
so

expound,

the

more

that

owing
the
a

to
sun man

the

ment arrange-

the
as

eye
a

constantlydrawn
the
same

towards We

it ; while discern

itself with of
at

points

with

fingerin

direction.

helmet

and
or

shield turned

aside, his
Before the

right hand
him

raised either in the act

a

striking
him, her

pointing upwards. enveloped in

heroic
to

stands

woman,

gazing
as

left hand of that

mantle, her
woman,

right extended
her
arm

if in admiration

figure.
be

Another away

screening her
children.

upturned

face,

seems

scared

by
turned

two

winged
are

The
are; atelier for

three
one

ladies
of

inspectingthe
has

work
her

probably as
round
in

puzzled as
towards the

we

them

pretty head
marshal

the of
us an a

below, perhaps
of their

towards

the The

palace
other

hope
to

explanationfrom sight only

such could alone

his erudition.

two

condescend

give
A

aristocratic shoulders
be he

and

whose eleganthead-dress,
a

promise might possibly not

as

sustained is
and

by

front in

view.
act

piece master-

this, which
a

excuse

courtier

perhaps just a Spaniard lightand

neutral

the

of

sketching,
ladies to

for

leaving the
and of the
the

themselves. Between
this there

picturebathed
intervenes

in
the

colour

scene

in the wall.

foreground

dark-grey

blank

The
But
in

Spinners.
the
to

431

this

front

and

much

largerchamber owing
red

light is
The ^ull

unable

to

more

than half subdue is

on

the

gloom, because
off

the hot

weather

the window

mostly
the

screened
arms

by

heavy

curtain. shoulders

light falls only girlwho

recognized
back
on

white

and
a

soft neck ball of yam master's

and
from Venus

of the young Some have her

leans back
in

winding off
Nor the should dark
on

the reel. who

be

her

the model

of the

also turns overlooked. maiden

at

the

observer.

the

pretty foot here

behind
her

Through placing a
as a

door the

another old her

woman

has the

entered,and

is

basket
the

ground.

The

spinning-wheel, by
the

well

as

girl who

apparentlyat
a

request is drawing the curtain

little aside,receive

only

strong reflected

lightreddened kneelingand

textile

fabric close

by.
young

Lastly the
also cut of But
raw we

girlin
is

the centre, half the window

carding wool, is by
the

off from

the

lightof

on

the

left

large pile light.

a

wool, and
can

consequently illumined
face and her the

only by figure as

the

reflected
more

her distitiguish
to

little

than

thanks silhouette,

the

glare caused
this

by

sunlightdiffused behind real,not

still further the

her.

By
the

the

of representation
alone

which .illusion, optical artist has

to

painted
the background luminous

is light

the capable of producing, the

strengthened

of seeming intensity all these heads

sunlight. Owing
appear

lightfrom by
clear

in chiaroscuro

encircled

contours.

In towards the

the the

Meninas

chief

feature
here

is the
we

of gradual falling-off
a

the

light

background.
with which which

But

have Dutch

triumphant
the

realization of

motive

Spanish

and

contemporary

painters were

occupied, and
the

consisted

in

breaking through dispersion

the dark and

highest
the

luminous

intensity with
to

background by gradual decrease

a

towards

foreground. Only light was

reserved

soften
in

sharp contrast background

made
to

limited

patch

of full pure the

the

of the

former,in

gloomy for^^ound
Thus in this

of the latter work. had

to

painting essays

be

with

various

manners

of simultaneous difficult to
were

lighting, attempts being representedand sunlightthrown

the
beam in
never

made before

paintluminous
the caused

phenomena
Such

be

actuallyrepresented.
same

the direct

off from the

bright objects ; glare by

of visible

light by
on

piercing through transparencies ;

or

uncertain

persion dis-

irradiation ;

rendered

refraction the of wheel

the

of dust particles

suspended
in

the

air;

the

spokes

mei^ed

by rapid
woven

rotation

concentric

circles ;

the

glimmer
contrast

many-coloured
the sunlit

fabrics. With
a

delicate

sense

of

harmony

the

between

432
alcove blue The But which Here
"

Velazquez.
and
in
sun

curtained former
"

workshop
and of the der

is balanced
warm

by
in

the toning effect of the

the

cool

the

red

shadows

of

the

latter.

painter
has
ever

Van

Meer

also introduces

blue

into his luminosities. of the

sun,

who

before
our

more

searchinglystudied
weaves

the action
its divers

here it
seems

before
at

eyes

pictureswith merging
in

radiations?

work

with

its

magic spells, quivering on

coal-black
a

silken tissues,
Castilian
over

fondling a

dazzling white
to

neck,
one

locks,

distinctness givingplastic the dissolving

throwing object,

hazy

weft

another,

substantial in the

imponderable, giving to
an

flatness the roundness

to
a

the real to of life, transforming

we

image, the image

on
"

vision.

Here hovers

feel with

the

that lightis motion, and physicist

**

every

tongue

the

exclamation, Symphony
If
now we we

of colours !

turn

from

this last to the master's work

the
a

first popular

the subject,

Bacchus,
of
a an

find in that

scene

in

the open

depictedin

the

light
in

interior

(p. 142),in

Spinners the triumph of lightand

animated the

colour

vaulted This

space.
is

also

Velazquez' most
motion is in
even

picture ;
could

picture in
forms and

which

the

of representation This

motionless

scarcelybe
is here

carried lines.

farther.
That

impression
of stiff

heightened by
in the Meninas in

the

network

lines parallel

replaced by
and ceiling And filled

circular

as lines,

in the scheme

of the groups,

the arched

round
as

window
a

of the recess,

in the

implements
of

of the

craftswomen.

after the

certain
most

point motion
reel,the

becomes

audible, the picture seems

with

marvellous

concert

sounds,
and

the whiz

of

the

spinningof the

wheel,
Amid

the

creaking
distant
vast

purring cat
the artist's the

the subdued

chatter

ladies in

the

background.
in
manner

the

changes

of

painting during Spinners, we

the

the

thirtyyears
observe
a

interveningbetween
fundamental circular

Bacchus
the

and

the

still

uniformity in
or

of principles

composition.
which
it is

He
easy

everywhere employs
to

forms, with elliptical

the and
once

get any
of

varietyyou light.
In the
open

please in
Bacchus
at circle,

diverse the
as

and aspects of figures

incidences stands the

over

Vulcan
the the

chief

figure

against the
and

converging point of
Breda
two
masses

interest

partly also
of
the

of

the

glances.
the
two

In

develop semicircles,out
each

which
we are

leading actors

advance

towards From with

all

other; in

Spinners
those

have
at

independent circles.
group the

this it is evident
class of realists

how who

who fault,

Velazquez

thai
old

regard as
art

academic

rubbish

traditions of the

schools
The

regardingthe
master's

of the

composition.
is shown

careful

forethought

in

the

treatment

of

the

Dwarfs colours, which

cool and here hues And differs elsewhere
as

and

Jesters.
his usual
manner.

433
For
pure,

altogetherfrom
customary
de

the
charged sur-

pale
tints.

he

substitutes
and

warm, der all

Peter

Hooghe
thick

Jan

van

Meer,

who

depicted similar
cabinet his usual Whether
to
some

are effects,

from distinguished of

nearly

contemporary
also

paintersby
habit here it be

their

use

pigments, Velazquez
to
a

against

appliesa
to
as

rich

impasto
to

thick white

priming.
process,
or a

owing
not

this, or
a

the

powerful drying
that

accident,such
that has uniform network
as

fire,certain it is
in any rather
had
"

the

surface

is in

condition
a

been

noticed
or

other

of his works.

It exhibits

of cracks,

and
up

this is the curious

point

"

of raised

welts,
who
so

if the

priming
it
as

welled
a

through
of

the

cracks.

Mengs,
a

describes much

in
as even

its way

work

unique character,
in Buen

work

not

of the hand it is not

of the will,was mentioned.

At

properlyspeaking its
first it III/s
was

discoverer ;

by

Palomino

afterwards Retiro,

(1789) in the billiard-room

Dwarfs,
Buffoons
and

of Charles

palace.

Jesters.
were a

So
the

early as
of

the sixteenth for

century

the

Italians
of

Spanish
was

taste

author buffoonery. FlOgel,

to

already struck by historyof grotesque

and heated the

humour

opinion that, owing

fact,however,

their extravagant

nation, imagiAs
most

the comic." the The

Spaniards surpassed
may

all
be
^'

European peoples in
due
to

"grotesque
"has

their
Paul

very

earnestness.
"

serious

ecclesiastical
grave

order

"

says
more

Jean

Richter
any

comedians,the
two
was

Spaniards have
one

farces than

and nation,

often

harlequinsin
fettered,the
culture
"

piece."
former

The

shackles

by

which

the

Spanish spirit
mediaeval and than

taste

the for trivial details,

of juxtaposition

modem all this This than famous

the

survivingfar
flashed and the which obsolete serious
were new

longer in
the

Spain
of

elsewhere, conspicuous
Cervantes'
had and in
was

whence produced frictions,

spark
was

comedy.
more

association

of

the

old

never

in the work.

seventeenth Then
were

century,
revived The

was

ushered

in with
taste

forms, the
and

for which elevated

otherwise

already perished.
and and
than religion

burlesque,the
more

vulgar, ecstasy
poetry,
amazed solemn
art to

blasphemy,
now.

never

freely interwoven
for

Paolo

Tiepolo (Report

1563)
the

find

Italian

carnivalesque practicesentering into

were

most

Spanish

religiousfestivals;such
the their antics
monstrous

masquerading, dancing,
andrews.
"

comedies, love-making, and

Autos" and
says

of

merry-

Calderon's
the
sacred

FlOgel,

"

for

intermingling of everythingever

profane almost

exceed

in extravagance

before

imagined
28

in comic

literature."

434
As

Velazquez.
the stale
the
one

jokes
of

of the

graciososwere
to

to indispensable

the

pathetic
sion, proces-

drama, and
so

ridiculous
the

monstrosities Court

every

Corpus
tasks
was

Christi
to

also

inevitable painter's
a

paint

the

royal clowns,
parts of the
the

whose

formed portraits These

traditional embellishment
now

of certain

king's palaces.
take

subjects have

been

promoted

in

Prado whom

Gallery to they

their

place by
been

the side of their former

masters,
have

from

had

anyhow
introduced
a

inseparablein
clowns

life. Several
and

disappeared dwarfs, ; but, includingjesters,

treated
or independently as

buffoons, either
other

in secondary figures

paintings,
the hand
on

there stillremain of
our

about
a

dozen

of this sort original portraits

in

by

master

"

unique
the
in

collection

its way,

the

lowest

step

the

pyramid
Under

of old Leo

Spanish society.
X.
"

golden
mediaeval

age

of

Court

fools such

"

poeticskill
was;

was

still

requiredof them, by
that receive the

as

times. who

By
went

skill fame
on an

acquired
himself

arch-poetCamillo poet'scrown
had
on verses.

Quemo,
the But in.

mounted with
whom

elephant to
"division mediaeval And

Capitol,and
in the

the pope

exchanged impromptu
of labour"

seventeenth

century

long
been

set

The

Court

poets
the

recalled beck of

the

jongleursonly
as

in their

at ready improvizations

royalty.
be
set

the poets have nowhere

"

mentioned
was

in any

this connection, it may

regretted
apart
the

that
as a

in

the Alcazar Pietro the

out-of-the-way place ever proposed

were

Poets'

Corner."
or

Aretino clowns
"

the

whether question,

wit of the
and

learned

jestsof

most

agreeableto

Leo

X, ;

Boileau

complained
Et

that at

Court

Tesprit le plus beau, Tauteur

sort

le

plus poli

N'y parviendrajamais au But with

on

de

I'Angely.*
littlethat did V.
not

all its inventive

this epoch produced activity the wise

depend
with
seem seem

precedents or saying that

are are a

prototypes of

past.
and

Charles
are
are

is credited

the
and and
as

the

Spaniards
French

seem

fools ; the

Italians

wise;
fools.* function

the It of

seem

fools and of spirit The the him.

the

wise; the Germans

to

lay
this

in the
contrast.

times

regard

human

things
to to

importance Charles
names

attached had
him

the part of the clown

consent to

is evident

from

of the artists who dwarf

paint
truanii/o

these

subjects for
described
as

presented to
and Titian.

by Sigmund probably the

1 "

of

Poland, and

quick,well-bred

was clever,

(little painted by clown) Stanislaus,

Louis This
"

XIV. 's buffoon. last

was

also

Carlyle's opinion of the inhabitants

of

these

islands

"

"

mostly

fools."

Translator.

436
The took
ever.

Velazquez.
head, which
lowest

under

under PhilipII. had played first fiddle, thus the the fooldom occasion rdle of

PhilipIII.
than 1599,
on

the At de

place,and
festivities
on

acquired more
of
a

consideration in

the

this clown.

king'smarriage
From
a

Lope
Court

Vega

appeared

in

report
learn

his

for the year

161 1, in the

Royal Library, Berlin, we

from
more

that the

unmarried
open

those grandees,especially which it

was

the

provinces,constantlykept
At these
honour

table,to

were

invited

the

influential courtiers. the

entertainments
"

also considered and

to politic

royal buffoons,
and

because

they are
were

the trumpets

eyes

of

everythingthey see
and Don la Cruz.
an

hear." with

In the Pardo
his

of formerlythe portraits

Bonamic

Antonio

both dog Baylan {Vaillant\ Characteristic for the social

by Pantoja de
are feeling

the letters of

Italian In

pantaloon,
the he
year
was

unique

document Ger6nimo

preserved
Fonati

in

the

archives

of
to

Mantua.

1604, Don

of that

placewent
five hundred

where Valladolid,

well received
gave he
"

by
a

the Court
costume

grandees, and
valued
wrote at

presented to
crowns.

the

king,who Being
a

with forth-

him
very

gambler,
Modena: have
be pay

got
I have

on

well, and
measured

to

Vincenzo

Gonzaga,
my

Duke

of

here off the

swords of

with
from

knights of

and profession,

carried

palm
At

infamy

all of them.

But

I fear it will of cash

envoy
to

impossibleto get
me

the better of the his

for cavaliers,

instead

they give
of

with

gravity."
him
to

departurefrom Spanish Court,

of

Spain, the Modenese

"will in
a

mended recom-

the
on

duke, hinting that Fonati

the

be

able

him time

full information he

where

short

space

all ex|:)erienced But the

zany and

kinds

good
so

and

adverse
as

fortune."

never

stood

high

under
of

Philip IV., who kings

his
crowns a

was more

at

once

moody
the
a

frivolous.
that

The

boredom
"

may

become

formidable
and

than
peace

of ordinary mortals
world

for
one

ministers, retainers, subjects,

of

of the who

itself. his fool

a

In

plays

Calderon

duces introtime

king
in
a

offers

hundred
if he
was

for every whole month

he is

succeeds
to

making
Erasmus

him

laugh, and
out.
us nor

fails for
one

he

have
whom

tooth

knocked

PhilipIV.
in

of those great personages, that without their These

of

tells
eat

his

Praise
nor

of Folly
away
a

fools fools and

At

they
are

can

neither

drink

while
in

singlehour.

inseparablefrom
audiences

him, appearing
his

the

theatre, at
access

festivities,

public
the

by

side, and
of the Duke

having

free

everywhere.
were

in bull-baiting
near

honour

of Modena

(1638) they
the

seated

the

royal coupleat kings.

Gomez,
at
an

the foot of the

throne, wearing
became
to

costume

of ancient Later

Castilian Emanuel
persons

ayuda

de

cdmara,
had
been

one

of the most

fluential in-

Court. Philip's

He

and and Florence, Italy

Dwarfs
was
"

and

Jesters.
a

437

even

as regarded by diplomatists
"

although his long-headed politician,

of voice
at

speciality was
this He

an

amusing, at
he
even

times the
to

daring,imitation

and the

gesture.
cost

With

mimicry
in

relieved ventured

king'smelancholy, even
take off the He

of

royaltyitself.
the service
the

papal nunzio
suitors,and
he

when

ing conductin

the

palacechapel. gossip.
company
and when

reported to Philipthe doings

nobles ambassadors in could
he At
an
"

capitaland
the the

the Court of his

The
at

sought
word with
at

favour

table, as

easily put
be in

rightmoment,
more

this

happened
him down

expected to
audience

paid
1 661

something
envoy
at

substantial Vieri

than

banquets.

the Tuscan But the

even

Castiglione paid
there
were

six

pieces of
which

eight."

that

time

not

lacking voices
custom.

anticipated

judgment
for

of

on posterity on a

this strange

In the Dreams^ Quevedo

coming suddenly
reserved

cold

place in
are

the

lower

regions is
Then

told that this is their

the
the

fools, who

kept epoch
Even of
a

here

together lest
XIV.,

frostyjokes
for such before the
was

might temper
close of the

glow

of

the the

fiery furnace.
of Louis

the died

taste out

lessened diversions,

during

eighteenth century.
after the introduction of

in Rome free Press.

the wit of
The

Pasquino

played
The

out

Court

fools in fact

represented freedom
works
of
our

speech in

its most

degraded

form.
are subjects

master

dealingwith

this class of

separated
of the

by long

intervals of time, the whole of the fifth decade.

as

series

ranging
a

from

the

middle

third to the end

a

As, however,
of

biography is not
to

exactly
be

table, and chronological

here be

most

them

belong

the

last

period,they
more

may

treated conveniently

as together,especially

there

may

system
we

in this branch the

than of portraiture and

appears

on

the

surface.

For

have

not

dry, the moody,

the

irritable clown

; sinister and

cheerful
mood

distraction ; the soft of

puerilebrain
and

of the

simpleton and
malicious

the marastic

the pensive misanthropist; the eccentricity;

imp

of mischief;

the lastly, These been

laughing
were pictures

the found The

even
'*

weeping philosopher?
in

three

different

places,for
de

which

they

had

expressly painted.
and

truhanes, hombres
fine
"

clowns, placer(jesters,
were

of normal buffoons), Retiro. The dwarfs

physical type,
were

destined their With

for Buen

and
the

naturals

placed with
the Alcazar. whose

predecessorson
these
are

the staircase
two
was

leadingto

north

of gallery de

ciated asso-

ragamufHns

in the from

Torre

la Parada

adornment pictorial

almost
At

taken entirely

antiquesubjects. dogs, were

often introduced into the with

that time

dwarfs,like

favourite

of their masters. portraits the and dwarf in

Van
as

Dyck painted Queen

in the in portraits the
the

Henrietta

Maria

Jeffrey Hudson,
In

Northbrook Marchioness

Gallery
Maria

Petworth.

Rubens'

fine

picture of

438
Grimaldi
an

Velazquez.
in dwarf The

Kingston Lacy,
whose
enormous

the

dainty Genoese
head

lady
with
the
now

is

associated

with

old

is

stamped
for Even

brutal,malevolent figure
women

features.
a

artist used

the

same

model

monstrous

of

Levite
be
seen

in the Adulteress in the

these

before of

Christ.

handsome friends.
in

like

to

company

their ill-favoured

But the

Velazquez
and

grouped
the

monsters

only
Balthasar.

with

as royal children^

Meninas

of portrait

Don

Cristdbal de Palomino tells

us

Pentia,
saw

(p. 335)
of Charles each.

that

he

in

Buen

Retiro

of portraits The

as PhilipIV/s buffoons,or sabandi/as,

they were

also called. their names,

inventory
a

prepared at
but

the death

II. also

gives
el

with

brief

suf!icient
X

of description

They comprised three good-sized pictures

de

(2J

J ells)named
or name (real seem

respectivelyPablillos Barbarossa, in pendants.

were a

Valladolid,with
Don

the of

golilla ; Pemia,
Austria last two
to

Turkish

dress ; and
armour on

Juan

unknown), with pieces of

be

the

ground.

The

Besides

these
the

there

three
hat

smaller

works

(i^

varas

square):
manner; in In
one

Cardenas,

with bull-fighter,

in hand, in

Velazquez' first
a

Ochoa, Court
hand
and
a

doorkeeper;
of the three

and

or Calaba^as,

with Calabacillas, all

note

in portrait

the other.

These

last have
at at

disappeared.
better

the

inventoryeach
All the
were

is portraits

valued

doubloons. twenty-five that

time

particulars regarding these

more

persons, many

known

in

and capital,

courted

than

distinguished generalsand authors,

In the

naturallysoon
the Bourbon
in the

forgottenafter dynasty, Don

their death.
is called

inventory made
Barbarossa the
to

under
a

Juan

the Artillero and

Moor, while
a

of 1845 catalogue
actor.

Pablillos is
to

promoted
the
at

position
between
was

of

famous

contemporary

Thanks

such

new-fangled titles these

contrast

figureslost their comic

their
course

element, which
their

lay partly in genuine

outward known

form
to

and

real

avocation, which
are

the

time

of
are

everybody. Spain.

All three

racial types, which

met frequently

in

They belonged to
above

the class of lower

"

Court

menials, for instance,not being

were

asking for

"

tips

at

audiences. and

They
all

always

available

at

the
in

shortest notice for diversions

the Carnival

revelries of the lowest

were

category.

Thus,

of the year
to

1636, they
them 9,
more

and brought together

pliedwith
fun
and

drink "in

order

make

and apt for jesting

being

made

of"

{Florentine Despatch,Feb. they

are

1636).

Athough formallyinstalled
their

paid,
and

not

in always,figured''in character,"

professional garb

Pernia. gestures ; hence

in
as

439

after times

it became
Don

possible
etc., the

to

take which love

the seriously

nicknames,
known
to
even

such

Barbarossa,
walks

Juan,
was

by

they

were

their

contemporaries.
those

Such
in

national later

of personal
no

dignity
attached. condemned his pace

in dishonourable

that life,

generationssaw
which

between incongruity The

grand

names

and

the

to portraits

they are
was

trait is well illustrated

by

the

story of the
when
:
*'

Spaniard who
I
not

to be

floggedthrough the street,but who,

the for
sooner a

urged to quicken
am

in order honour time

to

get

it over,
more

replied
or

going

to

forgetmy
At the

hundred

lashes

less."
was

the most

noted

of these personages double

pay

Crist6bal de Pernia what

he
once

(Prado,No.
from banished
as

1093),who
But Seville

received he
was a

and

extorted
in

liked

the courtiers.
to

always spendthrift,
he

debt,and
anger

got

(1634) because
The the

had

roused in

the

of

Olivares,

afterwards olives
was

appeared.
told in
"

king, when
caterer
nor

hunting
there

Balsain, having asked

none

for

by

that

were

whereupon
of puns

Pernia
was

struck

neither olives
man

Olivares."

And

this mildest

enough
Don

for the great

to

lose his temper. his fortieth year,

was a man

here Crist6bal, firm

represented in

of

and good figure,

stout, carriage,

with

rolling eyes,
a

forehead

prominent
These also to Pernia in the
but

suited for the part of below, mustachio,altogether buffoons had

not

swashbuckler.

only
of had

to

take

off

prominent livingpersons,
From that
this

represent
received

noted the
name

historical

characters.

circumstance

Barbarossa,
the scourge

Algerine corsair, who Spanish seaboard,

In and

previouscentury
his the in portrait Mohammedan On has

been
was

of the all.

whose

physicalappearance
turban

still familiar to
and

the old

palace was
great
men

hung
of

brocaded

with robe, jointly

other

world. he

festive occasions

appeared
"

in

Turkish and
At

costume,
white the

as

the of

artist

here

partly represented him

with the red himself in

red

coat

cloak

Moorish

cut, but
he

white-edged fool's
a

cap.

in 1633, bull-fight scimitar followed entered

presented
but

large

turban

with

curved with
a

by
the

halbert-bearers.
arena;

Having
view

saluted after
at

the

king
turn

grimace
Not all
on

he

the

first beast decided

eyeing
him

the

strange
tail. and

apparition from
so

several

points of
at

last to

the

second,

who,

infuriated he

the red here

cloth, took

horse

his horns.

Possibly
his left in
eye

is

figured as
He

toreador^ although

the

long
sword

coat
over as

is

scarcelysuited

for the part.

has

duly

thrown

the folded holds the

cloak

shoulder,thus
an

leaving the
attack.
The

body

free,and

if his

expectationof
appears
to

scabbard
a

is in his left hand, and

be

followingthe

bull with

glance. threatening

440
The like picture,
as

Velazquez.
the
was

next, is but for such

a

perhaps intentionally partlyfinished,

"

good enough
The The cloak work has

it

subject,the
with
extreme

artist may
care,
as

have
if for

thought
a

alone

has
been

been
etched

modelled

study.

by Goya.

Don Over

Juan
corsair

de

Austria. the

against the Barbary

Austria

hangs
known

Spanish "sea-dog,"
this
nom

Don

Juan

de

(Prado, 1094), now

only by

de guerre.

DON

JUAN

DE

AUSTRIA.

That

this humourist

should

have

received too,

the

name

of the the

:hero'of;^Lepanto,
on

Philip'sgreat-uncle" a

name,

conferred

by

king

his

most

Don

Juan.
de
even

441

promising

natural
were

son

(Don Juan
such

Austria

II.)
"

shows

how

diced unprejuthe

people by Ling^e
Fernando Here in

in

matters,
In
more

where
recent

the times
name

great departed of
the work of the
as

royalfamily were
Cortez.
we

concerned. has

engraved
hero

1824,
have

circulated

under

the

Mexican

tall

haggard figure,bowed
small toothless
Thus
one

with

the

burden

of

some

sixty years by bushy

thin knees bone and

"

hungry looking face,the eyebrows,

outwards.
of

deepset eyes
oneself who those
moulded

overshadowed

black
bent

mouth

covered

by scrubby mustachio,
the captains, the riffraff

to pictures

sinew

vigorous Castilian phalanxes of

manhood,
that

of of

societyinto
sound

the iron

famous keen

Spanish infantry. Men

sense

physique, inexhaustible
who frugal, cruel,fatalistic,

humour,
after

of

honour,
years,
as

worthy, trust-

their sacrificing often not

to

best
much

their

strengthand
and the

means

in the

were king'sservice,

so

paid;
about

after

returning from
of with the

the

wars

they
of and

were

be

seen

hanging

antechamber down

secretary
age,

war,

pitiful, grim-looking figures,

:

broken

wounds,

hunger
servirte
en

Viejoy enfermo
en

de

en

guerra,

fuego indiano^ y
uncertain
to

' flamenco frio.

Here of his

the

enquiring

glance
more

seems

awaiting
with

the

appearance

Excellence, only
is the

be

once

consoled

the

remark

that

honour But

Spaniard'sreward. knight
of
doleful
vest

this
"

mien and and

here appears

in

the

rich

dress
faced

of

royal prince
red
at

black

velvet

cloak,the

latter lined

and

with

slashed silk, the knees and

crimson
on

sleeves

hose, pink stockingswith

hat with
red

large bows
band
and

the

shoes, exceedingly broad

left hand tassel.
strewn rests
on

huge
a on

feather. stick marble

The with

bony
red
are

the

the right holds sword-hilt,

stuck
war an :

long
the

In the

the

girdleis

iron

key,

and

floor

implements
marine with
at

of

helmet, musket,

bomb,

cannon-ball, cuirass.
the open

Through
as fight,

window

is

seen

view his

with
son

raging Juan,
in

sea-

in

Titian's

of Philip II. portrait

Ferdinand.
Don

It who

represents the grand vizier's Capitana sunk

has
now

Lepanto by
"

hastily thrown
receive the

aside

his

"

bruised

arms

in

order

festive the

attire to other

felicitations of

the

Farnese,

the

Colonna,

and

captains.
and
"

"Old

feeble

from

serving thee

in

war,

amid

the

Indian

heats

and

frosts

of

Flanders."

Lope.

442

Velazquez.

Pablillos
The

dc
de

Valladolid, Valladolid

third
dress

pantaloon,Pablillos
broken

(Prado,1092) appears
alone, on
of the
a

in

Court

painted in black, white only by

and
the

brown

blank perfectly This

is

ground light-grey

shadow

legs.

the

PABLILLOS

DE

VALLADOLID.

of solitaryportrait

the class He

in which
to

the

gesture
to

of the

the

mime

cannot

possiblybe
where he and
a

mistaken.
stands

seems

have

stept
cloak

front of the

stage,
his is

with
over

outspreadlegs, the
his left shoulder.
as

wrapped tightround half-open right

the hand

body

thrown

His

extended

little downwards,

if he

were

to retailing

public some

444
of

Velazquez.
Hotspur.
more

In the than

gesture,
moral
at

in

the

air,there blustering
vision.
to

seems even a

to

lurk

something
a

obliquityof
least

One have

might
seen

suspect
bedlamite

touch

of

insanity ;
motionless
a

remember

standing thus
visitors with Was the
and

in

the

middle

of

his cell,and

the annihilating

similar

glance of trample on
name

ineflfable scorn.
that

there

possiblya captain at
to
a

time

who

could
in

so

offend

against
combat,
fashion?

as proprieties

flag captured
to

honourable

then what

allow
we

his

to

be

perpetuated in
do,
we

this
at

unseemly
times

But
a

cannot

bring
an

ourselves

may

by

nod

or

wink

get done
the canvas,

by
we

obsequious instrument
in the

To

judge
with

of the character
those

from
clowns award

should

class unconditionally

him

waggish
even

here

figured,and
"

language
has for

of

Don

Gerdnimo him
"

Fonati
case

him

the

palm
*'

of

let infamy." Accordingly, he

in any He

here

bide, in the
says

company for

which
a

himself
an

chosen. comic

might serve,"
There is
is

H.

Wallis,
more
*

model
in

antique
in

mask.

nothing
Yet

humorous

Jan Steen, and

it portraiture

certainly

unique."
he appears in the Tuscan of after all to be
a

real

captain ;
del

for in the Uffizi Portrait is

a

Gallery (now
head

galleryleadingto Marquis
the Alexander of forces

the

No. 252) there Pitti,

similar Prince
war on

of

that

Borro, lieutenant
Ferdinand

of

Matteo,

commander

Grand the

Duke

II. in the embroidered

againstPope
the red-andbeen Borro

Urban

VIII.,whose

arms,

golden bees,are
the

white

flag in
of

the Berlin

picture. Hence
of the

must portrait

have
which della

painted soon
in the face

after that invasion

Papal

States

(1643) in
of Citt^

superior forces
We

captured
for

the towns

pieve and
Barberini

Castigliondel lago.
arms were on

read,
.blank

instance,that in Pieve
shield

the

torn

down, the
part of

papal
Duke

being
had
no

left intact intention

by
of

way

of

protest

the

the Grand

that he

that retaining

place. regarding Borro

Venetian service he be
in
at

Nor

is

our

information he
entered up
a

variance

with envoy
as a

this

picture.

Later, when
in

the

(1652) the
him that

Basadonna

Madrid

drew

report in which
it cannot

described
denied his

"very great

soldier and
and

captain, although humour,

not

in

his extravagant
in hair-splitting

versatile

and

sometimes

excessive

affairs he The
to
were

does

belie the Tuscan is very light It falls on

nationality."
and p"eculiar, may

treatment

of the

perhaps give a below,as

the upper if the

clue

the

of origin

the work. the

the left side from

a an

figure
a

standing before

of footlights
to

stage,

or

on

steps of

staircase, coming forward

'

receive

ovation. 8, 1877.

The

luminositysweeps

Athenaeum,

December

BoRRO.
over

445

the
nose.

fullworn

face, cheeks

and

neck, kindlinga
Grand Duke

bright glow
his
on

on

the

snub

Is this

practical joke played by

A

Ferdinand elsewhere

on

corpulent
decorative Rubens
over

condottiere?

similar

method

of

occurs lighting

figuresfor
in the the

triumphal arches, as, for

The
seems as

in those instance, like with it

as an

sketched
at

by

Belvedere.

picturelooks
if suffused makes

impromptu

revelries

and victory,

the fumes
a

of the feast ; hence

its

which stupendous vividness,

quite a portrait
its contrast
and

peculiarwork.
the

The
on one

bluntness startling the

canvas

with
more

which

this

cynical personalityis portrayed

with

is rendered
to meet

piquant by
such
a

dignity

expects
This

in

of portraits
one

size

festive character. in
a

strange pictureis

of those
pass

which, seen
a

such reproduction in the

presence

as

photograph,might
doubts original from his

doubtless arise which

for

Velazquez ; chronology
from its
the

but

of

the

end

in absolute

incredulity.
of the
we

But militates
to

apart

internal

evidence,the
But

work should

also have

against
it to
a

authorship. Judging early period.

met

style
middle

refer

very have

before

of

the century

Velazquez

could

Borro

only during
war.
"

his

first Italian

journey,

consequently before Later, however,

received
maestre

the this

Barberini
"

free

lance

entered

the

Spanish service, was appointed

he
was so a

in de

Madrid

"with
and

^^^ extraordinarycourtesy" (1649),

a

campo
in the he

general of

Spanish
that in

fleet. the

Next
"

year

successful wonder." of

Catalonian

campaign
the

capital Spanish
But
of

it seemed in the

like
summer

But

with quarrelled

commander-in-chief,
to quitthe

and

1651

returned

to Madrid, determined

service. after the laurels

Velazquez
earned deeds in the in the

had

just

then

returned
the

from

Italy.
would

Catalonian

campaign
with the

reminiscences

Borro's

doughty
out

petty warfare
is it to be

Barberini
a

surely seem painterwould

banner

of

place.
from

And
an

supposed

that

Spanish
the And

Court

have

obliged given
work before

Italian soldier of
he
a

fortune
many
own

by

the insulting
"

of
pope

family
had the

which him
be

had

received

favours?

arms

of
can

who

residence

in his
the
a

palace?
manner as

how
our

the

style of
the

reconciled* with executed such

later

of

master, who
X. ?

year

had

portrait

that of Innocent

The The of
and

Dwarfs. dwarfs
had

custom

Court entertaining had

were

come

from
times

the

East
to

to

Imperial Rome,
Revolution.

persisted throughout mediaeval brought

from every
corner

down

the

They

of

Europe,

dressed

446
in

Vfxazquez.
costly garments
a

and

adorned

with

gold

and

jewellery. Vigenerus
at

describes
were

feast
on

given
by

by Cardinal

Vitelli in

Rome,
and

which

the

guests

waited

forty-four ill-favoured
the
at

misshapen pigmies.
he

Buckingham
dwarf size
as a

presented

queen that

with

pie, in which
i8

had

put
His

the

Hudson, JeflFrey

time is
now

measuring only
in

inches.

lifehim

portrait by Mytens,
in

which

Hampton
blue
eyes

Court, represents
and
a

fair little fellow,with

a

large

animated and

long

upper

lip,

arrayed
These fondled flatters
same

cavalier's

scarlet coat

mantle, in

soft green

wooded

landscape by Janssens.
creatures
were

often

inseparablefrom dogs.
As absolute

their the

princely masters,
of
the

and
man

treated

just

like faithful

company
and

dog
the

by
the the

the

of feeling
man

dependence
more

devotion,in
of his
to

way

normal

becomes
a

conscious

size and cratic aristo-

strength in

presence

of

dwarf, and
times.

this

corresponds

the

sentiment

prevalentin

those

They appreciatedspecimens
served
the

of

and exceptionalugliness,

the

Calibans refined
than is in

purpose noble

of foils when and

brought
in the for

into association

with

the

figuresof
this

youths
of

maidens.

Absolute Prado

ugliness is
not
one

rarer

supposed, and
respect

all the Claus

clowns

could

compare

with

Narr,

instance, in
of the the

the

Augsburg
of
sullen

Gallery
old

(No. 66s).
there Lastly,
on a

is the

comic
a

contrast,

as

head

man

child's

body;

of

child's
of such

figurewith
the

voice,the

passions and
still

fancies No

of age,

the humour five of

Prado"

harmless

malice. hand

less than

beings by
to

of. Velazquez

are

preserved in the

three

two apparently rational,

idiots. Originally
Sanchez Coello their

they accompanied
and
names

those

belonging

Philip II. painted by

the
"

hung
are

on

the

steps

leading to
in the

northern

gallery. Although
de late Morra
as

entered partly

inventory (in
Buen several

Sebastian Retiro
so

(since 1643),
"

El

Primo,

el Bufon Velazquillo

1794)
names.

it is The

no

longer
was

possibleto
in

the identify
at

portraits by
model
a

these

lot

valued One

1700

forty doubloons.
after the of Charles V.'s red dwarf

(Prado,1097) is painted
preparation for
pug
some
more seems

by
as

Antonio
if in

Moro, full-length standing with

face
of

dog

held That

by

spring,
with

royal hunting-party.
a

prototype

the

dry old
his

was

cold-blooded

malevolent
not

disposition,
and heated

whereas

successor

rather the

impetuous,
and

naturallyevil, but against big people

own

irascible, judging
colour. and

at
a

least
constant

from

threateningrollingeyes
of fume flutter for his

He

is in

state

especially againsttheir

fine aristocratic noses,

is

extremely

Sebastian

de

Morra.
Court of Louis

447

small, like
Duke of

that of his

colleagueat
The
contrast

the

XIV.,

the the

famous

Roquelaure.
the

is very the

comical

between

stormy
face and

little fellow and

quiet dignityof
in

huge
his

black

dog

with white

throat,resembling the hound

His dressed He
wears

the

Stag-hunt. grand costume, parody

he holds of
some

haughty
as a a

air

seems

inspired by lord,probably
with red

for

he

is

great Flemish

the

notability. gold cuflfs,

long by

fair

wig

bows, wide

lace collar

and

embroidered
hat

doublet

and

hose ; in his

righthand
the

his broad-brimmed

swamped
This in

ostrich feathers. of painted portrait

best
manner.

is the
our

best

executed series,

in

golden
Antonio

tone

master's

The the

catalogue calls
type
there
has
occurs

him

Don
more a

the
In

Englishman, though
the so-called Painters

to

others
the

seemed
a

Spanish.
similar

in

Louvre

with figure

head

(size 1-42

1*07

metre).
Sebastian de Morra. tribe
assumes
an a

The

sinister

of disposition

the

pigmy
"

air of defiant christened

malevolence

in the

black

"

pessimist seated, and

at

venture

SEBASTIAN

DE

MORRA.

Sebastian

de

Morra

(Prado,1096)
"

square,
"

bearded

head, of
looks

brownish Seen

complexion,ox-browed, with pronounced

from the

bump

of destructiveness."
and

front

the

figure seems

very

broad,

he

straightout

448
his legs forward stretching
turned in

Velazquez.
lines, the parallel
the

hands

also here look

but parallel,

inwards

and

restingon
volume
a

thighs. Everything
venture to

is cubic
at

and you

rectangular.You
will be could
received

feel that, if you with

a

stand

and An
more

him

of abusive

language.
apostate with

inquisitorial judge terribly piercing

and

scarcely

overawe

wealthy Jewish

glance.
His
wide the

costume,

however, is variegated
"

red

gold-embroideredcloak
From the of style the Originally frame

lace collar

over

green

doublet
to

and

hose.

execution closed
a

work
in

should form in

be

referred
a

the fifth decade.

so

round

of
his

crescent,
An in

that the indifferent

figure seemed
old copy
was x

crouching like formerly in

0*81

watch-dog
Salamanca

house.

the

Gallery; etched

ro6 1798 by Goya (size Pn'mo.

at

metre).

El
At the time when

Velazquez was painted

the
a

Fraga (1644), engaged

El

on

portrait
the

of

the

king, he
records
has

also

dwarf dwarf
a

Primo.

An
name

explorer amongst just about

it
so

musty
same

discovered
a

that

bearing this only one

its
of

time also received

our

present of

black velvet

dress, and
the

happens
in

that

little man

(Frado, 1095)
the

is the

series dressed

black. This

pigmy accompanied
the

Court

on

yearly journeys to Saragossa

was

during
musket

Catalonian
took

revolt. with
him

Olivares, who
in his

yearly growing
at

more

gloomy, often
a

him

carriage ;
the

the review

in Molina which

went

off, sending a bullet into

and
a

from a splinter carriage,

wounded On
an a

his secretary Carnero

El Primo.

slender

which figure,

smart

black Court

dress suits well,is left visible by the

one

planted jauntily

old

serious

head, with
On of his

very

expansive brow,
a

worn

slouch-hat.

thigh rests
Disturbed with he
on

huge

folio volume,

page

of which measured

he is in the act

turning over, angrily up

researches

his diminutive

proportionsbeing by
the noise of for the unread

by
The

the size of the tome.

he

in his studies
a

somebody profane.

passingby
results lies

looks of his the

look

of
to

scorn

seems

be
an

recordingin
ink-bottle.

the notebook

which He
a

on

ground,and
in the centre

which

stands

is seated

of the canvas,
of

the

background being formed

may

by
take

mountain folio to

landscape like
be
a

those

the

equestrianportraits.We
and
as

the

work, genealogical

the

king

calls him Or those

Cousin is it
waste
a

(elprimo)f he
**

is doubtless

looking up
he seeks

the

family connection.
to

doomsday-book," from
in
the

which

to establish his claim

lands

rear? there

Possibly amongst
may have been

the

descendants had

of

the

heroes
to

of

the re-conquest

hidalgoswho

shrunk

these

El
diminutive those

Primo.
which bodies the still bore of such
a

449

proportions ; anyhow
were

heads the

familylikeness
mortals.

to

matamoros

found himself

on we

puny

In

the

glance
On which

of

El

Primo

detect

pride
of

of the

oldest

in nobility

the land. the

landscapeare
to

stillvisible traces
taken

vertical irregular of trees

on

brown

lines,
a

appear

have

been

for the

stumps

the

folds of

EL

PRIMO.

curtain which

paintedover.
were

But
to

they are
an

nothing more
earlier

than strokes of the brush, the wards landscape afterthese

intended

efface
a

background ;
failed to
at

broadlyappliedwith
strokes.
an are

brush bristly
to have

completelyconceal
intended
as

The

background
the

seems

first been

to

represent

for which interior,

more

books
x

and

writing materials

well

as

the shadows

suited

107 (size

0*82

metre).
and

Idiots

Imbeciles.
in the last

We Coria
sense

comfe

to lastly

the two El

taken portraits Vallecas whom

decade. El Bobo
the

de

(No. 1099)
of the
term.
are

and

Nifto de
in beings,

(No.

1098),idiots in
reaches
elements
to

strict

Such

humanity
the comic
are even as

its lowest attached

stage
to

of debasement,

also included

amongst
creatures

the

royalpalace.
for ludicrous talents of observed
a

These

half-witted
and

often known

betray a fancy
have
of

gestures
onesided

notions, and order,

occasionally display certain

of
our

technical

many

readers

may
romance

in

where Alpine villages

cretins abound.

In

Lope's

29

450
The

Velazquez.
Pilgrim an
a

Italian count
crowns

appears
a

at

the

madhouse
he
wants

at

Valencia, and
to

offers

hundred

for

simpleton,whom comprehend

keep

for his

amusement

At

present

we

find it difficultto
was

state

of social intellectual could We

we even

and

aesthetic

which culture,

capable of enduring, and

of such half-human At the of pity. feeling what
we now was

take
on

pleasurein, the dailyassociation

them
not

beings.
same

look

rather with

horror

and

time

should

always judge by
former of
was

moral

standards that

based call

only on
That

the rudeness is

of

generations ;
a

much

humanity
mental

merely
bedlam

an

outcome

morbid

sentiment the

peculiarto

the age. which

very

in
was

Valencia
treated

perhaps

first institution in
or even

disease The
"

in

humane comparatively

rational

manner. even

choly melan-

mad,"
taken That Bernardo Brother
about the

for instance, were

and

not

but kept in confinement,

occasionally by

to entertainments

indulgedwith
of

wine
been

and

other
in

"

treats."
the

dels foils) had asylum {hospital

founded
sermon

year

1409

Andreu,
Gilaberto

in consequence

Lenten of the

preached by
imbeciles
his

the worthy

Jofre on
to

behalf

numerous

wandering
Los locos de

city. According
for
a

in Lope's description

play of
was

it passed Valencia,

wonder
be

of

the
to

world,
remark

and

visited

by

many
are

strangers.
as rare

And

here
as

it may

well

that

furious

maniacs

in

Spain

they are
is
a

numerous,

for

in instance,

France. its vacant

The The

Bobo

of Coria

of fearful picture

and idiotcy

laughter.
he

figureis
his both

cowering on
and

the ground, the left leg

on

restingon

the cloak ; the

right knee
with
on

is raised

it rests

the

open

left hand, which

digs
face

right
forward

fist to

express cup
a

his
in

at jubilation

being painted; gourds leering,grinning

It
seems

sides, an

earthen
surmounts

front.

The

stretched
even

wide

lace collar.

that he

cannot

dress

himself. with this excitable

case nervous

In contrast

being

is the

heavy, dull
had

Nino
to

of the

a Vallecas, evidently on inscription

of

hydrocephalus from
B. of unusual south-east
and

birth.

According
come

the

engraving by

Vazquez (1792) he
size.

into the

world

alreadyfurnished
is
a

with teeth,and miles north

Vallecas enclosed

placelyingfour
on

of Madrid

in

deep valley
are

by
NiAo

mountains

the

north-west

; and

such

the

features ordinaryphysical The overcoat,

burden

of districts in
a

to subject

cretinism.
vest

dressed (youth),
at
on a

yellow flannel

and

long
of the of

green

is seated that presses

emblem gloomy, overhanging cliff, his brain, preventing the sunk

on

heavy
and

free

flow
are

connected

thoughts.

The

head

is

his

neck;

the

eyes

half-closed

if overcome as expressionless,

by

drowsiness

; the

is drawn upper-lip

upwards,

452
eye conceals

Velazquez.
the

facultyof
wisdom iESOPVS.

observation
to

the

folio is the

Book

of

Fables stands

in which inscribed This

hoary
in

stoops

the level of children ; for above

the word
was

Spain

familiar

name,

for did

not

even

Sancho

Panza

ESOP.

know

that in had
was

the

days

of

"

Guisopete
But

"

the animals

could

talk ?

Perhaps
uncleanli-

Velazquez
ness a

read

in Anosto

that for

astounding uglinessand
he

Esop

unrivalled.

why

has
no

hunchback, seeing that there was Perhaps the grey hair cropped short

also that Esop was forgotten for deformity? lack of models of beard
are

and

the absence

intended

Menippus.
to

453
the ancients

indicate

the

status

of

the

slave

amongst

(size179

o*94

metre). Menippus,

bearded

man

of like age
on a

stands which the

in is
owner some

den, whose
on

only

utensil is

water-jug standing perhaps

On
possess
a

board

poised
is

two

rounded

stones,

feat in statics of which other hand

at

proud.
may

the
some

his feet lie

"

objects which
on

possibly parchtnent
the

intrinsic worth volume

on

an

open

folio

the

a left,

roll of

with

an

octavo

the

right. Spanish
on

With black the

in

the

of self-respect
over

the
;

mendicant
is
a

he

has

thrown felt

cloak

his shoulders
is turned
to

his from

head the

soft slouched He
a

hat,
is

brim

of which

back

forehead. front with

stands

nearly

turned profile,

the

right,but red-eyed
and
an on

looking
dealer in he

glance

which

half

cynicaland
is

half cringing,perhaps insinuating,

some

also

somewhat

temptuous. con-

Is he who

curios has

watching
has

the licentiate off

a a

leaving the shop

"

whom

just palmed

spurious
canon's

imperialcoin ?
offer for But
some

or rare

perhaps

amateur

who himself,

declined

block-book volumes which he

?
at

no

These

his

feet

must

be he
we a

compendiums
reads,
read
as

of

the read

scholastic bad So

wisdom

despises,but gall;
has

which

Swift

books,to
we

nourish that

his satirical

for above
across

MOENIPPVS. of Lucian,

conclude

Velazquez

come

translation
of

that classical forerunner

of Cervantes.

This

author cynical in Charon's the

the

Dialogues
penury
on

of
has

the

Dead,

the

only laughing passenger

the

boat, whose
lived

left him

without

obolus

to

pay

fare, who
of
one

beans heroes

this despite Pythagoras' injunction,^ doubtless him in Both haunted

our

bold
and

scoffer
was

gods

and

master's

memory,

day recognizedby
of Madrid.
de

some
**

second-hand

dealer
"

amongst

the
the

roughs
Torre 1703.

philosophers
mentioned
to

were

formerly in inventory figuresof

been

la Parada, where
were

they hung

are

in

the the

for

Probably they
and Rubens of Democritus from the
two

suggested
in

the artist
same

by

Heraclitus

which in

the ^or
one

place,having
also the
an

brought by
old contrast

Mantua

1603.
In the between and
'

these

representedthe
over,
see

pessimist
out

buffoons,
same

weeping
way
we

other

laughing
contrast

at, the

follyof mankind.
beans in the

here

intentional

carried consistently
his

and negligence dignity (lookingfor ; appetite

sack)

indigestion;short
Although
to
a

bristlyand

long

soft wavy
as

hair;
well
as

the

restlessly

"vegetarian" Pythagoras proscribedbeans

sprung from the
same

flesh,supposing
"

them

have

corrupt

matter

as

mortals

themselves.

^Trans.

454

Velazquez.
of the

glittering eye
Both

importunatescoffer
hooked and
the

and

the deadened flattened their

nose.

look of the

pensive

the speculator; however

long

broad

have

evidentlypushed

in inquiries

the

philosophy

MENIPPUS.

of

the

absolute reduced
to

equally forward,
to
a

whole

volumes The south

of Stoic alone In

paradoxes
to

have the
was

here been

issue. practical

gives birth
times

gymnosophist,
called

the and

philosophictatterdemalion. Menippus
; later Dervish and

former

he

Diogenes

Mendicant

Friar.

The
The
and modern

Ugly
of

in

Art.
and

455
Cervantes appear
too

countrymen

Quevedo

dry
its

patheticto
as

appreciatethis humour
as

of their
"

which forefathers,

had

profound
remarked in
an

well

its extravagant

aspect.

We

lack the
of

element," jocular
serious." Thus
posed sup-

Jean

Paul

Richter, "simply through lack

the

article contributed
to

by

Madrid

writer to LArt^

these
"

figuresare
it is

represent
this way
up
on

"

the
the

moral

uglinessof the painter

of

cynic;

and

explained
to

that

"

in

aristocratic
of

Philip IV/s
Seneca

elegant Court,
wished (!), be

brought
and the

in the

maxims
unclean

Plato and Aristotle, condemned

revenged
darted

the

philosophy that fang

writer
at

luxury,despisedArt,
the mark

its envenomed But moral

danced

the

noble

magnificenceof
nearer

great of
had
'*

earth." his who

this

would

have
the
a

been

the

he

sought
Court State
"

ugliness behind
attendance
on

elegant figuresof
who from

that

brilliant the

and Juanillo,

of pillars

became
of

of pillars these
a

unmentionable fine

places. specimens
of

Both

are portraits

Velazquez'last
of the
old

manner,

paintedwith
brown

broad

brush.

The

shimmering

surface

yellow and

complexions is especially reproduced with

The

unapproachable truth.

Ugly master's

in

Art. life-work this

In

general survey
and

of

our

galleryof buffoons,
side

dwarfs, idiots
any
not

ragamuffins belongs of
the

to

the

reverse

of his Art.

In

treatise
be

on

the Esthetics

Ugly assuredlythe Spanish

of
in

artist could

overlooked. his
endowments in

Amongst
that

the

sense

characterization
almost inverse

was

so

nounced proto

success

delineation

stood

ratio chance and

was

the itself

aesthetic value of the subject. His threw

in his way

shows gallery portrait

how

royal persons by
monstrous
men

of

repellent exceptionally types,

taste.

fashions niore

in dress

marked

perversionsof good
than of women, He
took

He

skilled in the
he subjects freaks
stress
was

of portrayal unrivalled.
the normal

while
interest
;

in

the grasp the

as

of animal

greater of

in and

morphological
he laid
more

than
on

in

creations
on

Nature
of

than peculiarities had also

a

the
to

harmony
to

the

whole, beauty
on

may his

often hands.

have

little

reason

congratulateitself
make

into falling
"

So
"

it fell to

his

lot

deformity and
in itself be

pathological object
Even

specimens
of Art.

chief constituent offensive

of his life-work.
to

Ugliness,always
Nor if it be made it could at most have often been
to

the eye, the

can

no

proper

is characterization include constitute

more

highest function
of

of the

painter.

the
a

language good
than

passion and

animated

description,
contains

and illustrator,

in this

department dilettanti
more

successful

great artists.

Hogarth

456
of diversity characterization he
was

Velazquez.
and of

expression than painter.

means

all the

Dutch

artists

together ; yet
All

but the

moderate

this is become

merely

orthography by
non

of the

which

artistic productions

legiblefor times,when
artistic forms
in

-professionals ; and suppliedthe period

unstudied

impulse

of half-barbaric
success

Art

often achieved place of letters,

in this direction. the

set

When
movements

of

become

played
tradition. under

out

innovating
we are

which

break

completely with

Then

brought again
the

face to

face with
the

infinite Nature,and

the influence animal the element front

of
in

sentiments conflicting
man,

constituted ugly, the diversely

once affections, more come

chaos

of

the

to

But

however contain have

vividlythese
in themselves

aspects
no

of

humanity

may

be of

treated, still they Art, though they

a

new

quickeningphases
"

their

as significance

useful

ingredients the ugly, for instance, as

and humouristic
scenes

constituent

element the

of the comic

side of Art. such

as

Figures like

Esop

and

Menippus,
our

the

Borrachos could
in
we a

and

Vulcan, undoubtedlyappeal to
anyone

sense

of humour. of

Nay,

fancy single
Paul

assembling the
of

whole

company

Velazquez' creations scarcely adopt

humouristic
any

work

Art, we poetic
a

feel that he could

other

stylebut

of that,for instance,

Thackeray.
the

The

style, says Jean

and
some

Richter, individualizes endlessly.

It has
scenes

been

objectedto

Dutch

that

for their national

or

social of

they scarcelyever ugliness. It

suppose

selected

beautiful themselves insult to

meet

noble
to
a

forms, that
narrow

their

confined paintersdeliberately would

be
an

sphere
Ostade

of the

coarsest
race

the well-favoured in the works

of
an

Netherlandish
or a

to

that the

figureswe
the

Rembrandt also
been

give an
censured and

adequate
on

idea of the

Dutch

national

type.

They
not

have

ground

that

their genre

pieces are spotlessor

only

commonplace
that shown and and

but also morally far from trivial, beautiful types, ethically

pleasing;
poverty

they,rarely contain by
the Art of all
we,

which
even

nevertheless,as
amid

periods, might
and
courtesan

surelybe

found

lowliness.

Are

to attribute this therefore,

for wantonness preference

tastes

depravity,for
But the
true

tavern

to the life,

of

society
is
to

already corrupted by
answer

material has

comfort

and

luxury?
The
secret

long

been may

given.
in

of

Art

render
even

important and repulsive. It

of
a

agreeable what
contrast

and be insignificant reality

and

is the

of the Art

vulgar

ugly

with

the

allied

refinement
to

highly developed
Hume

that

exist.
the

David

argued that the

gives these creations the right which here charm of the beautiful,
by the effort
to
overcome

lies in

representation alone, was

enhanced

Mythologies.
the

457
its

resistance of what flavour That of game,

is in itself
or

repulsive, just as
that

high

state

improves
who

the

sharp

sauces

of other

meats.

this is the

true

explanationis
tone,

shown

by

the

fact that those

sought to
in form

elevate the moral and

were figure,

by

the

introduction
so

of the

purelyagreeable might
have
been

by

no

means

successful,as

expected.
Mythologies. Like also
been
some

of the

the earlier, the

last works
of

of this order the

appear

to

have
were

painted at
for
two

specialdesire
built
or

king;

at

least
"

they

destined de
was

places either
the

re-furnished in the
the

by Philip
Alcazar. Mars

the Torre

la Parada

and

mirrored

apartment

In the former the

hung,
war;

besides the

the

Esop

and
scenes

Menippus,
with
name

pictureof eight
ideas

god
and

of

in

latter,four
apartment

of representations from
our

Venus of

Mercury.
size
"

This

took

its

mirrors

uniform

size,however, which
were

according to ebony
of
an

was

modest
a

enough.
bronze the

They
ornament

mounted

in form
are

frames

crowned whose

with

gilt

taking
Such

the

eagle,

wings

enclosed

mirror.
the

mirrors

seen

in Carrefio's

of portraits

Charles

II. and

queen-dowager.
The character of this mirrored chamber is indicated by sufficiently the

of the five Habsburg princes: Charles great portraits his young

son

with V.; Philip II., both

Ferdinand
the

after the

battle

of

Lepanto,

by Titian;
last of the

Philip III. with

in

Expulsion
Rubens. To

of the Moriscos, these

was

by Velazquez ; PhilipIV.
the

his

youth, by
and

later added

dynasty, Charles
Above the Here

II.,by CarreAo.
the

between

windows,
a

and

over scenes

the

mirrors,were
the

grouped
Testament.

mythologies,together with
were
seen

few

from

Old

the four

so-called

Four

Furies

(Sisyphusand Associates) by
Judith and
and

Titian, besides
and

pieces by
of

Tintoretto:

Holofernes, Venus
;

Adonis, Jesus

the

Rape

Helen, Pyramus
:

Thisbe Moses

three the For

biblical

subjectsby
Child

Paolo in the

Veronese

Jacob

and

Rachel, Forge

in

Nile, the
the
same

Temple
and

Bassano's last

of Vulcan.

place had
and the

been

ordered

Rubens' Peace

the Andromeda, paintings,

Hercules
also

Antaeus, the Rape

same

of the
and

Sabines.

Here

were

hung
the

Achilles painter's Scaevola, with

these

Deidamia, Jacob
to
a

and

Esau,

Nymphs
With

the

Cornucopia, the Satyr giving Drink

were

Lion.

foreign artists
his

associated Samson

two

Spaniards: Ribera,
Delilah these
above last. the

representedby
windows
; and

Jael

and

and Sisera, modest

and

Velazquez

in the

place between

45^
It the
was

Velazquez.
a altogether strange assembly
"

classical Old

subjectsby
and

the hand
were

of

first naturalists
on

of

the line

century.
with the

The

Testament
scenes,

histories selected

placed
handled Of
the

the from

same

classical

and

the

same

allegorico-romantic standpoint. pieces there Mercury

have still survive the His

Velazquez* five
and the Adonis and

Mars,

the

Venus

with

Mirror,
Venus

and

Argus.

Apollo

and

Marsyas

and

disappeared.
Mars.

This that

work

has

been
was

especially appealed to
not

as

proof
too

of the assumption of

Velazquez
the of

successful
a

in

his

treatment
was

mythological
a

a Spaniard giving as subjects,

reason

that he Richard

good

Catholic

to

do

justiceto
to

Olympian
a common

deities. Galician
in

Ford
a

compares

the

figure
a

of

Mars

that

p)orter;
the
even

sculptorlikens
Thord
it

it to

broken-down
it
an

circus

athlete; a writer
of
a

QuarterlyReview
to

(1872) calls suggested

admit the

indifferent of the

study

model; and

Flemings
How

decadence
came

period.
to treat to

Velazquez
In
make commit

this

theme

may

perhaps
have

of

explanation.
in

Rome his the

he

had

of inspectseveral representations of

Mars
been

order

to

selection

castings, and

may

thus

inspired to
It is the
a

subjectto
a

canvas.

naked the

figurewearing
group

bright helmet, just

in

as

he
had
now

had
a

seen

god
of

in
a

with marble

Venus
statue

the Villa Medici. the Villa

in
a

He

casting
in the

taken Louvre.
in
an

similar

in

Borghese,
been

He

depicts the
in

fierce

war-god
is raised

as quiet attitude,

figured
to

antique

the The

Villa left

Ludovosi, which

has
as

attributed that of it

the

sculptor Scopas.
at

leg
a

just
a

in

statue, which
was

that time

was

described

as

gladiator ;

casting
the

included

amongst
The
aside

those motive

brought by Velazquez from

of
repose and

Rome. work. camp Mars bed. is of

has

prevailsthroughout
is seated
on

laid

his

armour

and clothing,
better than

his

Perhaps conveyed
its slumbering of
a

by
the

this relaxed

attitude

by

the

strain

of

battle

impression of the strength.

the Even

mighty
the under Mars
and

framework hand

of this with the

figure and
stick could
or

right
?

(the handle
look mantle
"

is concealed battle-axe?)
on

the

drapery,for who
red

unmoved falls
over

right
of
'*

hand the

of

This

drapery
in

both

sides

couch

is reflected
men."

the

shield

an

allusion

to

Homer's

blood-stained
the

destroyer of
no a one

Touching copying
a

forms,
Even

would he

expect
not

to

find

Velazquez simply
first

statue.

Mars

could

have

painted without

460
in accordance with
the

Velazquez.
spiritof antique
features and in of the
"

Art

th?in is supposed.

Anger
which "Small

still

lingers on
from
the

the

the

character portrait-like of effigies

the

deviates eyes
and

idealism

ancient

the

gods.
be

and
we

large open
thus
come

nostrils
at

were

certainly among
mustachio, which
a

attributes

of Ares confessed

last to

the

it must

produces
master's models. Ares

the

irresistible effect of
in

parody.
out

Here

again

we

recognize our
his

carelessness The Greeks

weeding

disturbing details occurring in pronounced

this

would

probably have
down

figurea typical
the countenance, It is difficult to The with

of the barbarians.

The while say

helmet, brought well

its

on

the forehead, shades the lustreless eyes.

or on

golden by

sheen

contrasts
one

with

whether face

their the

glance is
helmet,
the

of arrogance
arm

menace.

darkening
its

of the

the

resting
Pensieroso.
in
a

the

knee

hand also

against the cheek,

occur

right arm

are falling naturally,

all traits which

in

Michael

Angelo's gloomy
are

Nowadays
century
Latin
"
"

classical themes of
"

sorry in

plight.
Madrid
to

In

the

seventeenth

that age

pedantry
ancient

when
name

even

**

the

lackey quoted
a

{Quevedo)
the
is

the
more

itself served draw

a

recommend from the

a

work

of

Art;
And Nature

at

present it is

to likely to

weary

yawn

observer.
touch

when he

artist endeavours
met

animate of

such

subjectsby
those

of

with
are

the
no

sneers more

unprofitableerudition.
are

Anyhow
and

Velazquez' Antiques
the renaissance. The in this colour
and

parodies than
in other

of Rubens

tone

also

occur

works with

of

our

master

executed

period.
of the
"

The

crimson

of

the mantle
and

its whitish

accords lights

badly with
middle
"

the uniform

carnations
is

the

blue

of the

drapery covering the

when
"

figure. This
or
"

probably what

Beul^

meant

he

spoke of qualities
have

monotony
tone

fresco tone," whereas

Thor^

found

in

certain

of the seemed

"

the

only praiseworthyfeature
the

of the

picture.
the

It would

rather dull had their

occurs

painternot
Mars for the

introduced
and

dark, burnished

steel

with objects Mention Torre

to

golden sheen
of the

both above

below

the naked
in the

figure.
the
it is stated

first time of Charles Rubens*

inventory of
Thetis

de la Parada

prepared at
the

the death beside the

see

where II.,

be

hanging
at

in the

eighth chamber Esop

We
and
can

Marriage of
of these
it may
not

and

Peleus, and
valued

between

Menippus, each
no reason

works

being
been

doubloons. fifty for this

why
the and

have

originally painted
between the
two

hunting-seat.
*'

Here

god

of

battles stood

peaceful philosophers," Esop

and

of Menippus, a picture

the

fate of science
In

letters in warlike
is
a

times. red-chalk

the

Gijon

Institute there

executed carefully

drawing

Mercury
which
same

and

Argus.
is
a

461
the Mars The
are

is

undoubtedlygenuine,and
elbow is thrown
to
one

which
is

study for

after the left

model, although the

attitude
across

somewhat

different.
eyes

leg

supportingthe
the head, wearied model

the

rightleg,the
in the

and closed, The in this how

a

inclined much had

side,is buried

palm
because

of the hand. him

fallen evidently
he
was

and asleep, interested of

the

artist drew

posture, in which
erect sleepersitting

probably keep drawing, 23 Mercury

showing
the

may of the

his centre
x

gravity.

Size of

painting,

1*79

0'9S

metre;

9*6 cm.

and

Argus.
of the
are

This
as
a

was picture

hung
'*

between
and

the windows

mirrored

apartment

pendant

to

the

Apollo

Marsyas. They
2*48 metres).
as artists,

mentioned each

togetheras
is valued
at

"originals by Velazquez
a

in the
x

inventoryof 1666, where

classical In who
"

hundred Both

doubloons
were

(size 127
to

favourite

with subjects

scenes

of murder,

and

as

lending themselves
a

treatment. allegorical

his

Pilgrim Lope
himself

introduces

distinguished prisonerin Barcelona,

his

consoles
his

by

covering the walls of

the

dungeon with
we see

'*

hieroglyphics of subjectof
this

fate.

Beside

Orpheus

and

Sisyphus

the

painting,which

according to Vespasiano

Estroza's
sutil al

epigram symbolizes:
mas

Amor

zcloso

engaha}
residence there
was an

In the firstchamber

of the Ribera

royal summer
in the year

Apollo
to

and

Marsyas painted by

of his election to

the dear

Academy
poets
of the

of St. Luke
and

(1630).
to

This
men

atrocious
like
true

subjecthad
and

always

been
an

even painters,

Dante

Raphael, as
of Art

emblem

intolerance shown
dulness. In the Torre
de

by

all

cultivators

towards

mediocrity and
beautiful wooded and

la

Parada the neck

there

was

Rubens,

evening landscape,in
is
a

which

watcher for the

a

Argus

is seated from

slumbering Mercury.
But
even

presenting his conveniently

a

fatal blow
used

This

somewhat

trite

adaptationof

much shows

attitude.
a

in such

slight decorative
the He

piece Velazquez taking twilight scene,

which
as are

himself

thinker, thoroughly

studying

subjectbefore
a

brush the

in hand.

depicts

weird

evening sky
a

overcast

with

heavy
on

iron-greyclouds, through
the

darted

few

sunset lingering

rays

figures seen
like
a

somewhat

silhouettes creeps

rising above
naked

the

dark

ground.
his

Mercury,

prairieIndian,

on stealthily

all fours

round

the propped-up righthand victim,

*
"

grasping a

sword, his

head

turned

Artful love deceives

the most

jealous."

462
to

Velazquez.
left
as

the

he

just catches
overcome

sight

of

lo's

guardian, the pictureof

It would almost
seem

person
as

suddenly Velazquez figureof

by
his

irresistible
eyes

sleep.
statue

if

had
a

before
cast

the he had

of the

dying gladiatorin
Alcazar.

the Villa Ludovisi, The

of which

procured winged
farther

for the

the

"cattle-lifter"

in his

hat is delineated back rises the

against
homed
two

the white head

glimmer
huddled Both

of the

evening
The
\n

sky, while

of the
"

lo. heifer,
up

linear motive

lies in the

contrast

of the

figures
the observer

one

sleepexposed above,
are

the other
in

crouchingalong
shade; but
the

ground.

faces the

foreshortened

and

the

still detects

firm

modellingof
with

these the

powerful forms despitethe

indistinctness of the

gloaming blended
Venus

sharp reflected lights.

with the Mirror, attendant There

were

The
occurs
was on

Toilette ancient
in

of Venus
monuments.

with

nymphs
statues
even

is

subjectthat already
which the

in

goddess

mirrored

the shield

of The

Mars,
Venus

and

real

were looking-glasses

employed by
Titian

in this connection. for and PhilipII.,

with the

Mirror

which

was

painted
the last
was

which

disappeared from
the
the

Madrid
year

during

century,

was

hanging
to

in the

royal bedchamber
of

in the

1636, and

later removed It

the

above gallery courage

on

Emperor's Garden.
part

requiredsome
with

Velazquez
choice
once

to

parison challenge com-

the have

great
to

Venetian the

by making
that he is for

of

such

subject. depict a

Probably we
young
one

thank

king

ventured all

to

and

beautiful female difficultand

form, which

regarded by
has

genuine artists as positionas

Titian
a

of the most In order

"

noblest tasks of
our

Art pictorial
as

to avoid

coincidences
on

master

different view. form

p"ossiblefigure outstretched adopted the

the view. latter in the Venus

the
and

couch

and

back
to

had
to

Adonis, in
lost been

order

pendant
the

Danae;
The

Velazquez position may

in the In this work

had

in his also have

Adonis

perhaps
which

shown the
he

front of the

suggested by

statue

Hermaphrodite
in Rome.

Villa he

Borghese, a castingof
had
an

had

procured

opportunityof studying the picturesque

of the
a

effect of the outlines In

and

modulations

back

in

youthful figure.
an on

Velazquez'as
takes
on

in Titian's work

Cupid
head
and

holds forward which

rests

ebony-framed
folded
arm.

while Venus mirror,

raises slightly for easily, frame.

in

her

the

Cupid
hands
the

it more

he

kneels

comfortably rests
articulations of

his crossed he resembles

was

the black

In the softness

of his

little ABC
with

scholar
our

Correggio's School
the Alba Palace. lost somewhat

Love, which

long

associated To

picturein
for the

compensate

of profile

the

goddess* face,the

Venus
artist broad

with

the

Mirror.
mirror.

463
Here
we see a

gives us

full view

reflected in the enframed

in

rather

head pleasantgirl's
grey

dressed thick, plainly

are

hair,somewhat
the dark

with painted, liquidly

shadow*, which
at

projectedfrom apparentlyseldom
the

wall

were opposite. Looking-glasses

that time
to

or faultless,

perhaps
confessed

the

damsel

did

not

wish does
not

be

recognized. Anyhow promise

the head. It is
a

it must of the

be

that this mirror the brown

quite realize
knot
on

pretty

outline with Hence have These

hair tied in is the main

here the

body

point.
in
one

Spanish type,
in the figures
race

and

some

fancied
are

recognizedthe model they,

no

of the
or

Spinners.
for

powerful

forms

of

Hellenic

Latin

''created

VENUS

WITH

THE

MIRROR.

sculpture ;
this is
utter
a

"

even

their Venetian

namesakes

are

of far stronger We
see

build. that she whole and

But
can

delicate
music

figuremade
of motion
its

for Andalusian
not

dances.

the
upper

with

legs alone, but with

between the

the

body. hip
at

The
once

line with

deep

curve

prominent long
out

shoulder

suggests
the

the slender

waist, while

curved slightly

lower

line

with and

intermediate

vertebral outstretched of
a :

dying

in

the

shapely
contours

little head of
a

barely sketched gives

It

foot, complete the

figure
from

which
motion.

the

impression
Divan
Like And

incomparable pliancy,lithe
breath
of

and

graceful
as

is

pervaded by

Eastern

sensuousness

Goethe's

Westdstltcher

fibrous rootlet
wantons

glidesher
the

foot

with

ground.

464
This in the delicate form
a

Velazquez.
deviates full from the Venetian
taste
a

in
narrow

its build,but shadows It

and

not

modelling in
reflected the Venetians

lightbroken
the

only by
between

few

with
even

luminous excels firmness

at lights

curvatures

of the lower the

contour.

in

the

harmony

tender

touch is

the

of the undulations

in the inner surfaces.

Only
colours
rose

the tone
warm

distinctly

cooler,a
This
"

brightcrimson
is truer

taking the
the Venetian

place of the
; but

yellowish edge

flesh tints.

tone

than

the

of the

surroundings frame,the
have with
a

the

surchargedpurpleof the
blue

hanging,the

light

of the

Cupid's

scarf

"

are

not

quite in keeping.
the nude
contour

No

Venetian

would

brought into proximitywith

slightcurve
been white few
to

that black of the

drapery,which
Its purpose

hangs
should

below

the

lower

body.
and

have the

heighten the drapery.

works the

carnations Hence

by contrast,
was

separate them

from

linen other

Thor^
can

in assertingthat justified scarcely

by Velazquez
and

be

compared
it

with

the

Venus
saw

in it in up

the

qualityof
Manchester the line. This teacher face and
could

colour

harmonies.

This

however, critic,
was

the

where Exhibition,

through prudery given

rest

hung high
his then

above

painting would
Pacheco,
who

have

little the

pleasure to
of female
to

deceased

recommended

use

models do the

only
best

for

hands,

while

for all the

painterswere plasticmodels
of

they
this

with

second-rate

drawings

and

("/

A fie, i., 354).

to treat
were

Velazquez is

in fact the

who only earlySpanish painter the time

be

ventured

although since riskysubject,

that their full powers that
are
"

Vargas
the

the local artists

aware

could

shown

only by

their treatment of which

of the

nude,

of de'poi

all
be

for bodilyperfections," outside the

study
; but
a

opportunities completely
numerous

to scarcely

found

Mythologies.
of

Ribera clothed

once

painted the
well

Death have

Adonis for

his Venus The

might just as
The

served

Magdalen.*
all

of representations

these subjectsin the

and

royal palaceswere
thousand

foreignimportations. punished
ducats

introduction

exhibition of obscene
one

were pictures

by

the

with excommunication, Inquisition

one

five hundred reminds that the At the

and fine, that

banishment. year's is not

Nevertheless

Palomino

his readers
latter should

the nude

in itselfimmodest the lewd

and (deshonesto),

still be

from distinguished Ovid better to and

the

(Museo,ii., 95).
Pantheon
to

same

time he enable sake of

recommends them the

Olympian
the

merely to painters,
for the

understand
sources

not picturesin palaces,

the few

these subjects

might supply them

with.
to

The
*

of proscription

such

representationsis rather
century this work
was

be

attributed

to

At the end

of the seventeenth

in Buen

Retiro ; it is

perhaps the

now painting

in the Corsini

Rome. Gallery,

The
and severity, Inquisitorial
any

Venus
to

with

the

Mirror.

465
to

the national

than hypocrisythereby fostered, Those who have

assumed

strictness of Christian of the sixteenth

morality.
and

visited many

Spanish
that
not

churches

seventeenth
claims ol

centuries will remember sensual of motives the have

even occasionally

over

the altars the For

been altogether other held

disregarded.
of heaven,"
in

since of

the

days

Phoenicians
at
same

that

"queen
her

spoken

18), has by Jeremiah (vii. worshipped

Immaculate.^
even

all

times

ground
at

Spain,
shrine

often

by

the

devotees We whose
and

that

kneel

the

of the

also know
eyes

what
and who
"

weight to
shed

attach to the diatribes of certain would

over

in zealots,
"

Alva

PhilipII. themselves
crocodile tears

be

regarded
his

as

publicans
Christian
as

and sinners,"

Velazquez'moral backsliding
to

in

having treated
not

speaking alien strictly subjects

manly

and

spirit."Menendez
"decorum Our
case

Pelayo rightlystigmatizessuch
however, allow he,
at

mock-modesty
or

the

of the Christian

but of confraternities painter

congregations."
in the the

prurient censors,
of

"extenuating
"

circumstances" from Genesis

Velazquez,
to

because

all events, abstained

profane
to

attempt
be

deify
The had which

"

our

wretched
as

physicalnature
those Venus the

(yetin

declared

"very good"!),
! back
master

did

arch-sinners,Giulio
is

Romano,
to
as a

Titian,

Rubens
our

view

of this very

appealed
Flemish

proof that
the
erotic been
"

broken the

entirelyfrom spiritof
the

shameful

toying with

Muse, by
enthralled. has
so

Italian and that the

"

artists had
severe

It is further mirror

pointedout

chaste and

Velazquez
be
seen.

placed the

that the face alone of the

"

goddess can

He

obeys

in fact the request of Tartuffe to

"
"

cover

that bosom
voir ;

que

je

ne

saurais
sont

Par Et

de cela

les dmes pareilsobjets

blessees,
"

fait venir
1686

de

pcnsees." (iii. coupdbles 2.)

is entered
fire under the
name

In the
and

inventoryfor
but

the Venus
the

of

Psyche
of the called of

Cupid,

disappears after
turns

of

1734.

Perhaps by Ponz,

it offended

Bourbon

delicacy. It
work.

up

again,however, towards
it was
seen

the middle
who

eighteenthcentury
it
a

in the Alba Thence 1808

Palace,where
it
was

celebrated
at

passed

to

the collection of the Titian's works

Prince

Peace,and Nymph,
thousand
*

the sale in Mr. Wallis.

with acquired, together

Sleeping
at

by

Buchanan

valued

each

of

these

four

guineas.
reader will here be reminded of those panels the old monks altar-pieces
"

The

Of doors Painted On the

and

in convents, with

the

Virgin Mary
!
"

outside,and

on

the inside Venus

The

Spanish

Student.

Translator.

30

466
On the advice of Sir

Velazquez.
Joshua Reynolds
seat

the Venus
to

was

purchased for ;"'SOO

I
am

by

Mr.

Morritt, uncle of the present

In that country the spell,
and

owner,

whom

indebted Sir Walter

for

photograph.
threw such and
a
as

of

Rokeby,
is

over

which

Scott

romantic the lo Duke

fallen Danae

goddess
were

anyhow
I had

safe from with the

autos-da-fe
chaste
ing see-

the

threatened

by

''the

severe" the

Louis

of

Chartres.

Twice I could and

pleasure of
its colours.

in Rokeby Park, where picture clearness and the original preservation,

myself on satisfy
of the

perfect

freshness

Religious The

Paintings Coronation of his

of

the

Last

Period.

oj the
career
our

Virgin}
Court

During
of

these

closingyears

painteragain
The

turned last

his attention to the group this class

of religious subjects. representation

third and

comprises

two

compositions presentingvery
of the
new a

peculiar
destined

features. One
ol

these, the Coronation

was Virgin,doubtless,

for the oratory in the residence whom he could

was
a

of his

mistress,Queen
work

Mariana, before
hand. in

thus present himself with

by

his

own

This accordance decorated

half-musical subjectof half-symbolical, of spirit mediaeval

Art

character, more

with the church

with its

forms, sumptuously typical

with
that

vestments, thrones

and

mandorlas, than
with
a

of

the
own

seventeenth

which centui-y realistic painting, itself to such The

to
as

right sense
as

of its

confined limitations, usually

popularscenes
masters

the

the Nativity, and

Passion,

or

the Monkish
alone

Legends.
competent

of

motion,of ecstasy
after their
manner

were chiaroscuro,
even

achieve witness

greatness
the

with

mystery

of this nature,

Correggioin the Tribune

was never

of San

Giovanni.

It is

noteworthy that

the Coronation

handled

by

Murillo. Doubtless
our

master

maturely weighed
without him
a

the conditions

of the

composition, preliminary
echoes

nor

did he attempt its execution It could world

not

thoroughlyworked-out
a

scheme.

escape

that in such
a

cloudland

ceremony

of the nether traditional studies

must must

produce
be

effect, consequentlythat disturbing

with
new

the

treatment

adopted, quickened symphony

of colour.
as

less by life,

of Nature

than

by nobilityof form, elevated

the

sentiment,dignity
in the Transfiguration of
of La

solemn simplicity, proportion, He followed accordingly abandoned

*

same

course

Raphael, who

the

dramatic
in the old

and

picturesquemanner
under the
name

composition
Trinidad

This
X

is the work

entered

inventories

(size

176

1*34 metre).

468
chief

Velazquez.
thought
would she
be

for the
as

mien

and
assume

bearing that
the

best air

became suitable

her
to

exalted her
new

station ;

would,

here,

proud

dignity.
downcast

The but

shading eyelashesdoubtless
them

recall charms

of earlier times ; When

a more

they recall
of

only to
has

make

us

sensible of their absence. the character The of

the features have closely inspected

not
an

somewhat asserted.

but portrait, and far

eyes,
over

Italian t3rpe,as
nose,

been

largeeyebrows
black hair drawn

the small obtuse the

the

pouting

the wavy lips, face

as

temples and

enframing the oval

model touch
and

in

crescent, still give the But

no

head

somewhat
would

the flavour of the

a

model. professional suitable for

a

Italian lacks

or

Teuton
thing, some-

take this for that

Madonna.

She

that

womanly

awakening

confidence,which

adapted

for the

part

even

the home-bred

common

types, for
you
see

of the fifteenth century. instance,

at
once

Compare,
the

say, Titian's Assunta, and

in what

marked in

degree
heaven

Italian differs from

the

Spanish

artistic

which spirit,

even

obtrudes Here hand of the

seem

ceremoniousness. its frosty the

is expression of feeling

left

to entirely

the

hands. in

The

right
would of the

touches
momentous

the

bosom,
event.

the

left is extended all its grace

straightout
this dumb show

expectation
to
us

With
;

cold
are

and

melodramatic

such nevertheless, precisely the

gestures

hands
even

widespread amongst ordinary

also met

Spanish
These and

people,and
hands
are,

may

often be noticed

in

conversation.

moreover,

perfectly
such of

full of beautiful, hands

are

modulations delightful in the And works

if
we

delicate that

mobility. Just

of El look

Greco,
around
we

spiritedportrayer

Spanish

characteristics. the
same

shall

cences recognizereminiswell

of
as

artist

in

the

grouping
Placido

and

as draperies also,*

in the The

colouringand
fall down

lighteffects.
Crucifixion the ear,
; here also the
on

Christ recalls that of the San

on

long
the

dark

locks

the

rightside behind

the

left

over

face, forming a ground

and
to
an

for the noble

The profile.

glance is
be

solemnly earnest,
just as it is

the whole audience

with its forward figure

scene

stoop might

transferred

before the of

high priest. Jehovah

Here is called in Daniel, Velazquez has Pacheco
age

In the Ancient left his realistic old man,

master not

Days,

as

sense

uncurbed.

required an
baldness that he with

earnest, hale
but
our

of betraying the infirmity

a

by
same

178); (ii.,
more

has chosen
use

grey-hairedmodel, the
the

fitness

made

of for his Paul

Hermit

"

reddened

toothless eyelids,

mouth,

no

breath vivifying

in the ossified features.

But the

the

master's

experiments
In

are

most

surprisingin
the

the

treatment

of

draperiesand

colours.

of representations

for Trinity,

instance

The
that of Person naked
in

Coronation.

469
was as

Ribera in and
a

in

the

Prado

(No. 990), it
Christ side.
too

usual risen But

to

depict the
the both

First

robe, and high priest's

the wound and

from

dead, half
clothed

showing
somewhat

in the

here

are

long flowingtunics
with
too

with cloaks, motives

heavy

and

too

numerous

folds,
One

and

overdone

for the

intended

solemn

effect.

suspects
for such

much

with painstaking
were

the artificialdraping of the in

lay-figure ;
to

mantles

not

worn

Spain,

and

the

resemblance
In

the

close-fitting capa
the Madonna's These tunics of
enormous

should

have

been better.

avoided,as

profane.

these respects

draperiesare
male

pilesof clothinghave
their figures violet,
red and blue

three mantles

distinct tones
a

"

the

long
the

the

purple crimson,
traditional

Madonna's The
the modem

garments
been Such

in accordance the of
process this

with blue is

usage.

violet has crimson.

obtained
a

by

of

glazingapplied to
in

treatment

group

probably unique
colours taken
to

painting.
cold and dark for the
rather

Doubtless side of

Velazquez preferredthese
the

from

the

spectrum,

in

order

gain

more

solemn have

earnestness

ground
to

tone;

symbolism althoughreligious
for
a

would feast.

chosen

them

for funeral their

obsequies than proximity, the

worst

coronation

Moreover, owing produce

and

blue, and violet,

violet and Even
the

purple-red
blue, violet

the
are

strongest

colouristic dissonance, for of the very

contrasts.
was so

red blue been

examples
red
to

juxtaposition
here
at

of
not

and

which

early
these

Art

has partial, in the

least any

very

toned successfully
to
a warm

down.

And

absence

of

neutral
some

shadows relief in tends

soften

the disturbingeffects, of colours ;

even

eye

seeks

in vain of the
to

contrast to

the
more

glaringwhite
the

clouds

only
the tone

make

the

effect Yet

all
a

the

sombre, and

complete the impressionof

coldness.

critic in than

Review Quarterly

(1872) calls
Maxwell
"

of this
hue
"

paintingwarmer
than

and Stirlingelsewhere,

brighterin

usual.

The

Anchorites,
in

Velazquez
visit work

was

more

happy
the
a

probably by
the

his last St.

religious piece
"

the

paid

to

St. Paul

Hermit monkish

Abbot This

Anthony

"

the

only

of his

dealingwith

subject. Hermitage
not
as an

painting was Anthony

the bad at

intended the west

for the
*

altar of the
of principles

oratory in the
colour

of St.
to

The

harmony
red and

were

unknown

and Spanish painters,

Palomino vezindad
an

actually adduces

violet the

example
mantle

of

juxtapositionmala
"

135). (ii.,
with white

In his

chapteron
lilac

Pacheco Trinity

recommends with
a

for the First Person of

some

alb

and lights

shadows, and

brocade red

sombre

colour, light blue tunic and

lightviolet mantle

; for Christ

mantle.

470
end

Velazquez.
of
the

Park

at

Buen

Retire, a
rich

Portuguese
at

foundation

erected

in

the year The

rare

1659. picture was

removed in
was

set

in

gilt frame,
was

that

time

a on

somewhat

distinction ; but

this
and

frame, which
the marks the
copy,

arched slightly

top,
A

was

afterwards mentioned

obliterated

by the brush.
collection
now

sketch Louvre

the

catalogue of
a

Spanish
and of is

in

the

(No. 286)
been

merely

reduced Mr.

acquired in 1879 by

Beaumont

England, having for "2$. Piccadilly

were a

in

Grey-haired Anchorites
artists of the later
to

of the wilderness Tintoretto At that time

favourite
younger

theme Palma of

with
down

period,from
Rubens.
a. very

and

the

Guido

Reni

and

these

first fathers whose painters, this

ascetic

received spiritualism
were

realistic treatment the

by
"

tions producof
age

bravura Their

pieces in
of

portrayalof
with of

muddy

vesture

decay.'
were

powerful frames
once

clothed

the

wrinkly
the

leather of

of

suggestiveat

the

mortification
terrors

flesh and

sturdy
for

manhood ascetic the who

the boldlyconfronting paroxysms. Collectors those

of

the wilderness, the land vied with each

and

devil,and
other

in

every

possession of
poured
Similar
out

holy recluses, Jerome, Anthony,

workshop
utilized
a

Francis,
had

of Ribera's had been

out

in

Naples. Against his

to

models

by Velazquez, who, however,

usual

in other

respects struck
at

way

for himself.

practice
; at

he aimed for
least
to

of monasticism subordinating the patriarchs

that

the environment
to

he
as

considered

the

scene

itself should

be He

allowed thus of

speak
full

eloquently as
nature to
a

figures and
was

gestures.
the midst seemed the unknown the

gives
the

play
and of

that

in

which

evolved whose

asceticism the

Essenes

Anchorites,
those heroic is

landscape in

sublime

extravagances

renouncers

of the world visit which hitherto

year.
to

natural.

Here from

depictedthe
to

nonagenarian Anthony, inspired colleague Paul, now gloriouspoverty

dwelt
more

above, paid
and
was

his

in

his

hundred it he.

thirteenth revealed the time

"In where

of

this

ence exist-

him

another

perfectthan
of Thebes
a

Since
a

of the

of persecution

Diocletian

Paul

had

lived in
tree.
man.
.

grotto, drawing nourishment,shade, and

years

clothingfrom
from the

palm
of

Ninety
.

had
came on

elapsed and only

stone at

he

had
^

passed
the

memory

Anthony
seated of

his death." before been for

Both their of the

at

are

blocks

cave

near

the the had

spring,and
appearance

communion
raven

has spirit bread This

just
time

interruptedby sixty years

two

bringing the

which

he

daily laid
the

the feet of the saint.

*

there

were

loaves,and

legend

K.

Hase, History of the Churchy p. 74.

The
was we

Anchorites.
raven

471
In the of withered his
more

doubtless

inspired by
his

the
age

of the

Elias. savagery

figure
human

recognize Anthony,
In

greater
shown

and his

solitary life.
of

St

as

also

by

habit,has by
and

retained heaven.*
as

culture, and

is

correspondinglyless
arms

favoured and

Paul's wearily raised

we

clasped hands, Velazquez

never

well
but

as

in his visitor

glittering eyes
extends of that his
arms

read

both

thankfulness Here

hunger;
too

his

in amazement

still remains
says

the master little

or

which apposite gesture-language,

too

much. attitudes
costume

Compared
in the
our

with

him

Ribera's

violent
seem

though
who

otherwise

picturesque Only
in
a

of spirit

Michael
correct.

Angelo

conventional.
here appears

in the

master

is not

Paul,
a

white
was

sleeveless known and

coarse even

habit
to

and Don

girdle, reallywore
Quixote (ii., 24).
a

garb

of

palm leaves, which

here
a

Anthony,
shirt and

in

brown

robe
some

black

mantle, had

sheepskin
Art he

dark

cowl

of

fabric. After the fashion in of mediaeval

"

"

and

here

again

we

see

how

little

of
and

the the

pedant was

Velazquez
on

has

introduced
to

in the

middle and

distance the end half-

background Anthony meeting.

First On
creatures

his way trackless

the

holy grotto,
the abbot had

of

this strange

his

journey
asks
the

meets

human
as

of the wilderness,whom
a

blind heathendom
he way

worshipped
a

demi-gods.
with the

centaur,

of whom
nose

; then

strange
himself
to

being
before

goat's feet,hawk's holy

man on as we a

and

horns,
him
to

who send

presents

faun, and
see

begs

missionaries the

his tribe. door of the

Farther
cave,

the

wanderer
enter.

standing
out, and
before

before

grated

imploringpermission to
his

Yielding at
whom
now

last to had Then

tears, Paul
to

comes

recognizesthe
his

man

the
at

Lord

promised
he the
has

send

him
to

death, which
of this the

is

hand. from

requests Anthony
cave.

fetch the

cloak

holy

Athanasius

within
he

On

reappearing with
in
a

garment

Anthony,
him
out

finding that
and

fallen
in

asleep
devout the

carries kneelingattitude, While

come

wraps and

the

body

the

mantle. lions

he

is

singing the
who have

customary

hymns legend
is the

psalms,

the

forward the of

dug

the grave, This

in receiving of
the
of

recompense

of blessing
as

holy recluse.^
their prototypes

patriarchsof
true
or
"

monasticism,
or

Paul

type

the

Anachoret/'
who

hermit, who community.

"

dwells The

entirely apart
distinction

Anthony
"A

of

the the

"Cenobite,"
earliest times whom
a

monk,

lives in

vailed pre-

from

of Eastern before

monasticism. the

Translator. the

Spaniard
he and
too
saw

I met

picture
"

in

gloomy
of

winter

of

1872-3
the last
to

thought
Carlist taken

in it

forecast of the
are

future

the

last

days

Spain, in

which

last black
a

Republican
view

reconciled then

in death. issue.

Fortunately he appears

have

of the

pending

472
the

Velazquez.
prophets,has
Even
at

all times monks

afforded themselves

opportunityfor
in
to

the

treatment

of

landscapes.
monasteries district. hundred But
every

the

the selecting romantic

taste

sites for their of the

ten

attached On this

great

importance
least of

the

features
were
some

point at

cultured

they
be

years

in advance

of the children

of this world.
cannot

suitable studies clime. In

taste.
a

for this class of scenery Peter's at Ghent have

a

collected under visit treated

a a

St.

we

see

the

same

in

the
in

Flemish the
rear,

Here
with
one

we a

leafy woodland, towers,

up

castle much-

river that

smiling plain,winding
what need work
on

with
to

pinnacledcity,so
about
manner

asks In

for the also

raven

self trouble him-

the

bread ?
are

Mirou's
out

(Hermitage,No. 529) all

though
Ruisdael the line is drawn would
not
a

of dainties Even

spread
scenes

the grass, of

at

meat.

wooded lack

like those horizon the have for and

suit

here, because
The

they

the vast

the poetry of the with

to

solitude.
savage

treeless

upland valleys of
man

south

their
a

grand
of

outlines,where
can

and the

his culture
tune

reverted

state

Nature,

alone

supply
sublime the

proper

these

legends

of

the

pioneers of

monasticism. A
more

epopee

of

landscape paintinghas
and

scarcelybeen
From
us,

posed com-

than

History of
of San Sabine understood

Elias

Elisha, executed
in Rome.

by Gaspard Dughet
this the scenery,

for the taken

Church from
was

Martino

ai Monti
is spirit

the

Hills, a

wafted

towards Then and

language
fell

of which from the

by

those

visionaries. of

the
went

bandages

their eyes,

they

inhaled
^

the

breath

prophecy
silent

forth unto

kings
Over

and

peoples.
savage summits glens,lofty
a

these

and

plainsnow
Nature manifold

desolated has

by malaria,there
assumed her

broods

hallowed without

solemnity in needing
was so

which that

again
of

divine

aspect

world

supernatural beings, whose

Schiller. Still

extinction

eloquentlybemoaned
of lies
a

by
the

wilder, still by

more

akin

to

the

wastes

the

Thebais, are
world

Despoblados of
to
an

Castile and
a

Estremadura. shut

Here

narrow

dale,changed by
the
over-

oasis

and brooklet,

off*from

the outer

*When

they first reached

and savage appearance and

Rome of

on

their

strange
at

these

conquering westward Egyptians excited horror

The

march and
more

(341)

"the and,

contempt,

length, applause
transformed

zealous

imitation.

senators, and

especiallythe
and the
were narrow

matrons,
institution
on

their
was

palaces and

villas into the

houses; religious
"

of six vestals

eclipsedby

frequent monasteries
Forum

which

seated
"

the ruins of ancient

temples, and in the midst of the Roman

(Gibbon, xxxvii.).

Translator.

The

Anchorites.
dale with
gorge

473
and the
outer

hanging
of its

sierra.

This
on a

verdant
a

the brushwood sheltered the sunny

aromatic

herbs

slopes, opens
like cliffs,

secluded

by

stone limeencircling world

to

defile of

leading

from

the lies bluff

inaccessible

stronghold
grave.

whence self-abnegation,

the
off

only by
the

outlet

beyond

the
out

Three-fourths like
some

of the vista is shut

huge

standing

in front

cyclopicwall.

SS.

PAUL

AND

ANTHONY.

The which

hermit's has been

to

cave

lies at with

the foot of this

bluff,the by
the
the

rocky

surface

of

clothed Eastern

[a.green
of
at

mantle the
scene

moisture. trickling
to

Indifferent his
love

the

character

still true painter, of

a

of

aimed reality,
was

only

utilizingthe motives
In the limestone

district with

which

he

personallyacquainted.

cliffs

stretching

474
for miles his way and These which

Velazquez.
along
from the

valley,through
forests the
water to

which

he

must

often often

have
occur

ridden soft

on

the

Balsain

Segovia, there
has

sandy
into San the said

clayey
flows

strata, which

by erosion
the

carved Eresma
a

into

caverns.

excavations the of

skirt the Clamores

flowery valley of
brook. It
was

streamlet
retreat

to

such

that

Fruto, patron
poor
to ;

Segovia, withdrew
his

after here

all distributing
the

his effects to
are

here

he

ended

days
the

and

Mozarabic

Christians

have The

taken

refuge in

Moorish

times. with and clothing,

been

palm, whose
of the

foliage supplied Paul

to
as

which

should

here left

in fact afford shade

corner

both
an

recluses, has
emblem. Its

relegatedto
taken

the upper
a

cliff

place is

by

slender,
bramble

clothed thinly bushes that

alder-tree entwined all the tracks

by

creepers

and

encircled

by

those

hedge

throughout
the
canopy and

North of

Spain. heaven, whence

It is
a an

Above,
darts of the that
is
a

lightclouds

flit across

the

sun

its

fieryrays,

scorching grass
that annihilates of the executed the

brain

alike.

typicalsky
image of
firmament

a wilderness, sky

plants in

the

minds This

of mortals

Infinite which

Finite.

overwhelming
Thus hand

leading feature
The

picture.
with

paintingis
that has

ineffable charm. for

some

alone

can

paint
dash,
least

wielded of all
not
our

the brush
master's

forty years.

It is the

most

thinly painted
and

then

touched
power

works, completely finished at the first again. All the effects are produced by the pigment.
a

expenditure of
are

and

few

tints, chieflyblue

and

brown,
economic endless

sparinglyapplied to
means

yellowish white
which of the
are now

ground,
But

and

by these by

results

are

obtained

scarcelysecured
the most of the

glazingor
human

the most

liberal

use

spatula.

able remark-

feature in this from which the

the
seem

is the perfect distinctness insubstantiality

to

forms,

figuresdown
on a

the

bramble-bushes.
the

Behind

the colours, if
seen

blown

to

the

canvas,

drawing quivers as

in

distance

through

thin gauze

veil.

The

Journey
was

to

the

Pyrenees.
connected

Velazquez' last performance

Court French of the but painter, Courts
on

one

with

the the

not office,

of and

of

palace marshal.

The

gathering of
of whose Philip,

Spanish
star

the islet in the frontier river Bidasoa

the

after the

conclusion
was

Treaty of

Pyrenees, the meeting

Louis
and

then
to

with setting, suffer

so

the young woes,

"

XIV., from

whom

the

monarchy
he

was

destined
not
seen

many

with

that sister Ann

whom

had

for

five-and-forty years,

all this has been

admirably described by

French

writers,

476
six

Velazquez.
miles the
was were

Spanish
across

got

over

in

day's march,
of Alava
and

but

the

progress

was

much

slower

rugged
no

mountains of the

Guipuzcoa.
the
an

There desolate

lack

incidents

along
had

route.

In

their

long
and

ancestral of
he

halls

aged
of

king

opportunity of
at towns

learning
in
state

something
elsewhere of utter

the beheld
; in

splendour
some

former

powerful vassals;
well have been

Osma
a

of those districts he
of

primeval Iberian might

now

decay

these
store

touched the

by the
breasts

still undiminished of his

easilykindled
could

slumbering in loyalty
here

sorelytried Castilians; he
the
former

also

indulge in unprofitable
marts

on speculations

commercial flourishing his

which

had

fallen

into

hopeless decadence
He
town

under

gloriousadministration.
for these

had, however, little time

was

meditations; for
and

his

entrance

into every

hailed

with

balls rejoicings, de
Osma

masquerades,
peasants
with little Art."

bull-

harrying

and

fireworks. in

In

Borgo

"the

displayed
In

their great devotion

dancings
of both

without

delicacyand
of fife and

Guipuzcoa
nobles
women

the

Basques

sexes

performed their
the din

national

sword-dance,
"

and

to people intermingling

timbrel,

men

and

in rings and alternately

rows." had in Old

or

No
seats

wayside
of the
than

inns

were

to
as

be

New

but Castile,
was
more

the

spacious

served nobility in the

substitutes.

Nowhere

accommodation

found
Alonso

prodigiouspalace of
Here and
the

the cardinal entranced

at

Alcaic, enlarged by
de of Covamibias* the council Then built

de Fonseca.

the eye

was

by Alonso

courts plateresque

fantastic of the

polychrome splendour
Gotho-Arabian
to

chamber,
the
scene

the
soon

richest erection

ornamentation. Infantado Palace

changed
de
with

in

Guadalajara

the

by Diego
Romolo

Hurtado

Mendoza

(1461),with
in

its apartments the

painted by
of
the the

Cincinnato
A
rare

antique grotesques

bright manner
in

loggie,
the Duke
in three

was spectacle

presented by the illuminations

was

park

of

of Frias'
terraces

palace at Berlanga,which
fountains watch-towers,

disposed amphitheatrically
statues.

with

and

This

as palace,

well
was

as

that of the Lerma

familymore during
had the
been the

recentlybuilt
Peninsular decorated
statue
wars.

in the town The the

of Lerma,

burnt

by
de

the
de

French

erected latter,

by

the

Cardinal

Lerma,
in still stands
on

in of

Herrera

style by

Francisco

Mora Leoni

1614;

bronze

Archbishop Sandoval
patent
to

by Pompeo
In between
ruin A

in the local church. 24, the

Burgos, reached
the former
been

April
the

painfulcontrast
of the
master
was

was

all

splendourand

present misery of the ancient

renewal
our

whose city,

had

completed by
founded
in

Dutch
in

war.

deeply interesting sight awaited

at

the Convent

of

Sta.

Clara

Bribiesca

1523.

Here

the famous

retablo towering

The
up the
to

Journey
with

to

the

Pyrenees.
statues

477
in walnut, in which work in the

the roof

and

crowded
"

unpainted beauty
colour."

observer

admired Art
was

the

skill and

of This de

the

plain

where material,

scorned

gold by

and

work, begun by Diego

of Miranda.

Guillen, in 1523,
Then reached Henceforth of San
was

finished

Pedro

Lopez
of the

Gamiz,

the the

caravan

leaving the
to

solitudes

the old Castilian

narrow

table-land,
Pancorbo. homes

Basque royalty had

but
on

through territory
make

defile
in

of

itself comfortable and

the

humbler
at

the

poor

proud May
a

hidalgos of Alava
11.

Guipuzcoa,
a

last

reaching putting
stration demona

Sebastian honoured

This

at place,

that time

formidable

stronghold,
was

with

residence

of three weeks, while Navarrese

Velazquez
Fontarabia. the
about

to

rights the old

For

palace of the
most

kings
he

at

Philip the
in

was excitingspectacle

perhaps
rowed the

naval
in

the

port of
the
on

Pasages, where
thunder beach.
was jubilation an

was

grand
of
the

State crowds The and back

he him
was

barge, amid
assembled

of

and artillery

acclamations

the

object of
in

all this

aged

man a

enfeebled
man

by

ailments

broken
on now

spirit by
past

all

manner

of

calamities
sorrow

"

who

could

look And

the

only
to

with

feelings of
his eldest She
was

and

bitterness.

about

part with

daughter, the only pledge left

"in
to tears
a

by

the

bride of his youth. had been

to
as

had
now a

herself

left those
to

walls she
"

where remained

she

born,"
the
was

and

going
husband

land
never cause

which her

alien of peace, of the

last, and

to

who

loved of

pledge
In
governor
to

supposed, but
of the

in

the reality

future

civil

strife and San

dismemberment

monarchy. by
been

Sebastian

Velazquez, accompanied
in
a

Baron

de

Watteville,
in order
a

of the

went fortress,

barge
which

to

the Isle of Pheasants

erected

inspect the

Conference
At

House,
that

had

there of the

few

months river In chamber and

rooms
was

previously.
the

time

this islet in the

estuary

frontier

five hundred

feet insular both

long by

sixty wide.
chief

ephemeral
common

palace the
round

apartment

was

the

central

to

feet long, twenty-eight wide, nations, fifty-six

it
were an

twenty-two
for the

high. Disposed
French and of

equal

number
a narrow

of

private

Spaniards, comprising
boats, three
with
in

for each
a

long gallery
passage

approached by leading
the from
best
to
a

bridges

saloons, and costly

the

cabinet"

all decorated

tapestries.A
had

selection of

Flemish the

hangings preserved subjectsof

All
are

Alcazar

been

brought
and

Madrid,
Flemish On

which

were

moral exclusivelyBiblical,
are

mythological scenes. by June

7 the

still extant, and

mostly by

after cartoons

artists of the Infanta

sixteenth
was

century
away.

affected
"

Italian influences.

given

Velazquez," says

Palomino,

478
"

Velazquez.
at

assisted

all the
to

functions." his

He
"

was a

entrusted

with

the

groom's royal brideand

a

presents

father-in-law with

fleece of
to

diamonds
to

gold
the

watch, also

embellished

diamonds,

be

brought
not

Philip

in

palace at
"Don

Fontarabia.

Diego Velazquez/' we
His

read,
in and the

"was

the

last who

on

that
pomp

day displayed his loyal affection

of his personal attire.
in the
art
numerous

elegance,the nobilityand courtly refinement

and
gems;
were

his

shown colour

arrangement
materials

of the

diamonds
more

in

the

of the

also he
in

appeared
trimmed that
on

to

advantage
with

than
gave

others, for he

excelled naturally
taste.

this
was

knowledge, and
all
over

herein

always

proof of
silver

rare

His

costume to

Milanese retained cloak

was

braiding
even

according
with of the with
chain

the

style of
and fine

period, which
on

the the

goliUa
Red
and

coloured Order
;

clothes
a

journeys ;
short

the

Cross

very

gala sword,
with

silver From

scabbard the

chape
neck-

excellent

reliefs of Italian

workmanship.
many

heavy gold
with the with the

hung
in

the littleshield studded

;

diamonds

Santiago
costly

habit

enamel

all

the

other

adjuncts corresponded high key

of this

splendid costume."
Thus writes in 8
our

Palomino
the person
return

in

triumph enjoyed by
and with
was

the

Art pictorial

of his

official predecessor.
at

On
troubles

June
for for the

the

journey began
In

once,

it

fresh doned aban-

palace marshal.
road

Burgos
to

the

former

route

through
for three Court

Palencia he had

where Valladolid, the

Philip tarried
followed such after

few

days

in the

palacewhere
up

first seen till

one

light. Again how,

din of these

festivities

kept

days,
could

wonders the
mere

the affecting experiences, of repetitions the old

endure

endless

comedy.

The
But home

End. in Madrid. and "On

on

June
than

26
was

all

were

at

last back

entering his
with
more

Velazquez
so capital,
a

received

by

his family, wife of

trust

friends

consternation
the

joy,

for the could

report
not

his

death

had

spread through
was,
to
as

that

they

their
was

eyes ; this still allotted

it in

seemed,

foreboding of imposed
some

the

short

time

that

him

this life." The

have

work

upon
veteran

him

during
met

those

seventy-two
to

days
and also

would of the

better

suited

captain inured
his Scheld

the in

hardships
Cadiz

Flemish

campaigns.
his

As in

Murillo
the

fate

Dttrer

caught

fatal ague

estuary,

Velazquez

probably

The

End.'
of the of
on

479

brought
attendance and fever
"

from

the seaboard off. On

the

germs

malady by

which

he been

was

prematurely carried
hastened broke He
felt

the

last

day

July, after having

his

in

throughout the
out, which
a

whole

morning
to

Majesty,he
A

felt

feverish,

through the passage

the

his

dwelling.
once saw

malignant intermittent
would and the be fatal.
was

physiciansat
and
spasms

great pressure
Vicencio
sent

in

stomach

heart ; he

visited for his

by
de

Doctor

Moles,
own

Court

and physician,

king, anxious
de

also life,

his

private physicians, Miguel

and. declared
is
a

Alva be

and

Pedro

Chavarri. of

They recognizedthe danger

terciana

it to

the

first symptoms fever

sincopalminuta

that sutil^

subtle

tertian
to

a highly dangerous affection owing accompanied by fainting,

the

prostrationof
of

the

vital functions; his

At

raging
the

thirst

was was

an

indication also visited and his

on

the
Don

evident Alonso of

danger.
Perez both

the

request of
el

king

he

by

de

Guzman

Bueno, Archbishop
him
a

of

Tyre
for

Patriarch

Indies, who
And
on

preached

long
in

sermon

consolation. spiritual the and Feast of the Lord's

Friday August
to

6,

the

year

1660, Caspar
such

after Transfiguration,

the last Sacraments receiving friend

two

giving

full testatory powers

the

his of his

trusted

Don

de

Fuensalida, in afternoon,
wonder who loved
he

sixty-first year
soul
to

about life, had

o'clock
it for

in the
a

resigned his

Him

who

created
not

of the world, his life

was

leavingall in
in suspense

great griefand
gave

least His how

Majesty
much
he

when
and

all to

understand

prized him.
the the

"They wrapped
in
worn

body
the red

in the

modest the
on

shroud, and

then

clothed
the

it

as

according to life,
at

custom

of

knightly orders,with
his his
wax

mantle and

chaptersand
thus

badge night on

breast; hat, sword, boots

deathbed
candles in
a

spurs

; and

he

lay

that

chamber other

draped
tapers
on

in black ; the

by
the

his side
stood

some a

lightswith

and

altar, where
in

crucifix,till Saturday.
was

Then black

they placed
velvet
and with

the

corpse

coffin,which

garnished
it
a cross

with

gold gilt
in

nails

and
and

galloons, and
two

above

similarlydressed;
"

clamps
Church

keys ; they John

the

till the bore him

night arrived
to

the darkness

clothingall
the

mourning,

when

his

last

in resting-place

Parish

of St.

Baptist.
on

There
the

he

was

received had

by

His

Majesty's
erected in and

chamberlains the
many

who

placed him
on

which catafalque
were

been

middle

of the choir ; The.

either side
were

twelve
with

silver candlesticks

tapers.

obsequies
and
to

celebrated

great

solemnity in
the

the

presence
and

of many
it

nobles

chamberlains.
de

Then

they removed
of
to

coffin

consigned

Don bore

Joseph
it
on

Salinas,Knight
shoulders the

Calatrava,and
and burial-

other

knights,who

their

grave

480
place of given
Court
him

Velazquez.
Don

Caspar
be

de his

Fuensalida,who resting-place." by
the

in

proof

of

his

affection

had

this to
was

Philip
that the be

deeply

affected

unexpected
had

death

of

his
on

favourite

painter. When stipendof

to make
one

the Junta ale obras y thousand should

bosques decided
now

August

15
not

ducats, which
revert to
a

lapsed,should king
on

again

granted, but
up his

the

Juntas

the

felt himself the

seen

unable

mind, and

with

tremblinghand
This document

wrote

margin :
in the

Quedo adbatido
archives Thus his much

("I

am

overcome").

1 have

of Simancas. it
seems

probable that,
officialposition was The
to

besides

the

loss of much of

valuable

time,

envied death.

also the

cause

Velazquez*somewhat
No other such and
very be

premature
the
was

greater part of his life

the whims circumscribed of his

was

spent in the service of

career

Court, sacrificed
ever scarcely more

sovereign. partly even

Such work

ceremonious by courtly, the

may

traditional
manner

routine.

The
were

range

of

his

and subjects,

of
to

treatment,
a

limited

by

traditional usage. the

compared
on

of royalpleasure-ground and

is laid period. Here everything and

down

tectural archi-

measure lines, geometrical we

outlines

to plant being prescribed

lifeitself. Here

find the usual

mythological groups
statue
we

with
some
are

their

allegorical
;
a

the grotesque figures of dwarfs, the bearings,

nor

of

royal person
favoured where the with

do

we

miss

the
a

hermitage

and

shrines ; and

glimpse through
in the

large window
the

of inaccessible

apartments,
seen

majesty lieges.
lifeless

intimacyof
a

familycircle may
a

be occasionally
assumes a

by

On

such copper-plate But when San

at

garden
if

somewhat Balsain
a

stiff and

aspect.
of the
must
"

the

foot of the

sierra at

vision is unfolded

park of

as Ildefonso,

conjuredup by
For the
sources

Aladdin's and The

lamp, prejudice
of all life

needs

give way
colour

to
"

admiration.
are

revelation

light, water,
clear
as

here

in full

measure.

gorgeous

flowers,the

the mysterious vistas and the splashingwaterfalls, crystal, a spellaround us as if we had everythingweaves unexpected panoramas, come a sanctuary of vanished gods in the midst of the surrounding upon basins wilderness. life of
And
trace

weird

lifeof here

unearthlyoriginseems pervades
the in the stream of

as

if let down

amid

the

Nature, which
we are

rigid forms
the memory.

prescribedby

Art.

when

again plunged

daily existence,a deep

of those

visions lingers fleeting long in

Velazquez* Successors.
Carreflo,
"

As

he

had

no

forerunner
to

or

prototype,
titles.

so

our even

master to

had these

no

successor"

except indeed

his offices and

Still

the

CaRRENO
of changelessness This is
seen

COELLO.
semblance
ob.

48 1
of

the Court

atmosphere often gives a

de

similarity. sought the

accept
need the of

in
assessor

Juan
to

Carrefto

Miranda

(born 1614,

1685), Court
he

painter and
that

the office of But

palace marshal,and,
to

had

honour, also Knight

of servant honour from
to

of his

Santiago. Majesty.
he
can

he declined,needing no friends
"

badge beyond
should
in
on no

And

urging he
honour

it for the honours world." His

of the Art
she

replied :
afford

Painting stands
confer

anyone;

to

whole

historical
to

piecespoint
Van
in

more

to to

Flemish

and

Italian

his influences, But

with

more portraits

Dyck,
the

than

his

predecessorin
the
same

office.

him
same

we

still remain

same

in family circle,

same

in studio,

the

apartments
that

of the

Alcazar, where
installed. His

hang

the

and oil-paintings
assume

mirrors

Velazquez
grasp
even

subjectsalso
So

the
is

same

and attitudes, of the

the

identical armchairs.

powerful

the

genius

that place,

in the

were palace itself Juan's portraits

often taken

for works

by Velazquez.
this

Nevertheless his

high-born
nor

Asturian

reallypossessed something
the Court drawn in

of

precursor's veracity ; by
of this
*'

is the

pictureof
His
but arrivals,

flattering
same as

colours those
more

worthy

chronicler."

subjectsare
no

partly the

Velazquez, partlyfresh blightedand

has

fresh
a

life; all is

duller,
garb.
who
to

wearisome,
The

darkened, as
become
a a

if

by

shadow in

of Orcus. Convent
man

bright hoped
a

Mariana

gloomy

widow

The
it
was

second

Juan of Austria,fruit of
would
statesman

a velleities, voluptuary's

prove

double

of his
to

great
leave

namesake,
to

rose

the

positionof
Our
or baiter,

and of
a

captainonly
tremendous
no

contemporariesand
part of
a

prosperitythe memory
Court of
a

fiasco.
the
as a

buffoon

Bazan

longer plays compared

bold

bull-

weather-beaten

but captain.;

appears

suppliant. dejected
five types left

Even
us

the

generationof dwarfs, when

in
to

with

those

by Velazquez, seems degraded

these
and

the puny level of and

Misso,^with
mere

his parrots and

lapdogs,

still further But fresh amid

the

puppets.
there appears
a

tiresome defiant

played-out nonentities
Oriental

livelyface
who

figure in
in

costume,

Peter

Ivanovich

Potemkin,
Coello,
"

visited Madrid
was

1682. in

Carrefto

succeeded
the

1684 by
of

Claudio

Coello.

This

last

national

Court

painterto
Giordano.

Habsburg dynasty was,

He died

like the first

(Sanchez
of the

Coello)of Portuguese
Italian,Luca
"

stock.

grief after

the

arrival

Formerly
Louisa

in

Lord

Ashburton's London.

country

seat, The

Grove,

now

in the

possession of

Lady

Ashburton,

31

482
Claudio the No.
we

Velazquez.
Coello diverse
was a

master

of

colour,and

still more with

of

eflfectsof light

most

kinds.
to
as

The
a

Holy

Conversation

St. Louis

(Prado,
Here
as

702) is
have

referred

result of his studies in the

or

royalpalaces.
a

nothingof Virgin
in

the exhaustion the

gloom

of death ; it is festive

such picture

Rubens'

Rose-bush,
a

full of

movement,

radiant

sunshine, azure
Of
a

blue, and

delicious

gloaming.
which of all others here claims

different character

is the work

special
like

attention. the

It is the last great

product of
blaze the

the old

which, Spanish school,

had

found dynasty itself,

once

its grave
more

in the Escorial. forth. in The the

In it the traditions and

of Velazquez spirit retablo for the

wars

king

presented a
San the Lorenzo

of

precious stones
wafer Low

to

altar

of sacristy

consecrated

which
and

had

been

outraged during
1592 had
in

religious preserved

in
a

the

Countries,
that

which work

since

been
to

in

of reliquary

church; the

question was
the Prior
de

serve

as

screen

for that retablo. The

artist has

chosen

the moment

when

los Santos
at

raises

the monstrance

in the act of

the king,who blessing

and

has advanced

the head Like

of

from procession

the Court

is

now

kneeling before
is also
a

the altar.

the

of Meninas, this picture It also consists

been

the sacred

Host

kind of instantaneous of portraits, which

photograph.
no

of exclusively

well-executed

less than
A
correct
was

have fifty

reckoned. of the
very

perspective pictureis given

where The
;
are figures

place for
a

which

the

work open

and intended,

it is stillto be seen,

with

view each

through the
other
as

door. Meninas
some

grouped

and

disposed behind
an

in

the

only

here

the peculiarlight of prevails into which The

also
severe

interior illumined

by

twenty

tapers, and

streams

the

daylightreflected imposed by
as

sacerdotal by sumptuous of such a representation

robes.

restrictions ceremony,

the
the
no

and religious his customary The

a

royal
forms

well

as

complete abstention
means

from

of

have composition,

by

hampered
years,

the artist.
is
on

with composition, scale that his

which

he

was

occupied
is

for three

such

vast

familiar hand

scarcely
effect

recognizedin
is
as

this work.

But, as

in that

masterpiece by Velazquez,the
ages.

if we

were a

into past peeringthrough a telescope time

the
was

But

what

this when

these

priestsand periwigged courtiers

of the old

gathered monarchy
from
now

round

last
a

decrepit sovereign depth

of

dynasty!
with

The its

had
a

fallen to

impotence which, compared

recent terror
mere

positioneven
her
become

century

in before,is unparalleled

history.
of

Fallen

high estate, that arrogant nation, formerlythe

the
scorn

Europe,had
was

of the
where

peoples.
now were

At

one

time

her

name

the

signal of victory; but

her

her great captains,

imperious

INDEX.

e"""4"4^""4C4

4"4"4"^"^"

""""v"H"v"%"%-iwrg?yr"^

"""

!"""""

"""*""

""""""""""

""""^4

""""""""*""

I N

DEX.

by attention to the following points : of this Index will be facilitated broadly features of Velazquez'IJfe and Art with his chiefworks the entry Velazquez. etc.,will be found under critiques, classified, and The titles of all his known works, extant or extinct, of such works attributed to 2. entered desirable in their place in italics, and where mentioned in the text,are him are as The Meninas'' and The Maids their alternate designations; thus: under of Honour"'

l^Theconsultation
1.

"

All

the

salient

"

"

No

other 3.

entries

are

italicized.
are

the patronymic; thus: Herrera, given, as a rule, under avoided the hence to all London are c ross utmost; references irritating entered twice in their alphabetical order collections containing works by Velazquez are with alternative the same For under London. and reason are important names spellings the cross being made to the form adopted in the reference given under both, in these cases

Proper

nanus

Francisco.

But

"

text; thus:
4. To

Rivera,
the

see

Ribera;
clear the
cases

Alva,

see

Alba. nomenclature redundant the

na?nes are

keep suppressed. In
Ostade mentioned

text

of

cumbrous will
as

often

these
at

Index

always
Ostade,

show

person
van

meant.

Thus, the /. 298, as

p. 456 is indexed
so

Adrian

Scharf,

ScHARF,

George/

and

on.]

206. Aa, rivulet,

Alava, 476.
Alba, Duchess Alba, Duke
Alba

Abercom, Duke of,325. Abil6s, 37. Academy of Madrid, 42. Academy of St. Luke, 179, 426. Academy, Royal, Exhibition Acquaviva, Cardinal, 353.
of

of,333. of, 151, 200. Palace, 407, 462, 465.

1888, 325.

Acqui, 195.
Adam,
Admiral Adrian

Claude, 347. Adrian Pulido, 295-8. Pulido, 296.

van,
102.

Aeken, Jerome
iEdes

Albano, Francesco, 159. Albert,Archduke, loi. Albert, son of Rubens, 132. Albert,Archduke, 222. Alberti,G. B. degli,30. Albornoz, Cardinal, 158. Alcacer Quibir, 102. Alcaic, Bemardine Nunnery', 123.
280. AlcalA, city, AlcalA AlcaU de Guadaira

Walpolianae,360. Aerschot, Duke of,376.

Aertsen, Peter, 68.
of the

Hospital, 44.

iEsthetics

Ugly, 455.

Fernando, Duke of,43, 45. Alcantara, Order of, 120, 318. del, 22.
del, 85, 244.

Aguado

Gallery,267. de, buffoon, 435.

Alcazar, Balthasar Alcazar, Luis

Aguas, Martin

Aguila,Conde de, 81. 20. Ajarafe, Alarcon, Juan Ruiz de,

17, 91.

del, 85. Alcazar, Melchor Alcazar Palace, Madrid, 96, 457. Aldobrandini, Olimpia,347.

488
Aleman,

Index.
Jorge F., 28.
20, 68.

Arcos, Duke

of,296, 399.

Aleman, Mateo,
Aleman,
Alexander Alexander Pedro

Arctino, Pietro,252, 434.

Arczzo, 122, 443.

F., 26.

VL, 285.
VII., 342. de, 68.

d', 9, 348. Argenville, Argote de Molina, 219.

Alfarache,Guzman
Alfonso Alfonso

Alfaro,Juan de, 9. VI., 60.

X., the Wise, 25.

Juan'de,21. Arguijo, Arias,Antonio, 365.

Ariosto,4S2. Aristotle, 102, 127. de Flandes, 32. Amao
Amao de

Algardi, Alessandro, 348,349.

Alhambra,
4, 34.

Vergara, 32.

Alicante, 340.

(Soragossa), 330. Aljaferia Cristofano,122. Allori, Alsace-Lorraine Exhibition,311.

Altabas Altamira Altamira Alton

Arphe y Villafane, 30. Arpino,Cavaliere d*,161,377.

Art Circles in Art Circles in

Madrid, 93. Rome, 158,347.

(Saragossa), 329. Family, 117. Gallery, 117, 319.

1 1 2. 21.

Artillero,The, 438. Earl, 342. Arundel, Thomas Asensio, Francisco, 12, 44, 49. Ashburton, Lady Louisa, 481. Ashburton, Lord, 220, 481. Asis, Don Fr. de, 75, 401. 2. Assunta, Titian's, Astorga, 379. Atanasio, Fray, 229. 102. Attila, Atti,Flavio, 151. 446. Augsburg Gallery, d\ 276. Aulnoy, Madame Ayala, Lopez de, 415. Ayala, Pictor Christianus,243. Azara, Cavaliere d',361.

Towers,

Alumbrados,
Alva. Ambras

See Alba.

Palace, 412.
See

Amerighi,M.

Caravaggio.

Amettler, Bias, 70. Ameyden, Diary of,288, 346, 354, 399. Anchorites, The, 469-74.
Ana de la Vega, 424. Andreu, Bernardo, 450. de Andrade, 297. Andres Angelico, Fra, 126. Angely, d',buffoon, 434. Anna, wife of Louis XIII., 175, 380, 403, 474.

Queen of England, 278. Annibali Domenico, 252. Anthony Ulrich of Brunswick, 341. Anthony, St.,Abbot, 469.
Anne

Bacchus, The, 139-46. Baccio del Bianco, 193.

Antiques,The, 362.
Antonio de

Baglioni, envoy, 175. Col. Hugh, 117, 326,400. Baillie, Balan^on,Baron, 201.
Balbi,Fr. M., 315. Balbi Palace, 203, 315. Balsain,96, 210, 480. Balthasar Carlos, Prince, 311.
Balthasar 31 1-3.

Castilla, 411.

Antonio, Nicholas, 49. Antonio, Don, dwarf, 436. the Englishman,dwarf, 447. Antonio

Antwerp, 27, 91, 134, 200. 89, 107, 254. Apelles, Apollo and Matysas, 461. Aposentador del Rey, 373. Apsley House, 70, 72, 278, 300, 332, 359, 360,
426.
Arab

Carlos, Equestrian Portrait

o/t

Bandinelli,126. 418. Bankes, Walter R., 289,

Barajas, town,

271.

Art, 4.
218.

Baratta,Francesco, 347. Barbaro, Pater, 343.

Barbarossa. See Pernia.

Aragonese State, 328.

Aranjuez,96, 197, 198,211,

Arbasia, Cesar de, 33. Arch of Titus,167

Barberini,Card.

Franc, 156,345.

Barberini,Fall of,288. Barbola, Mari, dwarf, 416.

Index.
Barcelona, city, 27, 151, 176. 309Barefoot

489

Nuns, Madrid, 98.

220,

Baring, Thomas, Barrameda, San

Bartolotti, 193. Basadonna,

308.
de, 38.

Bolognese School, 123, 128, 365. 70, 220. Bonaparte, Joseph, Bonaparte, Lucien, 266.
Bonamic,

Lucar

436.

Barri^re,Dominique, 346.
104, 444.

Bonatti,Celiero, 84.
Bonelli. legate,103.

Bass, Major Edward, Bassano,

Bath

380.

of,284-91. Borgia, Cardinal Caspar, portrait Borgia,Don Francisco, 332.

Borgia Palace, Gandia, 289. Borgia,Pope Alphonso, 285. Borgia, Pope Rodrigo, 285.
St. Francis, 285. Borgia, Borja. See Borgia. Borrachos, The, 133, 139-46.

54, 184.
220,

House,

413.

Bathoe, 120. Bazan, Alvar de, 22, 151. Bazan, buffoon, 481. Mr., 470. George, 259. Becerra, Caspar, 30. Beck, Daniel, 341.
Beaumont,
Sir

Beaumont,

Borro, Alessandro
Boscan, 34.

del,443-5-

Boschini, Marco, 153, 34'. 342. 351,388.

Bossuet, 272. Bouchardon, E., 311. Bourbon Palace, 69,98, 211, 360,404.

of, 298. Beer, Maria E. de, 55. G. P., 160, 364. Bellori, Gallery,8,208, 326. Benavente, Count of, 121, 435.
Belvedere

Bedford, Duke

Bourke, Mr., 334. Bouts, Dierik, 27, 28.

Bowood

Benavente, Benavides, Berchem,

Berettini

Antonio

Alonso, 298.

(Marquisof Lansdowne), 263.334.

H.

Luis de, 152. Nic, 81.

John, 313. Boydell,

Brabazon,

B., 400.

Bergh, Count

Pietro,348,360. van den, 204.

Braga, 60.
Bramante, Bramarba, Brandano,
Braun 30.

Berlanga, town, 475, 47^Berlin Gallery, 177, 269.

308.
Ferd., 346.
1

Engravings, 319. Bermudez, Cean, 9, 35, 38, 126, 246,306, 313.

Beriin Cabinet of Bernardo

of Dornach,

5.

Andreu, 450.

Breda, town, 195, 300. Breda, Surrender of 199-209.

,

Bernini, Lorenzo, 157, 280, 348, 349Bemiguete, Alonso, 30, 31, 34i 35. U968. Beukelaer, J.. Beul6, Ch., 2, 238,460.
Bianco, Baccio

Brend

amour,

15.

Bribiesca,town, 476. Bridgewater Gallery, in,

Brienne, 403.

162, 319,426

del, 193. Bichi,Cardinal Alex., 341. Bidasoa, river, 405, 474-

Brigidadel Rio, 435.

Bril,Paul, 258. British Institution, 241, 334.
life of

BiographicalData
9-15.

for the

Velazquez,

British Museum,

422.

Blanc, Charles, 2, 6, 11, 226, 315, 391. Boar-hunt, The, 212-8.

Bobo de

Bronzino, Angiolo,122. Broomhall, Fifeshire, 315. BrQcke, E., 392. Brueghel,Peter, 68. Bruges, 26. Bruna, Franc,
Brunet, G.,
11.

Coria, El

449.

Bocanegra, 229, 263. Gabriel, 272. Bocangel, Bode, W., 145-

279.

Bodegoncillos, 69.
Bodegones, 68. Boileau,434. Boisel,199. Bologna, city, 32. Bologna Palace
of the

Brunswick, Anthony

Ulrich

of, 341.

Buckingham Collection, 52. Buckingham, Duke of, 131, I75Buckingham Palace, 327. Buen Retiro,69, 189-96.
Gonfaloniere, 349.
Buenrostro,

Andres

de, 59.

490
Buonarroti,Lodovico, 6i.

Index.
Carducho, Bartolommeo, 122, 124. Carducho, Vicente, 93, 122, 124; his work Painting, 126. Carignan, Princess Marie, 212, 271. Earl of. See Castle Howard. Carlisle, Carlos, Don, son of PhilipIII., 112. Carmona, Salvator, 143, 241, 278. Carmona, town, 29, 32. Carnero, Antonio, 448. Caro, Rodrigo, 19, 21, 46. Caroselli, Angelo, 347.

Buonarroti, Mich. Angelo, 30, 31, 33, 170, 459. Buoncompagni, Cardinal, 435. Burckhardt, J.,163,372, BQrger, Burgos, town, 95, 276, 475. Burgundian Court, 97. BurlingtonHouse, 418. Burnet, John, 8. Bute, Lord, 361.
W. See Thor6.

on

Byzantine Art, 51, 467,

Caballero, Don

Pedro, 32.

Carpio,Marquis del, 214. Carranza, Archbishop,33, 435. Carreflo, Juan de, 60,87, 90, 401,
Casale, town,
Casilda Castel Castel de

413, 457,

481.

Cabella, Fr. Gutierrez, 373.

Cabrera, Admiral. 94.

151.

Fuentes, 123.

Cadiz, 195, 269,311. Cadore, 50. Norberto, 69. Calaba^as, buffoon,438.

Caimo, Calabrcsc, Cavaliere, 348.

Rodrigo,Manuel, 303. Rodrigo,Crist6bal,Marquis, 301-3.

Castigliondel Lago, 444. Vieri, Castiglione, 437.

Antonio Castilla, de, 411. Antonio Castillo, del, 137. Castillo, Juan del, 230. Castle

Calatrava,60, 114, 120. Calderon, 4* 25, 193, 277, 384,411. Calderon, Francisco Garcia, 241. Calerge,G., 341. Calixtus III., 285. Callot,Jacques,69, 193, 202, 212, 330. Calvi, Lazzaro, 365. Camail, 361.
Camaron, Cambiasi,
Camiilo

Howard,

321, 353, 354,

364.401.

Castro, Adolfo de, 382. Castro, Archbishop,23, 76.

Castro, town, 355.
210 Catalina,daughter of Philip II., Catalina,the Portuguese, 435.

279.
122,

Catalonian

War,

272, 309, 445.

184.

Massimi, 362.

Camilo, Francisco, 365. Camoens, 126.

Cavendish, W., Duke of Newcastle, ^04. Caxesi, Eugenio,89, 122, 123, 195. 10 1. Caxesi, Patricio,
Cean. See Bermudez.

CampaAa, Pedro, 31, 32. Campori, Marchese, 293. Camugliano, 368.

Canaletto, 329. Candolfi, Franc, 193. Caftete,382. Cano, Alonso, 226-9, 278, 396.

Cellini, 238. Cento, town, 347.

Cepero, Lopez, 27,

40,

46, 76.

Cerezo, Mateo, 234, 237. Ceron, Antonio, 428.

Cerquozzi,M. A., 347.

Cervantes, Miguel, 3, 4, 141. Cesari, Giuseppe, 377. C^spedes, Pablo de, 23, 30, 31, 34, 45, 304Alonso de, 476. Cevarrijbias,
Chantelou,
Charles L M. of

Proportion, 421. Capecelatro,113. Capuchin, the Spanish,portrait, 298.

Caracci,Agostino, 181. Caracci,The, 123, 135, 227. Caravaggio, 40, 50, 55, 56,67, 78, 171, 181. Cardenas, Alonso de, 380. CArdenas, bull-baiter, 438. Cardenas, Jaime de, 132. Carderera Collection,279. Carderera, Val, 9, 10, 180, 224. Cardona, Lusigniano,300.

"

Canon

"

of

de, 349.

England, 88, 95,

120,

153, 327,

380.
Charles Charles Charles Charles Charles

Englandr38i. Spain, 131, I43" S^S. 33i. 483III. of Spain, 143, 313, 333, 433IV. of Spahfi, 451. 89, of, V., Emperor, 34, 434 ; portraits
H. of

II. of

194.

492
Dalmau, Luis de, 27.
Dante, 4.

Index.
; Emanuel

King
Prince

of

I Emanuel

of

102. Portugal, Portugal, 205.

D'Argcnville, 9. Ddvila, Flores, Marquis of, 120. Davillier, Baron, 382,426.

De

Heem,

407.

Delacroix, Eugene, 44. Delahante Collection, 318.

Delgado, N., 43. Dentone, II,366.

De Dc

Emperors' Garden, Madrid, 103, 121, 462. Engelbertof Nassau, 200. Engerth,E. von, 410. of Velazquez in,8. England, Works See Julianillo. Enrique Felipede Guzman, Ensenada, Marquis of,313. Epiphany, The, 78. Erasmus, 436.
Eresma, stream, 474. 162. Erfurt Museum, Escalona, 211. Escorial,50, 184, 293, 327, 37S" 376,378-82.

Passe, 177.

Reynst Cabinet,
311.
Duke

170.

Desenfans, Devonshire,

of, 268.

Dialogue

on

Painting,Carducho, 126.
102.

Diderot, 390. Diego, Infante,

Diego, Origin of the Name, Diego, San, 232.

60.

Esop, 45"-3Espina,Juan de, 95. Espinar. See Martinez. Elspinosa, Juan de, 23.
Este, Francis
Duke "/*,

o/Afodena, 291-4.

Disputa,The,

2.

Dolce, Carlo, 2. Dolce, L., 46.

Domenichino, Domenico,
Dorchester 37,

426. Este, Ignazio, Esterhazy Collection,124, 227.

Estofado

Sculpture, 283.

161, 181.
112,

Estroza, 461.

Alessandro, 26.
House,
117.

Doria, Andrea, 360. Doria Gallery, 2, 8, 349, 358. Douro, river, 475.

Evelyn,Diary, 157, 164, 166, 363. Expulsion of the Moriscos, 129. Eyck, Van, 27, 188.

Dozy, 4.
Dresden

Galler"', 9, 52, 225,

270, 300,

318.

Drouot, Hotel, 72. 268. Dudley Gallery,

Fadrique,Don, de Rivera, 30, 59. Fadrique,Don, of Toledo, 194, Falck, Jeiemias,170. Family of Velazquez, portrait, 422-5
Farnese, Elizabeth,72. Farrar, H., 118,426. F6libien,162.

Dughet, Anne Marie, 159. Dughet, Gaspard, 472. Dulwich Gallery, 305, 311, 313,
DOrer, Albert, 5, 48. DOsseldorf Gallery,300, 426. Dutch Art, 456. Dwarfs, 445-9.

423.

Felipede Borgoiia, 29. See Julianillo. Felipede Guzman.

Feria, Duke
Ferdinand Ferdinand Ferdinand

of,295, 314,
the Great, 60. I., II., Emperor, 287, 402. Grand of Tuscany, 175, Duke II.,

Dyck, A. van, 108, 254, 330. Dyck, Van, Exhibition,203.

340,444.
Ferdinand

III., Emperor, 10, 26, 192,216,326, VII., 70.

221.

Richard, 313. Ebro, river, 329.

Earlom,

395.
Ferdinand Cardinal dei Medici, 164. Ferdinand, Cardinal-Prince, 194, 213, Ferdinand, Prince Thomas, 411.

Ecija, town,

29.

Ferdinand,

Eclectics, I, 65, 123, 128. Edinburgh Gallery,Gordon's, 361. Egerton, Lord Francis, 319.

Fernan Feman

Egerton Papers, 380-1. Elgin,Lord, 315. St., of Portugal, Elizabeth, 330.

El

Gallegos, 27. Nuiiez, Duke of,313.

de

Primo, dwarf.

See Primo.

Alejo, 27. Guadalupe, 29. Fernandez, Luis, 42, 65.

Fernandez,
Fernandez

Index.
el Mudo, 50. Fernandez, Na\-arrete, Fernando of Cordova, 244. Fernando, San, Academy, 183,243.

493
de, 123. Muiioz, Ger6nimo, 95.

Fuentes, Casilda
Fures y

Fernando, San, Duke

of, 241.

Ferrara, 151, 291. Ferrata,Ercole, 349. Ferrer,Ger6nimo, 364. St. Vincent, 285. Ferreri, Fiammingo, 276. Figueroa,J. de Fonseca, 86. 11. Fiorillo, Flandes, Amao de, 32. Flandes, Juan de, 27.
Flemish Painting, 3. FlOgel, 433Florence, 31, 149, 156, 164.

Gainsborough, Thomas, Galilei, G., 158.

217.

Galindo, Dona Beatriz,91. Galle,Cornelius, 177, 324. Gallegos, Fernan, 27. Galleries, The, 7. Gamiz, Pedro Lopez de, 477. of,289. Gandia, Duchess Gandia, Franc, Duke of, 285. Gandia Palace, 289.
Garcilaso de la

Vega,

21, 23.

Florence, Grand

Duke

of, 282.

Pater S. J.. Florentia, 85. Florentine School, 124. Flores D^vila, Marquis de, Fomento

1 20.

Gallery, 401.
See

Ger6nimo, 436. Figueroa. Fonseca, Alonso de, 476. Fonseca, Fernando de, 300. Fontana, Jul. Cesar, 176. Fonati, Don
Fonseca.

Gardiner, History of England, 175. Gaspar de Crayer, 221, 308. Gautier, Th^ophile,11, 418. Gaxif Rutilio, 94, 188. Genoa, 151. 315, 340, 343. Genovese, Prete, 341. Gentileschi,Artemisia, 377. Gentileschi,Orazio, 161. George IV., 325. Gerbier, Balthasar, 120, 131, 133.
German 28. Style,

Fontarabia, 295, 477. Ford, Richard, 10,11,

13, 62, 82, 140, 275, 322,

458. Forge of Vulcan^ 135, 168-73. Fortuny, Mariano, 383, 426. Fountain of the Tritons 197, 198. Fraga Portrait of Philip IV,, 303,
y

Gevartius, Caspar, 118. Ghent, 2, 27. Ghent, St. Peter's, 472.

Ghisi, 33.
Gian

309.

Bologna, 164. Gijon Institute, 215, 246, 460. Gilaberto,Jofr6, 450.

Giordano, Luca, 137, 421.

Francesca Francis Francis Francis

Romana, Sta.,167. I. of France, 98.

Giorgione, 341.
Giron, Don Fernando, 195. Giulio Romano, 45, 50. Girolamo, 285, 302, 328, 374, Giustiniani, Giustiniani, Marquis, 162. Goa, 19,

d^Este, 291.
of Assisi, St.,230.

Francisca, daughter of Velazquez, 84, 270, 276, 424.

Francisco de

HoUanda,

128.

Frangipani,167. Frankfort 8, 289, 408. Galler}-,

Fraser, S. H., 325. Frederick, Elector, in. Frere, Sir Bartle,76. Fresnada, 133. Frias, Duke of,320, 476. "Frizzly Girl,"The, 435. Fruella, Don, King of Leon, 60. Fruto, St, 474, Fuensalida, Gaspar de, 134, 415, 479.
Fuentarabia.
Fuente de

Godoy,
Goetens,

Prince

of Peace, 212, 319, 426, 465. Damian, 475.

Goethe, 395, 463. Golden Fleece, Order

of

the, 100, 293.

Golilla,108. Gomez, Emanuel, 436.

Gomez,

Ruy,

117.

Gondomar,

See Fontarabia.

Count, 87. G6ngora, Luis de, 86, 1 1 5. Gonzaga, Vine, Duke of Modena, 436, Gonzaga Gallery, 121. Gonzalez, Bartolom^, 38, 90, 316. Gonzalez, Joseph, 177.

Cantos, 233.

494
Gonzalo Gordon Gothic of CordoN'a, 204.

Index.
Hague Gallery, The, 327, 336. Hals, Franz, 205. Juan van der, 188. I Hamen, Hamilton 87. Gallery, I Court, Hampton 274, 275, 435, 446. Ste Habsburg. I Hapsburg. I Hanson, timber dealer,380.
I
'

Gallery,Edinburgh, 361.
Art, 3.
Lord

Gower,

Ronald, 177, 353. 448.

Goya,

72, 90* H3. 217, 313. 422, 440, Duke of, 373, 405, 411. Grammont, Granada

Cathedral, 282. 60, 125. city, Museum, 195.

Granada,
Granada Granada

Haro, Don Luis de, 321, 371, 381, 427. Harrach, Count, 94, 121, 401.
Harrach

Royal Chapel, 27.

Lord, 217.
1

Gallery, 401.

Grantham,

Granvella, Cardinal, 240, 286. Gratz Castle, 411.

Hase, K. 470. Hazan, architect, 91. Heliche, Marquis of,324.

Henrietta Maria of

Grave, town, 201. Greco, El, 35, 51, 54, 66.

Greek

England, 437.

Art, 69, 142, 348,460.

Gregory XIII.. 435Gregory XIV., 435Grimaldi, Maria, 437-8. Grimani,

Calerge, 341.

Grimani, Vincenzo,

152. Gritti,Andrea, Doge, 132. House,

Henry IV. of Castile, 98, 190. ! Henry IV. of France, 134, 272, 402. ! Henry VIIL of England, iii, 252. Henry Frederick of Orange, 201. Hermenegild, 37. 469. Hermitage (Buen Retiro), Hermitage Gallery,9, 120, 282, 313, 318,4^3Herrera, El Rubio, 69.
Herrera, Fernando Herrera, Francisco de,
21.

Grosvenor, Earl, 323, 324.

Grosvenor

115.

Grove, The, Watford, 41, 481.

Guache

Technique, 144. town, 476. Guadalajara, Guadalupe, city,124.

Guadalupe Convent, 122. Guadarrama, Sierra dc, 257. Guardia, La, Chapel, 123. Guercino, 159, 181, 357. Guerra y Orbe, 278. Guerrero, 23. Guevara, Felipede, 35. Guevara, Velez de, 88, 107,
Guicciardini, 106.

de, 20, 38-42. Herrera, Francisco de, Jun.,61. Hertford House, 408. Hertford, Marquis of, 217, 267, 323, 326. Hesse, PhiUpof, 132. Heytesbury, Lord, 144, 263. Hilanderas, Las, 427-33. Hofmann,
125. 330.

Hogarth, 140,
Holach, Count
Holbein, 32.

of,200.

Holford, R. S., 112. Homer, 458.

Peter
van

Hooghe,
Hoop,

Guidi, Camillo, 255. Guidi, Domcnico, 349. Guido, 2, 161, 181, 356. Guillen, Diego,477.

de, 419, 433. der, 420. Hopeton, Sir A., 274.

Guipuzcoa,295, 476. Gustavus Adolphus, 158.

Guterre, Aldarete, 60.

Horse, Spanish,304. Hozes, Hernando de, 24. Hfibner, Emil, 171. dwarf, 437, 446. Hudson, Jeffrey, Hume, David, 456. Hunt, Spanish,209-12.

Gutierrez, Pedro, 428.

Guzman,
Guzman Guzman de

Perez, Archbishop,479. Alfarache,68. el Bueno, 117.

Alonso

Hurlingham, 220.
Huth, Mrs. Henry, 118, 275, 413. Huysum,
407.

Guzman, Enrique Felipede, 320.

Hyde,

Sir

E., 381.

Habsburg, 98, 403, 481.

Hafis, poet, 74.

Ignatia,Daughter of Velazquez, 276. Ignatius Loyola, St.. 182, 332.

Index.
Udefonso, San, Palace, lo. Ildefonso,San, Park of,211.
Immaculate

495

Kant, 390. Keir, 53, 284. Khevcnhiller,21, 114, 117, 285,298. KiUan, Lucas, 33. Kilian,Wolfgang, 177. Kingston Lacy, 289,418, 438.

Imbert, P. L., 237, 312, 420. 76. ConceptioHy of,Madrid, 103. Palace, 476. III., 157.

Incarnation, Convent
Infantado Innocent Innocent

Knight of Santiago, portrait,300.

Knighton, Sir W., 325.

X., 346,354-62. The, 47, 48, 226, 465. Inquisition, Abate, 362. Ippolito, Irles, 152.
Isabel de Anversa, 319.

Isabella, Empress. Isabella, Farnese, 299. Isabella of Bourbon, 137, 219, 272-4. Isabella the Catholic,27, 210. Isabella the Stadtholdcr, 131. Isassi, 326. Idiaqucz,

Labrador, Juan, 96. Caze Gallery, 279. Lady with a Fan, 266-8. Lambardo, Carlo, 167.
La

Lamotte, General, 309. Lance, George, 217. Landi, Senator, 341. Landseer, Sir Edwin, 216. i Laneuvilte,Ferd., 333. Lanfranco, Gio.,161, 179, 348. Lansdowne, Marquis of,334, 361,426.

Jadraque, town, 475. Jaen, 123. Nunnery, 123. Jaen, Bernardine James I. of England, 176. James the Conqueror, 329. Jamesson, Mrs., jy, 274. Jan van der Meer, 432, 433. Jauregui, Juan de, 24. Jode, Peter de, 1 1 2. John IV. of Portugal,346. John Frederick III., 212. Elector, John the Evangelistin Patmos^ 76. Joseph Bonaparte,70. Joseph'sMany-Coloured Coat, 174-5. Jovellanos, Caspar de, 418. Jovius,49. Juan of Austria II., 344, 441. of Castile, Juan II., 98. Juan Bautista Toledo, 190. Juan de Flandes, 27. Juan de las Roelas, 135. Navarrete, 50. Juan Fernandez Juan of Austria, 103, 151. Juan of Austria,buffoon,438, 440-1. Juan of Granada, 125. Juana, Daughter of Charles V., 98. Juana de Miranda, 83, 268-71, 424.
Juana Eminente, Doha, 272.
de V'elasco, 320. Juana Fernandez Juana of Portugal, 435. Julianillo, 319-20. Juan de, 35. Juni, Justin of Nassau, 201.

318, 325. Lapeyridre Collection, Marquis de, 300. Lapilla,

La

Rochelle, 150.
St. Sec Escorial.

Laurence,

Laurent, J.,15. Lauterio,Fray, 230, Lavater, J. C, 183.

Lawrence,
Sir Thomas, 421.

Lazaro, San, Monaster)',329. Antonio, 21. Lebrija,

Le

Lebrun, Charles, 361,427. Comte, Charles Ph., 205. Lefort,Paul, 1 1, 283, 293.

Legan6s Collection, 194, 443. Leganes, Marquis de, 94, 132, 151, 202, 328. Leigh Court, 308. Lely, Sir Peter, 265. Lemoine, Francois, 391.
Leo X., 434. Leon, Luis de, 23. Leon, Ponce de, 17.

Leon, town,
Leonardo da

279.

Vinci,95, 140, 172, 419.

Leonardo, Jos6, 195, 202. Leoni, Leone, 103, 194.

(

Leoni. Ottavio, 49.

Leoni, Pompeo, 53, 284, 476. dc Unzueta, 319. Leonor Leopold, Emperor, 410. Leopold William, Archduke, 340. Lepanto, Battle of,89,441. Lerma, Duke of,75, 114, 131, 280, 313.

496
Lor
ma

Index.
Palace, Madrid, 190, 396.
Palace
at

Lerma

Berlanga, 476.
125.

Lorenzotti,Count, 293. Loretto, 156. Lotti,Cosimo, 90, 193.

Louis Louis

Lesucur,

Eustache,

Lichtenberg. G. Chr, 451. Lit^gr, 194. Lingee, 441. Lippi.Annibale, 164,

149. Lippi,Filippino,

XHL,

157, 175, 377.

XIV., 405, 474. Louis Philippe, 81, 118.

Louvre

Gallery,5, 9, 55, 82, 208, 223, 272, 275. 333. 344. 426, 435. 447. 470.
177.

Lisbon, Loechrs,
Lombard London

193. 2c"4. 5, 320.

Louys,
Luca

Litta, Count,
1 1

Giordano, 137, 421. Lucian, 453.

Lucien

School, 1 81.
Galleries
:
"

Bonaparte,266.

Lucullus, 164. Ludolf, Job, 325. Ludovisi, Cardinal, 156.

Luis

Abercorn,

325.

See Apsley House. Apsley House. Ashburton, Lady Louisa, 481.

Baillie, Hugh, 117, 336,400, Hath House, 220, 413.

Luini, Bernardino, 244. de Haro, 321.

del Sir

Luis

Bedford, Duke
Brabazon,

of, 298.

Lumley,
Luna,

Alcazar, 244. J. Savile,242. of,299.

von,

H. B. 400.

Count

Bridgewater House, in, 162, 319, 426. Buckingham Palace, 327. Bute, Earl of, 361.
Chiswick

Lurigntano, 300.
Lutzow, C.
407.

Clarendon, Cook,

House, 268. Earl of,40, 381,413.

244,

Lynford Hall, 305. Lyne-Stephens, Mrs., 305, 311,

404.

(Richmond), 52, 72, Cowper, Earl, 217.

Sir Fras. Dorchester

House, 112, 117.

Madrazo,
Madrid

Dudley, 268.
Dulwich, 305, 311. Frere, Sir Bartle, 76.
Grosvcnor Hertford Hertford.

Machuca, Pedro, 31. Jos6 de, 279, 323. Madrazo, Pedro de, 12, 66, 383,390.
:
"

Academy,
Alcazar. Calle

42. S^e

House, 1 1 5. House, 308.

S^e Wallace.

Palace,

Holford, R. S., 112. Huth, Mrs. Henry, 118, 275, 413. Lansdowne, 334, 361,426. National, 8, 81, 216, 242, 247, 412. Northbrook, 308,437. Reeve, Henry, 87. Robinson, Sir J. C, 6, 72, 74, 424-5 Rogers, Samuel, 308, 323. Salting,G., 74.
South

Mayor, 88, 91, 98, 268. Campo del Moro, 98. Casa del Tesoro, 91, loa City, 91-3. Nunnery, 273. Church, 126. National Library, 9, 208, 279, 319. National Museum, 125, 276, 322, 382. Bourbon New Palace, 69,98, 211, 360,
Encamacion 404. Palace Discalceate

(Ro^-al), 91, 96.

Mayor, 91, 190.
S^e del Prado Museum.

Kensington Museum,

358.

Plaza Prado. Puerta Puerta San San San San San

Stafford,House, 263, 290. Wallace, Sir R., 217, 267, 322. Westminster, Duke of, 1 1 5.

Angelo, 191. del Sol, 91.

Yarborough, Countess
'"

of, 52.

Fernando

Academy, 364,413.

Longfellow, The Spanish Student," 465. Longford Castle,296, 353.

Lopez de Ayala, 415. Lope de Vega, 4, 62, 95, 130. Lopez de Gamiz, Pedro, 477.

Giles, 227. Gin6*s, 228.

Isidro,107. Placido,240. St. Ger6nimo, 92.

Index.
Madrid St.
: (continued)
"

497
of

Maurice Maximilian Maxwell.

John

the

Baptist, 479.
428.

Nassau, 200, in. II.,

201.

Sta. Isabel quarter,

See Stirling-Maxwell.

Maese, Pedro

Campafia, 32 Maidalchini, Donna Olimpia, 355. Maids of Honour^ 1 63,4 1 4-2 2. Maino, J. B., 54-5, 130, 195, 401.
Malaga, 33, 340. Malaga Cathedral, 227. Malara, Juan de, 22. Malatesta, Adeodato, 293. Malpica, Marquis of,378. Malvasia, Count of, 128. 368, Malvezzi, Virgilio, 294, 314. Manchester Exhibition,241, 267, 326,464. Mander, Karel
Manfrin
van,

Mazarin, 403, 405. Mazo, Balthasar del, 424. Mazo, Caspar del, 424, Mazo, Juan Bautista del, 90, 220, 329, 3/5, 408, 424. Meade, Consul, 199.
"

Meade, General, 275, 319.

Mediaeval

Art, 7, 25.
Ferd.

Medici, Averardo Medici, Cardinal Medici, Cardinal

dei, 113. 164.

68.

Gallery, 52.

Mannerists, 30. Mantua, Palazzo del T^, 45. de Moura, 303. Manuel 210. Manzanares, river, Manzano, Juan, 123, Maratta, Carlo, 103.
Marc

Gio. Carlo, 368. Medina, M. Francisco de, 22, 24. Medina, Pedro de, 18, 91. de las Torres, Duchess, 320. Medina de las Torres, Duke, 321. Medina Medina Sidonia, Duke, 318,

Antonio, 33. March, Est^ban,424, 451, Marchena, 27, 29. Marcos, St. (Leon),279. Margaret of Austria,Queen, 103, 316. Margaret, Princess,405-10. Margaret, Nun, 273.

Medrano, Fernando, 23. Meer, Jan van der, 432, 433. Mel6ndez, Diego,47. Mel^ndez, Pedro, 102. Memlinc, Hans, 78.
"

Memona,"

Mendicant

and

The, 382-6. Globe, 73.

Mary

Mary dei Medici, 272. Queen of Hungary, 100, 173-9. Mary, Sister of Charles V. Maria Josepha,Electress,265.
Maria Maria Rosa

Mendoza, Alvar de, 286. Mendoza, Archbishop,30. de, 68, 476. Mendoza, Diego Hurtado Menendez Pelayo, 465. y Mengs, Raphael, i, 38, 69, 83, 206, 235, 364,
419.

Meninas, 1ms, 163,414-22.

Menippus, 453-5of

Ribera, 344. Theresa, Princess, and

Queen

Mercadante, Lorenzo. 26. Mercado, Thomas, 18.

Mariana

France, 272, 293, 402-5, 409. of Austria, Queen, 327, 395-402. Marini, 87. Mars, 458-61. Martin de Vos, 78. Martinez, Alonso de Espinar.219, 224, 324. Martinez, Jusepe, 10, 40, 55. 129, 180, 309. Martinez, Montaites, 281-4. Martinez, Sebastian, 269, 311.
Masanielli, 345.

Mercury

and

Argus, 461-2.

Merian, M., 177. M6rim6e, Prosper,407. Merk, river,206. Messa, Pedro de, 189. Metelli, Agostino, 364-8. Meulen, van der, 427. Mexia, Don Diego. See Legan6s. Mexia, Pedro de, 21. Michael Angelo. See Buonarroti. Miguel the Fleming, 27.
Michael

Massimi, CamiUo, 362,363. Massimi, Vincenzo, 192. Massimo, Stanzioni,36, 142. Mata, St. Juan de, 124. Mateos, Juan, 224. Mattei, Marquis,398. Matteo, Prince of Tuscany, 444.

Florentine,30. Mierevelt,M. van, 68, 203. Mignard, Pierre,265, 354, 404, 409. Miguel, Painter,27. Miguel de Alva, 479. Milan, St. Maurizio, 244.
the

32

498
Pedro, Millan, Milton, 4. Mirabel, Marquis dc, 395. Miranda, Juan de, 422. See Juana. de. Miranda, J nana
Mirou, Antony, 472.
26.

Index.
Murillo,8, 46, 229-36,263. Murviedro, 107.
Musso
"

Valiente,238.

Mute," The, 50, 55. My tens, Daniel, 446.

4S7-66. MythologicalSubjects,
Nani, Agostino,Naples,343. Naples,Chapel del Tesoro, 159.

Misso, dwarf, 481. Mocenigo, Alvise, 152. Duke Francis, 291-4. Modena,
Modena

Gallery, 293, 426.

Mohedano, Antonio, 44. Moles, Vicencio, 479. Moli^re, Le Tartuffe,"465. Molina, Argote de, 219. Molina, Tirso de, 20, 268.
"

Monanni, Bernardo, 90. Moncada, Franc, de, 295. Monconys", De, Travels, 131. Monforte, 413. Monserrat, 176. Monstrance, The, 31. Montaiies, Martinez, 35, 281-4.
Montano,
B. A., 23.

Naples Museum, 52, 143. Naples Slums, 451. Naples, Sta. Trinita,182. Naples, Tesoro, 179. Narbona, Diego, 55. Nardi, Angelo, 122, 123, 365. Nassau, Engelbertof, 200. Nassau, Justinof, 201.
National

Gallery. See London.

in

128. Naturalists, Nature

Art, 138.

Navagero, Andrea, 17, 20. Navalcarnero, 396. Navarrete, J. F., 50, 149.
Navarrese

Monterey, Count, 94, 1 58. E., 114. Monterey, Countess Montferrat, 151. Monzon, 309. Moore, Thomas, 360. Morales, Luis de, 35. Moran, Mr., 267. Morata, dwarf, 435. Morelli,G., 301. Moret, Joseph, 295. Moretto, 108, 228. Morexon Silva, 60.

State, 328, School, 6. of, 292. of, 304.

Nero, 314, Netherlandish

Neuburg, Duke Neve, Don

Newcastle,
Duke

263. Justino,

Niccolini,Marquis, 368. Nicolas, Don, de Cardona, 300 Nicolas, Fray, 379. Niculoso, Francisco, 30. Niculoso, Pisano, 26. Nieto, Joseph,416. Nieuwenhuys, Mr., 112. Nina encrespada.La, 435.
Niho de

AforiscoSf Expulsion of the,129. Moritzburg,212. Momy, Duke of,404. Moro, Antonio, 89, 102, 264, 372, 446.
Moroni, G. B., 108. Morra, Sebastian de^ dwarf 446-7. Morritt,R., 466.
Madame Motteville, de, 404, 412, 414. Moura, Manuel de, 303.

Vallecas, 449.
van,

Nisida, 286.
Noort, Adam

65,

Noort, Juan de, 224, 278. Nordlingen, Battle of, 208. Norgate, Edward, 133, Northbrook, Lord, 308, 437. Northwick, Lord, 217, 321. Nude, The, in Art, 464-6. Nuiiez, Delgado, 43. Nunez, Fernan, Duke, 313.
Nunez,

Moya,

Pedro

Mozarabic

de, 65, 230. Christians,474.

"

Mudejar Style, 25.

Mudo. See Mute."

MUhlberg,

Battle

of, 102.

Juan, 28.

MOndler, Otto, 163. Munich Pinakothek, 9, 299, 401, 407. MQnster, Treaty of,403. Murcia, 54.

Nuflez, Pedro, 365. Ober-Ammergau, 237. Ochoa, Bernardo, 376.

500
Pimentcl,

Index.
Alonso,

Juan Juan Pimcntel, Juan Pimentel, Juan

Pimentel, Pitidar, 31. Pini, I'aolo,47.
I'io of

298.

'

F., 241. Quilliet,

Diego, 299.
Garcia, 299. Vicente, 2i.y).

yuirini,Giacomo, 379, 403, 411. Quiroga, Cardinal, 53, 287. Quiros, Pedro de, 2 1
.

Quixote. Don, 3,

22, 470.

Savoy, Princo, 301.

Sebastian

Piombo,

del. 32,

360.

Racz"nski Gallery, 75. Earl of, 296, 353. I Radnor,

Rainer Collection, 327. t Ramirez. Francisco, 91.
I

Pisa, Do, 287.

I'ittiPalace, Pius

166, 274, 308,444.

v., 37.

Style, 29, Plateresque

Plato, 455. Poggi, Gennaro,

Leopold, 3. Raphael, 31, 33" 45" 35'Raphael,Velazquez'Opinion of, 351-2.

Ranke,
Real de

367. Spinola,151.

Manzanares,

218.

Pointel. Mons., 349. I'olissena, Daughter of

Reeve, Henry, 87.

Reggio. 183.
Rembrandt, 5, 136.207. Renaissance, 50, 264.

Polydctus, 421.
I*once de Leon, 17.

Pontius, Paul, 118, 134. Pfinz, Antonio, 19, 195, Portacoeli,44, Potcmkin,
Portrait

269. 305, 364.

Reynolds, Sir Joshua,325, 360,466. Reynst, De, Cabinet, 170.

Riano, Diego de, 30. Ribalta, Fr., 50, 125. Ribera, Catalina

481.
1 21.

I'orter,Endymion,

de, 19.
17. of

Painting,128, 251-9.

Ribt^ra, Diego Gomez,

PosilipIK), 344.
PettT, 435. Poussin, Nicolas, 142. 159, 160, 348. Cassiano del, 363. I'ozzo, Pourbus,
Prado

Ribera, Dukes
Ribera,
Ribera

AlcalA, 17, 43, 45.

Fadriquc, 19, 30, 59. Juan, Archbishop,130. Ribera, Jusepe, 37, 56, 67, 78, 82, 179-S4,
343-5"4S".4S7. Ribera, Maria Rosa, 344. Ribera, Per Afan

Mustnim,

7, 12,

I34i 137. ^17^ 202, 327.

112, 50, 78, 87, no, 211,260, 265,316,324,

348, 3^4, 400, 404, 4"2,

424.

435.

440, 447, 449-

Ricci,Cardinal

de, 17. Gio., 103, 164.

Praftuo,193. 407. df, 1 60, 353. Prrti, Mattro, 348. Prima, EI, (fwarf, 261, 310, 446, 448-9.
Prt'iiado, Franc,
Prince
"'

Richardson, 359, 388. Richelieu,Cardinal, 115, 158. Richter,Jean Paul, 433. 455. 45^. Richter,J. P. (Catalogue), 361.
Scene Riding-school, in the^ 322-4,

of Parma,
of Peace."

321. Sec

Prince

Godoy.

Rincon, Antonio

del, 377.

Prior, Joseph, 230. T'rocida, 286.

Nicolo, 341. Rinieii,

Riofrio, hunting-seat, 195.

Psyche and

Cupid, 465.

Puiido, Admiral, 293-8. Pulido, Don Adrian, 296.

s

Domingo de la,364. Rioja, Rioja,Fr. de, 21, 85. de, 236,422. Ris, Clement
Rivera, See Ribera.

Pyrnu'os, Journey Pythagoras 453-

to

the, 371, 474.

Rizi,Francisco, 365. Robbia, della,30. Robinson, Sir J. C, 6, 72, 74, 424-5.

Rocamador, 25.

Ouarant'

Ore, 193.

Onarterly Revitnv, 134, 469. Querno, Camillo, 434. Oucsnoy, Kranyois du, 348. 363. (Jucvedo, Francisco, 95, 107, 277-81, 314; portraitof 277-81.
,

Rocco, St.,School of, 1 53. Rocroy, Battle of, 206. Rodriguez, Origin of the Name, 60. 80, 244. Roelas, Juan de las,35-8, Roger
van

der

Weyden,

loi.

Index.
Rogers, Samuel, 308, 323. Rosa, Curator, 422, Rosa, Salvator, 350.
Rosselli, Matteo,
Rossi
122.

50

Rojas.
Roman

See Roxas.

Rokeby, Yorkshire, 466.

Art Circles in

1630, 158-60; in 1650,

the Florentine,

96, 122.

347-52.
Romano-Floreitine Rome
:
"

School, 32, 45, 50.

Rossi, Girohimo, 426. Rossie Priory,443.

Rotari. Count, 83.

Araceli,34. Arch of Titus, 167.

Barberini

Rothschild, James, 321. Rouen Museum, 74,

Rousseau,

Palace, 162.

Jean, 134.

Belvedere, 247, 362.

Borgo, 157.
Campagna,
160.

Roxas, Fr. Simon, 300. Rubens, 15, 112, 313, 457.

Rubens Rubens' in Madrid, Influence 13 1-3. 437on

Campo Vaccino, 168. 167, 347. Capitol(Campidoglio), 162, 164. 362. CapitolMuseum, Capo di Bove, 349.
CastelSt.

Velazquez, 1 33-8.

Rubens, Albert, 132.

Rubio, El. Rueda,
See Herrera.
22.

Lope de,

Angelo, 157, Colonna Gallery, 363. Colosseum, 167. Corsini Gallery, 263,464.
Doria Farnese First
2. Gallery,

Ruisdael, 472. Ruiz, Don

Fernando, 300. Ruiz, M., dwarf, 435. Russell, Lord John, 360. Ruviales, Pedro de, 24.

Villa,168.

Ruy

Gomez

de

Silva, 1 1 7.

Journey, 1 56. Janiculum,347.

Monte Pamfili

Cavallo, 191

Palace, 346. Pamfili Villa, 347. Pantheon, 157, 158, 352. Spagna, 160. Piazza Navona, 345, 348, 350. Pincio, Monte, i6o, 166, 350.
Piazza di

Saadi, poet, 407. Sabine Hills,472. Sacchi, Andrea, 161. Sadeler, Egidius, 33. Sadeler, Jan, 78.

Sagredo, Nicolo, 273,

Saguntum, Sainsbury,
Salamanca,
Salamanca 107.
"

374.

Quattro Fontane, 363. Quirinal, 240. Sacchetti Palace, 162. ai Monti, 472. San Martino
Second Journey, 339. Spada Palace, 162. St. Andrea St. St. St. della

Life of

Rubens,' 121, 274.

21, 27, 114, 182.

Gallery, 177, 239, 269, 311, 448.

Salazar, Count, 204. Salazar, Gregorio de, 59. Salinas, Joesph de, 479,
Mr. G., 74. Salting, Saluzzi, G. B., 151 Sec Cocllo. Sanchez, Coello. Sanchez de Castro, 27, 61. Sanchez, Pedro, 27. Sanchez, Nufro, 26.

Valle, 348.

Ignatius,346.

John Lateran, 346.

Peter's,347.
Romana,

Sta. Francesca Sta. Maria Tor dei

167.

Maggiore, 37.

Conti, 157. Trinity dei Monti, 31, 34, 159. Turris Cartularia,167.

Sandoval,
Sandoval

Cardinal y

Balthasar, 158.

Rojas,Cardinal, 56. (Escorial), 50, 379-80.

Sandrart, 161, 180.

San San San Lorenzo

Vatican, 157, 173. Via Sacra, 167.

Villa Villa Villa

Borghcse, 142, 164, 364,458. Ludovisi, 159, 173, 364,458.

Medici, 164.

Lorenzo, Sacristy, 376. Lucar, 114, 320, 321.

Sanjucar de Barrameda, 38, 244. Santiago,Knight of,a portrait^300.

Roquelaure,buffoon, 447.

Santiago, Order

of, 59, 377, 417.

502
44. Santiponce,

Index.
Seville
: {continued)
"

Santos, Fr. delos, 153, 375.

380.383-

Raphael. Saragossa, 309, 328.

Sanzio. Sre

Painters,42. San Benito, 29. San Bernardo, 39.

San San San San San San San San

Sarmiento, Sarmiento,

Don Maria

Diego, 415.
A
,

55arto,Andrea
Sassuolo Savile

415. del, 124. Sassoferrato, G. B., 2, 81. Palace, 294, 367.

Buenaventura, 41. Francisco, 232. Ildefonso, 25. Isidoro,37.

Julian, 27.
Lorenzo, 25.

S^f Lumley. Lumley. C. A., Scaglia, 151. Scanderbeg, 102. Scarisbrick Church, 1 17. Scharf. George, 298,322. 478. Scheld Estuary,

Miguel,83.

Pedro, 59. School of, 3. St. Clement's, 44.

Sta.

Ana, 25, 29. Isabel,46.

Schiller, 472. Schidone,

44.

Sto. Cruz, 29, 32. Sta. Sta.

Schlegcl, 3.
Schleissheim Schmidt,

Magdalene, 59, 84.

Gallery, 9, 315.
i,

Torre

Andreas,

352.

de Oro, 17. Triana, 20.

Scopas, 458.
Scott, Sir Waller, 466.
S^basiian Sebastian Sebastian de

Church, 17, 38, 44. University Morra, 446.

32.
102.

Sfondrati,N., 435. Shakespeare,6, 112.

del Piombo, of

Portugal,

Shepherds, The, 81. Sibyl,The, 265-6.

Sierra de Guadarrama, 257.

Sebastian, San, 475.

Segovia,50, 474. Semin, J. C, 365.

Seneca, 455.
Seniers

Sigmund of Poland, 434. Siloe,Diego de, 24, 30. Silva,De, Family, 59-60.
Silva, Guterre Alderete, 60.

(Snayers),220.

Sentenach, Narciso, 39. Seo, the, 82, 328.

Sera, Paolo
Seville

Silva,Juan Rodriguez de, 59. Silva,Teresa de, 240. Silver Fleet,The, 130. Israel, Silvestre, 193. Simancas, town, 480. Simone,
Sixtus
art

del, 341.

Serrano, 17, 191, 195.

:
"

Academy, 283. Alameda, 20, 70. Alcazar, 17, 20, 113. Alfarache, 230. Archbishop'sPalace, 288.
Carmelite Casa Casa de

dealer, 144.

Siret, Adolphe, 66.

v., 113.435Snayers, Peter, 202, 206, 212. Snyders, Franz, 211. Solis,Antonio de, 107.

Convent,

76.

Misericordia,33.

de Pilatos, 19.

Cathedral, 17, 28, 41, 283. City, 16. Colombina Library, 38. Exchange, 20. Garden, 17. Giralda, 33.

Hospitals, 19,
Mariscal

37.

Mannerists, 30.

Chapel, 32.
41, 44, 230.

Museum,

Sommelsdyck, Mynheer van, 255. Sourdis, Archbishop,295. South Kensington Museum, 358. Spada, Cardinal, 156,366. Spagnolelto. See Ribera. Spanish Academy, Rome, 161, 353. Spanish Beauty, 262, 463. 118,272. Spanish Gallery (Louvre), Spanish Horses, 304. Spanish Hunt and Sports,209-12. Spanish Parnassus, 279. Art, 48. Spanish Religious

Index.
Spanish Types, 284, 463. Spinners,The, 427-33. Ambrosio, 150, 201-5. Spinola, Archbishop, 151. Spinola, Cardinal, 356. Spinola, Spinola,Polissena, 151. Spranger,33. Stadel Institute, 289. Frankfort, Stafford House, 263, 290. Stag-hunt, The, 218-20. Standish Gallery, 322. dwarf,434. Stanislaus, King, 311. Stanislaus, Massimo, 161,362. Stanzioni, Steen Jan, 444. See Lyne-Stephens. Stephens, Mrs. William, 217. Stirling, Sir W., 10, 27, 55, 66, 81, Stirling-Maxwell, 106, 124, 125, 129, 173, 236, 275, 282, 306,326, 334, 382, 411, 419, 469. Stowe, Edwin, 358, 427. Stratton Park, 343.
Stuart,Charles.
Suermondt Surrender
See

503

Tibaes, Convent, 59. Ticknor, George, 384. Tiepolo,Paolo, 433. Tintoretto,51, 153, 342, 380, 429, 457. Tirso de Molina, 20, 268. Titian, 2, 5, 50, 52, 89, 103, 120, 132, 153,

258.405, 457.
Titus, Triumphal Arch
Toledo
:
"

of,167,

Cathedral, 288.

Chapter House, 56,67.

City of, 51, 52. San Tom6, 53.
Santo School Sta.

Domingo, 53.
of, 54. Clara, 55.

Women, 54. Tonci, Salvatore,360. Tons, Franz, 428. Toro, Bernardo de, 76. Toro, town, 320.
Torre Torre de la de

Parada, 210, 213,

220, 225, 457.

Charles

I.

Silva,60.

177. Gallery,

Toulouse, 374.
Town
Views

of Breda, 199-209. Sustermans, Justus,59. Swift, Dean, 278.

(Saragossa, Pamplona), 328-32.

Trent, 340. Trezzi, Jacomo, 93. 66. Tristan, Luis, 55-6,

Tronchin
Turin Twelve Twiss

26. Tablas, Alfonsinas, 282, 305. Tacca, Pietro,

Collection, 311. Gallery, 413. Masters,The Pictures

Richard, 279.

of

the, 160.

Tacitus, 255.
427. Tapestries, Tassis, 176.

Two

IJttle Maidens, The, 275.

Tasso, 168. Taylor,Baron, 81.

Ubeda, San

Tejada, Fr. de, 194. 98. Tejufin, Tenebrosi,The, 171. Teniers,74. Tenorio, Don Juan, 20. iii, 335. Terburg (Terborch), Testa, Pietro, 347. Testi, Fulvio, 291, 293, 294. 204. Tetteringen, Thackeray, 456.
Thane, Mr., 217.
Thirlestane Thomas

Salvador, 27. of, 84, 287. Uceda, Juan de, 48, 118.

Uceda,

Duke

Ucl6s, 12, 59.

Uffizi

Palace, 164, 274, 308, 363. 413, 425,

444.

Ugly

in Art, The, 455-7. Ulloa, Marcela de, 416.

House, 321. Aquinas, St.,230. of Savoy, 196. Thomas Thord, Th., II, 65, 160, 239, 252, 254, 298, 323. 331, 421, 460, 464. Three Royal Sportsmen, The, 220-4, 261.

Ulrich, Anthony, 341. Unger, William, 407. Unzueta, Leonor de, 319. Urban VIII.,89, 156-8, 287, 444. 408. Urquais and Pereira Gallery,

Vaillant, 436.

Valderrama, P. de, 23. Valen^a, 60. 82, 107. Valencia,

504
Valencia, city, 125, 340. Valencia Madhouse, 450. Valencia Museum, 82, 426.
Valentin da

Index.
: Velazquez (conttnued) Return to Madrid, 368.
"

Palace

Marshal, 372.

Colombi, 161.

Valentini, Count, 294. Valladolid, city, 92, 124.

Valle,Don

Valle, L. D. del, 9. M. Z. del, 12.

El / 'al/ecas. Sitio

df, 449.

Valnegral, river, 191.

Valvelada, 218. Valverde, J. de, 31.
Van der

Knight of Santiago, 377. In the Escorial, 378-82. The Memoria," 382-6. Last Period, 388. Journey to the Pyrenees,371, Death, 479-80. His Art, 4, 134, 389,480.
"

474.

Influences,133, 252. His Portrait Style,251.

Third

Meer, 432.
Scf

Vandyck.

Dyck.

Vanloo, J. B., 317. Varela, Fr., 283.

389..-." Style, Landscapes, 164, 197, 328,470. Literature, 9-16. His Signatures, 144, 296, 301, 357.
"

Vargas, L. dc, 31, 33, 39.

Vasari, 31, 75, 297. Vasco, Grao, 60. A., 51. Vassilacchi,

Opinions of

Writers

and

Artists

"

Vazquez, A.,

35.

Vazquez, B., 450. Vazquez de Lcca, 76.

Veen, Otto
van,

Beul6, 2, 238,460. Charles Blanc, 2, 6, 11, 236,315, 391. Boschini, 153, 341, 342, 351, 388. Cumberland, 66, 173, 240, 377. Cardinal-Prince Ferdinand, 325.
Ford. Sff

66.

Vega, A. de la,424. V^ega,Lope de, 4, 62, 95, 130.

Velada,
212.

Giordano,

Ford, Richard. Luca, 137, 421.

Imbert, 237, 312, 420.

Jovellanos, 41 8.
Landseer, 216.
Lawrence,
421.
12,

Velasco, Doiia Isabel de, 41$. Velasco, J nana Fernandez, 320.

Andres, 95. Vt'lazquez, Velazquez,Diego, 60. Velazqurz,Diego de Silva,59.
Birth and Student Work Cienrr

Madrazo,

66, 383,390.

Mengs, I, 38,69, 83, 206, 235, 364,419. S^e Pacheco, Francisco,painter. Pacheco.

Family, 59-60.
Years,
61.

Quevedo, 279.
Richardson, Robinson, Rubens, 359, 388.

in Seville, 68.

6, 72, 74, 424.

133.

Pieces,68. Religious Works, 75, 236, 466. First Journey to Madrid, 83. Second Journey to Mr.drid, 87. Appointment, 88. 126. Rivalries,
First

Testi, 291, 293, 294.

Tonci, 360.

Waagen.
Vv'ilkie.

Si-e S^e

Waagen.

Wilkie.

Journey to Italy,149
Studies, 153-$Twelve

"-"

His I.

Works

"

Venetian The

In the Villa In

Paintings, 160. Medici, 164.

Naples, 175.
to

Madrid, 184. / Visit, 229-32. Portraits of Middle Period, 251.

Return Murillo's Second

: Religious Subjects Joseph'sCoat, 174-5. The Shepherds,81-3. The Epiphany, 78-80.

"

Christ at the The

Pillar,241-8.

Journey
345.

to

Italy, 339.'^*

236-41. Crucifixion, " Coronation of Mary, 466-9.

John in PaUnos, 76.
Immaadate The

-**

In Venice, 340. In Rome, The

Antiques,362.

76 Conception, Anchorites, 469-74.

Index.
: Velazquez (continued)
"

505
"

II.

Mythologies:
with lean's

"

: Velazquez {continued) Portraits (continued) ;

"

Fenus

the
^

Mirror, 462-6.

/";/""^ of Modena, Bcnavente, Montahes,

Castel

291-4-

^^Vu

Forge 168-73. .^fars, 458-61. Mercury and Argus 461-2. Bacchus, 139-46.
^

298.
281-4.

277-81. Que7'edo,

,,

IllyHistories:
."

"

The Moriscos, 129. .m^Surreuder of Breda, 199-209.

^-

Rodrigo, 301-3. Gdngora, 86, 87. Ow;/ Family, 422-5. Oa;" Portraits,163,425-7. P^r";'"z, 352-4.
Unknown,
270, 299-301.

MeninaSf 414-22. Family of the Painter, 422-5.

The 322-3. Riding-school, Pieces

265-6. 6/V^^/,
Juana de Miranda, 268-7 1 /^' w//"4 /^dw, 266-8. Duchess of Chevreuse, 27 1
Maria
"

v^lyj Genre
The
"

"

Spinners,427-33-

Water-Carrier,
Old Woman and

69-72.'
Omelet, 72.

Sundries,333.
V.

Theresa, 402-5, Princess Margaret, 405-10. P^/7/" Prosper, 410-2. Ttt^? Z/V//"r Maidens, 275.
IX. Fools and

Dwarfs,

etc., 433-57

Hunting Scenes
The The

"

Pernia,

438.

Boar-hunt,

212.

218. Stag-hunt,

VI.

Views:

"

Pablillo, 438. de Morra, 447. Sebastian "/ /'n';//^?, 448. 446. Velazquillo,
/"^?" /i/"7", 440.

Pamplona, 331. Saragossa,328-31.

Villa

/?"?/r"?, 443.

Medici, 164.

Triumphal Arch Aranjuez, 195.

VII.

of Titus, 167.

^^^, 45 " -3. Menippus, 453-5-

Velazquez,Francisca, 84, 270, 276.

:
"

Portraits Equestrian

Velazquez, Geronima, 59. 84, 276. Velazquez, Ignacia,

Philip III. and Margaret, 316. Philip IV., 305-9Isabella of Bourdon, 273.
Don

Velazquez,Juan, 59. 644, buffoon, Velazquillo,

Venetian Venetian

Balthasar

Carlos,31 1-3.

School, 6, 51, 52, 127. School in Spain, 50.

211.

Olivares,313-6VIII. Portraits:"
no,

Venice, 151, 340. Ventosilla del Tago,

309, 412-3.
221.

Philip IV, 105,

Cardinal-Prince

Ventura,

Maddalena,

183.

Ferdinand,

Juan Mateos, 224. QtieenMary of Hungary,

175.

Venturini,G. B., 100. Venus and Adonis, 462. Venus with the Mirror, 462-6. Vergara, Arnao Vergas, 204. de, 32.

272-5. Queen Isabella, Balthasar Carlos, 321-8. Don

2"^?^" Mariana, 395-402. Olivares, 116-20,317-9-

Verhulst, Peter, 133. Veronese, Paolo, 50, 52, 123, 342, 457Viardot, Louis, 66, 306,422.
Vienna
:
"

Julianillo, 319-20. Pulido, 295-8. Admiral

^e?Ar"?, 443-5Innocent

Belvedere,
-

380,398.

X., 354-62.

Czernin

Cardinal

Borgia, 286.

Gallery,40. ImperialGallery,275.

5o6
\MgnoIa, 20, 123, 168, 366. Villa Medici, 164-6.
Villaamil, G. C, Villacis,N. de,
12, 134.
12.

Index.
West, Benjamin, 209. Duke of, 115. W^estphalia, Treaty of, 362. Widman Collection,341. Wierix, 33. Wilkie, David, 8, 323, 361,392, 416, 421.
Westminster,
William

Pedro de, 412. Villafranca, Villahermosa, Duke of, 1 18.

Villalpando. 285.
Villaraediana, Cond" de, 95.

King
of

of Holland

Gallery, 318 327.

William

Villanueva,Protonotary, 240. Villarcal, Joseph de, 475. Alonso de, 243. Villegas, Villegas,Marmolejo, 33.
Villela,Juan de, 151, 152. Vinas, Jorge de las, 102.

Orange, 208. Winckelmann, 262, 348, 363. Castle, 327. Abbey, 298.
von

Windsor Woburn

Wolfgang, Prince Wolf-hunt, The,

Woman and the

Neuberg, 204.

220.

Dragon, 76.

Vitelleschi, Ippolito, 363.

Vitoria, town, Voiture, 115. Vos, 24b.

Woodburn,

Samuel, 323. Wouwcrman, Ph., 336.

Vorstermans, Lucas, 203. Martin de, 78. Vos, Paul de, 211, 376. Vulcan, Forge of,168-73.

Yarborough, Countess of, 52. Yepes (Tristan), 55, 56.

Yriarte Gallery,279. Yta, Pedro de, 91.

Waagcn, 13, 144, 208, 298, 315, 321, 418, 419Wales, Prince of. See Charles I. and Charles
Prince of Wales.

Wallace, Sir Richard, 217, 267, 322. Wallenstcin, 157, 193. Wallis, H., 444, 465. Walpole, Anecdotes, 360,381. Ward, Lord, of Dudley, 269. Water-Carrier, The, 69. Watford, 41. Wattcville,Baron de, 477. Warrcnder, Sir George, 325. Wellbore, Ellis Agar, Collection, 324. Wclleslcy, Sir Henry, 216. Wellington, Duke of, 70. Wells Collection, 326. Wesendonck Collection, 217.

Zafra, town, 233. Zamora, 27. Zane, Domenico, 105, 106.

Zapata, Cardinal, 285,379. Zapata, Don Fr., 70. Zaragoza. See Saragossa.
Zarco della Valle, 151. Zarzuela, 210. Zayas, Catalina de, 59. Zeuxis, 86. Zola, Emile, 278.

Balthasar Zuiiiga,

Zuccaro, Federigo, 31, 33, 122, 124, 156. de, 114.

Zutiiga,Diego Ortiz de, 18 Zuiiiga,Ines de, 114. Zurbaran, Fr.,8, 37, 59" 11-

Printed by Hazeil,Watson, " Vincy, Ld., London

and

Aylesbury.

9b