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+<title>
+  The Project Gutenberg eBook of The Story of Spanish Painting, by Charles H. Caffin.
+</title>
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+<pre>
+
+Project Gutenberg's The Story of Spanish Painting, by Charles H. Caffin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org/license
+
+
+Title: The Story of Spanish Painting
+
+Author: Charles H. Caffin
+
+Release Date: April 4, 2019 [EBook #59206]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF SPANISH PAINTING ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+<hr class="full" />
+
+<p class="figcenter">
+<a href="images/cover_lg.jpg">
+<img src="images/cover.jpg" alt="[Image of
+the book's cover unavailable.]" /></a>
+</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><a href="#CONTENTS">Contents.</a><br />
+<a href="#INDEX">Index</a>.</p>
+
+<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p class="c">THE STORY<br />
+OF SPANISH PAINTING</p>
+
+<p><a name="ill_1" id="ill_1"></a></p>
+
+<div class="figcenter" style="width: 424px;">
+<a href="images/ill_001_lg.jpg">
+<img src="images/ill_001_sml.jpg" width="424" height="500" alt="[Image unavailable.]" /></a>
+<div class="caption"><p>
+S. JEROME      <span class="capt">EL GRECO</span><br />
+</p>
+
+<p><span class="cloc">COLLECTION OF THE MARQUÉS DE CASTRO SERNA</span></p></div>
+</div>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span>&nbsp; </p>
+<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
+
+<h1>
+THE STORY OF<br />
+SPANISH PAINTING</h1>
+
+<p class="c">
+BY<br />
+<br />
+<big>CHARLES H. CAFFIN</big><br />
+<br />
+<small>AUTHOR OF<br />
+“HOW TO STUDY PICTURES”<br />
+“THE STORY OF DUTCH PAINTING”<br />
+ETC.</small><br />
+<br />
+<br />
+<img src="images/colophon.png"
+width="105"
+alt=""
+/><br /><br />
+LONDON, W. C.<br />
+T. FISHER UNWIN<br />
+1, ADELPHI TERRACE<br />
+1910<br />
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span><br /><br />
+<small>Copyright, 1910, by<br />
+<span class="smcap">The Century Co.</span><br />
+&mdash;&mdash;<br />
+<i>Published November, 1910</i></small><br /><br />
+
+<span class="smcap">Printed in the United States by The De Vinne Press</span>
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span><br /><br /><br />
+
+THIS BOOK IS DEDICATED<br />
+WITH THE AUTHOR’S GRATITUDE TO<br />
+C. C.<br /></p>
+
+<p><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span>&nbsp; </p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+
+<tr><td><small>CHAPTER</small></td><td>&nbsp;</td>
+<td align="right"><small>PAGE </small></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_I">I</a></td><td valign="top"><a href="#CHAPTER_I">The Story of the Nation</a> </td><td class="rt" valign="bottom"><a href="#page_3">3</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_II">II</a></td><td valign="top"><a href="#CHAPTER_II">Characteristics of Spanish Painting</a></td><td class="rt" valign="bottom"><a href="#page_25">25</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_III">III</a></td><td valign="top"><a href="#CHAPTER_III">A Panoramic View. Part I. To the End of the Sixteenth Century</a></td><td class="rt" valign="bottom"><a href="#page_40">40</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_IV">IV</a></td><td valign="top"><a href="#CHAPTER_IV">A Panoramic View. Part II. Seventeenth Century to the Present Day</a></td><td class="rt" valign="bottom"><a href="#page_54">54</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_V">V</a></td><td valign="top"><a href="#CHAPTER_V">Domenico Theotocopuli (El Greco)</a></td><td class="rt" valign="bottom"><a href="#page_66">66</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_VI">VI</a></td><td valign="top"><a href="#CHAPTER_VI">Velasquez</a></td><td class="rt" valign="bottom"><a href="#page_92">92</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_VII">VII</a></td><td valign="top"><a href="#CHAPTER_VII">Mazo</a></td><td class="rt" valign="bottom"><a href="#page_121">121</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_VIII">VIII</a></td><td valign="top"><a href="#CHAPTER_VIII">Carreño</a></td><td class="rt" valign="bottom"><a href="#page_131">131</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_IX">IX</a></td><td valign="top"><a href="#CHAPTER_IX">Ribera (Lo Spagnoletto)</a></td><td class="rt" valign="bottom"><a href="#page_136">136</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_X">X</a></td><td valign="top"><a href="#CHAPTER_X">Murillo</a></td><td class="rt" valign="bottom"><a href="#page_148">148</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_XI">XI</a></td><td valign="top"><a href="#CHAPTER_XI">Cano and Zurbarán</a></td><td class="rt" valign="bottom"><a href="#page_161">161</a></td></tr>
+
+<tr><td valign="top" align="right"><a href="#CHAPTER_XII">XII</a></td><td valign="top"><a href="#CHAPTER_XII">Goya</a></td><td class="rt" valign="bottom"><a href="#page_171">171</a></td></tr>
+
+<tr><td>&nbsp;</td><td><span class="smcap"><a href="#A_POSTSCRIPT">A Postscript</a></span></td><td class="rt" valign="bottom"><a href="#page_191">191</a></td></tr>
+<tr><td>&nbsp;</td><td><a href="#INDEX"><span class="smcap">Index</span></a></td><td class="rt" valign="bottom"><a href="#page_197">197</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span>&nbsp; </p>
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr><td valign="top"><a href="#ill_1">S. Jerome</a></td><td valign="top"><i>El Greco</i></td><td valign="top"><a href="#ill_1"><i>Frontispiece</i></a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td><td align="right"><small>FACING PAGE</small></td></tr>
+
+<tr><td valign="top"><a href="#ill_2">The Catholic Kings at Prayer</a></td><td valign="top"> <i>School of Castile, XV Century</i></td><td class="rt" valign="bottom"><a href="#page_18">18</a></td></tr>
+
+<tr><td class="frm">From a photograph by J. Laurent &amp; Co., Madrid.</td></tr>
+
+<tr><td valign="top"><a href="#ill_3">S. Ursula</a></td><td valign="top"><i>Spanish School, XV Century</i></td><td class="rt" valign="bottom"><a href="#page_31">31</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_4">The Apparition of the Virgin to Bernardine Monks</a></td><td valign="top">? <i>Pedro Berruguete</i></td><td class="rt" valign="bottom"><a href="#page_37">37</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_5">S. Stephen Conducted To Martyrdom</a></td><td valign="top"><i>Juan de Juanes</i></td><td class="rt" valign="bottom"><a href="#page_44">44</a></td></tr>
+
+<tr><td class="frm">From a photograph by J. Laurent &amp; Co., Madrid.</td></tr>
+
+<tr><td valign="top"><a href="#ill_6">Descent From the Cross</a></td><td valign="top"><i>Pedro Campaña</i></td><td class="rt" valign="bottom"><a href="#page_51">51</a></td></tr>
+
+<tr><td class="frm">From a photograph by Anderson, Rome.</td></tr>
+
+<tr><td valign="top"><a href="#ill_7">Presentation of Jesus in the Temple</a></td><td valign="top"><i>Luis Morales</i></td><td class="rt" valign="bottom"><a href="#page_62">62</a></td></tr>
+
+<tr><td class="frm">From a photograph by J. Laurent &amp; Co., Madrid.</td></tr>
+
+<tr><td valign="top"><a href="#ill_8">The Crucifixion</a></td><td valign="top"><i>El Greco</i></td><td class="rt" valign="bottom"><a href="#page_70">70</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_9">San Mauricio and his Theban Legion</a></td><td valign="top"><i>El Greco</i></td><td class="rt" valign="bottom"><a href="#page_75">75</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_10">The Funeral of Count Orgaz</a></td><td valign="top"><i>El Greco</i></td><td class="rt" valign="bottom"><a href="#page_76">76</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_11">Baptism of Christ</a></td><td valign="top"><i>El Greco</i></td><td class="rt" valign="bottom"><a href="#page_81">81</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_12">Virgin and Saints</a></td><td valign="top"><i>El Greco</i></td><td class="rt" valign="bottom"><a href="#page_85">85</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_13">Philip IV, Old</a></td><td valign="top"><i>Velasquez</i></td><td class="rt" valign="bottom"><a href="#page_92">92</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_14">Equestrian Portrait of Philip IV</a></td><td valign="top"><i>Velasquez</i></td><td class="rt" valign="bottom"><a href="#page_96">96</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_15">An Actor, Called “don Juan De Austria”</a></td><td valign="top"><i>Velasquez</i></td><td class="rt" valign="bottom"><a href="#page_100">100</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_16">Las Hilanderas (The Weavers)</a></td><td valign="top"><i>Velasquez</i></td><td class="rt" valign="bottom"><a href="#page_109">109</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_17">Las Meniñas (the Maids of Honor)</a></td><td valign="top"><i>Velasquez</i></td><td class="rt" valign="bottom"><a href="#page_114">114</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_18">Doña Mariana de Austria</a></td><td valign="top"><i>Velasquez</i></td><td class="rt" valign="bottom"><a href="#page_119">119</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_19">Doña Mariana de Austria</a></td><td valign="top"><i>Juan Bautista Martínez del Mazo</i></td><td class="rt" valign="bottom"><a href="#page_122">122</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_20">The Fountain of the Tritons</a></td><td valign="top"><i>Juan Bautista Martínez del Mazo</i></td><td class="rt" valign="bottom"><a href="#page_127">127</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_21">Charles II</a></td><td valign="top"><i>Carreño</i></td><td class="rt" valign="bottom"><a href="#page_132">132</a></td></tr>
+
+<tr><td class="frm">From a photograph by Anderson, Rome.</td></tr>
+
+<tr><td valign="top"><a href="#ill_22">Hermit Saint</a></td><td valign="top"><i>Ribera</i></td><td class="rt" valign="bottom"><a href="#page_141">141</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_23">Miracle of the Loaves and Fishes<br />
+Moses Striking the Rock</a></td><td valign="top"><i>Murillo</i></td><td class="rt" valign="bottom"><a href="#page_150">150</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_24">SS. Justa and Rufina</a></td><td valign="top"><i>Murillo</i></td><td class="rt" valign="bottom"><a href="#page_155">155</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_25">Apotheosis of S. Thomas Aquinas</a></td><td valign="top"><i>Francisco de Zurbarán</i></td><td class="rt" valign="bottom"><a href="#page_163">163</a></td></tr>
+
+<tr><td class="frm">From a photograph by Anderson, Rome.</td></tr>
+
+<tr><td valign="top"><a href="#ill_26">Miracle of S. Hugo</a></td><td valign="top"><i>Francisco de Zurbarán</i></td><td class="rt" valign="bottom"><a href="#page_166">166</a></td></tr>
+
+<tr><td class="frm">From a photograph by Anderson, Rome.</td></tr>
+
+<tr><td valign="top"><a href="#ill_27">Charles IV and the Royal Family</a></td><td valign="top"><i>Goya</i></td><td class="rt" valign="bottom"><a href="#page_171">171</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_28">Maia, Nude</a></td><td valign="top"><i>Goya</i></td><td class="rt" valign="bottom"><a href="#page_174">174</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_29">Queen Maria Luisa on Horseback</a></td><td valign="top"><i>Goya</i></td><td class="rt" valign="bottom"><a href="#page_183">183</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_30">The Fates</a></td><td valign="top"><i>Goya</i></td><td class="rt" valign="bottom"><a href="#page_184">184</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_31">Scene of May 3, 1808</a></td><td valign="top"><i>Goya</i></td><td class="rt" valign="bottom"><a href="#page_189">189</a></td></tr>
+
+<tr><td valign="top"><a href="#ill_32">In the Balcony</a></td><td valign="top"><i>Goya</i></td><td class="rt" valign="bottom"><a href="#page_190">190</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span></p><p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p>
+
+<h1>THE STORY<br /> OF SPANISH PAINTING</h1>
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I<br /><br />
+<small>THE STORY OF THE NATION</small></h2>
+
+<p class="nind"><span class="letra">I</span>N 1492 the Catholic Sovereigns, Ferdinand and Isabella, entered Granada
+in triumph. The last stronghold of Moorish dominion, undermined by the
+dissensions of Islam, fell before the united Christian kingdoms of Léon,
+Castile and Aragón. Spain became a united country and, in virtue of her
+protracted struggle of nearly eight hundred years against the infidel,
+stood forth as the acknowledged and self-conscious Champion of
+Catholicism. In the same year Columbus, under the patronage of the
+Catholic Sovereigns discovered the New World. This date, therefore,
+presents an epoch that completes the past and forms the starting point
+of a new era. Intimately associated with the subsequent national
+development and decline is the story of Spanish painting, but it owes
+most of its peculiar characteristics to the conditions that preceded the
+country’s complete union.</p>
+
+<p>It is always interesting and usually illuminating to<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> picture the
+historical background out of which the arts of a country have been
+gradually evolved. But in the case of Spanish painting it is essential.
+For the art of Spain was, bone and spirit, a part of the Spanish
+character, shaped and inspired as the latter had been by the racial,
+historical and geographical conditions out of which it was moulded.
+Without taking all this into account one cannot understand, much less
+appreciate sympathetically, the consistently individual character of
+this school of painting.</p>
+
+<p class="dtts">..........</p>
+
+<p>In the first place one must realise the meaning of the fact that Spain
+is a mountainous country; not only separated from the rest of Europe,
+but divided against itself by precipitous barriers. They run in a
+general way from West to East: abrupt colossal walls of volcanic origin,
+with a grand sweep of bulk, jagged in sky-line and frequently piled with
+the chaotic debris of glacial moraines. These are the watersheds of
+rivers that refuse services to navigation; foaming to flood in the rainy
+season, shrinking in the drought to sluggish pools amid the rocky bed.
+They intersect tracts of country that vary from narrow valleys, where
+cultivation huddles in cherished pockets of soil, to broadly stretching
+vegas, tablelands and plains, from which by unremitting toil generous
+harvests may be obtained. Here the vistas are of magnificent extent,
+circling round one in far reaching sweeps of boldly undulating country,
+rimmed by nobly designed stretches of smoothly beveled foothills that
+form advance-posts of the ultimate barrier of the sierras.<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p>
+
+<p>It is a little country, only three times the size of England, contracted
+within itself by natural restrictions, yet planned by nature on a big
+scale; one that affects the imagination, prompting even more than
+mountainous countries usually have done to independence, individualism
+and hardihood. It is a country that seems made for fighting; where a
+handful of resolute men could maintain themselves tenaciously against
+enormous odds. In the past they did it in actual warfare; to-day in the
+pacific fight which this hardy population perpetually keeps up against
+the extremes of climatic conditions. Though for the most part they still
+use the agricultural implements that Tubal Cain devised, they have
+inherited from the Roman and Moorish occupation a system of irrigation
+and of terracing that puts to shame the happy go lucky methods of
+farming in many countries which consider themselves superiorly
+enlightened. The necessary preoccupation with their immediate
+surroundings and the exclusion from outside influence, early made of
+this people a nation of individualists, realists and conservatives. So
+inbred did these qualities become that when the Spaniard mixed with the
+outer world, as he did particularly in his conquest of the Spanish Main
+and in his wars with Europe, it was but to become more fixed in his
+conservatism at home. When he borrowed from abroad, as in his art, it
+was but to shape and color the acquired impression to his own
+individualistic and realistic attitude toward life.</p>
+
+<p class="dtts">..........</p>
+
+<p>The earliest inhabitants of the Peninsula are known as<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> Iberians; with
+whom about 500 B.C., a branch of the Celtic family became amalgamated.
+These Celtiberians remained in undisputed possession of the country,
+until they were drawn into the vortex that was stirred by the rivalry of
+Rome and Carthage. The latter had planted colonies along the south
+coast, and gradually extended her authority into the interior, dealing
+as was her wont in a spirit of suspicion and brutality with the natives.
+The Romans, hot on the trail of their traditional foe, at first suffered
+decisive reverses. Then it was that Scipio the Younger offered himself
+to the Senate and People of Rome as general of the war. His father and
+uncle had been slain in battle in Spain; he desired to avenge their
+deaths and to crush the enemies of Rome. Though only twenty-four years
+of age he had the genius of a military leader and of a statesman. While
+putting heart into the shattered ranks of the Roman veterans and leading
+them victoriously against the Carthaginians, he adopted towards the
+Spaniards a policy of confidence and conciliation which won them over to
+a loyal acceptance of the Roman rule. A similar policy was practised by
+Suetonius in later years, when Spain had become the battle ground of the
+rival factions with which Rome was torn. It was continued by Julius
+Cæsar when he fought out his fight with Pompey on Spanish soil, and
+later by Augustus when, having become ruler of the Roman world, he
+completed pacifically the conquest of Spain.</p>
+
+<p>Henceforth Spain was the most favored, loyal and prosperous province of
+the Empire. At first the Roman veterans, retiring from military service,
+married<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> Spanish women and settled down as farmers, introducing
+gradually the order and scientific method for which the Romans are so
+justly celebrated. The settled conditions, fertility of the soil, and
+the beauty of the country in time attracted the wealth and culture of
+the Capital. Spain became, like “The Province” in the South of France, a
+field for capitalistic enterprise as well as a resort for those who
+leaned toward a life of refined leisure. She throve in the arts and
+sciences and became enriched with some of the finest evidences of the
+Roman genius for engineering. Her wheatfields fed the proletariat of the
+Capital and her sons reinforced the ranks of statesmen and men of
+letters. She became, in the finest sense of the word, more Roman than
+Italy herself. This period of splendid prosperity lasted for four
+hundred years, until it was submerged, like the rest of Roman
+civilization, by the flood of Gothic invasion.</p>
+
+<p>The branch of the German family which overran Spain was that of the
+Visigoths, who maintained an ascendency and a line of kings for two
+hundred years. But, although the enervation caused by provincial luxury
+had rendered the Celtiberian-Roman an easy victim to the vigorous
+onslaught of the northern race, he was sufficiently tenacious of the
+original spirit of the mountaineer and of the acquired love of order to
+avoid the chaos and prostration that overtook the rest of the Empire,
+and reasserted his instinct for amalgamation. The blend, which ensued
+and became the Spanish race as it is known to later history, is
+characteristically represented in the language that was gradually
+evolved. For<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> this, though overlaid with Northern forms, remains at root
+Roman. In this hybrid race the Spanish element proved itself to be the
+most pronounced and enduring. Its conservatism, a phase of the
+independence and exclusiveness that we have already noted, was
+conspicuously revealed in the great Arian Controversy which threatened
+the integrity of the Western Church. The Visigoths alone of all the
+Germanic family, renounced the “heresy.” Reccared, their king, received
+in consequence the title of the first Catholic Sovereign of Spain. How
+resolutely subsequent sovereigns clung to this distinction and their
+subjects conformed to the political and religious obligations that it
+entailed is one of the most notable features of Spanish history. It
+seriously affected the national life, its attitude toward other nations
+and the development and character of Spanish art.</p>
+
+<p>Meanwhile the mingling of blood could not save the Visigothic kingdom
+from the fate that attended all the Germanic governments which had been
+established on the ruins of the Empire. It proved no exception to the
+tendency to disintegrate and thus presented an easy prey to the
+onslaughts of united Islam.</p>
+
+<p>In less than a hundred years after the death of Mohammed the Moslem
+faith had spread from Arabia through Syria and Asia Minor to Persia and
+India, while Westward it had overrun Egypt and penetrated along the
+northern shore of Africa to the Pillars of Hercules. Hence in 711 A.D.
+it crossed into Spain. While the leaders, under the generalship of Musa,
+viceroy of the Omayyad Caliphate of Damascus, were all Arabs, they<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> had
+enlisted in their army the warlike tribes of Mauritania, the ancient
+kingdom now represented by Morocco and Algeria. Hence the name of Moors
+(Mauri) which distinguishes the invaders of Spain. Twenty years sufficed
+to make them masters of the Peninsula, the little northwestern country
+of Asturias alone retaining its independence. Twenty years later
+disintegration crept also into the ranks of the conquerors.
+Abd-er-Rahman established an independent caliphate in Cordova. His
+ambition was to raise it to a position in the Western world such as was
+held by Bagdad, Damascus and Delhi in the East; furthermore to make
+Cordova the Mecca of the faithful in the West. Thus was begun by this
+Caliph the Mesquita or chief Mosque, which under succeeding Caliphs was
+enlarged and beautified until it became a fitting monument of the ideals
+of Islam in its period of most splendid pride and noblest enlightenment.
+For nearly three hundred years Cordova was the center of an ordered
+government, which not only fostered the refinement of the arts and
+crafts in the cities and spread its network of highly organised
+agricultural labor throughout the country districts, but also a
+University of philosophy and science that made it the resort of
+scholars, not only Moslem but Christian. Cordova, in fact, played a
+conspicuously brilliant part in that phase of the Moslem ascendency
+which is apt to be overlooked; its share in perpetuating and advancing
+the Hellenic culture, which otherwise might have been lost in the Dark
+Ages succeeding the fall of the Roman Empire.</p>
+
+<p>Meanwhile, the spirit of Christian Spain, though<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> broken, was not
+crushed. Its stronghold was at first the little kingdom of Asturias.
+Alfonso I not only resisted conquest but wrested back from the Moor the
+provinces of Galicia and Cantabria. From the northwest fastnesses of the
+Peninsula commenced the steady pressure southward, which, while it met
+with many reverses, was never abandoned until the invader had been
+driven back to Africa. The story in brief is one of gradual
+consolidation of the Christian power, accompanied by a corresponding
+disintegration of the Moslem. Léon becomes united with the other
+provinces and Castile follows suit; while on the other hand the
+Caliphate of Cordova becomes broken up into several dynasties. Then,
+while a rival sect, the Almoravides, arrive from Africa and make war on
+their co-religionists, Alfonso IV of Castile assumes the title of
+Emperor and captures Toledo and Valencia. Later, the conquests of the
+Almoravides are wrested from them by other arrivals from Africa, the
+fanatical sect of the Almohades. Encouraged by this dissension, the
+Christian states for the first time send their representatives to a
+national assembly. The first Cortes meets at Burgos. Six years later the
+Christians suffer defeat, but recover themselves and inflict a heavy
+blow upon the Moors at the battle of Las Navas de Tolosa. It is followed
+by repeated hammering, extending over nearly forty years, until the
+Moorish power is beaten back and by the year 1251 is confined entirely
+to the kingdom of Granada.</p>
+
+<p>Then, for the space of two hundred and forty years, <span class="pagenum"><a name="page_11" id="page_11">{11}</a></span>there was a
+comparative lull. Under the enlightened rule of the Nasride dynasty the
+province of Granada enjoyed a prosperity that invited friendly relations
+even with the Christians. The wealth derived from its mines, industries
+and agriculture exceeded that of the ancient Caliphate of Cordova. The
+period represented, in fact, the Golden Age of Moorish civilization in
+Spain, the flower and symbol of which remains to-day, though shorn of
+much of its magnificence, in the still exquisite palace of the Alhambra.
+So skilfully by treaty and otherwise did the rulers of Granada
+conciliate the Christians that their reign might have been continued
+indefinitely, but for two causes: internal dissensions and the fixed
+idea of Ferdinand and Isabella to fulfil their obligations as Catholic
+Kings. They lived for the purpose of expelling the infidel, and the
+rivalry between the two great Moorish tribes, the Zegri and the
+Abencerrages, gave them the opportunity. It had resulted in the throne
+being occupied by the youthful weakling, Boabdil. He fell into the hands
+of Ferdinand and Isabella at the battle of Lucena, and consented to
+remain neutral while they attacked the coast cities of Granada. Finally
+they appeared before Granada itself and Boabdil, after a frantic but
+futile effort to oppose them, was forced into a treaty of peace, by
+which the city was surrendered. Ten years later the last of the Moors
+had been expelled from Spain or compelled to be baptised.</p>
+
+<p>Before proceeding with the story it is worth while to consider the
+effect which this long struggle of seven hundred and eighty years had
+had upon the Spanish character. In the first place it had fused the
+nation<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> into one; not by some sudden stroke of patriotic ardor but by a
+slow and painful process, in which the patriotism had been tested in the
+forge of adversity, stiffened and tempered on the anvil of endurance and
+proven by long experiences. Its qualities were trenchant,
+uncompromising, decisively complete. The Spaniard had become a hero to
+himself; sufficient in and for himself; realising his superiority and
+wrapping it about with a mantle of haughty exclusiveness. He had learned
+to rely upon himself and had justified his confidence by victory, hardly
+won and dearly bought; he was a Spaniard&mdash;<i>verbum sat.</i> But he had been
+more than patriot; he had been a Paladin of the Faith; a Knight of the
+Cross; a Soldier of Christendom, Champion of the Holy Catholic Church.
+The consciousness of this had sustained him in adversity; quickened his
+strength in hours of vigil, inflamed him to the attack and crowned both
+victories and defeats with divine glory. An intense passion of spiritual
+ecstasy burned within him. He was at once a man of action, hard and
+practical, and a pietistic dreamer, a fanatic and visionary. How this
+mingling of qualities affected Spanish art, causing it, on the one hand,
+to be distinctively national and, on the other, a product of
+naturalistic method and highly pietistic motive will appear in the
+course of our story.</p>
+
+<p class="dtts">..........</p>
+
+<p>It was, perhaps, Spain’s misfortune that her victories over the Moors
+were not succeeded by a period of settled conditions. For already she
+had entered upon a career of brilliant enterprise in the arts of peace.<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span>
+Under the patronage of Queen Isabella and of prelates, such as Cardinal
+Ximenes de Cisneros, Archbishop of Toledo, whose power rivaled that of
+the Crown, great architectural works were inaugurated and sculptors and
+painters were drawn from Flanders and Germany to decorate them. Learning
+was still further encouraged by the founding of a new University at
+Alcalá de Henares to supplement the famous foundation of Salamanca, and
+men of letters and artists were welcomed and honored at Court. Among
+them stand out the names of Pulgar, the first historian of Castile;
+Cota, the first Spanish dramatist and Rincon, the earliest of the native
+painters. The sixteenth century, in fact, opened with a brilliant dawn,
+full of promise for the new nation, if only it might have had leisure to
+consolidate and develop naturally its resources. But it was drawn almost
+immediately into the whirl of foreign conquests.</p>
+
+<p>On the one hand it became involved in the affairs of the kingdom of
+Naples, which was conquered by the Spanish general, Gonsalvo de Cordova;
+on the other hand, by the bull of the Spanish Borgia Pope, Alexander VI,
+it was put in possession of all the conquests it might make in the New
+World. In both cases the immediate results may possibly be considered a
+boon, but they were followed by consequences disastrous to the nation
+and the Spanish character. The occupation of Naples brought the country
+in touch with Italian civilization, then approaching its zenith, but
+flung it into the vortex of European intrigue and warfare. Wealth began
+to flow in from the Americas, but at the<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> expense of national
+demoralization. The conquest of inferior nations, inferiorly equipped
+with arms of offense and defense, may easily result in cruelty and the
+general sapping of the truly soldier spirit, while the lust of gold
+which soon began to inspire it converted these champions of the Faith
+into brutal buccaneers and plunderers. Further, it sapped the energies
+of the nation at home. For, why laboriously develop the resources of the
+country, when a stream of wealth was flowing into it from abroad?
+National progress, therefore, was checked and in time stifled; while the
+incoming wealth soon began to go out in prodigal expenditure over
+useless European wars. It became a mad gamble in which the spiritual
+qualities of the Spanish character were overwhelmed with the
+intoxication of power, while its exclusiveness and pride blinded the
+nation to the inevitable catastrophe.</p>
+
+<p>A fact antecedent to all these causes of national deterioration was that
+even before the conquest of Granada the Catholic Sovereigns had
+established the Inquisition. With this devilish engine, operated in the
+name of God and the Catholic Faith, the Spaniard attempted to check the
+progress of Europe and effectively crushed his own. In time he expelled
+from the Peninsula the Jews, who in Spain had been among the foremost in
+learning and industrial energy; the Moors and finally the Morescoes, the
+progeny of the Christianised Moors and Spaniards, who had perpetuated
+the crafts in which the Moors had been so skilled. Enterprise was thus
+banished and Spain deliberately committed herself to the part of a
+reactionary against<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> progress. In time England and Holland wrested from
+her her resources in the New World. She shrank within the limits of her
+own Peninsula, which had been already drained of initiation and
+productivity. In time, all that became left to her of her proud
+possessions was the dogmatic form of the Catholic religion. It had
+ceased to be spiritual inspiration and passed into a phase of
+sentimentalism, whence it dwindled to a mere formalism, existing amid
+irreligion and moral degradation.</p>
+
+<p class="dtts">..........</p>
+
+<p>In the last sentence we have anticipated the national prostration of the
+eighteenth century, following upon the exhaustion of the previous one.
+It remains to summarise the events which intervened. Ferdinand and
+Isabella were succeeded by their grandson, Charles I of Spain, better
+known as the Emperor Charles V of Germany. He was the son of their
+daughter, Joanna, who had been married to the Archduke Philip of
+Austria, son of Emperor Maximilian of Germany. Thus Charles brought
+Spain under the rule of the great Hapsburg family, which even to the
+present time has provided monarchs for Germany and Austria. Joanna died
+insane, and the taint of her disease clung to her descendants. Born in
+Ghent in 1500 and educated in Flanders, Charles I at the death of his
+father in 1506 inherited the Netherlands. On the death of Ferdinand in
+1516 he became King of Spain, and in 1519 was elected Emperor of
+Germany, the defeated competitor being Francis I of France. The rivalry
+between these two led to a protracted war, fought out chiefly in<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> Italy,
+on the possession of which each had fastened his ambition. Francis was
+made captive at the battle of Pavia in 1527 and forced into a treaty of
+peace; but the war was renewed two years later and Charles’ troops under
+the renegade Frenchman, Constable of Bourbon, entered Rome and sacked
+it, taking the Pope prisoner. This, however, was but an incident in the
+political game, for Charles, as became a grandson of the Catholic Kings,
+was a staunch Defender of the Faith, and endeavored to impose it upon
+his Protestant subjects in Germany and the Netherlands. For the good of
+their souls he subjected them to the ravages of war and the horrors of
+the Inquisition, and for the filling of his military chest mulcted them
+by fines as well as taxation. Then at the age of fifty-five, exhausted
+in mind and body by his heroic exertions on behalf of Catholicism and
+his own ambitions, and by his various forms of self-indulgence, he
+handed over the Imperial Crown to his brother, Ferdinand, and the
+Kingdom of Spain and his “dear Netherlands” to his son, Philip. He
+himself, under the plea of caring for his soul’s welfare, retired to the
+monastery of San Juste, whence he continued to meddle with affairs of
+State, meanwhile surfeiting his appetites and making a collection of
+clocks and watches. His bedroom commanded a view of the High Altar of
+the Church and was decorated with Titian’s <i>Gloria</i>, in which picture
+the artist has represented the ex-Emperor in a white robe, welcomed by
+the Virgin at the throne of God; while his hopeful son, Philip, is among
+the mortals who gaze up devoutly at the imperial apotheosis.<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p>
+
+<p>Alas! for Philip; he had the doggedness but not the genius of his
+father. Meanwhile the times were changing, and he did not know it.
+Despotism, whether religious or political, no longer was to go
+unquestioned. What the Netherlands had endured from Charles they refused
+to submit to from his son. The more so that, while his father had
+chastised them with whips, he, in the person of the unspeakable Alva,
+chastised them with scorpions. The United Provinces revolted and the
+rest of Philip’s life was spent in a vain effort to crush the Dutch
+patriots and the English who had more or less espoused their cause.
+Meanwhile the fleets of both countries were sweeping the Spaniards from
+the high seas. When Philip died in 1598, he left to his son, Philip III,
+the legacy of a fruitless foreign war, a ruined commerce, and an
+impoverished treasury. As an enduring monument of himself he left the
+Escoriál.</p>
+
+<p>The decline of Spanish prestige and prosperity was accelerated by Philip
+III, an easy-going person, who even refused to take any active part in
+the selection of his own wife. He languidly continued the embellishment
+of the palaces which his father had built, and posed mildly as a patron
+of the arts. Under his feeble rule the power of the crown declined,
+while that of the nobility correspondingly increased; and to them
+probably more than to the king himself must be attributed the crime and
+economical blunder of the final expulsion of the Morescoes. An
+adventitious lustre is added to the reign of this king and his father by
+the genius of Cervantes, Lope de Vega, the dramatist, and the great
+artist, El Greco.<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p>
+
+<p>Succeeding to the crown at the age of seventeen, Philip IV resigned the
+government to his favorite and prime-minister, the Count-Duke Olivares,
+whose idea of statesmanship was to keep his royal master as far as
+possible in ignorance of the impending ruin of the kingdom. To this end
+he renewed the war in Holland, which had been interrupted by a twelve
+years’ truce, and, with no decisive result except the squandering of
+revenue, prolonged it until the final recognition of Dutch Independence
+in 1648. Over eighty years had been expended in endeavoring to set back
+the clock to the principles and methods of the Middle Ages and in the
+process the proud empire, inaugurated by the Catholic Kings, Ferdinand
+and Isabella, had been drained of its vitality. The colonial possessions
+began to fall one by one into the hands of foreigners and Spain herself
+was enfeebled and demoralised. Meanwhile Philip played the part of a
+Maecenas in what proved to be the Golden Age of Spanish literature and
+art.</p>
+
+<p>Among the names which gave a lustre to the Court were the veteran Lope
+de Vega; Calderon, author among other dramas of the “Comedies of Cape
+and Sword”; Velez de Guevara, playwright and novelist, whose “El Diablo
+Cojuelo” was the original of Le Sage’s “Le Diable Boiteux”; Luis de
+Gongora, the poet; Quevedo, the satirist; Bartolomé Argensola,
+historian, and Antonio de Solis, poet, dramatist and author of “The
+History of the Conquest of Mexico.” Philip himself posed, with
+considerable warrant, as a poet and musician, and even took part as an
+actor in the musical and dramatic entertainments which</p>
+
+<p><a name="ill_2" id="ill_2"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_002_lg.jpg">
+<img src="images/ill_002_sml.jpg" width="458" height="500" alt="[Image unavailable.]" /></a>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td class="c">THE CATHOLIC KINGS<br /> AT PRAYER</td>
+<td class="mlft">SCHOOL OF CASTILE<br /> XV CENTURY</td></tr>
+<tr><td class="cloc" colspan="2">THE PRADO</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_19" id="page_19">{19}</a></span></p>
+
+<p class="nind">enlivened the ennui of the Court in the palace of Buen Retiro. He was
+also, as an amateur, skilful in drawing and painting. This doubtless
+helped him to appreciate the merits of Velasquez, who to the world
+outside of Spain represents the subject of most significance in his
+life. Philip’s companionship with the artist, five years his elder,
+which except for the brief intervals in which one or the other of them
+was traveling, lasted for thirty-seven years, indeed until Velasquez’
+death, is the one thing on which the student of history and of art cares
+to dwell. It has secured for Philip IV a recognition which his political
+importance would have denied him.</p>
+
+<p>The increasing impotence of the Hapsburg family of Spanish king’s
+reached its climax in Philip’s son, Charles II. One has but to glance at
+the latter’s portrait, painted by Juan Carreño, to realise the physical
+and mental degeneracy that the family type has undergone. The type, as
+one sees it in Titian’s equestrian portrait of his
+great-great-grandfather, Charles I of Spain and V of Germany, is already
+abnormal. The grey eyes, for all their sternness and penetrating
+character, have a pathetic cast of melancholy; the under jaw protrudes
+like that of an ape. But the chin is massive, as indicative of force as
+of ferocity. In Philip II, as he appears in Titian’s portrait in the
+Prado, the face has lengthened; the eyes have lost their piercing gaze,
+and while no less melancholy, have an expression of deliberate cruelty.
+The coarseness of the lower part of the face is displayed in the
+exaggerated sensuality of the out-turned lower lip, beneath which is a
+tapering<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> chin, that has a suggestion of blended weakness and petty
+doggedness. In the equestrian portrait of Philip III, which is supposed
+to have been painted by Bartolomé Gonzáles and effectively retouched by
+Velasquez, the monarch’s head is carried a little back, a gesture which
+extenuates with probable intention the protrusion of the lower part. But
+the chin is feebly pointed, the under lip pendulous, while the eye
+suggests an empty vacuity, that is echoed in the mild fierceness of the
+upcurling moustache. It is a face vain, stupid and not a little
+commonplace. The last quality, at least, is absent, from the portraits
+of Philip IV. The face, especially when young, reflects the King’s
+intrinsic refinement; but its length has become exaggerated, the
+protruding under-lip and jaw are puffed and fleshy, weakly sensual,
+while the eyes are apathetic. The expression of the whole is of a nature
+nearly worn out, that can only be stirred to occasional alertness by the
+stimulant of trivial excitements. Finally, in Carreño’s portrait of
+Charles II, (p. 132) appears a total extinction of active faculties,
+soft sensuousness rather than sensuality, a settled look of apathy and
+the profound depression of a religious monomaniac.</p>
+
+<p>Charles was scarcely four years old when the death of his father in 1665
+made him king of a bankrupt country. It was the policy of the Queen
+Mother, whose regency was marked by political incompetence and personal
+amours, to keep her son as childish as possible. And, when he reached
+his majority at the age of fifteen and supplanted his mother’s influence
+by that of Don Juan of Austria, the latter also schemed<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> to keep his
+master in a condition of mental darkness and dependence. Thus Charles
+was the victim alike of racial degeneracy and of thwarted development.
+Complete incapacity to govern himself or others was the natural result.
+He shunned the affairs of state, mildly supported the arts as far as the
+beggared state of the treasury would permit, and sank into a religious
+mania that found satisfaction in attending auto-da-fés and prostrating
+himself in acts of personal penance. Dying childless in 1700, he brought
+the Hapsburg line to an inglorious conclusion; and the succession passed
+to a branch of the Bourbon family.</p>
+
+<p>The Crown was offered by the Spanish people to Philip, grandson of Louis
+XIV. He was the nephew of the late king, being the son of Philip IV’s
+daughter, Maria Theresa, and Louis XIV. When, however, this marriage was
+made Louis had expressly renounced all claims to the Spanish throne,
+both on his own behalf and that of his heirs; and the renunciation had
+been confirmed by the Cortes. Meanwhile, another sister of Charles II
+had been married to Leopold, Emperor of Germany. She also had renounced
+her claim to the Spanish Crown, but the understanding had not been
+ratified by the Cortes. This afforded a pretext for the Elector of
+Bavaria, who had married her daughter, to claim the succession in
+opposition to Philip. A third claimant had been the Emperor Leopold
+himself, who however, waived his rights in favor of his second son, the
+Archduke Charles. The dispute had been in progress during the late
+king’s life, and Louis XIV had made a treaty with England and Holland,
+recognising<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> the claims of the Elector of Bavaria. When, however, the
+crown was offered to Philip and accepted on his behalf by Louis XIV,
+England and Holland made a coalition with Austria and Germany to compel
+the recognition of the Archduke Charles. Hence the thirteen years’ war
+of the Spanish succession, in which Marlborough gained a series of
+victories over the French and Bavarians, the Archduke ravaged the
+Peninsula, and the English and Dutch fleets preyed on Spanish commerce
+and captured Gibraltar. Finally, by the Treaty of Utrecht in 1714 the
+succession of Philip V was ratified.</p>
+
+<p>He had been brought up by Louis XIV to be undesirous and incapable of
+taking part in political affairs. While the country continued to be
+involved in disastrous foreign wars this <i>roi fainéant</i> amused himself
+with building a summer palace and laying out gardens, both in the French
+style. He also imported the French portrait-painter, Van Loo. It must be
+added, however, that the stock of Spanish painters had been exhausted.
+Native art, indeed, for the time, was all but dead. It so remained
+through the thirteen years’ reign of his son, Ferdinand VI, though he
+tried to galvanize it into official life by inaugurating the Academy of
+San Fernando. This king was succeeded by his brother Charles III, who
+had already distinguished himself by his wise rule of the Kingdom of the
+Two Sicilies. His portrait by Goya, in the costume of a sportsman, shows
+him to be a man of awkward build and of homely, though kind and shrewd,
+face. He proved himself a generous patron of second-rate<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> artists,
+inviting the German painter, Raphael Mengs and the Venetian, Tiepolo, to
+his Court; built the present gallery of the Prado and issued an order
+forbidding the exportation of paintings by the great masters of Spain.
+He appears to have had some inkling of the genius of Goya, who, however,
+did not come into prominence until the succession of Charles IV.</p>
+
+<p>Charles IV was an amiable imbecile and his Queen, Maria Luisa, the
+shameless subject of notorious scandal. One of her favorites, Manuel
+Godoy, advanced from the rank and file of a regiment of the Guards to
+the title of Duke of Alcudia, was entrusted with the duties of prime
+minister. After embroiling the country in successive wars with France
+and England, he finally attached himself to the cause of Napoleon and
+favored the latter’s design to place his brother Joseph on the Spanish
+throne. The French entered Spain in 1808 and compelled Charles to
+abdicate. But in the same year the Spaniards rose against the invaders,
+and the English came to their assistance. Then followed the Peninsular
+War, during which Wellington gradually expelled the French troops, but
+not until they had pillaged the cathedrals and churches and carried off
+a large number of the finest works of art. For Marshal Soult, with the
+predatory instincts of an unscrupulous dealer, sent his emissaries ahead
+of the army. Armed with the “Dictionary of Painters and Paintings” by
+Cean Bermudez, they identified and attached the most famous canvases,
+which the Marshal compelled their owners to part with at his own terms.
+On the conclusion of the war many of these were returned to Spain<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> under
+the terms of the treaty of peace, but a number of masterpieces had
+already passed through Soult’s rapacious hands into the public and
+private galleries of Europe.</p>
+
+<p>This treaty of peace, which restored the Throne to Charles’ son,
+Ferdinand VII, is the end of the history of Spain so far as it concerns
+the growth and development and decline of her national art. She has had
+painters of repute since 1814; but not in sufficient numbers to
+constitute a school or even a noticeable artistic movement. Under weak
+and constantly changing governments, controlled by the Church and
+existing mainly for taxation, her arts, like her commerce and industries
+dwindled to an almost negligible condition, from which only recently
+there are indications of recovery.<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
+
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<br /><br />
+<small>CHARACTERISTICS OF SPANISH PAINTING</small></h2>
+
+<p class="nind"><span class="letra">S</span>PANISH Painting, so far as it represents a school, is singularly
+limited in scope and rigidly circumscribed. This is due partly to the
+racial character, self-centered and conservative, out of which it grew:
+partly also, to the influences that immediately shaped its growth. For
+it developed under the patronage of the Crown and the Church. Nor were
+these, in theory or in practice, antagonistic to each other. The Church
+was the embodiment, the Crown the defender, of the Faith: the efforts of
+both being united to preserve the Faith against the inroads alike of
+Humanism and Protestantism. Hence the art of Spain, while it might be
+incidently concerned with portraiture, discovered its essential
+characteristics as the exponent of Bible story and Saintly lore and as
+an exhortation to faith and pious living. Its home was the sacred
+edifice, where it embellished walls, vaultings, and ceilings, or
+presided in the ceremonial altar-piece. Its language for the most part
+was that of the vernacular; the sacred imagery being translated into the
+idiom of common knowledge, its mysteries into expressions of common
+experience. It was in consequence a naturalistic art.</p>
+
+<p>Had the artists of Spain painted for the general<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> public or followed
+their own bent in the pursuit of beauty, they would doubtless have
+developed branches of genre and still life painting that might have
+emulated the work of the Holland artists; for they had a similar love of
+the intimate beauty of simple things around them. But since they had to
+reach the masses of the people through the intervention mostly of the
+Church, which not only commissioned the subject but prescribed its
+treatment, they achieved their self-expression through religious
+pictures which had the character of sacred genre. Yet this Spanish brand
+of genre is inferior to the secular genre of Holland or to the sacred
+genre of old Flemish religious paintings. It has a quality, perceptible
+in neither of the latter, of obviousness. Its motive is less surely an
+æsthetic delight in things of beauty; more evidently influenced by the
+practical intention of rounding out the story.</p>
+
+<p>I doubt if the student of Spanish painting, particularly if he visits
+Spain, can escape the feeling that it exhibits a certain oppressive
+obviousness. How is this to be accounted for? In the first place,
+surely, by the influence of the Church, ever more intent on making art a
+handmaid of its own purposes than on developing its own inherent
+beauties. And, if this was true under the conditions in Italy, where the
+Church itself was penetrated with Humanism, how much more is it to be
+expected under those which existed in Spain! But there is another
+reason, incident to the Spanish character. The latter, as has been
+suggested in the previous chapter, was the product of a long and heroic
+struggle on behalf of nationality and the Christian<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> Faith. Among its
+conspicuous traits, in consequence, were self-consciousness and inflated
+egoism; traits that, if you consider it, are those of the actor; the
+necessary groundwork on which he builds his better qualities as an
+artist.</p>
+
+<p>The Spaniards are a race of actors. The arts in which they have most
+naturally expressed themselves are those of the drama and the novel of
+character and action. And this trait similarly affects their painting.
+It is dramatic, concerned frequently with action, always with
+characterisation. Meanwhile, self-consciousness and egoism readily yield
+to the temptation of exaggeration. Spanish literature evaded this
+weakness because it was left to go its own way and the artistic
+conscience of the author was permitted to discover for itself a sense of
+true values. But in the painter’s case the Church intervened and being,
+so to say, interested in the box-office receipts, compelled him to play
+to the gallery. It favored sensationalism and encouraged melodrama. The
+meekness of the martyr must be represented so that the dullest spectator
+would not miss the moral; the executioner’s hatred of virtue so
+portrayed that no one could fail to recognise him as a villain; love and
+devotion must be sentimentalised, and blood, pain and disease so vividly
+exhibited that the crudest sensibilities would be wrung. Imagination
+must not be counted upon and suggestion, the subtle road thereto, must
+be abandoned for the direct and detailed statement. Aim at the crude
+instincts and make the message obvious!</p>
+
+<p>This Spanish tendency toward the related traits of<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> exaggeration and
+obviousness is not confined to painting. It appears also in the
+architecture and sculpture. Foreign architects, for example, were
+employed in the erection of cathedrals in the Gothic style; but the
+latter’s noble logic of plan and elevation was disturbed by the
+innovations which Spanish taste, or lack of it, dictated. Conspicuous
+among these was the erection of a Coro in the center of the nave; an
+inclosure walled around, carried to a great height and profusely adorned
+with sculpturesque ornament. This monstrous choir effectually blocks the
+view of the high-altar from any spot except the narrow space which
+separates the two, and also interrupts what should be one of the sublime
+features of a Gothic cathedral, its endless variety of stately vistas.
+In every direction the perspective of pillars, arches and vaultings is
+barred by the tasteless magnificence of the Coro. For the latter, like
+the Capilla Mayor with its high-altar, is overloaded with excess of
+ornament. In one case it may be in the “plateresque” style, a network of
+intricate and minute embellishments that vies with the dainty exuberance
+of the workers in silver-plate. Elsewhere, it is wantonly “grotesque” or
+pompously “baroque” or characterised by that orgy of material
+extravagance, called “Churrigueresque” after the name of the sculptor
+who introduced it. In this, sculpture has been degraded to the most
+blatant naturalism; Madonnas clothed like dolls in brocaded gowns; the
+tragedy of Calvary or the glory of Heaven, presented with figures,
+background and accessories, painted, posed and set like a theatrical
+tableau. It is not for a moment suggested that there is no beauty and<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span>
+grandeur in Spanish architecture and sculpture. Yet to one whose taste
+is attuned to the imaginative spaciousness, sublimity and mystery of
+pure Gothic or to the inventive refinement of choice Renaissance design,
+the net impression of a Spanish cathedral is likely to be one of
+oppression and distaste. And more so, as one analyses the psychological
+cause of this extravagant display. It seems to be the Spanish instinct
+to close himself round with interest in what is nearest to him, so that
+he abandons breadth or height of vision&mdash;imagination, in fact&mdash;in favor
+of the immediately present, which he invests with all the fervor of his
+pent up nature. This leads inevitably to a materialistic point of view
+and to the baldly naturalistic method; in a word, to the obviousness
+which we have noted.</p>
+
+<p>Spain, in fact, with its large admixture of Germanic blood, exhibits in
+its art the trait that affects other races akin to the Teutonic: the
+German itself, the English and American. She, no more than they, has
+much sense of beauty in the abstract. The idea that beauty for its own
+sake is desirable may penetrate the imagination of some artists in all
+these countries, but is a principle of art in none of them, and by the
+general public of all is not understood. The usual idea is that painting
+is primarily the representation of some person, place or thing, and is
+to be judged by what it represents. The idea that it should contribute
+to the beauty of life, and that beauty is one of the qualities most
+needful and desirable in life; that, indeed, properly considered, it
+should be the ideal of life, is even to-day only slowly dawning upon our
+comprehension. We<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> still make the ideal of our civilization material
+progress and the ideal of education the preparation to play a part in
+it. In a word, our ideal is materialistic; a contradiction of terms,
+confusing the high issues of life. For, if a man or a nation is to have
+an ideal it must be something above the necessary matter of life,
+correlating the spiritual sense to what it conceives of spirit in the
+universe. It was so that the Greek, learning of Egypt and the Orient,
+drawing inspiration, in fact, from the deep wells of human
+consciousness, established his ideal and interpreted it under the symbol
+of beauty.</p>
+
+<p>For my own part, this difference between the older idea of art and our
+own, which was shared by Spain, is most illuminatively enforced by the
+contrast between two of the great architectural monuments of Spain: the
+Escoriál and the Alhambra. Both are palaces, memorials of the greatest
+epoch in the history of each race; but one is a palace of the dead and
+of preparation for death, the other a lordly pleasure house, redolent of
+the joy of living; the Escoriál is a monument of sternness; the Alhambra
+a miracle of beauty.</p>
+
+<p>Yet for the student of humanity and of art in relation thereto what a
+poignant interest attaches to the Escoriál! True, it is the
+self-expression of one man; but the imagination may not be astray in
+discovering in it some expression also of the race and its time. For
+Philip II was so loyal a son of the Church or, if you will, so morbid a
+victim of the Church’s influence, and that influence was then so rooted
+in the conscience of the</p>
+
+<p><a name="ill_3" id="ill_3"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_003_lg.jpg">
+<img src="images/ill_003_sml.jpg" width="352" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+S. URSULA
+</td>
+<td class="mlft">SPANISH SCHOOL, XV CENTURY
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p>
+
+<p class="nind">people, that he was in a large measure representative of them.</p>
+
+<p>Philip was bound by the terms of his inheritance to create a mausoleum
+for the remains of his father, Charles V. He set about making it a
+burying place of sufficient dignity for his father, himself and
+succeeding Catholic Kings. To the mausoleum must be attached a church,
+and to the latter a monastery, to make perpetual provision for the
+saying of masses. His father had retired to a monastery after laying
+down the cares of government. Philip, while still handling the affairs
+of his vast dominion, would also lead the cloistered life. Meanwhile
+there were the mundane needs of a court to be considered and Philip
+himself tempered his asceticism with gallantry, so that a palace must be
+included. Hence ensued the idea of the Escoriál, wherein life consorts
+with death and business and pleasure are pursued under the shadow of a
+judgment to come. Surely a monument to the strangest medley of motives
+that history can show! Morbid, magnificent!</p>
+
+<p>Architects were employed, but Philip constantly supervised the design.
+He planned his monument to last forever. Far from the possible
+vicissitudes of the capital, remote from the petty changes of daily
+life, he laid its foundations in the bed-rock of the mountains; and
+built their strength into its walls. With its back to the precipitous
+wall of the Guadarrama Sierra, it stands a colossal squared mass, facing
+the undulating vista of tableland. Its facades are severely simple,<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span>
+bare of ornamental detail, proclaiming their monastic purpose; and
+similarly the interior, as originally planned, was characterised by the
+dignity of constructional simplicity. The church also, until Luca
+Giordano at a later period covered the vaultings with flaunting mural
+paintings, was a unique example of stern austerity; its plan of a Greek
+cross being uninterrupted by a central coro and the only magnificence
+permitted being massed about the high-altar. A strange contrast, in
+fact, the imagination of Philip offered to the art instincts of his
+people. While they eschewed vistas and rejoiced in extravagance of
+detail, he was wedded to simplicity and sought a prospect of the widest
+vision. Yet in his personal life he shrank into narrowness. A private
+door communicated with a corner seat at the back of the coro, so that
+unobserved he could join the monks, as one of them, in their devotional
+routine. While he provided himself with a palace for ceremonial
+purposes, he actually lived in a tiny suite of meagre rooms, sleeping in
+a cubicle. Its window opened into the church, commanding a view of the
+high-altar, where the celebrant as he said mass stood directly above the
+tombs of the dead kings. This Pantheon of the dead, a low, octagonal
+chamber with flattened vaultings, lined with shelves on which repose
+sarcophagi, was originally of extreme simplicity. For the present
+bastard profusion of sombre ornamentation was added by Philips III and
+IV.</p>
+
+<p>To-day as one wanders through this vast and silent edifice of the
+Escoriál it can well seem as if that sanctuary of death, buried beneath
+the church, is the dead<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> heart, connected by the arteries of its nearly
+one hundred miles of corridors with the huge organs and spreading limbs
+of a prodigious leviathan. One has left behind the exhilaration of the
+air of the Sierras the glorious spaciousness of the outside prospect,
+and as the artificial vastness closes in about one, the spirit becomes
+numbed and chill. It is a stupendous Golgotha, a colossal Place of
+Skulls. Yet we shall be lacking in imagination if we cannot realise that
+the dead heart once beat and that the ponderous body once enshrined a
+soul. It may have been a mad soul; certainly it was a proud one, of high
+exaltation, white to its core with the flame of an intense ideal. None
+the less was it something of a craven soul, evading the problems of this
+life, and fearing the life to come; closing its eyes to the light and
+wrapping itself in the darkness of superstition. It is the soul of one
+man that was thus enshrined; but in many respects it is revealed as the
+soul of the Spanish people.</p>
+
+<p>Seen at noonday in summer, the Escoriál stands, shadowless in the
+sunshine, at the foot of the bare Sierra, looking out over a vista of
+barren stubble, parched grass and dried up water-courses; an undulating
+sweep of pallid buff, interrupted sparsely by grey olive bushes;
+pitilessly inhospitable. But, in the slanting light of the afternoon,
+the Sierras near and far lose the bleakness of their pinkish buff
+beneath transparent tones of mauve and lavender, while the harsh nudity
+of the endless vega becomes clothed in tender veils of variously
+modulated greys. Even the inexorableness of the granite pile is
+assuaged, as the shadows creep<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> about its base, the contours and
+surfaces of its facades melt into iridescent hues and the dome and
+towers rise up to meet the cooling sky with something of aerial
+suggestion. Slowly, as the light wanes the Escoriál and its vast setting
+become to the imagination spiritualised; but the spirit that hovers over
+them and enters into yours is, if I mistake not, for all its beauty
+impregnated with sadness, which, as the darkness blots out distance and
+buries the monastery beneath the gloom of the Sierras, dies into a sense
+of awe.</p>
+
+<p>And now let us revisit the Alhambra, which enshrines the soul of another
+race. No colossal formality here, or precision of foot-rule and compass
+from which the free spirit of the artist’s imagination has been
+dogmatically barred! On the contrary, the palace of the Moorish kings
+grew cell to cell by accretion, expressive of an accumulating sense of
+the power and joy of life, alive with the breath of artistic
+imagination. It dominates its own hill, looking across, on the one hand,
+to the protecting barrier of higher hills, and on the other, over a
+smiling hospitable vega, a far reaching garden of luxuriant fertility.
+The hill itself is a paradise of refreshment. Its slopes are richly
+clothed with shade trees and semi-tropical vegetation, embowered in
+flowers, fragrant with the scents of living growths, musical with the
+song of birds, the tinkle of tiny runnels, and the plash of fountains
+and cascades. Set above this scene of ordered wildness, where the
+license of nature is united to the task of man, stands what is left of
+the palace of the Arab Sovereigns of Granada.</p>
+
+<p>There is no need to describe its plan of gardens, foun<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span>tains, courts and
+corridors, halls of ceremony and suites of living rooms. It is the
+spirit of the whole that we may try to capture. Here, as in the Mosque
+of Cordova, the Arab’s love of vistas is revealed; but while the former
+spreads over a large space, the perspectives of the Alhambra are
+actually restricted. In their case even more than in the other is
+created an illusion of distance. The triumph is one not of material
+emphasis but of artistic suggestion. It was the human imagination,
+finding its free expression in art, that gave form and fabric to this
+Oriental dream of beauty. It is a visualised symphony, whose theme is
+life; the joy of life and beauty that irradiates the joy. And the
+inspiration is drawn from nature. To those who know the Alhambra it will
+not sound like freakishness of speech to say, that the imagination of
+the artist has ensnared a portion of the spirit of beauty which roams at
+large in the desert and sky and lurks in the silences of woods and
+gardens; and, because he felt the phenomena of nature in relation to the
+supreme whole, has captured something of the infinity of the universal
+and enshrined it in his microcosm of beauty. Also more intimately he has
+fashioned his invention upon nature; studying her forms and methods and
+adapting them to the conventions of art. In the endless variety of
+decorative encrustration with which the wall-spaces, the soffits of the
+arches and the vaultings of the chambers are embroidered, the motives
+are drawn from the interlacing of boughs and vines, the rhythm of the
+brooklet meandering through luxuriant undergrowth of vines and flowers,
+from the facets of the crystal and the accumu<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span>lated cells of bees. But
+they are not interpreted in a naturalistic vein. The Oriental
+imagination, at its best, rises above naturalistic representation; it
+accepts the fertilization of nature, but conventionalises the product to
+conform to the artist’s idea of abstract beauty.</p>
+
+<p>It may be that in the Alhambra he has carried this idealization too far
+and become too prodigal with its motives. The dainty fabric has little
+structural dignity; architectonic substance being sacrificed to vistas
+and surface decoration, while the last may easily be judged too profuse.
+Yet the Arab, when he chose, was a builder and engineer, continuing the
+Roman tradition of solid and scientific construction. Even at the
+Alhambra this fact is attested by the foundations that are rooted in the
+rock and carried down its precipitous flank, and by the aqueducts which
+convey water from the neighboring hills to supply the fountains and
+baths, the sudorific chambers and the system of heating. He faced the
+necessities and facts of life as they arose, but in the pleasure-house
+of his soul surrendered himself to the abstract, wrapping himself in
+contemplation of the beautiful. So he encouraged his artists until their
+imagination reached its zenith of profuse invention in the so-called
+“Room of the Two Sisters.”</p>
+
+<p>Above a dado of iridescent glass mosaic the walls are overlaid with a
+rich lace work as of carved ivory, the interstices of which are colored
+red and blue. Their surfaces are interrupted by niches, framed with
+columns and arches of surpassing delicacy. From the four corners, at
+considerable height project pendentives, converting the square of the
+room into an octagon from</p>
+
+<p><a name="ill_4" id="ill_4"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_004_lg.jpg">
+<img src="images/ill_004_sml.jpg" width="311" height="500" alt="[Image unavailable.]" /></a>
+
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td class="c">
+THE APPARITION OF THE VIRGIN<br />
+TO
+BERNARDINE MONKS
+</td>
+<td class="mlft">
+? PEDRO BERRUGUETE
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p>
+
+<p class="nind">which springs the domed ceiling. The pendentives are groups of
+stalactite forms, and the vaulting above is composed of innumerable
+concave cells. Each differing slightly from the others, they cling
+together in pendent masses, here projecting like a bunch of swarming
+bees, there receding into the mystery of a fairy grotto; all the while
+mounting up the curve of the ceiling, which undulates like a vine
+yielding to the weight of its grapes; climbing higher and higher in
+endless frolic of invention until they draw together at the ceiling’s
+peak. Enough gold still adheres to the myriad facets to suggest to the
+imagination the mysterious lustre of the ceiling, when it was lighted by
+a suspended lantern with its clusters of crystal lights. This gem of the
+Alhambra jewel, the heart of the Harem chambers, opens, as you remember,
+on one side into an alcove. Through the windows of this appear the tops
+of cypress trees, which rise from the boskage of pomegranates, roses and
+oleanders in a little garden court. On the other side, the “Court of the
+Lions,” once shaded with orange trees, still soothes the ear with the
+plash of its central fountain and the drip of the tiny jets that spring
+like rods of silver from the marble pavement of the arcades. A spot,
+indeed of exquisite sensations; where everything conspires to alternate
+moods of reverie and poignant stimulation; where the physical senses are
+rarified, exalted, till perception swims into a sea of subtleties that
+melts into a dreamy subconsciousness of infinity.</p>
+
+<p>This you may say is a supreme achievement, tainted with weakness. Here
+the yearning after beauty for its own sake has created such a subtlety
+and luxuriance of<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> beauty as to suggest that the motive was ornament for
+the sake of ornament; sense-gratification for indulgence sake;
+exquisiteness at the cost of living energy. For, while the maze of
+decoration is ordered with most refined sensibility, it is none the less
+expressive of inordinate and almost tortured sensuousness. If you adopt
+this view it is to admit that the Alhambra was a product of the
+decadence of the Oriental idea; and it is interesting to note how it
+bred a corresponding decadence in the artistic motives of the Christian
+conquerors. It was unquestionably from the Arabs that the Spaniard
+derived his taste for excess. But his racial instinct and his Catholic
+faith colored the result with a great difference. His sensuous and
+religious ecstasy found their expression not in abstract symbols but in
+concrete actualities. They prompted him to take delight in the actual
+representation of blood and torture and to render his conception of
+Heaven by means of sculptured figures reposing on marble clouds amid
+gilded spikes of glory. Gradually, in fact, he degraded his conception
+to the most obvious kind of perception. He expressed his spiritual ideas
+in terms of naturalism.</p>
+
+<p>It may seem illogical to invite the reader to be interested in Spanish
+art and then discourage him by laying bare its weakness. But I believe
+that every one who visits Spain, where alone the inwardness of Spanish
+art can be reached, must feel at the outset more or less conscious of
+these limitations to his interest; that, in fact, he suffers a
+preliminary discouragement. If so, is it not better to admit it; to
+accustom oneself to the<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> expectation of temporary disillusionment, in
+order that one may the sooner get over it and settle down to a just
+appreciation of the admirable qualities which actually exist in Spanish
+painting?<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p>
+
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<br /><br />
+<small>A PANORAMIC VIEW</small><br /><br />
+<i>Part I: To the End of the Sixteenth Century.</i></h2>
+
+<p class="nind"><span class="letra">T</span>O the student who is in pursuit of æsthetic enjoyment rather than
+critical research the art of Spain resolves itself into the works of a
+comparatively small number of painters. It is these who are represented
+in the galleries of Europe and America and form the chief attraction in
+the Prado and smaller museums of Spain, as well as in the cathedrals and
+churches; at least in those cases, not too frequent, where there is
+sufficient light to see them. The spell exercised by these artists each
+in his different way, is so arresting that one may easily be indifferent
+to those of minor quality. On the other hand, our interest is increased
+if we glance over the whole field, the level of which is interrupted by
+conspicuous individuals, and thus view the latter in their respective
+times and places in the general story.</p>
+
+<p>It must not be forgotten that the racial characteristics of Spain and
+her art, while they preserve a general national uniformity, were
+modified by the circumstances of different environments. Even before
+their union by the marriage of Ferdinand and Isabella, the kingdoms of
+Castile and Aragón presented a noted differ<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span>ence. The former included
+besides the province of Castile, the other divisions of territory in the
+northwest of the Peninsula; while Aragón embraced Catalonia and
+Valencia, the provinces bordering on the Mediterranean, and had extended
+her authority to the Balearic Isles, Sardinia and Sicily. The
+geographical distribution tells its own tale: Castile, with her bleak
+Sierras and wind-swept, sun-parched plains, a region of strenuousness;
+Aragón, dipping her hot feet in the Mediterranean, her asperities
+assuaged by influences from over-sea. For, while Castile was early
+disposed to derive her foreign influences from the Netherlands and
+Germany, Aragón and especially Valencia drew theirs from Italy. Later,
+when the union of the entire country was achieved by the conquest of
+Andalusia and Granada, the climatic conditions of these two provinces
+and their proximity to the Mediterranean naturally drew them into close
+relations both with Valencia and Italy. It remains only to mention in
+the way of anticipation, that the seat of Government, being always in
+Castile and finally established in Madrid, became a nucleus to which the
+various influences from other parts of the country were attracted. Thus,
+while the Schools of Valencia and Andalusia preserved their local
+characteristics, the School of Castile, which later is more specifically
+known as the School of Madrid, became under the patronage of the Court
+more cosmopolitan.</p>
+
+<p>The sources of painting in Spain, as in other countries, are to be
+looked for, first in illuminated manuscripts and secondly in the remains
+of mural decorations.<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> The earliest examples of the latter are to be
+found in the figures of saints which adorn the little church of El
+Cristo de la Luz in Toledo and in some scenes from the Passion on the
+vaulting of the chapel of St. Catherine in San Isidoro in Léon. These
+are attributed to the twelfth century. Later examples of the fourteenth
+century, exist in Seville, in San Lorenzo, San Ildefonso and the Capella
+de la Antigua in the Cathedral. The subject of each is the Virgin. In
+the cathedral, for example, she is represented against a gold diapered
+background, her robe also being adorned with arabesques of gold. In her
+right hand she holds a rose and with her left supports the Child, while
+two angels suspend a crown over her head. The figure of the Father
+Almighty, rather small in scale, appears above. The flesh is scarcely
+modeled, and in the case of the Virgin is very tenderly expressed; the
+draperies, on the other hand, suggesting in their flatness and breadth
+of treatment a sense of bigness. The influence is clearly Italian and
+seems to present a union of the feeling of Cimabue and Fra Angelico.</p>
+
+<p>It is with the beginning of the fifteenth century that one reaches sure
+ground. In 1428, during the reign of Juan II of Castile, the great
+Flemish painter, Jan Van Eyck, while on a mission to Portugal visited
+Madrid. His coming aroused in the Spaniards an interest in Flemish art,
+which resulted in the importation of paintings by Memlinc, Roger van der
+Weyden, Dierick Bouts, Mabuse and Patinir. The effect of their influence
+can be studied in the basement galleries of the Prado, where hang
+anonymous works by painters of<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> the School of Castile during the
+fifteenth century. A very interesting series of scenes from the life of
+the Virgin (numbered 2178-2183) exhibits in the angular folds of the
+draperies and in the architecture a notable Gothic feeling, and have
+much of the freedom of composition and intensity of sentiment of Van der
+Weyden. On the other hand in No. 2184, <i>The Catholic Kings with their
+Families at Prayer Before the Virgin</i> reproduced on page <a href="#page_18">18</a>, the
+influence of Memlinc and his period of Flemish art appears. One notes
+the charming glimpses of landscape, seen through the windows; the almost
+childlike sweetness of the faces and the truly Flemish love of beautiful
+detail. This is exhibited in the Virgin’s crimson robe and the
+rosy-purple gown of the King, both of which are brocaded with designs in
+raised gold, and in the various accessories, particularly the church in
+the hand of S. Thomas Aquinas, the lily in that of S. Domingo de Guzman,
+and the richly decorated throne. On the back of this are curious little
+impish figures, that recall the weirdly whimsical inventions of
+Hieronymus Bosch, whose pictures, as later those of his imitator, Peeter
+Brueghel, were very popular in northern Spain. The figure, kneeling
+behind the King, is the Inquisitor-General, Tomas de Torquemada; the one
+behind the Queen represents S. Peter Martyr of Verona.</p>
+
+<p>Ascribed to the end of the fifteenth century is the curiously
+interesting <i>S. Ursula</i>, reproduced on page <a href="#page_31">31</a>. The picture forms one of
+a series of three, of which the first is <i>The Coronation of the Virgin</i>
+and the third <i>The Temptation of S. Anthony</i>. Escorted<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> by the Pope and
+by bishops and cardinals, S. Ursula is seen at the head of the
+procession of eleven thousand virgins who are following her to Rome;
+but, if the legend is to be believed, will be slaughtered by the Huns
+near Cologne. With another example, reproduced on page <a href="#page_37">37</a>, we reach at
+least the suggestion of a Spanish painter’s name. <i>The Apparition of the
+Virgin to a Community of Bernardine Monks During a Ceremony of Exorcism</i>
+is ascribed, though with a query, to Pedro Berruguete. Carl Justi
+considers that this picture and its companions, illustrating Dominican
+legends, were by the Burgundian painter, Juan de Borgoña, assisted by
+Berruguete and another painter named Santos Cruz. To the last is
+attributed the traces of Peruginesque influence that occur in all the
+series; in the present example, in the angels surrounding the Madonna.
+But the chief interest lies in the varied and individual
+characterization which the artist has given to the heads of the monks
+and laity. The latter seem of Flemish type, and, if Carl Justi’s
+attribution is correct, may, together with the architectural perspective
+have been executed by Juan de Borgoña. On the other hand, Berruguete was
+probably responsible for the monks, since they approximate to the
+Spanish type, as may be verified by comparing them with the character
+studies of this order of brotherhood by Zurbarán (see page <a href="#page_166">166</a>).</p>
+
+<p>The gradual emergence of the national type in the works of this period
+is again illustrated in the collection of splendid panels in the
+Hispanic Museum, New York. Examples 1 to 7 show the Netherlandish
+influence,</p>
+
+<p><a name="ill_5" id="ill_5"></a></p>
+
+<div class="figcenter" style="width: 386px;">
+<a href="images/ill_005_lg.jpg">
+<img src="images/ill_005_sml.jpg" width="386" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td class="c">
+S. STEPHEN CONDUCTED<br /> TO MARTYRDOM
+</td>
+<td class="mlft">
+JUAN&nbsp;DE&nbsp;JUANES
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_45" id="page_45">{45}</a></span></p>
+
+<p class="nind">while numbers 8 and 9 represent the commencement of native feeling.
+Compare, for instance, the face of the woman who kneels on the left of
+the foreground in <i>S. Gregory Saying Mass</i> with those of the women in
+the high upright panel of the earlier series. The latter have a Flemish
+roundness of features and rather dull expression, whereas the face in
+the <i>Gregory</i> picture, narrows toward the chin and has something of the
+spiritual intensity which in the next century will be brought to its
+highest pitch of expression by El Greco. In fact, although Spain
+borrowed motives and methods from abroad, the inspiration remained her
+own and imprinted a native character on the product.</p>
+
+<p class="dtts">..........</p>
+
+<p>This is still apparent in the art of the sixteenth century when there
+poured into Spain a steady flow of Italian influence. Its general
+tendency was to produce a number of so-called “mannerists,” Spanish
+painters who experimented with and imitated the style of the Italian
+masters, particularly of the Florentines, Da Vinci, Raphael and
+Michelangelo. It was a necessary stage through which Spanish art had to
+graduate in order to acquire facility in drawing, chiaroscuro and the
+principles of composition. But it is not a period on which the student
+who is interested in art as a living expression will care to dwell. He
+will look upon it as probationary and merely preparatory for the later
+liberty of national and individual expression. Yet he may glance over it
+and see how even here the yeast of the national genius is fermenting the
+mass of borrowed and affected manners.<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p>
+
+<p>An example of this is afforded by the work of Juan de Juanes, one of the
+early names of prominence in the School of Valencia. The <i>S. Stephen
+Conducted to Martyrdom</i>, reproduced on page <a href="#page_44">44</a>, is an illustration of
+his style. It forms one of a series, connected with the life of S.
+Stephen, which is now in the basement galleries of the Prado. It is not
+difficult to detect in these paintings the influence of Raphael. So
+noticeable is it, that Cean Bermudez, the chronicler of early Spanish
+art, assumes that Juanes must have been a pupil of the Florentine
+master. Subsequent research, however, has discovered that the Valencian
+painter was not born until 1523, three years after Raphael’s death.
+However he may have acquired a knowledge of the latter’s style, it is
+evident what it did for him and, through him, for the other painters of
+the Valencian school and the closely affiliated school of Andalusia.
+Comparing this picture with the earlier ones, reproduced in these pages,
+one observes in it a far more varied, facile and accurate skill in
+drawing, and that the composition, while it has lost the charm of
+naturalness, has gained in science. It is <i>organisé</i>, as the French say,
+a carefully assembled structure of inter-related parts, locked together
+into an ensemble. On the other hand, to anticipate the sequence of our
+story, this artificial unity will have to be digested before its
+principles can be adjusted to the naturalistic presentation which is to
+be the peculiar quality of Spanish art. Meanwhile we can see the
+naturalistic tendency already forming. The fine head, immediately behind
+the Saint’s, is that of a Spanish gentleman of the period. All the
+heads, in fact, are of<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> local types, and the exaggeration of action in
+the figures and of emotion in the faces, is characteristic of a nation
+so dramatically disposed as the Spanish, while the excess of humility in
+the demeanour of the Saint is characteristic of the devotional attitude
+of this painter toward his art. For he, like many others among the
+Spanish artists, is said to have painted only sacred subjects and to
+have prepared his spirit for the task by partaking of the Sacrament.</p>
+
+<p>Another picture which helps to throw a light upon this period of Italian
+imitation is the <i>Descent from the Cross</i> by Pedro Campaña (page <a href="#page_51">51</a>).
+This painter was born in Brussels in 1503. But, though of Flemish
+origin, he gained his knowledge of art in Rome, whence he passed to
+Spain, living in Seville for twenty-four years, until his death in 1580.
+Thus he was an important factor in the transitionary development of the
+School of Andalusia. Murillo particularly admired this picture, and at
+his own request was buried beneath it in the Church of Santa Cruz. When
+the latter was pulled down, the picture was removed to the Cathedral,
+where it now hangs in the Sacristy. Its indebtedness to Raphael is
+apparent in the group of figures at the foot of the Cross, while a
+Peruginesque influence is suggested in the draperies of the men upon the
+ladders and in the placing of their figures against the sky. But also
+evident is the artificiality of the whole. The gestures and expression
+of the women are affected; quite inadequate is the support which is
+being given to the Sacred Body, while the attitude of the latter is too
+obviously regulated with the double inten<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span>tion of securing certain lines
+in the composition and of introducing the suggestion of forgiveness of
+the Magdalen. In fact, the chief virtue of the picture seems to be its
+extremely handsome composition, which must be admitted to have great
+nobility as well as a fine organic simplicity. The picture, indeed, is
+an achievement of science; valuable for its enforcement of academic
+principles; yet, even so, the work, not of a master, but a manneristic
+imitator.</p>
+
+<p class="dtts">..........</p>
+
+<p>It is with more interest than one turns to the work of another artist of
+this transition period, Luis de Morales. For although he experimented
+with various motives, his adoption of them seems to have been prompted
+by his search for the expression of a personally sincere religious
+fervor. Almost nothing is recorded of his life, beyond the few facts
+that he was a native of Badajoz, on the frontier of Portugal, and died
+there in 1586; that, except for a visit to Madrid at the invitation of
+Philip II he seems to have spent his life in the quiet retirement of his
+native city, and notwithstanding the estimation in which his pictures
+were held, reached an old age of poverty. For it is related that the
+king passing through Badajoz, sent for the artist. The latter, when as a
+young man he had been summoned to Court, appeared in so sumptuous an
+attire, that the King remonstrated with him, but was appeased by
+Morales’ explanation that he donned it in honor of his Majesty. Now,
+however, he appeared in a condition of extreme destitution. To Philip’s
+remark: “Morales, you are very old,” the artist replied, “Yes, your
+Majesty, and<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> very poor.” The king on the spot awarded him a pension of
+two hundred ducats. “For your dinner,” he said, to which Morales
+replied, “And for supper, Sire?” The King, so the story goes, accepted
+the jest and added another hundred ducats a year to the pension. This
+episode took place in 1581 and it is supposed that Morales at the time
+of his death, five years later, had reached the age of seventy-seven
+years.</p>
+
+<p>Nothing is known as to the way in which Morales learned his art, but a
+comparative study of his various styles suggests that he may have had
+access to some work or copy of a work of Michelangelo, to some examples
+of the Milanese School of Leonardo da Vinci and to pictures of the
+contemporary Flemish and German Schools. The Michelangelesque influence,
+according to the official notice of this artist in the catalogue of the
+Prado Gallery, is discernible chiefly in works that are to be found in
+Badajoz and Lisbon. It would appear that they are distinguished by an
+exaggeration of manner. A similar trait appears in a <i>Pietá</i> which hangs
+in the Academy of San Fernando in Madrid. The Virgin is seated at the
+foot of the Cross, supporting the dead body of Christ. The latter is in
+an attitude of being seated, the arms suspended and the head laid back
+on the shoulder, immediately below the head of the Virgin. The nude form
+is as hard as if it were carved in wood, and in contrast to its pallid
+whiteness are long streams of crimson blood, as glossy and stiff as
+ribands. In fact, combined with the naturalistic correctness of the
+drawing the figure has an exaggerated Gothic feeling, while another
+excess, this time<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> of refinement, appears in the microscopic precision
+with which the hair of the beard and head is represented. This delicacy,
+suggestive of the Milanese influence, reappears in the <i>Virgin Caressing
+the Infant Jesus</i> of the Prado Gallery and the variations of the same
+theme which may be seen in the Hispanic Museum, New York. Here, however,
+the meticulous rendering of the little golden chestnut curls which
+cluster on the heads of the Mother and Child is in accord with the
+loving, tender regard for refined sweetness of expression that
+characterises the whole treatment. The Prado also possesses an <i>Ecce
+Homo</i>; the figure, seen nearly to the waist, nude but for a crimson
+mantle which covers the shoulders and is fastened on the chest. One of
+the bound hands holds a reed and a crown of thorns surmounts the head,
+drops of blood showing on the forehead. The face, with its straight
+brows and deep-set eyes, long finely chiseled nose, and sensitive mouth,
+surrounded by a softly growing beard, the whole modeled sensitively with
+a Milanese subtlety of chiaroscuro, expresses an interesting blend of
+intellectuality and ecstasy. In this union one may easily discover an
+essentially Spanish feeling. However the methods may have been borrowed
+from elsewhere, the sentiment is Castilian of the sixteenth century, a
+mingling of high-bred nature and spiritual introspection.</p>
+
+<p>Another picture of the Prado, selected for reproduction on page <a href="#page_62">62</a>, is
+<i>The Presentation of the Infant Jesus in the Temple</i>. It is an important
+example, revealing a fuller capacity for ordered composition, in which
+there is a grandiose dignity, strangely</p>
+
+<p><a name="ill_6" id="ill_6"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_006_lg.jpg">
+<img src="images/ill_006_sml.jpg" width="307" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td class="c">
+DESCENT FROM THE CROSS
+</td>
+<td class="mlft">
+PEDRO&nbsp;CAMPAÑA
+</td></tr>
+<tr><td class="cloc" colspan="2">
+SEVILLE CATHEDRAL
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p>
+
+<p class="nind">interrupted by a littleness of feeling. The latter is particularly
+noticeable in the highly finished rendering of the child’s body,
+disposed so affectedly amid the prim folds of the greyish white drapery.
+One may be conscious also of a certain exaggerated gesture of humility
+in the Virgin’s figure; but, on the other hand, how firm in its
+assertion of liberty of action is the supple figure of the maiden who
+holds the basket of doves! How excellently imagined, moreover, are the
+spotting of the several heads, the upright lines of the candles and the
+broad bold spaces of the white tablecloth!</p>
+
+<p>The reputation of Morales has been injured by the number of <i>Ecce Homos</i>
+and <i>Magdalens</i>, sentimentally mawkish, which, according to latest
+judgment, have been ascribed to him falsely. For, in an age of artistic
+copying, working for patrons who demanded an excessive display of
+pietistic ecstasy, he was distinguished by a considerable measure of
+individual temperament as well as of sincere religious feeling.</p>
+
+<p class="dtts">..........</p>
+
+<p>The signal example of an individual personality, is that of Domenico
+Theotocopuli, popularly called El Greco from the fact that he was born
+in Crete. Since he will form the subject of another chapter, it is
+sufficient here to recall the fact that he reached Spain by way of
+Venice and Rome and settled in Toledo. His art bridges the last quarter
+of the sixteenth century and the first of the seventeenth, and,
+notwithstanding his foreign training, was deeply imbued with the Spanish
+spirit of his day.</p>
+
+<p>Meanwhile, during the latter part of the sixteenth<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> century a more
+direct infusion of Italian influence reached Spain through the artists
+whom Philip imported from Italy to decorate the Escoriál. During the
+first twenty-five years of his reign he had continued the patronage of
+Titian, commenced by his father, Charles V. The latter, after he had sat
+to the great Venetian, loaded him with marks of favor, including an
+order of nobility, and vowed that no other artist was worthy to paint
+Cæsar. Philip’s pride equally demanded the services of the artist who
+was accounted the greatest of his day, and Titian was willing to give
+them. “Is not my aim in life,” he wrote, “to refuse the services of
+other princes and to cling to that of your majesty?” The king’s
+commissions were for religious subjects, but Titian, knowing the other
+side of his patron’s nature, supplemented them with nudes and the
+so-called “poesies,” or subjects of more or less erotic significance.
+Hence the collection of over forty Titian’s which is one of the glories
+of the Prado Gallery.</p>
+
+<p>Among the painters summoned from Italy by Philip II the best known are
+Frederico Zucchero, Pelegrino Tibaldi, Bartolomeo Carducho and Patricio
+Caxés. They were men of facile but inferior ability, whose work is of
+little interest in itself and has no part, except that of an interlude,
+in the development of native art. On the other hand a definite and
+distinguished rôle was played by the Flemish painter, Antony Mor or
+Moro. He had been portrait painter to Charles V in Flanders, and in 1552
+came to Spain in the train of Cardinal Granvilla. During a prolonged
+stay at the<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> Spanish Court he enriched his Flemish method by study of
+the portraits by Titian which the emperor had accumulated. Moro’s
+teaching and influence started the Castile School of portrait painting.
+His best pupil was Alonso Sánchez Coello, (?-1590) whose portraits are
+vital records of personality, although somewhat trivialized by the
+elaboration of meticulous detail.<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p>
+
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV<br /><br />
+<small>A PANORAMIC VIEW</small><br /><br />
+<small><i>Part II: Seventeenth Century to the Present Day.</i></small></h2>
+
+<p class="nind"><span class="letra">T</span>HE seventeenth century was the golden age of Spanish art, as it was of
+the art of Holland; product in the one case of national decline, in the
+other of national growth. While Spain was neglecting her national
+resources, losing her morale and wasting money and men on a vain effort
+to enslave the Dutch, the latter, in their fight for liberty, built up
+their national character and developed the resources of their country.
+Yet, under conditions so different, the genius of each people was
+liberated, threw off the shackles of foreign influence and discovered
+its own racial expression in painting. Each of the great schools had its
+protagonist: Valencia, José Ribera (1588-1656); Andalusia, Murillo
+(1618-1682); Castile, Velasquez, (1599-1660). Meanwhile, as we have
+noted, the early part of the century was occupied by the great artist,
+El Greco.</p>
+
+<p>As these will be discussed in separate chapters, it remains to note the
+most important of the lesser painters of the period under their
+respective schools.</p>
+
+<p>In the School of Castile the vogue of portraiture at Court was
+perpetuated by Coello’s pupil, Juan Pantoja<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> de la Cruz (1551-1610) and
+by Bartolomé Gonzáles (1564-1627). The former’s portraits are hard and
+dry in treatment and shallow in expression, while the latter’s, despite
+a tightness and triviality of detail, have a certain grandiose dignity
+of design. Witness the equestrian portraits of Philip III and his wife,
+Doña Margarita of Austria and that of Philip IV’s first wife, Doña
+Isabel de Borbón. In the Prado catalogue these are still assigned to
+Velasquez, but latest criticism confines the latter’s share in them to
+retouching of certain parts, particularly the horses, while giving the
+originals to Gonzáles. It is further believed that the landscapes in the
+Philip III and Queen Margarita were worked over by Velasquez’s pupil and
+son-in-law, Mazo. The handling of the figures is so different from that
+of the rest of the compositions, so evidently the reverse of Velasquez’s
+broad and pregnant style, that it is strange the canvases should ever
+have been assigned in their entirety to him; except for the reason that
+until recently it has been the custom, both in Madrid and elsewhere, to
+attribute to this master anything, however mediocre, which approached
+the appearance of his method.</p>
+
+<p>We recall among the Italian painters invited to the Court of Philip II,
+Bartolomeo Carducho and Patricio Caxés. Each had a son who became a
+painter; Vicente Carducho (1585-1638) born in Italy, but educated and
+naturalised in Spain, and Eugenio Caxés (1577-1642), whose birthplace
+was Madrid. They were employed in decorating the palaces of the Prado
+and the Escoriál. Their work is mannered, with much technical
+proficiency and little inspiration. It is, however, hand<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span>some in design;
+wherein lies its chief interest to the student of Spanish painting,
+since it helped to foster that skill in the filling of a space which was
+brought to such perfection by Velasquez. In this connection we may
+mention Fray Juan Bautista Mayno (1594-1690), a Dominican monk, who had
+been drawing master to Philip IV before his accession and was retained
+by him afterwards as an adviser in matters of art. There is an
+“allegory” by him in the entrance hall of the Prado, representing <i>The
+Pacification of the States of Flanders</i> which in qualities of painting
+is quite uninteresting, yet, regarded as a decoration, has considerable
+merit, reminding one of Puvis de Chavannes’ flat patterns of full and
+empty spaces. Indeed, one may be disposed to feel that from the point of
+view of mural decoration it is even superior to Velasquez’s <i>Surrender
+of Breda</i>, which by comparison is a historical picture. It is
+interesting to note that Mayno was a native of Toledo and in consequence
+familiar with the work of El Greco, who, we shall find, was a master of
+decorative space-filling.</p>
+
+<p>In 1603, during the reign of Philip III, Rubens, on a mission from the
+Duke of Mantua, visited the Spanish Court. One of the Duke’s intentions
+was that his emissary should copy some of the masterpieces of the Royal
+collection. Rubens’ copy of Titian’s <i>Temptation of Adam and Eve</i> now
+hangs in the Prado, not far from the original, and it is interesting to
+note how the young Flemish artist has corrected and improved the
+composition of the old Venetian. The orders given to Rubens included a
+provision that he should forward his<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> work by employing the assistance
+of some of the Spanish painters. He writes, saying that he will adhere
+to these instructions, but, he adds, “I do not approve of it,
+considering the short time we have at our disposal, and the incredible
+inadequacy and idleness of these painters and their manners, (from which
+may God preserve me from any resemblance!) so absolutely different to
+mine.”</p>
+
+<p>Such was Rubens impression of art in Madrid, preceding the appearance of
+Velasquez. In 1628 at the zenith of his fame, he paid another diplomatic
+visit. Philip IV was now king and appointed his favorite, Velasquez,
+escort to the Flemish artist. Of the latter’s impression of the younger
+man unfortunately no records exist.</p>
+
+<p class="dtts">..........</p>
+
+<p>Velasquez maintained no regular studio for pupils, yet he naturally
+exercised an influence on many of the younger painters of the day, and
+actually gave instruction to some. Among the latter the best known are
+Juan Bautista Martinez del Mazo and Juan Carreño, who will be considered
+later, and Juan de Pareja. The last mentioned was a mulatto, born in
+Seville about 1608, who came to Madrid with Velasquez in the capacity of
+a servant and remained with him all his life. Being constantly employed
+in the studio, he was himself inspired to become an artist; but as no
+slave might practise the free art of painting he worked in secret,
+copying his master’s works. At last by a stratagem he revealed his
+talent. Having painted a picture with special care, he placed it in his
+master’s studio with its<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> face to the wall. The king, on his next visit,
+ordered the picture to be turned and enquired who had painted it.
+Whereupon Pareja went down on his knees, and implored the royal
+protection. The king, turning to Velasquez, said&mdash;“you will have no say
+in this matter and I warn you that he who possesses so much talent
+cannot remain a slave.” At least such is the story, though it is
+considered more probable that Velasquez, whose generosity was marked,
+actually connived at the slave’s education and procured his
+enfranchisement. But, although a free man, he continued to serve his
+beloved master, and after the latter’s death in 1660 continued in the
+service of his son-in-law, Mazo, until his own death in 1670. He is
+represented in the Prado by the <i>Vocation of S. Matthew</i>. Christ,
+arrayed in the conventional draperies, is standing beside a table at
+which is seated Matthew, in Oriental clothes, surrounded by others in
+Spanish costume of the period. It is an ambitious and rather tedious
+picture.</p>
+
+<p>Three painters of this period which call for brief notice are Antonio
+Pereda, Francisco Collantes and José Leonardo. Pereda (1599-1669) was
+born in Valladolid, but moved to Madrid to study art and remained there.
+In the Academy of San Fernando is an “allegory” by him, entitled <i>The
+Dream of Life</i>. It represents a young man of heavy, rather Dutch aspect,
+handsomely dressed, seated asleep before a table. The latter is strewn
+with a variety of objects&mdash;jewels, flowers, coins, weapons, music, a
+mask, a book&mdash;which contribute to the joy and fulness of life.
+Meanwhile, on<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span> the book rests a skull, while an angel in the background,
+gazing at the youth, holds a scroll inscribed&mdash;“Æterne pungit, cito
+volat et occidet.” The picture is blackened and murky, but the
+still-life is rendered with remarkable naturalness. Indeed, naturalistic
+veracity and a taste for ascetic or moral suggestion characterises
+Pereda’s art. Note, for example, the <i>S. Jerome</i> of the Prado where the
+aged saint, stripped to the waist, sits in a spiritual daze, grasping a
+cross of rudely joined sticks, which lies upon a book. The latter
+contains an engraved illustration, represented with extraordinary
+<i>vraisemblance</i>, and the same quality is carried to a disgusting pitch
+in the rendering of the withered, flabby flesh. Even more revolting and
+commonplace in its excessive naturalism is an adjoining <i>Ecce
+Homo</i>&mdash;blood that looks like blood, a rope unmistakably a rope, and a
+cross made out of a tree, the bark of which is realised with
+ridiculously ineffectual exactness. The two pictures have neither the
+vigor of handling nor the dignity of conception to be found in Ribera’s
+corresponding subjects. They represent naturalism for the sake of
+naturalism; and anticipate the general decadence which settled down on
+the School of Castile toward the end of the seventeenth century.</p>
+
+<p>Collantes (1599-1656), a pupil of Vincente Carducho, is represented in
+the Prado by a <i>Vision of Ezekiel</i>. In the foreground is confusion of
+opened tombs and risen bodies and skeletons; in the background the ruins
+of a stately classic city, and in the center, raised on an eminence, the
+prophet preaching to the<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> awakened dead. The scene both in composition
+and chiaroscuro is quite impressive. Collantes is also represented in
+the Louvre by <i>The Burning Bush</i>.</p>
+
+<p>José Leonardo (1616-1656) is of chief interest to the student because of
+his large canvas in the Prado, in which he has represented the same
+subject that was immortalised by Velasquez&mdash;<i>The Surrender of Breda</i>.
+Leonardo’s composition is divided diagonally, the left foreground being
+occupied by the principal group, while the upper right triangle includes
+the background: a plain in which troops are deploying, and a distant
+view of the city. It is noticeable that the younger man, whose short
+life, clouded by mental trouble, scarcely permitted him to reach his own
+maturity, has, like Velasquez, made a decorative use of the lances. His
+conception, also, of the scene is one that probably commended itself to
+Spanish feeling, for he has represented the conquered Justin of Nassau
+submissively kneeling, as he presents the keys to his conqueror, who is
+on horseback. Another example by Leonardo in the Prado is the <i>Taking of
+Acqui</i>. It is, with the group reversed, similarly composed to the
+previous picture, of which it is a companion piece, both having been
+painted for the “Hall of the Kings” in the Palace of Buen Retiro.
+Notable, again, is the device of lances, while the mounted figure of the
+Duke de Feria, as he leads the attack, bears an unmistakable general
+resemblance to the equestrian portrait of the Count Olivarez by
+Velasquez.</p>
+
+<p>Among the Italian painters summoned to Madrid by Philip II, had been a
+native of Bologna, Antonio Rizi.<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> He had two sons, Juan and Francisco.
+Fray Juan Rizi, for he entered the Benedictine order and spent the
+latter part of his life in a monastery at Rome, was the pupil of Fray
+Juan Bautista Mayno. His portraits, bearing some resemblance to those of
+Velasquez, have been at times attributed to Mazo. Such was the case with
+the <i>Portrait of Don Tiburcio de Redin</i> in the Prado, which represents a
+man with curls falling to his shoulders, dressed in a handsome cavalier
+costume, standing beside a table. He rests one hand on it and with the
+other holds a large felt hat. It is a straightforward presentation of a
+virile personality, but painted with little verve. Far more interesting
+is a <i>Saint Benedict Celebrating Mass</i>, in the Academy of San Fernando.
+With the sacred wafer in his hand, the saint bends his strong head, with
+its black hair and beard, over the white altar-cloth. Over his alb is a
+gold embroidered white chasuble, supported by a monk in black. These
+figures are seen against a grey-drab wall, meanwhile a third figure, an
+acolyte, is in white. It is thus a very handsome tonality of grey, white
+and black, which gives an air of grandiose distinction to the very
+naturalistic way in which the whole is painted. The brother, Francisco
+Rizi, was a pupil of Carducho, and enjoyed reputation as a painter in
+fresco, decorating among other sacred edifices the Cathedral of Toledo.
+He was also employed as a director of scenery and stage effects in the
+dramatic performances given in the Palace of Buen Retiro. Apropos of
+these experiences, he executed a curious picture, now in the Prado, in
+which he has represented in an ensemble the successive<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> stages of an
+auto-de-fé. It commemorates one that actually took place in the Plaza
+Mayor of Madrid on June 30, 1680, lasting from eight in the morning
+until half-past nine at night. The function had afforded a spasm of zest
+to the wretched religious maniac, Charles II, who commanded the
+painting. It contains some three thousand figures, and, considering that
+Rizi was seventy-five years old when he executed it, is an achievement
+as surprising as unnecessary.</p>
+
+<p>One of Francisco Rizi’s pupils was José Antolinez (1639-1676), a native
+of Seville. Something of southern sweetness of sentiment pervades his
+pictures as may be seen in <i>The Assumption</i> of the Munich Pinakothek,
+<i>The Glorification of the Virgin</i> in the Ryks Museum, Amsterdam and the
+<i>Ecstasy of the Magdalen</i>, of the Prado. The last named represents the
+penitent floating in a seated posture, upborne by angels. Two others
+hold above her the jar of ointment, while an older angel plays the lute.
+The drapery is of ashy purple silk brocaded with mauve arabesques, a
+fine passage of color suggestive of the influence of Van Dyke, which at
+this period began to find its way into Spain. One may discover it again
+in the elegantly sentimental style of Mateo Cerezo, who was originally a
+pupil of Carreño. Examples that may be quoted are the <i>Penitent
+Magdalen</i> in the Gallery of the Hague, and the <i>S. John the Baptist</i> of
+the Cassel Gallery, both of them characterised by affectation. A more
+important example, because of its decorative composition, is the
+<i>Assumption of the Virgin</i> in the Prado. Down below, the faithful are
+peering into a sarcophagus, filled</p>
+
+<p><a name="ill_7" id="ill_7"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_007_lg.jpg">
+<img src="images/ill_007_sml.jpg" width="402" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td class="c">
+PRESENTATION OF JESUS IN THE TEMPLE
+</td>
+<td class="mlft">
+LUIS&nbsp;MORALES
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p>
+
+<p class="nind">with flowers, while overhead the Virgin and her supporting angels make
+an elegant mass of white and blue silk and fluttering wings. But the
+picture is fatally pretty, characteristic of the decline of devotional
+feeling and artistic taste.</p>
+
+<p>This allusion to the decadence of the School of Castile which marks the
+end of the seventeenth century may be closed by a reference to Claudio
+Coello (d. 1693). The work which brought him greatest fame in his own
+day is the altar-piece of <i>La Santa Forma</i> at the south end of the
+sacristry of the Escoriál. It represents a perspective view of the room
+in which you are standing as you look at the picture. Thus the great
+school of Spanish naturalism passes out in the meretricious glamour of a
+looking-glass picture.</p>
+
+<h3>SCHOOL OF VALENCIA, SEVENTEENTH CENTURY</h3>
+
+<p>In the School of Valencia the connecting link between the period of
+mannerism, represented by Juan de Juanes, and the highest development of
+the naturalistic motive in the person of Ribera is supplied by Francisco
+Ribalta. He was born in Castellón de la Plana, between the years 1550
+and 1560 and died in 1628. After studying with an unknown painter in
+Valencia, he spent three years in Italy, where he was particularly
+attracted by the works of Raphael, Sebastian del Piombo and the Caracci.
+Returning to Valencia, he executed a <i>Last Supper</i> for the high altar of
+the Church of Corpus Christi. The picture, which is still in the place
+for which it was painted, aroused so much en<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span>thusiasm that he was kept
+employed in providing works for the churches, monasteries and hospitals
+in and around Valencia. Some of these are distinguished by grandiose
+compositions and figures of noble character. But in other works
+Ribalta’s coloring is attenuated and his handling thin; while on other
+occasions he exhibits a mingling of Italian “idealism” with Spanish
+naturalism. Examples of his poor color and technique are Nos. 946 and
+949 in the Prado, which, moreover, are disfigured by their
+sentimentality. His particular talent, however, appears at its best in
+an adjacent canvas, <i>S. Francis d’Assisi</i>. The monk, clad in a brown
+habit, is lying on a pallet covered with a blanket. His parched yellow
+face and strong, nervous hands are raised in ecstacy toward an angel,
+playing a lute, who floats above him in well-disposed draperies of dull
+green and rose. Contrasted with the grace of this figure is the severely
+naturalistic way in which the monk and the accessories, such as an iron
+lamp and missal, are represented. It is a picture both of charm and
+force and is characteristic of the kind of influence that Ribalta
+exerted over his pupil, Ribera.</p>
+
+<h3>SCHOOL OF ANDALUSIA OF THE SEVENTEENTH CENTURY</h3>
+
+<p>The transition period in the School of Andalusia is filled by two men.
+These were Juan de las Roelas, who painted in a broad and yet seductive
+manner with soft, warm chiaroscuro, and the eccentric Francisco Herrera,
+who adapted these qualities to a “furioso” style. For this reason he has
+been credited with the chief influence in developing the naturalistic
+methods<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> of the Andalusian School. But the credit is now assigned to
+Ribera, whose pictures, introduced into Seville, helped materially to
+shape the studies of a group of young artists which included Alonso
+Cano, Zurbarán, Murillo and Velasquez.</p>
+
+<p>In the eighteenth century native painting declined to a condition that
+renders it negligible to the student. The names which occur are those of
+foreigners such as Luca Giordano, Tiepolo, and Raphael Mengs. Suddenly,
+however, toward the last quarter it sprang again to life in the genius
+of Goya. The latter died in 1826, and of the few names which break the
+monotony of Spanish painting during the nineteenth century it may be
+sufficient to mention those of Mariano Fortuny, Francisco Pradilla,
+Joaquin Sorolla y Bastida and Ignacio Zuloaga. These are to be
+considered later.<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p>
+
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V<br /><br />
+<small>DOMENCO THEOTOCOPULI (EL GRECO)</small></h2>
+
+<p class="nind"><span class="letra">D</span>OMENCO THEOTOCOPULI was born in Crete; hence the nickname by which he
+was known: El Greco. He arrived in Spain by way of Venice and Rome;
+therefore in the catalogue of the Prado he is included among the Italian
+artists. It was either an excess of modesty on the part of the Spanish
+or a curious symptom of indifference thus to rob their own school of so
+great an artist. Nor has it the warrant of facts. Though El Greco had
+been a pupil of Titian and had drawn inspiration from Tintoretto, it is
+the fact of his art being so different from that of Italy, of his
+developing so unique a personality of his own, that is the
+distinguishing feature of his genius. Moreover, it was not until after
+his arrival in Spain and a sojourn of some time in Toledo that he
+discovered himself. It was the conditions, physical and spiritual, of
+his adopted country that brought to maturity the real El Greco. Spain
+drew forth his genius and in return he expressed the genius of the
+Spanish race in its spiritual aspects to a higher degree than any other
+artist of Spain. He was the seer, the diviner, who not only mirrored the
+external character of his times but also realised its soul.</p>
+
+<p>The Church of his day seems to have prized his<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> genius: the king
+underrated it, while contemporaries and posterity recognising him as
+bizarre, inclined to the theory that he was mad. It has been left to the
+judgment of the present day, reaching back scarcely more than twenty
+years, to appraise El Greco at his real valuation. The reasons for both
+the earlier and the most recent estimations are plain.</p>
+
+<p>Philip II, patron of Titian, was enamoured of Italian art and, as we
+recall, imported Italian artists to decorate his palaces. Being a man of
+small and dogmatic mind he could not extend appreciation to work so
+different as El Greco’s, and set the fashion among laymen to ignore it.
+Later the whole trend of Spanish art in its emergence from Italianate
+imitation was toward naturalism. The seventeenth century was
+overshadowed by the genius of Velasquez. In the eighteenth century Spain
+followed the lead of other countries in the academic effort to revive
+the forms without the spirit of the Renaissance art, until she became
+suddenly aware of a native genius: Goya, the temperamental, objective,
+impressionist. The nineteenth century was occupied with the rediscovery
+of Velasquez. Its watchword became “truth”; truth of actual appearances,
+the seeing and rendering of objective facts as they really seem to be.
+Its artistic motive, in fact, notwithstanding that it included, as it
+could not help doing, the limitations and variations of the personal
+equation, was in essence photographic. It was concerned, like the
+camera, with what the eye can see. Not until the end of the century did
+this vogue of objective naturalism abate. The inevitable reaction
+against this naturalistic view of art set in; quick<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span>ened by the gradual
+realisation that photography was crowding the painter from their common
+field of sight. Artists, on the one hand, began to realise that there
+are internal as well as external facts, facts of the spirit as well as
+facts of matter; and, on the other, that the chief value of a picture is
+not in its making something look like life, but in extracting from the
+life represented its fullest amount of expression. Expression, among
+progressive modern artists, has taken precedence of mere representation.
+It is therefore, our own day that is giving special honor to El Greco
+and Goya; to Goya, the master of material expression, to El Greco who
+joined this, in so extraordinary a degree, to spiritual expression.</p>
+
+<p>Having thus established the point of view from which El Greco should be
+studied, we will briefly consider the conditions under which his genius
+developed and then the qualities, technical and spiritual, which his
+works exhibit. We shall find that he broke away from the Venetian use of
+color, employing a sober range of hues, of extreme subtlety and a
+chiaroscuro all his own. That he was also a great master of composition,
+decorating every part of his large canvases with meaningful details, so
+that there are no spaces perfunctorily filled or devoid of interest. A
+great draughtsman also, who, although he altered for his own purpose the
+proportions of figures and at times dared to indulge in “bad drawing,”
+realises the plastic qualities of form as few artists have done, and
+extracts from form, gesture and action a maximum of character and
+expression. Similarly, in his portraits we shall discover not only a
+vivid rendering of external per<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span>sonality, but also a penetrating insight
+into the soul of the subject. Finally, in the presence of his work one
+should be conscious of a rare and elevated spirit, the artist’s own,
+interpreting the spiritual genius of the Spain of his day.</p>
+
+<p class="dtts">..........</p>
+
+<p>Almost nothing is known of El Greco’s life. No record of him exists
+until November 16, 1570, the date of a letter written by the Venetian
+miniature painter, Julio Clovio to Cardinal Nepote Farnese. It
+says&mdash;“There is in Rome a young man from Candia, a disciple of Titian,
+who in my opinion is a painter of rare talent. Among other things he has
+painted a portrait of himself, which causes wonderment to all the
+painters of Rome. I should like him to be under the patronage of your
+Illustrious and Reverend Lordship, without any other contribution toward
+his livelihood than a room in the Farnese Palace for some little time,
+until he can find other accommodation.” This letter establishes El
+Greco’s birthplace, corroborating the artist’s signature, as it appears
+on many canvases in Greek characters with the addition of “Cretan”; his
+experience under Titian in Venice; his visit to Rome and the fact that
+in the year 1570 he was a young man. How long he stayed in Rome is
+uncertain, but the next date of certainty, 1577, appears after his
+signature upon a picture of <i>The Assumption of the Virgin</i> for the
+Church of San Domingo el Antigua in Toledo. The fact of El Greco being
+engaged on this work is corroborated by documents relating to the
+church, in which it is recorded that the artist was paid 1000 ducats for
+eight pictures to adorn<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> the high and side altars. Thus it appears that
+at some date between the years 1570 and 1577 El Greco reached Spain and
+settled in Toledo. Here he seems to have lived continuously until his
+death, the record of which is still preserved. “On 7th April, 1614, died
+Domenico Greco. He left no will. He received the sacraments, was buried
+in Santo Domingo el Antigua; and gave candles.” The position of El
+Greco’s tomb in San Domingo is not known. The only other documents in
+existence relate to contracts for commissions and occasional disputes
+and lawsuits over the prices. They have been summarised and used as data
+for establishing the order in which his pictures were executed by Albert
+F. Calvert and E. Gasquoine Hartley in their critical and richly
+illustrated book, “El Greco, An Account of his Life and Works.”</p>
+
+<p>One document may be mentioned here, since it indicates El Greco’s brief
+relations with the Court. It is a royal order, dated 1580, which states
+that a commission had been entrusted to Domenico Theotocopuli, Greek
+painter, residing in Toledo, but that “the work was not being carried on
+for want of money and fine colors.” Therefore it is commanded, “That the
+said painter be supplied with money, also with the fine colors that he
+asks for, and, especially ultramarine, that the work may be executed
+with brevity as is suitable in my service.”</p>
+
+<p>Since El Greco had finished his commission for Santo Domingo and had
+also painted an altar piece, <i>El Expolio</i>, or <i>Christ Despoiled of His
+Raiment on Calvary</i>, for the Cathedral, it would seem as if his plea of
+no</p>
+
+<p><a name="ill_8" id="ill_8"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_008_lg.jpg">
+<img src="images/ill_008_sml.jpg" width="332" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+THE CRUCIFIXION
+</td>
+<td class="mlft">
+EL&nbsp;GRECO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE LOUVRE
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p>
+
+<p class="nind">money and colors had been a pretence for avoiding, if possible, the
+execution of the Royal commission. The outcome of the affair is
+described by a Father Siguenza, writing in 1605. “There is here in the
+Salas Capitulares of the Escoriál, a picture of <i>San Maurico and His
+Soldiers</i> by a Domenico Greco, who has come to Toledo and there made
+excellent things. The picture was designed for the proper altar of the
+Saint, but it did not satisfy His Majesty. It is not much, because it
+satisfies few; though they say that it has great art, and that its
+author has much knowledge and that excellent things can be seen from his
+hand.”</p>
+
+<p>El Greco had one son, George Manuel, who was appointed architect of the
+Cathedral. He also practised sculpture and painting, in the latter
+medium imitating his father’s style so closely that some of the son’s
+pictures have been attributed to him. The portrait of a beautiful girl,
+late the property of Sir John Stirling-Maxwell and now in the National
+Gallery, London, has been called the artist’s daughter; but later
+criticism assigns this painting either to Tintoretto or to El Greco’s
+early Italian period when he was still a young man. The portrait of his
+son George, is identified in the <i>San Martin</i> of San José, and again as
+the youth who holds the map in the <i>Vista of Toledo</i>. It is also
+supposed to exist in the younger figure of the boy on the left of the
+composition of <i>The Funeral of Count Orgaz</i>. In the latter it has also
+been suggested that the face with the pointed beard, sixth from the
+right, represents El Greco himself; while tradition also attributes the
+title of <i>Self Portrait of the Artist</i> to the picture in the Seville<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span>
+Museum of a man of middle age, holding a brush and palette. These,
+however, are only surmises.</p>
+
+<p>The mystery that surrounds the life of El Greco is perhaps a little
+lifted by the account of him which Guiseppe Martinez gives in his
+“Practical Letters on the Art of Painting.” It is not the evidence of a
+contemporary, but of one who probably got his impressions from those who
+had known the artist or at least the opinion commonly held of him during
+his life.</p>
+
+<p>“At that time there came from Italy a painter called Dominico Greco; it
+is said that he was a pupil of Titian. He settled in the famous and
+ancient city of Toledo, introducing such an extravagant style that to
+this day nothing has been seen to equal it; attempting to discuss it
+would cause confusion in the soundest minds; his works being so
+dissimilar that they do not seem to be by the same hand. He came to this
+city with a high reputation, so much so that he gave it to be understood
+that there was nothing superior to his works. In truth he achieved some
+works which are worthy of estimation and which can be put among those of
+famous painters. His nature was extravagant like his painting. It is not
+known with certainty what he did with his works, as he used to say no
+price was high enough for them, and so he gave them in pledge to their
+owners who willingly advanced him what he asked for. He earned many
+ducats, but spent them in too great pomp and display in his house, to
+the extent of keeping paid musicians to entertain him at meal times. His
+works were many, but the only wealth he left were two hundred unfinished
+paintings; he reached an advanced age, always enjoying<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> great fame. He
+was a famous architect and very eloquent in his speeches. He had few
+disciples, as none cared to follow his capricious and extravagant style,
+which was only suitable for himself.”</p>
+
+<p>We get a glimpse here of a strangely individual personality, reserved
+and proud, conscious of his destiny, working it out in a haughty
+exclusiveness; wrapt up in high thoughts and cultivating in the
+retirement of private life a rare refinement. In Toledo, then the
+citadel of the Catholic Faith, so dominated by the dignitaries of the
+Church that Philip II, who brooked no rivalry of power, was forced to
+transfer his Court thence to Madrid, El Greco preserved the integrity of
+his artistic faith and, by separating himself from outside influences,
+maintained the independent sovereignty of his own ideals.</p>
+
+<p class="dtts">..........</p>
+
+<p>El Greco left a <i>View of Toledo</i>; a portrait, one would rather call it,
+of a city’s appearance and her soul; a highly interpretative vision of
+the impression of Toledo’s soul upon the spiritual imagination of the
+artist. The view is from the hill beneath which the present railroad
+station lies, and looks across the broken ground to the ravine of the
+Tagus. In the middle distance toward the left it is spanned by the wide
+arch and its narrower sister of the Alcántara bridge. Thence the line of
+the city walls, interrupted by their Moorish towers, mount the citadel
+hill to the group of buildings that crown the summit. The Alcázar and
+the north tower of the cathedral stand conspicuously against a sky,
+tumultuous with emotion and lit with large aspir<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span>ing clouds. These, like
+the architecture, catch the sharpest light, which elsewhere is
+distributed in masses of lower tone; a union of quiet illumination and
+of flashing sword-like brands of light, characteristic of so many of the
+artist’s compositions, so suggestive of passionate inspiration.</p>
+
+<p>How different from Venice of his youth, this rock-rooted fortress city
+of the artist’s adoption! No less proudly aloof, but sternly and
+strenuously exalted; straitened within tortuous limits; an apex once of
+Moorish power and luxury, now of Catholic dominion and sumptuous
+ecclesiastical ceremony; its dignitaries men of high and commanding
+personality, its Cathedral famous throughout Spain as Toledo the Rich!
+The chivalric fervor bred upon countless battlefields, glowed here in an
+intense heat of religious mysticism. Her hidalgos, “sons of somebody,”
+were among the proudest of their class, self-contained, austere, yet
+fired with religious ecstasy. Toledo was at that time the soul of
+Catholicism and of the high-bred Chivalry of Castile.</p>
+
+<p>El Greco, with the penetration of the alien observer, caught its spirit.
+It inflamed his own romantic ardor and religious devoutness; at the same
+time giving fibre and force to his imagination. Yet his whole art, as it
+developed under these conditions, was built up on observed facts. The
+type of his figures, both in portraiture and altar-pieces, was drawn
+from the humanity about him, the lean, long-limbed bodies, with high
+narrow heads; a type that still survives. You see it even in Madrid,
+still more readily in Toledo. Here too in the passing throng you may
+detect one of those wistful,</p>
+
+<p><a name="ill_9" id="ill_9"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_009_lg.jpg">
+<img src="images/ill_009_sml.jpg" width="336" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+SAN MAURICIO AND HIS THEBAN LEGION
+</td>
+<td class="mlft">
+EL&nbsp;GRECO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE ESCORIÁL
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_75" id="page_75">{75}</a></span></p>
+
+<p class="nind">flower-like faces, pure as the chalice of a lily, that El Greco learned
+to give to his Madonnas, while among the children you will find the
+strangely sexless, coldly passionate faces of his angels.</p>
+
+<p>He exaggerated the type, just as his contemporary, Cervantes did; the
+latter to make it ridiculous, El Greco in sympathy with its high
+enthusiasm. But each from his own standpoint captured the real soul of
+the Spanish race more effectively than any other writer or artist of
+Spain. The humor of Cervantes made him intensely popular, the
+seriousness of El Greco has had to wait until to-day for recognition.
+His exaggeration, sometimes even approaching distortion, is for the
+purpose of decorative effect or for enforcing character or emotion, or
+is more frequently employed with the two purposes combined.</p>
+
+<p>A fine example of characterization is the portrait, here called <i>S.
+Jerome</i> (Frontispiece). There are replicas of this picture in the
+National Gallery and the Prado, where it is called <i>S. Paul</i>. But the
+title is of small account. The picture is clearly the portrait of some
+dignitary of the Church or at least of the type of ecclesiastics of the
+day. The stubby hair and the long beard are approaching white, the face
+is greyed over, and silvery lights relieve the rose colored mantle. The
+head, in proportion to the body is small but of extra length and
+narrowness, and the hands are extremely elongated. But by these
+exaggerations what expression of character is obtained! The head is at
+once that of a soldier, a scholar and an ascetic. The eyes have a cold,
+piercing directness; the long nose is<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> indicative of relentless purpose
+and the mouth of iron rigidity and cruelty. One hand lies on the book
+with a gesture of refinement, almost of tenderness, while the thumb of
+the other is turned down with a decision that brooks no reasoning or
+opposition. In fine, the type is a strange mixture of intellectuality
+and bigotry; of elevation and narrowness, of gentleness and
+remorselessness. It might be that of an inquisitor, who condemns with no
+more hesitation than a surgeon, compelled by his diagnosis to use the
+knife.</p>
+
+<p>Or for an example of distortion, employed with emotional effect, turn to
+<i>The Crucifixion</i> of the Louvre (p. 70). The body of the Christ is
+beautiful in its languor of repose; no pain or horror mars the serenity.
+The tragedy of the event is depicted in the amazing impression of the
+sky; a murky blackish green veil, rent like the veil of the Temple, with
+scars of white. The Saviour rests from his labors. It is the universal
+tragedy of sin which will crucify him afresh, that is depicted. For my
+own part, I know of no other suggestion of the Divine Tragedy so
+spiritually moving as this one. El Greco painted this subject several
+times. Another fine example is <i>The Crucifixion</i> of the Prado, where the
+figures of the donor and an ecclesiastic are replaced by the three
+Maries and S. John, figures expressive of anguish and adoration, while
+angels of spiritual loveliness receive in their hands with transports of
+adoring ecstasy the blood from the sacred wounds. It is at once a pæan
+and a dirge, superb in its decorative elaboration. But in the picture of
+the Louvre, the decorative scheme is sublimely elemental; its very
+simplicity</p>
+
+<p><a name="ill_10" id="ill_10"></a></p>
+
+<div class="figcenter" style="width: 419px;">
+<a href="images/ill_010_lg.jpg">
+<img src="images/ill_010_sml.jpg" width="419" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+THE FUNERAL OF COUNT ORGAZ
+</td>
+<td class="mlft">
+EL&nbsp;GRECO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+SAN TOMÉ, TOLEDO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span></p>
+
+<p class="nind">augments the poignancy of the appeal. But our original consideration was
+the distortion introduced. The natural appearance of the sky is
+distorted; the color false, there is no suggestion of actual light or
+atmosphere. There was, in fact, no thought of representing the sky
+naturally; it has been used as a symbol of expression. And it was so
+that El Greco chose at times to use form.</p>
+
+<p>If the student peers through the spectacles of an academic pedagogue,
+criticising this or that because it does not conform to his canons of
+proportion or notions of correct drawing, he will never discover the
+real El Greco. If he is looking solely or chiefly for naturalistic
+representation, such as will pass muster in the schools, let him turn
+away at once. Otherwise he will be only seeking for trouble. It is with
+the eye of the imagination, seeking for spiritual impressions or for
+character of expression and expression of character, that El Greco must
+be studied. On the other hand, it must not be supposed that El Greco was
+indifferent to the facts of form. No artist better understood and valued
+form or rendered it with more reliance on its plastic qualities. It was,
+however, not the plasticity merely of its shape that attracted him, but
+its plasticity of expression. He made expression visible in its external
+appearances. He used form as an instrument of interpretation; hence, for
+the furtherance of expression he dared to exaggerate or even to distort
+it.</p>
+
+<p>It is not amiss to compare El Greco to some great composer whose medium
+is his orchestra. The latter is made up of units, but there is no
+established propor<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span>tion of the relation which they bear to each other
+and to the whole. It is a flexible instrument in which the composer
+makes his own adjustments. If for the interpretation of his theme he
+exaggerates the wind instruments or chooses to introduce new devices for
+attaining an effect, he is judged solely by the harmonious result. For
+music being a completely abstract art, the verdict depends upon the
+structure, scope and quality of its expression. The art of painting is
+less abstract, being limited by the sense appreciation of the eye and
+the need of attaching the expression to some visible object; but, as far
+as possible with the liberty of the musical composer, El Greco composed
+his symphonies of form and color.</p>
+
+<p class="dtts">..........</p>
+
+<p>This liberty of composition was only gradually evolved. His earlier
+work, executed during his first years in Toledo, exhibit traces of his
+Venetian training. <i>The Assumption of the Virgin</i>, which is now owned by
+the Art Institute of Chicago, is in its treatment of the forms and
+composition still Titianesque; but already the influence of the new
+environment upon El Greco’s individuality is apparent. He has caught as
+yet little if any of the mystic fervor, but the types, particularly of
+the apostles, are local; the draperies are handled broadly and
+plastically, and the color is no longer of Venetian sumptuousness. The
+process of dematerialization has begun, which will be carried on until
+in the great works of the artist’s maturity the Venetian richness of
+pigment, full of mundane splendor, has entirely disappeared in cool,
+austere harmonies of blue, lemon and yellow,<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> black, grey, white, olive
+green and silvery carnation. Touches of warm color occur but they are
+comparatively rare. Least of all in the great altarpiece does El Greco
+use color for effects of pageantry or mere decoration. His use is
+interpretative of spiritual significance. In his portraits it is
+psychologically expressive.</p>
+
+<p>The latter are mostly half-lengths or busts; grand, pale faces against a
+sombre background, isolated by a white ruff from the black body on which
+the white nervous hands are displayed. On the other hand, the portraits
+of ecclesiastics or imaginary presentation of saints involve a variety
+of hues. There is a series of such presentments of the apostles in the
+little Provincial Museum, now established in El Greco’s house. The <i>S.
+Bartholomew</i> is entirely in white, but the others are bi-colored,
+showing a robe and mantle, respectively of yellow and blue, yellow-green
+and red-wine color, grey-blue and orange, grey-blue and apple green, and
+so on. It is as though the artist had searched for the most unusual and
+<i>recherché</i> combinations and had compelled them into harmony by the
+nuances with which he has invested them. Moreover, each is in
+psychological relation to the head and hands of the subject. Another
+point to be observed in El Greco’s use of color is that he did not
+spread his pigment thin over an underpainting of light and dark, but
+actually modeled in color, obtaining the chiaroscuro by means of values.</p>
+
+<p>It is with a feeling of strangeness that one views a number of El
+Greco’s portraits such as is gathered in the Prado. Almost invariably
+the eyes are fixed on us, but with no look of recognition or sympathy.<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span>
+Though the face thrills with life, it is impassive. Behind each living
+mask is an impenetrable mind, wrapped completely in the seclusion of its
+own spirit. Equally removed from all outside sympathies are the faces of
+the apostles and saints. They, however, are not impassive, for on each
+is the trace of inward struggle, of highly wrought meditation or
+spiritual ecstasy. Their personalities are so varied and distinct that
+one is assured they are portraits or at least studies of the types of
+ecclesiastics, monks or laymen which Toledo presented. They have one
+quality in common, that of transcendental elevation; symptomatic of the
+spiritual unrest of the time. For elsewhere the Protestant Reformation
+was making headway and Spain was its most ardent opponent. It was here
+that the Counter-Reformation reached its most extravagant form. The
+Spaniard met the challenge of reason with a passionate belief, which
+developed into mysticism and visionary exaltation. Of this Toledo was
+the volcanic center and El Greco its pictorial exponent. The mainspring
+of his motive was his own intense religious belief, which enabled him to
+give plastic reality to the visions of his passionately exalted
+imagination.</p>
+
+<p class="dtts">..........</p>
+
+<p>His pictures, when he has adjusted his style to his motive, are all
+visions. Even his portraits are visions of men’s souls. And the secret
+of his power to suggest the reality of the vision is that it is based on
+realism. His creations are a union of realism and idealism; or rather of
+realism in the true sense. For to-day we have learnt to distinguish
+between realism and naturalism:</p>
+
+<p><a name="ill_11" id="ill_11"></a></p>
+
+<div class="figcenter" style="width: 208px;">
+<a href="images/ill_011_lg.jpg">
+<img src="images/ill_011_sml.jpg" width="208" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+BAPTISM OF CHRIST
+</td>
+<td class="mlft">
+EL&nbsp;GRECO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_81" id="page_81">{81}</a></span></p>
+
+<p class="nind">the latter a representation of natural phenomena; realism a
+representation of the same with a suggestion of their relation to the
+horizon of the idea involved in them. This becomes El Greco’s almost
+invariable habit. Turn, for example, to the <i>San Mauricio</i> (p. 75),
+which was executed shortly after the <i>Assumption of the Virgin</i>.
+According to legend Mauritius was the general of a Theban mercenary
+legion in the Roman army. He refused to pay homage to the gods and was
+condemned to be beheaded. Whereupon the whole legion declared their
+faith and shared martyrdom with their leader. One may believe that El
+Greco pictured the event in his imagination; its several phases, the
+general’s refusal, the executions and the glory in Heaven of the
+martyr’s crown. In the glow of religious fervor a vision shaped itself
+before the eyes of his spirit and he set it upon the canvas. The noble
+heads of the general and his lieutenants are clearly portraits of
+contemporaries, of men who no doubt believed themselves capable of
+imitating the example of the saint, if occasion required it. At the
+outset, therefore, the picture is based, not on a mere representation of
+certain persons, but of the latter in their relation to the idea
+involved. In the gravity and confidence of the saint’s face are mirrored
+alike the consciousness of the tragedy to be depicted and the glory that
+will follow. The saint himself, in fact, is represented as having his
+own vision of the situation in relation to its horizon of ideas.</p>
+
+<p>The back of the officer who is delivering the ultimatum is modeled with
+intentional exaggeration, to increase the refined suggestion of the
+saint and at the same time<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> to emphasise the separateness of the main
+group both from the scene that is being enacted in the rear and from the
+Heavenly vision. The color impression of the whole picture is blue; cold
+tones of blue relieved by the pale red-wine color of the flag, the pale
+creamy yellow of some of the corselets and the extreme white of the
+flesh. It is a scheme which gives an extraordinary suggestion of
+abstraction. The lighting also reveals the beginning of El Greco’s
+gradually developed method of chiaroscuro. The latter grew out of his
+study to give to every part of the decorative pattern of his composition
+the life of movement. In the figures of the angels actual movement is
+expressed in the gestures and actions, but in the stationary figures in
+the foreground it is suggested by the curling, quivering light,
+especially on the legs. These light effects, so characteristic of El
+Greco’s work from this point onward, will embarrass the student who is
+looking for naturalistic exactitude. It is not until he has become used
+to the artist’s blending of the concrete and the abstract, that he will
+realise its fitness in the whole scheme of the vision.</p>
+
+<p>The next great work of El Greco’s career was <i>The Funeral of Count
+Orgaz</i>, (p. 76), known in Spain as <i>El Interrio</i>. This masterpiece still
+hangs in the church for which it was painted, San Tomé, in Toledo. It
+commemorates the legend connected with the founder of the church, the
+pious Count Orgaz, who died in 1323. At his funeral S.S. Augustine and
+Stephen appeared and lowered the body into the grave. Once more it is a
+vision both of the actualities of the incident and of<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span> the no less
+reality of the spiritual idea involved. While the priests and faithful
+friends, portrait-studies of El Greco’s contemporaries, assist at the
+solemn function, some turn their eyes to the vision above, where amid
+the hosts of prophets, apostles, saints and angels, with the Blessed
+Virgin interceding, the naked soul of the Count appears at the feet of
+his Redeemer. Was ever nakedness expressed so literally and yet with
+such abstraction? The whole vision is illuminated by a cold light which
+comes from within the scene itself. The sumptuousness of gold embroidery
+distinguishes the vestments of the two saints in the foreground,
+emblematic of the opulent ceremonial of the Catholic Church, while the
+Chivalry of Spain is commemorated in the dead body. The black steel of
+the armor against the ivory white of the sheet sets the key of black and
+white which is the general color impression of the lower part of the
+picture. Above, the Virgin’s mantle makes a positive note of blue among
+the paler and higher tones of the same color, the pale yellow, cream and
+occasional suggestion of mauve and faintest carmine.</p>
+
+<p>The prominence given to the Virgin and the nude form, and the elongation
+of the latter help to isolate the Christ and increase the sense of
+altitude, up toward which are straining eagerly the faces of the
+Heavenly hosts. What a pageant of spiritual exaltation, parted by open
+tableau-curtains of cloud from the drama below! And the latter&mdash;was ever
+a greater intensity of gravity, dignity and tenderness compressed into a
+group of heads? Tradition has it that the priest to the right in white
+vestment is Don Andrez Nuñez, priest of San<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> Tomé. The grey-bearded
+profile to his left is known to be a portrait of the painter, Antonio
+Corrubias, whose brother, Diego, appears in the white-bearded man on the
+left of the composition, above the figure of S. Stephen. The face with
+the ruff, to the left of Antonio Corrubias, is supposed to be the
+artist’s.</p>
+
+<p>Everyone has praised the consummate characterisation and technical
+mastery of this lower part of the picture; but many have criticised the
+upper and been unable to accept it as a reasonable part of the
+composition. On the other hand, if study of the picture include
+communion with the spirit and purpose which inspired it, one is brought
+to feel that upper and lower parts are indivisibly associated both in
+the conception of the subject and in the rendering of it. The
+composition for a moment recalls Raphael’s vision of the <i>Disputá</i>,
+which El Greco must have seen in the Stanza of the Vatican. There, the
+space to be filled, though proportionately broader than this one is
+similarly arched, and a band of figures, representing the Church on
+Earth, spreads across the lower part, while in the upper, Heaven is
+unfolded. But beyond this all resemblance ceases. Even the earthly group
+in Raphael’s fresco is disposed in the manner of Italian idealism; in
+the <i>Count Orgaz</i> its naturalness is characteristically Spanish. In the
+upper part of his painting Raphael continued the geometrical design of
+the composition by arranging the Heavenly hosts in arcs. El Greco has
+invented a sort of irregular, spontaneous geometry. The design has a
+central group of three figures, disposed to form a triangle, outside of
+which the spaces of cloud are divided</p>
+
+<p><a name="ill_12" id="ill_12"></a></p>
+
+<div class="figcenter" style="width: 261px;">
+<a href="images/ill_012_lg.jpg">
+<img src="images/ill_012_sml.jpg" width="261" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+VIRGIN AND SAINTS
+</td>
+<td class="mlft">
+EL&nbsp;GRECO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+SAN JOSÉ, TOLEDO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p>
+
+<p class="nind">into compartments or pockets, filled with figures. It is a borrowed
+motive, discoverable in the compositions of Giotto and other primitive
+Italians and in the mosaics that helped to inspire them. It is, in fact,
+Byzantine. But the latter term is merely a named and dated milestone on
+the road which stretches back in endless perspective through Persia to
+Buddhistic art. To-day, with our opportunities of studying the latter,
+we can detect a curious affinity between El Greco’s arrangement and well
+known features of Chinese composition. Unconsciously, in fact, his
+genius leaped back of its conscious source to the remote spring of
+Oriental inspiration.</p>
+
+<p class="dtts">..........</p>
+
+<p>Following the <i>Count Orgaz</i> came a series of pictures in which
+passionate ecstasy reached its highest intensity. Three of them are in
+the Prado: <i>The Crucifixion</i>, already alluded to, in which angels are
+catching the sacred Blood, a <i>Resurrection</i> and <i>The Baptism of Christ</i>.
+The last named (p. 81) is not merely a representation of one man pouring
+water on the head of another, whose humble mien, coupled with the
+introduction of a hovering dove and sometimes a venerable aged man
+above, tells one that the picture is meant to represent the baptism of
+the Second Person of the Holy Trinity. Such is generally the jejune
+method of treating the subject. But here we are again in the presence of
+a vision, in which the real spiritual significance of the facts of the
+incident are made visible to the eye. Heaven joins with earth in a
+symphonic burst of devotional enthusiasm. Movement of life abounds, the<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span>
+soul’s life typified by human forms. There is even the rhythm of
+movement in the comparatively static figures of the Christ and S. John;
+in the angels that lift the crimson mantle and those who stand by
+adoring; while over head the spiritual energy mounts in wave upon wave
+of jubilance till it circles about the serene figure of the Most High
+God. Once more we note how a sense of far-off isolation is given to this
+topmost figure by introduction of taller angels in the front plane; also
+that there is nowhere any space unfilled with meaning, even the
+grey-green creamy clouds seeming to mount upward with their angelic
+burdens. But beyond all possibility of description is the degree to
+which the picture kindles and lifts the imagination.</p>
+
+<p>Amazing also is <i>The Resurrection</i>, now in the Prado. The figure of the
+Lord, long and supple as a reed, is poised above, while down below the
+soldiers are in agitated consternation. They have been roused out of
+sleep by the shock of the rending tomb and, still dazed, confront the
+miracle. One has fallen backward in his fear, some shield their eyes
+from the light, while others carve the air with their swords in frantic
+efforts. With the exception of one fine young figure that reaches up his
+hand, as if in acknowledgment of the miracle, they are all nude, the
+bodies wrought to extreme tension of expression.</p>
+
+<p class="dtts">..........</p>
+
+<p>To this time also belongs <i>The Dream of Philip II</i>, in the Escoriál. It
+was followed by a period of serener pictures, such as those which were
+painted for the Chapel of San José, Toledo. The finest of these, and the
+best<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> known, is a narrow upright panel, the <i>S. Martin</i>, dividing his
+cloak with a nude beggar. The youthful figure of the saint&mdash;a portrait
+of the artist’s son George, in the beauty of his first manhood&mdash;clad in
+black armor, is mounted on a white horse which has black accoutrements.
+The animal has one foreleg lifted and arched; the others parallel the
+legs of the beggar, recalling somewhat the treatment of the legs in the
+<i>San Mauricio</i>. The two figures are seen against the sky, which soars
+above a distant view of Toledo. In the statuesque plasticity of the
+forms and the chastity of the color scheme of white, black, green and
+pale greyish blue the picture is one of extraordinary nobility and
+tenderness and of extreme abstraction. Facing it is the exquisitely
+tender and reverential <i>Virgin and Saints</i> (p. 85) in which perhaps,
+more than in any other of his works El Greco has yielded to the charm of
+facial loveliness. Above the high altar hangs the <i>Coronation of the
+Virgin</i>. The center of the composition is a trefoil arrangement of the
+three figures of the Father, Son and Virgin, beneath which are two
+adoring figures, the rest of the pattern consisting of clouds in
+arc-like forms only less full of expressional value than the figures. It
+is a motive that Velasquez borrowed in his picture in the Prado of the
+same subject.</p>
+
+<p>To this period is attributed the <i>Crucifixion</i> in the Louvre (p. 70) to
+which allusion has been already made. Let us note afresh the infinite
+calm of the Saviour’s form as characteristic of this period of spiritual
+calm in the artist’s own genius. By this time, also, we are better able
+to judge the introduction of the two wor<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span>shippers in the lower
+foreground. They were probably included of necessity, representing the
+donor and the priest of the Church for which this picture was painted.
+But they also introduce that touch of naturalism, dear to the Spanish
+imagination; and the artist has made them contributary to his conception
+of the scene as a vision. It is a vision of the holy scene which these
+men of his own time are contemplating and the contrast of their reality
+lends to the vision an increased abstraction.</p>
+
+<p>Also to this period chiefly belong the many <i>Annunciations</i> and <i>Holy
+Families</i>. Of the latter we have a fine example in the Hispanic Museum,
+New York, which recalls with certain modifications that of the Prado. In
+all these subjects the type of Madonna is drawn from the people. But it
+is not left in its stolid plainness as by Velasquez in his <i>Adoration of
+the Kings</i>, or sentimentalised as by Murillo. By El Greco it has been
+rarified, purged alike of grossness and earthly emotion; in fact,
+spiritualized. We may also assign to this period the small <i>Santiago</i> of
+the Metropolitan Museum, New York; exquisitely choice in its tonal
+scheme of blue, slightly relieved by dull ochre yellow, yet virile in
+handling and inspired by an exalted purity of imagination.</p>
+
+<p class="dtts">..........</p>
+
+<p>To the artist’s latest period belongs another picture in the
+Metropolitan Museum, <i>The Nativity</i>. It is the product of a newly
+awakened ardor, such as characterises the most important work of El
+Greco’s closing life. The participants in the event are lowly folk; the
+Mother<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> a girl of the people; the shepherds large-modeled, shrewdly
+featured peasants. But all are possessed with the exaltation of the
+moment; their naiveté and crudity are caught up in a frenzy of
+amazement. In the darkness of the night the scene is all aflame with
+spiritual incandescence. How marvellously the light and obscurity are
+interwoven! What a strange diversity of plastic forms and subtlety of
+sober coloring are wrought into the composition! Strangeness is
+certainly the first impression one experiences; then, following it, a
+realisation of intense inspiration and of masterful creativeness. One is
+in the presence of the unusual, of a great imaginative spirit.</p>
+
+<p>Similarly ecstatic is the vision of <i>The Coming of the Holy Ghost</i> in
+the Prado. At the top, the Dove in Glory; under it, a horizontal row of
+figures, the Virgin in the center, the heads of all tipped with flame;
+down below, two figures, leaning back and gazing up at the Divine Glory.
+Some recollection of the old Titianesque crimsons and blues appears, but
+nothing of their mundane qualities. The whole conception is one of
+passionate receptivity toward the illumination from on high. The final
+expression of tempestuous energy appears in the <i>Death of Laocoon and
+His Son</i> in San Telmo, Seville and in the <i>Apocalypse</i>, or as it has
+been wrongly called, <i>The Sacred and Profane Love</i>, owned by the artist,
+Señor Zuloaga.</p>
+
+<p>El Greco had pupils but left no followers. Some of his pupils, Luis
+Tristan, for example, and his son, George Manuel, learned to imitate his
+manner sufficiently closely to have caused confusion in the attribu<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span>tion
+of certain pictures. But El Greco’s style was so directly the product of
+his own intellectuality, sensitive and passionate æsthetic imagination
+and highly wrought soul, that it could not be absorbed in its integrity
+by others. But his art influenced no less a master than the great
+Velasquez. We have noted that the latter borrowed from the Toledan
+artist his composition for the <i>Coronation of the Virgin</i> and may add
+the debt which his portrait of <i>Innocent X</i> appears to owe to El Greco’s
+<i>Don Fernando Nino de Guevara</i>. It was however in the matter of color
+that the influence is most marked. Velasquez adopted, as Señor de
+Beruete says, “certain silver-grey tints in the coloring of the flesh,
+the use of special carmines and a greater freedom of execution in the
+draperies, fabrics and other accessories.” These same qualities, and the
+intellectuality and abstraction of his conception and style have begun
+to affect some modern artists. The most notable example was the late
+Paul Cézanne, whose work, in turn, is exerting a potent influence on
+others. Meanwhile El Greco’s pictures, until recent years known only to
+a few connoisseurs, are being sought for and treasured by collectors and
+museums.</p>
+
+<p>Meanwhile, by the young painter of to-day El Greco should be studied
+closely. For the modern age in every development of life is beginning to
+demand intellectuality, and in painting particularly a greater degree of
+subtlety and abstract suggestion. The quality of expression is growing
+more and more to be the test by which the artist of the present and the
+future will be judged. El Greco, in all these respects is a master to<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span>
+be followed; not in the way of imitation, but for the sake of the
+principles involved in his conception of a subject and its technical
+rendering, and also because he will help to an understanding of other
+great artists of expression, such as Michelangelo, Giotto, the nameless
+artists of the Byzantine period and the known and unknown masters of
+Buddhistic art.<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span></p>
+
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI<br /><br />
+<small>VELASQUEZ</small></h2>
+
+<p class="nind"><span class="letra">W</span>HILE El Greco gave expression to the soul of Spanish chivalry and
+religion, Velasquez embodied in its highest form the racial love of
+naturalism. More than this, he stands above all other naturalistic
+painters in truth of representation.</p>
+
+<p>He is usually called a realist. But modern thought is investing this
+term with a meaning that differentiates it from naturalism. Its use of
+the word is akin to the philosophic meaning of realism, which recognises
+the reality not only of the species or individual but also of the genus,
+and considers the individual as a phase of the universal process which
+causes it. Modern thought, in fact, applies the word realist to one who
+views the particular in relation to the horizon at the back of it, to
+the universal process of which it is a temporary manifestation. Thus it
+calls Ibsen a realist, because, for example, in “A Doll’s House,” he
+treats <i>Nora</i> and her husband as phases of the universal problem of
+marital relations. On the contrary, the playwright who presents merely a
+cross-section of life, characters and incidents that are true to life
+but are not treated in relation to the large horizon of ideas, governing
+our principles of living, it calls a naturalist. The distinction is a
+vital one and so clarifying to thought and understanding,</p>
+
+<p><a name="ill_13" id="ill_13"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_013_lg.jpg">
+<img src="images/ill_013_sml.jpg" width="409" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+PHILIP IV, OLD
+</td>
+<td class="mlft">
+VELASQUEZ
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE NATIONAL GALLERY
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_93" id="page_93">{93}</a></span></p>
+
+<p class="nind">that to have once comprehended it should be to adopt it.</p>
+
+<p>In the light of this distinction is Velasquez a naturalist or a realist?
+In his portraits, which represent his supreme achievement, is one
+conscious of anything but the absorbing realisation of an individual
+personality? Do we think of them as typical of their time and country,
+as are the subjects of El Greco’s portraits? Most certainly there is a
+great exception in the marvelous <i>Portrait of Pope Innocent X</i>. Behind
+his grim face extends a wide horizon of correlated ideas. The
+psychological revelation and universal suggestion of this portrait seem
+to declare that Velasquez was in mind a realist, but compelled by the
+circumstances of his life to be a naturalist. Tethered to the Court, he
+was chiefly occupied with painting the royal personages and their
+immediate entourage. His was a scene, closed in, like a stage-scene by
+the artificial routine of ceremony and punctiliousness, in which the
+puppets, from Philip down to his dwarf play-things, posed. How could a
+realist portray them in relation to the horizon of ideas involved except
+by making them contemptible or ridiculous? But his duty as a Court
+painter compelled Velasquez to close out the horizon, and to represent
+these individuals with as much of dignity as possible. It is a
+noteworthy fact that the <i>Innocent X</i> was painted during the artist’s
+second visit to Italy; while he was for a brief space quit of the
+cramped conditions of his life, able to look out on men and things and
+study them in relation to large issues. Also, the fact of it being his
+second visit and that he was in the full maturity of his powers, implies
+much. He was less preoccupied with<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> individual impressions, more capable
+and disposed to view even the Pope himself in relation to the political
+and spiritual conditions of Rome and of the World.</p>
+
+<p>But though Velasquez was compelled to be habitually a naturalist, he not
+only avoided the commonplace which so frequently attaches to naturalism,
+but proved himself the greatest naturalist in the whole story of
+painting. He lifted naturalism to its highest pitch of expression. His
+representations of life are characterised not only by living actuality,
+but by consummate justness, high distinction and extraordinary beauty.
+There is in all a union of mental supremacy and of supreme technical
+artistry. Perhaps only Rembrandt, Hals and Raeburn give one so realising
+a sense of being in the presence of a living personality, as we
+experience before nearly all the portraits of Velasquez. With Rembrandt
+we are usually conscious of an inseeing eye which penetrates the soul of
+his subject and views it in relation to a wide horizon; for Rembrandt is
+the great realist. Velasquez, on the other hand, shares with Hals and
+the Scottish artist their restricted vision; but his is the finer,
+suggesting his own finer quality of mind. Their minds were incapable of
+the high seriousness, the noble aloofness of his. Hals, seen at his best
+in the Haarlem groups, is one of the jolly fellows he is depicting;
+Raeburn, an honest, sturdy gentleman among the gentry who sit to him.
+Velasquez is always the aristocrat, looking out upon his subject from
+the elevation of a superior mental dignity. It was because of this that
+his portraits have the supreme <i>cachet</i> of all great art: aloofness. The
+separateness of his own mental per<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span>sonality from the ordinary thing
+around him is communicated to the personages which he creates. They are
+alone with themselves; whether monarch, dwarf or beggar, separated from
+the common touch by virtue of their author’s art. In their remoteness
+they are akin to Jan Van Eyck’s portrait of <i>Jean Arnolfini and his
+Wife</i> and Holbein’s <i>George Gyze</i> and <i>Erasmus</i>; but these have not the
+insistent suggestion of being actually alive. We recognise in them an
+extraordinary illusion of life; but in front of <i>Philip IV</i> in the
+National Gallery, of <i>Moenippus</i> and <i>Las Meniñas</i> in the Prado, not to
+mention other examples, the consciousness of illusion does not enter our
+thoughts. We are face to face with truth; “verdad, no pintura,” as
+Velasquez himself used to say was his ideal&mdash;“truth, not painting.” On
+the other hand, the truth is saved from being merely lifelike, obvious,
+by the rarifying quality of Velasquez’s own aloofness. His portraits
+quiver on the razor-edge of truth and abstraction.</p>
+
+<p>We have spoken of their consummate justness. This represents another
+result of the high-bred nature of Velasquez’s mind; revealed in a tact
+of selection, exposition and arrangement. He had an unerring feeling for
+essentials, his most characteristic works being singularly sparing of
+detail; a cultivated instinct for the salient gesture and expression,
+and a rarely economical method of achieving them. His ability to plant a
+figure on the floor, so that it bears down with its own weight and grows
+up in its own strength; to give it characteristic action, at once
+unified and rhythmic; to invest its contour lines with firmness and
+precision as well as<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> subtlety; to give to the smallest details, such as
+the modeling of a glove, an individual character and, finally, to adjust
+all these several qualities into an organized unity and place the
+ensemble in perfect relation to the open space it occupies&mdash;his ability
+to do all this is the measure of his justness.</p>
+
+<p>To the high distinction of the result we have already alluded in
+speaking of its dignity and aloofness. It is the product, alike, of
+elevated mentality and of supreme technical accomplishment. The latter
+brings us in touch with the cause of its extraordinary beauty.</p>
+
+<p>What does beauty mean to us? If it is beauty of face and form&mdash;the easy
+way to artistic beauty and to lay appreciation thereof&mdash;we shall seldom
+find it in Velasquez’s pictures. The people whom it was his lot to paint
+were mostly plain-featured, to use no harsher terms; their costumes
+outrageously extravagant and not in the direction of elegance; the
+coloring was sombre, only sparingly relieved with gaiety of color. Nor,
+for the most part, were they people of force of character or with
+suggestion of experience imprinted on their faces, so that in the
+interest aroused thereby, one could forget their homeliness. To be
+frank, they are mostly stupid persons, or at least apathetic. Whence,
+then, the beauty? Its source is twofold: in the artist’s vision of his
+subject and in his technical rendering of what he found.</p>
+
+<p>The secret of an artist’s vision, when it is truly artistic, is that it
+is inspired by a feeling for beauty and is looking for beauty. He is not
+searching for something to represent, but for a means of expressing
+what</p>
+
+<p><a name="ill_14" id="ill_14"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_014_lg.jpg">
+<img src="images/ill_014_sml.jpg" width="500" height="475" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td class="mlrt">
+EQUESTRIAN PORTRAIT OF PHILIP IV
+</td>
+<td class="mlft">
+VELASQUEZ
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_97" id="page_97">{97}</a></span></p>
+
+<p class="nind">he feels of beauty. To such a one as Velasquez it matters little what he
+is called upon to paint. He is not aware of those limitations which the
+ordinary man calls ugliness. To him the subject is a manifestation of
+life and life to him is beauty in every one of its aspects, and to
+render that beauty is sufficient. And you may say that he finds life and
+the beauty of life not only in the face and figure, action and gesture,
+of his subjects, but in the clothes they wear and the accessories that
+surround them. All are contributory to the sense of life with which the
+subject inspires him, so that he extracts from fabrics and objects of
+still-life a raciness of character or subtlety of expression that lifts
+them above the ordinary and gives them the distinction of beauty.</p>
+
+<p>But, after all, it is not so much a question of extracting beauty from
+the subject as of putting beauty into it. The final achievement is one
+of technique. There are hundreds of pictures which a layman can admire
+without thought of technique. Interest of subject predominates, or at
+least is sufficient to establish interest; charm of sentiment attracts,
+or splendor of color or composition. But Velasquez’s compositions for
+the most part are studiously reserved; his color sober; scarcely the
+quiver of sentiment disturbs the equanimity of his subjects, and the
+latter, in the ordinary sense of the term, have no human interest. Such
+attractiveness, therefore, as they have, is almost completely what has
+been put into them by his technique.</p>
+
+<p>Take, for example, the bust-portrait (p. 92) of <i>Philip IV</i> in the
+National Gallery, assuredly one of Velasquez’s most notable
+achievements. How languid<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span> the pale hair; the face, how foolishly
+prolonged, flabby and expressionless! Imagine it painted by a
+second-rate artist, and you would pass it by. But before this portrait
+you pause and linger long. Why? neither you nor I can tell; except
+simply that we are in the presence of the mystery of life, so that even
+this sallow, puffed face attracts and rivets our admiration. Even a
+painter cannot tell you how it was painted. Its technique eludes him.
+Yet it is the technique which holds him to the spot. He <i>feels</i> that
+here the mystery of living structure and tissue has been compassed by
+the mystery of the artist’s creativeness. Something of the same
+suggestion of spontaneously created plasticity is to be found in the
+beautiful child-portrait of <i>Don Baltasar Carlos</i> in the Metropolitan
+Museum, New York. Usually, however, the means by which the effect is
+obtained may be discovered. You note the character expressed in some
+detail of the canvas; and then approach until you see the brush strokes
+that produced it, no less magical because patently apparent. In fact,
+you find yourself let in behind the scenes of the artist’s dramatic
+representation of facts and in a measure share the joy of creating the
+illusion.</p>
+
+<p>It is a hopeful theory that out of one’s limitations may grow one’s
+greatest strength. And it is true of Velasquez. The very narrowness of
+his scope of actual vision encouraged a closer scrutiny. He discovered
+beauty in things which had escaped the notice of artists to whom larger
+liberty of choice was allowed. This is particularly revealed in his
+attitude toward color and light. The range of color-hues involved in the
+costumes<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> of his royal sitters was restricted; blacks and greys
+prevailed, with occasional notes of rose or blue. Debarred from a
+variety of hues, Velasquez learned to see the variety of nuances which
+any one hue presents under the action of light. His blacks ceased to be
+merely the negation of color; they took on silvery hues, and sometimes
+brown ones. Even the bare drab wall of his studio became a field for the
+play of light. He grew to be an intimate student of the identity of the
+effects of light and color; noting how the “local hue” of an object
+varies in color-value according to the quantity, direction and quality
+of the light upon the various planes of its surface. Some artists before
+his time had noted this principle, but none until Velasquez and
+Hals&mdash;for it is a strange coincidence that the Dutch artist also was
+following this track&mdash;had given a practical application to it. Others
+had treated the local color, as if it were separate from chiaroscuro.
+They would model the form in monochrome and then spread their local hue
+over the whole in a thin transparent glaze which permitted the
+underpainting of shaded, half-shaded, and light parts to be seen through
+it. Velasquez actually modeled in the local color, by representing the
+differences of color-values that it assumed, according as the rise or
+depression of its surface caught more or less of light.</p>
+
+<p>This, of course, is what other artists had done, notably Leonardo da
+Vinci in his <i>Monna Lisa</i>, Jan Van Eyck and Holbein in their portraits;
+but with a difference. They imitated each color-value as exactly as they
+could, modeling their surfaces with innumerable facets. Velasquez, like
+Hals, discovered for himself the prin<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span>ciple of Impressionism; so far, at
+least, as this term is applicable to technical processes. For its
+meaning has become extended to include the artist’s mental standpoint,
+so that to-day, when we speak of an impressionist, we mean one who in
+literature, or drama, or painting or sculpture colors his impressions
+according to the moods of his temperament. But in Velasquez there is
+nothing of the temperamentalist. He is the cool, impartial observer of
+objective facts. But, instead of seeing them, as Holbein did, in the
+multiplicity of their detailed variations, he saw them in the large.
+Primarily, that is to say, he aimed, not at perfection of parts, but at
+a unity of ensemble. To secure this he sacrificed the less important to
+the more important; eliminated the unessential and emphasised the
+salient. His mental process was one of keen analysis, directed to the
+question of what was and what was not essential, and also to the study
+of the relative degrees of importance which the essentials bore one to
+another and the whole. The end in view was to make the ensemble, not
+only organically simple, but an organic unit.</p>
+
+<p>No doubt Velasquez was led to these results by his study of color and
+light. He not only discovered but made technical use of the fact that
+light tends to unify the colors and forms of objects; that it
+encompasses them and affects their contour lines, causing some to be
+sharp and others more elusive, and also, as we have noted, changes the
+values of their hues. Further, he became aware that under the action of
+light colors act and react on one another; that, for instance, the value
+of the flesh of a face will be affected by the color-light</p>
+
+<p><a name="ill_15" id="ill_15"></a></p>
+
+<div class="figcenter">
+<a href="images/ill_015_lg.jpg">
+<img src="images/ill_015_sml.jpg" width="300" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+AN ACTOR, CALLED<br />
+“DON JUAN OF AUSTRIA”
+</td>
+<td class="mlft">
+VELASQUEZ
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p>
+
+<p class="nind">of the costume or of other objects near it. Thus, we ourselves may have
+observed how the white gown and face of a woman, seated on the grass,
+will assume values of reflected green. Or, if we are acquainted with the
+Lumière process of color-photography, we are familiar with the surprises
+of unexpected reflections which the camera records.</p>
+
+<p>All of these results of his study Velasquez employed to render the truth
+of sight and to unify the impressions. For it was the sum of the
+impressions he had received that he learned to render. He, in fact,
+formed in his mind a net impression of the whole scene, then translated
+each part into its proper share in the total of impression. It is a
+process which in the case of so great an artist as Velasquez is an act
+of high imagination, giving birth to an act of real creativeness. The
+result, then, is not an imitation of nature’s truth but the new creation
+of an equivalent artistic truth; yet, with such an illusion of natural
+truth that it still meets his own ideal&mdash;“truth, not painting.” Hence
+the stimulus which the spectator feels in the presence of his finest
+works. He is urged to be an active participator; to retranslate the
+equivalent of truth into the natural truth; to read from the shorthand
+of the brush strokes the full text of the longhand; to adjust his own
+eyes and mind to the reception of the impression and that a unified one.
+He becomes, in fact, a part-creator in the picture; somewhat as an
+intelligent spectator of a good play finds himself a part-actor in the
+dramatic situations.</p>
+
+<p class="dtts">..........</p>
+
+<p>The story of Velasquez’s life is little else than an<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> enumeration of
+incidents in his career as an artist. He was born June 6, 1599, in
+Seville, where his father, Juan Rodriquez de Silva, a lawyer of an old
+Portuguese family, had settled. The mother was Geronima Velasquez. Hence
+the son’s full name, Don Diego Rodriquez de Silva y Velasquez, was
+shortened according to Andalusian custom into the family name of his
+mother. His parents dedicated him to the study of letters and
+philosophy, but yielded to his desire to become an artist. After a short
+period in the studio of Francisco Herrera, he was placed under the care
+of Francisco Pacheco, an academic painter of no great merit, but a man
+of considerable learning, whose house was a resort of the most
+cultivated society of the city. The young Velasquez profited so well by
+these surroundings, that Pacheco accepted him as a son-in-law. He was
+married to Juana Pacheco in 1618, the result of the union being two
+daughters, Francisca and Ignacia, the former of whom subsequently
+married Velasquez’s own pupil, Juan Bautista del Mazo. At this time, the
+School of Andalusia, under the influence of Ribera’s pictures, was
+abandoning Italianate mannerisms in favor of the naturalistic motive.
+When the young king, Philip IV, ascended the throne in 1621, Pacheco
+began to scheme that his most promising pupil should be brought to the
+royal notice. A visit to Madrid was planned in 1622, and on this
+occasion Velasquez gained the notice of the Count-Duke de Olivares, the
+king’s prime minister and favorite, who in the following year summoned
+him back to Madrid. Under the Count’s direction and aided by his purse,
+Velasquez produced an equestrian portrait<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span> (which has disappeared) of
+the king, who was so well pleased with it that he took the young artist
+into his service. Thus, in 1623 began that mutual friendship of monarch
+and painter, which resulted in a close companionship of nearly
+thirty-seven years. It was interrupted only by the king’s occasional
+journeys of state and by Velasquez’s two visits to Italy.</p>
+
+<p>In 1628 Rubens arrived as an ambassador extraordinary from the King of
+England. His visit was prolonged for nine months, during which he
+painted several pictures for the King. Velasquez was deputed to act as
+his escort in the visits which he paid to the Escoriál and to the royal
+picture galleries. He was thus brought into touch with the most renowned
+painter of the day at the period of his most splendid achievement. The
+association must have broadened the young man, but it did not cause him
+to falter in his own attitude toward nature and art. Rubens urged him to
+go to Italy and study the great masters, and the King endorsed the
+advice.</p>
+
+<p>The first visit was made in 1629 under circumstances of importance. For
+Velasquez started in the train of the Marquis Spinola, the most renowned
+Captain-General of the age, whom he was to immortalize in the <i>Surrender
+of Breda</i>, and on his arrival in Italy presented letters from the
+Count-Duke de Olivares which procured him admission to the most famous
+galleries. He copied some of the works of Michelangelo, Raphael and
+Tintoretto, and brought back five original canvases: <i>The Forge of
+Vulcan</i>, <i>Joseph’s Coat</i>, two views of the <i>Villa Medici</i> and a
+<i>Portrait of Doña Maria</i>. The first, not<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span>withstanding its classic
+subject, is naturalistic. Velasquez has taken advantage of the story of
+Apollo announcing the infidelity of Venus to her husband, while he is at
+work with his assistants, in order to make a study of the nude form, as
+a vehicle for the expression of action and emotion. But the composition
+has nothing of the method of Italian idealism, while it abounds with
+charming passages of still-life painting, thoroughly Spanish. The Villa
+Medici studies are particularly interesting evidence of Velasquez’s
+preoccupation with nature, even among the masters in Rome, and his
+serious regard for landscape, which forms an important feature in many
+of his portraits. His return to Madrid in 1631 marks the end of what is
+regarded as the first period of his career. The remainder is similarly
+divided into two parts.</p>
+
+<p>The chief works of the first period beside those already mentioned are
+the early <i>Adoration of the Shepherds</i> (National Gallery), <i>The Lady
+with the Fan</i> (Wallace Collection), <i>The Adoration of the Kings</i>, <i>Los
+Borrachos</i> or <i>The Topers</i>, and <i>Philip IV. Young</i>, all of which are in
+the Prado.</p>
+
+<p>Philip welcomed his artist back with new favors, appointing him to the
+post of Aposentador Mayor, whose duty it was to superintend the
+arrangements for the King’s lodging during his excursions to the
+country. It was a means of keeping his friend with him, though it must
+have seriously interfered with the work of the artist.</p>
+
+<p>An influence of the first Italian visit may be traced in the large
+decorative canvases which characterise the<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> middle period. Olivares had
+presented his palace of Buen Retiro to the King, and the latter employed
+Velasquez and other painters to embellish it. Hence followed the
+equestrian portraits of <i>Don Baltasar Carlos</i>, <i>Olivares</i> and <i>Philip</i>
+himself, and the historical picture, <i>The Surrender of Breda</i>. In
+addition, this period produced the <i>Christ at the Pillar</i> (National
+Gallery) and the Prado portraits of <i>Philip IV as a Sportsman</i>, <i>Don
+Baltasar Carlos as a Sportsman</i>, <i>Don Fernando de Austria as a
+Sportsman</i>, <i>The Sculptor Montañéz</i>, and the portraits of dwarfs and
+actors, among the latter the so-called <i>Don Juan de Austria</i> (p. 100).</p>
+
+<p>Velasquez started on his second visit to Italy in June 1649, and
+returned to Madrid in the summer of 1651. It was on this occasion that
+he painted the portrait of <i>Innocent X</i>, which is now in the Doria
+Gallery in Rome. On his return home the King made him Marshal of the
+Palace, which entailed upon him the onerous duties of arranging court
+festivities. These, too, had encreased in frequency and pomp owing to
+the King’s second marriage; this time with his niece, Mariana of
+Austria, a girl of fourteen. Notwithstanding such interruptions
+Velasquez produced during these last nine years of his life some of his
+finest works and his masterpiece, <i>Las Meniñas</i> (<i>The Maids of Honor</i>).
+Among the other canvases are <i>S. Anthony Visiting S. Paul</i>; <i>Las
+Hilanderas</i> (<i>The Weavers</i>); <i>Portrait of Queen Mariana</i> (p. 119);
+<i>Portrait of Doña Maria Teresa</i> (or <i>Margarita Maria</i>); <i>La Infanta Doña
+Margarita Maria</i>, of the Louvre; <i>Philip IV Old</i> (p. 92) and the <i>Venus</i>
+(Na<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span>tional Gallery); <i>Æsopus</i>, <i>Moenippus</i>, <i>The God Mars</i>, The Dwarf
+called <i>Antonio El Inglese</i>, and the actor <i>Cristobal de Pernía, called
+Barbarroja</i>. All the above, except those otherwise specified, are in the
+Prado.</p>
+
+<p>In June, 1660, the marriage, which had been arranged by Cardinal Mazarin
+between the young Louis XIV and Philip’s daughter, María Teresa, was
+celebrated upon the Isle of Pheasants, in the little river which
+separates Spain and France on the West of the Pyrenees. The weight of
+the burden of preparation and supervision fell upon the Marshal of the
+Palace, and proved more than Velasquez could sustain. He broke down at
+the end of the ceremony and, returning to Madrid, died a few weeks
+later, August 6, 1660. His wife survived him only seven days.</p>
+
+<p class="dtts">..........</p>
+
+<p>In a work of this scope it is impossible to go into the questions which
+have arisen over the authenticity of many of the pictures ascribed to
+Velasquez. For information on this head the reader is referred to the
+latest critical work on the subject&mdash;“Velasquez” by Señor A. de Beruete
+y Moret, and to the continuation of the subject by his son in his recent
+book, “The School of Madrid.” Both are published in English. The net
+result of their study is that many of the pictures ascribed to Velasquez
+are either copies of Velasquez’s work, made by his son-in-law and pupil,
+Mazo, or original works of the latter, who from constant companionship
+with Velasquez had learned to imitate his style so closely. Here, I will
+satisfy the curiosity of the reader only by saying that these critics
+pronounce the <i>Philip<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> IV in Hunting Costume</i>, of the Louvre, to be a
+copy, and the <i>Admiral Pulido-Pareja</i>, of the National Gallery, an
+original, by Mazo.</p>
+
+<p>By reference to a few examples, let us trace the evolution of
+Velasquez’s way of seeing and rendering his subject. The earliest
+picture in the Prado is <i>The Adoration of the Magi</i>. This is assigned to
+about the year 1619, the probable date also of <i>The Adoration of the
+Shepherds</i> (National Gallery). Both, therefore, belong to the Seville
+period. Perhaps in the <i>Magi</i> we can detect something of the
+sophistication of the learned Pacheco, as well as the influence of the
+new naturalistic movement. The figures are naturalistic; while the
+grouping and lighting are artificial, academical. The light is
+arbitrarily centered on the Mother and Child; the shadows which envelop
+the other figures are also arbitrary; neither shade nor light is
+naturally distributed; the whole is a studio convention.</p>
+
+<p>Velasquez finished <i>Los Borrachos</i>, (The Topers) in 1629, the year he
+sailed for Italy. It represents the climax of his development during the
+previous ten years, and what progress it exhibits! The distressing
+murkiness of the older picture has disappeared; the chiaroscuro in this
+is luminous; the flesh parts brilliantly lighted, the shadows warm and
+transparent. But it still presents the studio chiaroscuro, designed for
+the sake of the pattern and unity of the composition; the light and
+shade are not nature’s. Wonderfully naturalistic, however, are the heads
+of these peasants, brimming with character and life. The men are engaged
+in a mock scene, in which a youth, playing the part of<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> Bacchus, is
+crowning a comrade with vine-leaves. As Señor Beruete says: “The Spanish
+‘picaresca,’ or rogue comedy, which plays such a brilliant part in the
+literature of that day, has never been better rendered than it is in
+this astonishing picture.” But we note, in anticipation of the artist’s
+further advance, that the picture presents only a pictorial ensemble,
+not yet a natural unity. It is a mosaic of splendidly executed
+items&mdash;faces, nude forms, costumes and still-life&mdash;each of which merits
+and indeed demands individual study. As a <i>pattern</i> the composition
+holds together as a unit, but it does not present a unit of <i>sight</i>. One
+cannot see it as a whole; the eye travels from point to point, resting
+on each and enjoying it separately. The picture is a masterpiece of its
+kind; but it is not of the kind that Velasquez at length achieved in the
+single, unified vision of <i>Las Meniñas</i>.</p>
+
+<p><i>The Forge of Vulcan</i>, which Velasquez executed in Italy (1630-1631), is
+remarkable, in the first place, for its freedom from the trace of
+Italian influence. Velasquez had come face to face with the giants, but
+had preserved completely his independence. Michelangelo and Tintoretto
+had shown him their capacity to express emotion and dramatic energy in
+the action of figures, particularly nude ones. Velasquez observes; but
+applies the principles to suit his own ideal of truth; no heroics, or
+pageantry of display; simply the natural expression of emotion, under
+natural circumstances. The workshop, the articles of still-life, the
+action of the men, have been studied from observed facts. Their work
+having been suddenly interrupted, each man pauses for a</p>
+
+<p><a name="ill_16" id="ill_16"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_016_lg.jpg">
+<img src="images/ill_016_sml.jpg" width="500" height="372" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+LAS HILANDERAS (THE WEAVERS)
+</td>
+<td class="mlft">
+VELASQUEZ
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p>
+
+<p class="nind">momment. How extraordinarily the arrest of action is suggested! Remark
+particularly the gesture of the three, who have suddenly halted in the
+sequence of their several hammer strokes. It is the figure of the god
+only that seems out of place and touch with the rest. It is disagreeably
+prettified, stiff and formal in gesture, with affected disposition of
+the drapery. It seems to be an academic solecism amid the naturalness of
+the scene.</p>
+
+<p>The second point of interest is that in this picture Velasquez shows the
+first marked feeling for tone. There is no brilliance here or richness
+of hues, such as make <i>Los Borrachos</i> glow like magnificent enamels. The
+color-scheme is very reserved; drab, relieved with white flesh, brownish
+black tools and armor and the golden-amber of Apollo’s drapery. It shows
+the artist already feeling toward color as light; multiplying values
+rather than hues; studying the local hues in the variety of the light
+upon them, instead of applying to them an arbitrary chiaroscuro; even
+contriving to give to his whole scene a certain envelope of atmosphere.
+The figure, raised at the back, scarcely takes its proper place in the
+aerial perspective; otherwise the scene, barring the artificial halo of
+the god, represents an immense step in naturalistic expression.</p>
+
+<p>We pass to the superb equestrian portraits of the little <i>Don Carlos</i>,
+<i>Olivares</i>, and <i>The King</i>. I wish it had been possible to reproduce all
+three in these pages; for, while they are all superbly decorative,
+magnificently large in expression and thrilling with force, they
+represent differences of psychological feeling. That of the <i>Carlos</i>,
+the darling of the Court, is sprightly and<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span> lovable; <i>bravura</i>
+distinguishes the ostentatious pleasure-loving courtier-favorite, while
+a kingly gravity, tinged with the artist’s affection, ennobles the
+<i>Philip</i> (p. 96). The boy bounds forward from the landscape; <i>Olivares</i>
+caracoles toward it, pointing to imaginary exploits; the King is placed
+athwart it, his figure quietly dominating space. How carefully Velasquez
+calculated this last effect is clear from the fact that two strips of
+canvas have been stitched on to the sides of the original piece. The
+artist evidently felt the need of more space to secure for the figure
+the required ascendancy. It was a frequent practice of his to add a
+piece to the top or sides of his canvas, which, as R. A. M. Stevenson,
+himself an artist, has remarked, throws a light on Velasquez’s method of
+work. He does not appear to have made careful original studies of his
+subjects, a fact corroborated by the very few drawings that he left
+behind. He rather seems to have attacked his subject immediately on
+canvas, pushing it hotly forward to realise his mental picture, and
+then, if necessary, adjusting the size of his canvas to secure a final
+unity of feeling. For the same purpose also he sometimes changed the
+drawing, as he proceeded, painting over the original design which now
+frequently shows through. In this equestrian Philip IV, for instance,
+even the photograph will show how he has altered the disposition of the
+horse’s legs, bringing them nearer together, as if he had felt that the
+more scattered positions detached from the quietude and dignity of the
+ensemble.</p>
+
+<p>The horse in this portrait as compared with that of the <i>Olivares</i> is
+deficient in splendor of muscular action.<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> It is more monumental, the
+brownish bay mass forming a magnificent support to the black armored
+figure, with its pale rose sash. Philip was justly regarded the finest
+horseman of his day. Observe the seat of the figure, how absolutely its
+action is adjusted to that of the horse. Note, also, that while the
+masses of the landscape support the horse’s mass, the king’s figure
+shows free against the spaces of dove-grey sky; his black beaver with
+its white and plum-colored plume lifting proudly against the white
+cloud. Compare this setting of the hat upon the head, with the
+respectively different treatment of the same details in the other two
+portraits. Each is psychologically related to its subject. Compare also
+the scintillating liveliness of the child’s embroidered costume and
+fluttering scarfs, so birdlike in gaiety of plumage, with the sumptuous
+bravado of Olivares’ gold-fringed, wine-red damask-silk bow, and his
+gold-striped armor&mdash;the whole effect intentionally a trifle <i>outré</i>.
+What a contrast of grave dignity in the King’s damascened breast-plate,
+brown velvet, gold-embroidered breeches, greyish drab gloves, pale buff
+boots and deep plum-red sash that floats over the horse’s stern! In the
+ensemble of concentrated, controlled stateliness the only flashes of
+accented energy are the horse’s white fetlock and his superbly animated
+nostril and eye.</p>
+
+<p>In his first period Velasquez painted an historical subject, <i>The
+Expulsion of the Moriscos from Spain</i>; but the picture perished in the
+burning of the Alcázar in 1734. The <i>Surrender of Breda</i> is therefore
+the only example of his work in this genre. It was executed<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> after his
+first visit to Italy, where he had seen how Titian and Tintoretto
+utilised such subjects for palace decorations. Velasquez, true to
+himself, has tried to represent the scene as it actually might have
+happened, yet with certain formalities of balanced masses, to meet its
+decorative purpose. The picture, in fact, presents a mixture and, if one
+may dare to say it of a picture so famed, a confusion, of motive. The
+result is neither frankly an historical picture, such as Velasquez would
+have imagined it and rendered it, if his intention had been single; nor
+is it satisfactory as a decoration. The pattern of the composition is
+handsome. So too its coloring, which includes a lovely blue sky, fleeced
+with white; fainter blue and bluish-green and warm drab distance; blue
+coated troops in the middle distance; and deep sapphire blue in the
+squares of the flag on the right and in the breeches of the man whose
+white shirt shows against a black horse on the left of the center, and
+lastly in the costume of the man with a gun over his shoulder on the
+extreme left. The coat of the adjoining figure is brownish buff; the
+horse on the right, dark reddish brown. Spinola is clad in black armor,
+studded with gold; Justin of Nassau in brown and gold. All this is
+highly decorative, but not of itself sufficient to produce a decoration.
+For the secret of a decoration lies in the treatment of the planes, so
+that a sense of flatness may be preserved. There is nothing of that
+here; the bulk and depth of the foreground masses contradict it. The
+front figures of the man on the left and the horse opposite are alone
+sufficient to prevent a mural feeling. On the other hand, from the point
+of<span class="pagenum"><a name="page_113" id="page_113">{113}</a></span> view of an historical picture, the attempt to treat the groups as
+masses, seen against the background, has resulted in a certain confusion
+of their planes, and in a general lack of interesting suggestion in
+their details. Only the treatment of the two principal figures is
+entirely satisfying. Nothing could exceed the beautiful expressiveness
+of the conqueror’s noble condescension and the no less dignified
+humility of the conquered. To this, the heart and soul of the
+conception, the rest comes near to being but an ornamental and rather
+distracting surplusage.</p>
+
+<p>Of the three sportsmen portraits, that of the <i>King</i> is again the
+finest. That of his youngest brother, <i>Don Ferdinand of Austria</i>, is a
+somewhat earlier work, painted, possibly, before the artist’s visit to
+Italy; and the little <i>Don Carlos</i>, charming as it is, has lost a
+portion of its canvas (it is suggested that it may have been cut from
+its frame to save it at the time of the fire), so that the composition
+has not the consummate propriety and dignity of the King’s portrait. The
+latter is also distinguished by the masterly discretion of its tonality,
+which is based on brown. The tree trunk is brown; the foliage brownish
+olive; the cap and doublet lighter tones of the same and the trunks and
+gaiters darker; the gun, light brown and the glove drab brown; the dog,
+orange-tawny. Thus the figures and tree count as one handsome mass, in
+which the predominant spot is the pale face, set off by the soft, blond
+chestnut hair. The sleeve of the undercoat is black and silver, forming
+a thread of minor emphasis to connect the head and the gloved hand, the
+latter so full of character and<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> technical distinction. The background
+of landscape is composed of a stretch of tawny drab grass, sloping up to
+bluish trees, seen against a grey sky, curdled with cream.</p>
+
+<p>A fine example of the numerous portraits of dwarfs and actors, is that
+of the buffoon, nicknamed <i>Don Juan de Austria</i> (p. 100). The figure is
+shown in a drab grey interior, from which a door opens on to a view of
+sea-shore and a burning ship. The costume is of black velvet and a
+peculiarly subtle pale claret-colored silk. The expression of the man is
+one of concentration, to the suggestion of which every part of the
+figure so curiously and completely contributes its share, uniting in a
+perfect ensemble of feeling. In the atmospheric envelope and extreme
+choiceness of color this canvas is a worthy prelude to the masterpieces
+of the final period.</p>
+
+<p class="dtts">..........</p>
+
+<p>To one of the latter allusion has already been made: the <i>Philip IV</i> of
+the National Gallery. How infallibly just is the placing of the black
+bust and head against the dark background! With what <i>finesse</i> have been
+calculated the accents of the chain and ornaments and collar, in order
+to secure and at the same time alleviate the emphasis of the empty,
+solemn head with its puffed, waxy features and soft, pallid hair! How
+absolutely a unit is the whole impression! while the brush work is the
+<i>ne plus ultra</i> of impressionistic technique.</p>
+
+<p>A miracle of painting also is presented in the portrait of a child,
+identified variously as <i>Doña Margarita</i> or <i>Doña María Teresa</i>, and in
+that of the not much older <i>Doña Mariana de Austria</i>, Philip’s second
+wife</p>
+
+<p><a name="ill_17" id="ill_17"></a></p>
+
+<div class="figcenter" style="width: 446px;">
+<a href="images/ill_017_lg.jpg">
+<img src="images/ill_017_sml.jpg" width="446" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+LAS MENIÑAS (THE MAIDS OF HONOR)
+</td>
+<td class="mlft">
+VELASQUEZ
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p>
+
+<p>(p. 119). The child’s “guarda-infante” is of cloth of silver, woven
+diagonally with pale rose silk, all ashimmer with veiled lustre.
+Vermilion bows adorn her waist, a jeweled rosette of the same color her
+corsage, while a small rosette under the left ear and a plume on the
+right of the head, both vermilion, set off the soft straw-colored hair
+and the fresh tender hues of her face. Curtain and carpet are a rosy
+crimson, thus completing a tonal scheme of exquisitely delicate
+vivacity. In the second portrait the Queen’s robe is of black velvet,
+shot with brown, decorated with silver bullion. Notes of poppy scarlet
+appear at her wrists, while a pale scarlet mingled with silver is the
+color of the plume and of the ribbon flowers in her hair. The curtain,
+in color pale rosy burgundy, frames a dark olive background, a concavity
+of atmosphere, in the half-light of which appears a dainty gold clock
+upon a table. These two canvases are marvels of technical achievement
+and surpassing loveliness. A head and bust-portrait of this Queen,
+apparently in the same costume, hangs in the Metropolitan Museum, New
+York.</p>
+
+<p>A broader method, in which one strongly feels the exhilaration of the
+brushstrokes, is represented in the <i>Æsopus</i> and <i>Moenippus</i>. The
+grizzled black hair and pallid features of the former show against a
+warm drab-olive background. In the lower right corner is a spot of black
+and creamy fabric; opposite to it a creamy colored bowl; otherwise the
+figure is a study in browns of peculiarly fine quality. The background
+of the <i>Moenippus</i> is somewhat colder than the <i>Æsopus</i>; in key with the
+black cloak. The cap, boots, and the table<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span> and pitcher are of tones of
+brown; the beard is grey and the flesh of the face ripely rubicund. Even
+in the photograph one can appreciate the masterful breadth of the
+draperies, and feel through the modulation of the values the bulk of the
+figure beneath.</p>
+
+<p>The <i>Venus</i> of the National Gallery, if it is to be reckoned among the
+works of Velasquez, is his only example of a female nude. While it
+attracts at first, it subsequently proves disappointing. In the
+emptiness of the back it is hard to recognise the hand of the master,
+who in early days modeled so skilfully the man’s back in the <i>Forge of
+Vulcan</i> and whose modeling generally is so masterly and full of
+interest. Nor can we easily reconcile with his unerring truth of
+observation the drawing of the reflection in the mirror, which instead
+of being smaller than the real head is somewhat larger. Moreover the red
+of the curtain and general color scheme lack the choiceness and subtlety
+of the canvases of the latest period, to which the <i>Venus</i> is assigned.</p>
+
+<p>We reach now the two celebrated masterpieces: <i>Las Hilanderas</i>, (<i>The
+Weavers</i>), (p. 109) and <i>Las Meniñas</i>, (<i>Maids of Honor</i>) (p. 114). They
+are very different. Both are triumphs alike of science and of inspired
+vision; yet, by comparison, I should distinguish the <i>Maids of Honor</i> as
+a miracle of vision, the other as a marvel of science. For we may be
+conscious of the science in the one and lose thought of it entirely in
+the other. In <i>Las Meniñas</i> the unity of the ensemble seems as artless
+as the scene depicted; in <i>Las Hilanderas</i> it is perhaps less complete,
+certainly less simple and seems to suggest the<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> consummate knowledge
+needed to achieve it. The interest of the former pervades the whole
+chamber and centers in the little princess. That of <i>Las Hilanderas</i>,
+seems, at least at first, to be distributed into three parts, and the
+focus point for the eye&mdash;Where is it?</p>
+
+<p>Studying the two pictures, as is possible in the Prado, since they hang
+upon the same wall, near enough for the eye to travel backward and
+forward from one to the other, one discovers, I believe, that the
+problem involved in each is the reverse of that of the other. <i>Las
+Meniñas</i> shows a partially lighted interior, with the chief light on the
+little figure in the foreground; while the problem of the other picture
+is a dimly lighted, or rather darkened foreground, and a fully lighted
+background. In <i>Las Hilanderas</i>, in fact, the artist’s chief motive was
+the alcove, pervaded by a clear light that illumines the blues, greys
+and pale rose of the tapestry. Velasquez had seen it so and realised how
+the effect was heightened by the dimness of the spot in which he stood.
+Conscious of this, one begins to understand that the focus point of this
+picture is the shaded dull-red figure in the center of the middle
+distance. But it is a focus point of departure; not, as in <i>Las
+Meninas</i>, designed to draw our attention to it, but to direct it to the
+lighted space behind. When once we have recognised this, order begins to
+establish itself in what seemed to be the divided interest of the
+canvas. The beautiful figure, on the right, of the girl in a white
+chemise no longer holds our attention too exclusively. We see in her the
+artist’s twofold purpose of explaining the front plane of his scene, and
+pointing through the shaded figure to his<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> main motive. We have
+discovered the proper view of sight; it is in front of this girl,
+looking diagonally toward the alcove, and the group on the left is
+introduced to balance the composition. Yet even now, after one thinks
+one has captured the secret of the unity of the ensemble, so cunningly
+achieved, the beautiful figure of the girl on the right of the
+foreground may arrest our interest and distract it from the whole. It is
+because of this, that for my own part, there seems to be more of science
+than of inspiration in this vision.</p>
+
+<p>Not so with <i>Las Meniñas</i>. Here one forgets to analyse&mdash;there is no need
+to do so&mdash;one simply accepts the scene and feels its consummate truth.
+How consummate it is, only familiarity with the original can reveal. It
+is a truth that grows upon the consciousness, stimulating it to demand
+more and yet more difficult tests of its truthfulness, and satisfying
+every one. And the unity which is the secret of the truth has not been
+obtained by monotony of hue. The canvas is alive with color, strong
+notes of most vivacious hue. The Princess’s dress is creamy silver with
+a bunch of rose on her breast. This rosy note is echoed in varying
+tones: in the glass that is being presented to her; on the artist’s
+palette; in the curtain reflected in the mirror at the back where the
+King and Queen appear; in the bright cuff ribbons on the silvery grey
+dress of the maid-in-waiting on the right, and in the dull rose costume
+of the child on the extreme right. The dwarf next to him wears a dress
+of slaty blue, decorated with silver; the kneeling maid, a greenish grey
+upper dress over a skirt of deep greyish green, and Velasquez himself is
+in black. But</p>
+
+<p><a name="ill_18" id="ill_18"></a></p>
+
+<div class="figcenter" style="width: 290px;">
+<a href="images/ill_018_lg.jpg">
+<img src="images/ill_018_sml.jpg" width="290" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+DOÑA MARIANA DE AUSTRIA
+</td>
+<td class="mlft">
+VELASQUEZ
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<p class="nind">the mere enumeration of the colors gives no idea of their positive
+vivacity, as they show out brilliantly in the light, and none of the
+marvellous realisation of the textures. Nothing has been evaded; nothing
+seems to have given the artist a moment’s pause or difficulty. Yet, when
+all is said, the greatest marvel is the concavity of the drab-grey room,
+filled with luminous atmosphere; clear, around the foreground figures,
+but with infinite nuances of clearness, melting into varieties of
+penetrable mystery in the receding perspective. In the whole scene not a
+trace of evasion or confusion! Everything is readily comprehended,
+because rendered with immediate precision, as if in a moment of
+infallible improvisation.</p>
+
+<p><i>Las Meniñas</i> was not only the matured achievement of Velasquez’s long
+research into the effect of light upon color and upon their relations to
+one another in space; it was a new kind of picture. It is composed,
+built up of light. According to older conventions of composition the
+large space above the figures would be considered empty. But here it is
+not empty; it is filled with tones of light, with luminous aerial
+perspective that balances the group of lighted forms below. Possibly the
+photograph may not convey this impression to one who has not seen the
+original. But in the presence of the latter there can be no doubt of it.
+The upper part is as full of material as the lower; we may even find it
+more beautiful, because so infinitely subtle and stimulating to the
+imagination. Never before or since has the truth of natural appearances
+been so marvellously rendered, or the beauty of every day truth been so<span class="pagenum"><a name="page_120" id="page_120">{120}</a></span>
+heightened by the artist’s inspired imagination. <i>Las Meniñas</i> is an
+apocalypse, the revelation of a supreme vision.</p>
+
+<p>In the decline of Spanish art and the general interest of Europe in
+Italianate and rococo motives, Velasquez during the eighteenth century
+was forgotten. Toward the end of that century, however, Goya derived
+inspiration from his works, and nearly a hundred years later Manet,
+Whistler and others rediscovered him. His example has been the chief
+influence in leading the world back to regard a painting as a work of
+art, and in teaching the painter himself the technique that will entitle
+it to be so considered. The duration of his influence has corresponded
+with the vogue of naturalism which has prevailed in Literature and the
+Fine Arts, a reflex action of the general scientific attitude of the
+time. The vogue is passing, and Velasquez’s immediate <i>influence</i> may
+grow less. But his <i>reputation</i> will endure, because it is founded upon
+the lasting foundation of “truth, not painting.<span class="pagenum"><a name="page_121" id="page_121">{121}</a></span>”</p>
+
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII<br /><br />
+<small>MAZO</small></h2>
+
+<p class="nind"><span class="letra">A</span> TWOFOLD interest attaches to Juan Bautista de Mazo, the pupil and
+son-in-law of Velasquez. In the first place, he was employed by his
+master to copy many of the latter’s pictures, so that he is involved in
+the controversies which have arisen over their attribution. Secondly, he
+was himself an original portrait painter, and practically the only
+representative of landscape painting in the Spanish School.</p>
+
+<p>Mazo was a native of Madrid, the date of his birth being placed
+approximately in 1612, because he is reported to have lived a little
+over fifty years, and his death took place in 1667. It is not known when
+he entered the studio of Velasquez, but he married the latter’s
+daughter, Francisca, in 1634. The King signalised his approval of the
+marriage by relieving Velasquez of his duties as Usher of the Chamber
+and transferring them to Mazo. The young people made their home with
+their parents-in-law, and Mazo worked in constant companionship with
+Velasquez until the latter’s death. He seems to have had a remarkable
+faculty of imitation, for Palomino, writing shortly after Mazo’s death,
+says: “He was so skilled as a copyist, especially with regard to the
+works of his master, that it is hardly pos<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span>sible to distinguish the
+copies from the originals. I have seen some copies of his, after
+pictures by Tintoretto, Veronese and Titian, which are now in the
+possession of his heirs. If these copies were produced in Italy, where
+his talent is unknown, they would be taken without any doubt for
+originals.” Velasquez utilised this ability of his pupil, as Rubens and
+Rembrandt made use respectively of theirs, to assist him in part or in
+whole. Copies of his pictures were required by the King for presentation
+to members of the Royal Family of Austria, to ambassadors and others to
+whom he wished to show special favor. In some cases Velasquez himself
+made a replica, more often, because of the interruptions of his Court
+duties and the stress of other work, would employ Mazo to make a copy,
+leaving it intact or touching it up as the case might be.</p>
+
+<p>An example of one of these copies, according to Señor Beruete, is the
+<i>Philip IV as Sportsman</i>, of the Louvre. He assigns it as a copy, made
+by Mazo, of the original that is now in the Prado. There is a slight
+difference between the two. In the Louvre picture the King holds his cap
+with the left hand on his hip; in the Prado the cap appears upon the
+head. This was an alteration, subsequently made by Velasquez, for one
+can still trace in the original picture a dark mass over the hip, where
+the under-painting shows through. The copy, therefore, must have been
+made before the alteration.</p>
+
+<p>An example of an original by Mazo, which has passed as a Velasquez, is,
+according to Señor Beruete, the celebrated portrait of <i>Admiral Adrian
+Pulido Pareja</i> in the National Gallery. It is signed with the name of</p>
+
+<p><a name="ill_19" id="ill_19"></a></p>
+
+<div class="figcenter" style="width: 350px;">
+<a href="images/ill_019_lg.jpg">
+<img src="images/ill_019_sml.jpg" width="350" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+DOÑA MARIANA DE AUSTRIA
+</td>
+<td class="mlft">
+MAZO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p>
+
+<p>Velasquez in Latin. But the Spanish critic points out that, while a
+signature itself is no proof of authenticity, this one differs in matter
+and character from the only other three instances of the signature of
+Velasquez on a picture. These are on undoubted works of the master: the
+full-length <i>Philip IV</i> in the National Gallery, the portrait of <i>Pope
+Innocent X</i> in the Doria Gallery, and the fragment of a picture which is
+preserved in the Royal Palace in Madrid. Studying the technical
+qualities of the <i>Admiral</i> and comparing them with those of undoubted
+examples of the same period in Velasquez’s career, Señor Beruete
+reaches, in brief, the following conclusions. The figure does not stand
+firmly on its feet; the latter and the legs are badly shaped; the hat
+looks like a sack; its curve is prolonged by that of the left arm and
+both are parallel to the curve of the body; the hands are poorly
+modeled; the baton is held without distinction, the silhouette of the
+whole figure is neither sure nor beautiful, and the masses lack just
+disposition and balance. The whole is without the distinction, sureness
+of touch and <i>brio</i> that characterise all the authentic portraits of
+Velasquez. It is a fine work by a painter of less power than Velasquez,
+but bears so strong a resemblance to his style, that it can be by no
+other than his pupil, Mazo. For other pictures, hitherto supposed to be
+by Velasquez but now claimed by Señor Beruete for his pupil, the reader
+is referred to the Spanish critic’s book: “The School of Madrid.”</p>
+
+<p>With the <i>Portrait of Doña Mariana of Austria</i> (p. 122), the second wife
+of Philip IV, we reach an unquestioned original by Mazo. It is the same
+subject as in<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> Velasquez’s portrait (p. 119), only the girl-bride has
+now become a girl-mother. Her child, the Infanta Margarita, about four
+years old, appears in the rear with attendants and a dwarf. It is a drab
+interior rather reminiscent of that in <i>Las Meniñas</i>. The crimson
+curtain and chair and the Queen’s pose, on the other hand, recall
+Velasquez’s portrait, just mentioned. The suggestion, in fact,
+throughout is Velasquez, but not the handling and the style. Compare,
+for example, the hand on the chair in the one portrait and the other. In
+the Mazo there is an absence of modeling and character. How
+characterless also the line of the right arm, and wanting in decision
+and distinction the whole silhouette of the figure. Yet the picture has
+a very great charm of refinement and tender feeling.</p>
+
+<p>Another probable original by Mazo in the Prado (No. 1083), <i>Portrait of
+Prince Baltasar Carlos</i>, is attributed to Velasquez in the official
+catalogue. It is one of a number of similar attributions that surprise
+the visitor to the Prado. The portrait in question shows the Prince, now
+in his fourteenth year, standing with his left hand upon the back of a
+chair, while his right hangs gracefully, holding a plumed hat. The
+figure is entirely in black against a drab background. There is no
+picture by Velasquez, known to exist, from which this could be a copy.
+That it is not an original by the master is evident in the softness an
+indecision of the drawing, and the actually bad drawing of the right leg
+which does not connect properly with the hip. It is therefore assumed
+with probability to be an original by Mazo, and the fault of drawing is
+explained by the fact that he<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span> was only twenty-four years old when he
+painted it. This picture has an undeniable elegance, but falls very
+short of Mazo’s <i>Doña Mariana</i> in accomplishment.</p>
+
+<p>However, both the originality and the capacity of Mazo are best
+displayed in his landscapes, which have now been collected into one of
+the upper galleries of the Prado. As we have noted, Mazo is the single
+great landscape painter of the old Spanish School. While the
+contemporary School of Holland, in the persons of Ruisdael, Van Goyen,
+Hobbema, Cuyp and many others, was developing landscape as an
+independent branch of art and carrying it to a high level of
+representation and expression, the Spanish School, with the exception of
+Mazo, still used it in subordination to the figure. Considering that
+both schools were influenced by the naturalistic motive, how is one to
+account for this difference? Probably in the fact that, while the Dutch
+artists were in a great measure painting to please themselves and
+choosing their own subjects, the Spanish artists worked directly under
+the patronage of Royalty and the Church. Portraiture and religious
+subjects were the only work demanded of them. Added to this may be the
+fact that the Dutch ideal was democratic, the Spanish aristocratic. The
+Dutch people were interested in themselves and in the everyday concerns
+and environment of their lives, and the Dutch artists, being of the same
+stuff as their public, contributed to the popular taste. On the other
+hand, both the Spanish monarchy and the Church were strongholds of
+aristocracy and both had close affiliations with Italy, the art of which
+had been pre-eminently aristocratic. It was based, as<span class="pagenum"><a name="page_126" id="page_126">{126}</a></span> has been pointed
+out in a companion volume to this one, “The Story of Dutch Painting,” on
+the idea of the superiority of the individual person, or, translated
+into terms of art, on the supremacy of the human figure as an
+art-motive.</p>
+
+<p>We may well believe that Mazo was encouraged in his feeling for
+landscape by Velasquez himself. For it is recalled that the latter
+during his leisure in Rome painted two vistas in the gardens of the
+Villa Medici. There is also in the Prado a <i>View of the Arch of Titus</i>,
+which the catalogue admits was probably painted in Spain from a sketch
+made in Rome. Later criticism, however, has concluded that it was Mazo
+who painted this from Velasquez’s sketch, and has also assigned to the
+younger man several other landscapes, originally supposed to be by
+Velasquez. In this judgment the Director of the Prado acquiesces, for
+the pictures have been placed in the gallery devoted to Mazo’s
+landscapes.</p>
+
+<p>Before considering them, let us note the contribution made by Velasquez,
+indirectly through his portraits, to the art of landscape painting. He
+used landscape, with the freedom and feeling of one who comprehended it
+and loved it, in his equestrian and sportsman portraits, in the
+<i>Surrender of Breda</i> and particularly in one of his latest works, <i>S.
+Antony Visiting S. Paul</i>, where the figures are small and the picture is
+virtually a landscape subject. The chief distinction of all these
+landscape scenes is that Velasquez, the student of light, has brought
+natural light into the scenes, in which respect they differ from the
+landscape of Italian backgrounds, even those</p>
+
+<p><a name="ill_20" id="ill_20"></a></p>
+
+<div class="figcenter" style="width: 451px;">
+<a href="images/ill_020_lg.jpg">
+<img src="images/ill_020_sml.jpg" width="451" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+THE FOUNTAIN OF THE TRITONS
+</td>
+<td class="mlft">
+MAZO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p>
+
+<p class="nind">noble ones of Titian’s, which are pervaded with what is, comparatively
+speaking, a studio lighting. Velasquez is in a sense even more
+naturalistic than his contemporaries, the Holland masters of landscape,
+for, although they rendered nature more intimately, they were disposed
+to translate the actual hues of nature into a tonality of their own.
+Velasquez, on the contrary, recorded what seemed to him to be the facts
+of sight. He, therefore, reappears among the moderns of the nineteenth
+century, in landscape as in portraiture, one of themselves, because
+their mutual study was the light of nature.</p>
+
+<p>One of Mazo’s most important landscapes, known to be his by documentary
+evidence, is the <i>View of Zaragoza</i>. It hangs in the Velasquez gallery
+of the Prado, because the master added the figures which are distributed
+in three planes throughout the foreground. But the river beyond, dotted
+with sailboats, the bridge and distant view of the city are
+unquestionably by Mazo. The silvery deep olive-green of the water and
+the accurate definition of the buildings, which nevertheless are felt as
+masses, recall the finest manner of Il Canaletto, while the suggestion
+of light in the sky is more naturalistic than the Venetian ever
+attained. It is a picture that interests one to compare with the single
+landscape of Jan Vermeer: his <i>View of Delft</i> in the Hague Gallery. Each
+gives one an extraordinary realisation of the actuality of the scene;
+but, while the Holland artist’s picture breathes an intimate
+domesticity, the work of the Spaniard is psychologically different,
+suggesting a certain <i>hauteur</i> and exclusiveness; partly, no doubt,<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span>
+through the introduction of the choice groups of figures by Velasquez.</p>
+
+<p>The three landscapes originally attributed to Velasquez, but now
+included by the Director of the Gallery among Mazo’s are: <i>The Fountain
+of the Tritons</i> (p. 122), <i>Calle de la Reina de Aranjuez</i>, and <i>The View
+of Buen Retiro</i>. In the first named the tree-stem on the
+left-foreground, sprinkled with leaves, is reminiscent of Velasquez, and
+the beautiful little figures, so suggestively rendered, may have been
+added by him. But the handling of the grey-green foliage of the further
+trees, softly blurred against a bluish grey sky, is unlike the method of
+Velasquez as seen in any of his landscape backgrounds. On the other
+hand, the soft faint masses of tone, subsequently worked over with
+little curly strokes, can be found to a greater or less extent in the
+foliage parts of all Mazo’s landscapes in this room. The latter, it
+should be observed, vary in subject, including views of buildings,
+romantic scenes of rocks and waterfalls, sea-shore in combination with
+cliffs and temple-ruins, and views more simply naturalistic. To each the
+artist has adopted a technique suitable to the occasion, so that it is
+not at first sight easy to recognise them as the work of one man.</p>
+
+<p>Mazo, in fact, in his approach to landscape, shows nothing of the
+timidity and indecision and tendency to follow closely his master, such
+as characterise his portraits. Here he shows himself an original
+experimenter, freely pursuing his own motive. In the case of <i>The
+Fountain of the Tritons</i> it has brought him to a method that anticipates
+the impressionistic style of Corot. The<span class="pagenum"><a name="page_129" id="page_129">{129}</a></span> peeps of sky through the soft
+screen of trees; their very coloring, the single tree-stem in the
+foreground and the envelope of cool grey atmosphere&mdash;Corot might have
+painted them.</p>
+
+<p>The <i>Calle de la Reina</i> has again a strangely modern air, somewhat that
+of a Jules Dupré, when he is not stirred to emotional effects. The
+avenue, leading to the palace of Aranjuez, recedes in the shadow of tall
+trees, which tower up in dark masses against a fine twilight sky. Its
+light is dimly reflected in the grey-blue water of a shadowed lake on
+the left of the foreground; the rest of the latter being enlivened with
+figures which form the retinue of two arriving coaches. All these
+sprinkled forms count as dark spots upon the pale-lighted sandy road. In
+its truth of observation and simple nobility of feeling this landscape
+would do honor to any school of any period.</p>
+
+<p>To assist his appreciation of Mazo’s romantic and mythological
+landscapes, the visitor to the Prado will do well to step into an
+adjoining gallery, devoted to the works of Claude Lorrain and Nicolas
+Poussin. It is true they are not represented here at their best; yet
+perhaps sufficiently well to suggest the character of their work and
+certainly its spirit. Particularly in the case of Claude Lorrain it is
+slighter, shallower than the spirit of Mazo’s corresponding scenes; less
+reinforced by close observation of nature; or, it may be, inspired by
+softer influences. For the source of the difference is perhaps the
+contrast of character of the Spanish as compared with the Italian
+landscape. Mazo has noted to good purpose the stirring cloud effects
+that pile high above<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> the gaunt sierras, and their grandeur and bigness
+have inspired his feeling. By comparison, the mellow skies of the
+French-Italian landscapes, seem trivial, and communicate their slighter
+feeling to the formal, classically composed foregrounds, so that they
+seem mannered. In Mazo’s on the other hand, the grandeur of the sky’s
+suggestion spreads to the mountains, rocks and water, investing the
+whole with a sense of structural power and therefore of sincerity. In
+fact, in these romantic, mythological subjects Mazo stands alongside
+Turner rather than Claude and Poussin.<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p>
+
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII<br /><br />
+<small>CARREÑO</small></h2>
+
+<p class="nind"><span class="letra">A</span>MONG the painters who were contemporaries of Velasquez and after his
+death helped to stem for a little while the decline of the School of
+Madrid, special notice is due to Juan Carreño de Miranda. He came of a
+noble family of the province of Asturias, his father being Alcade de los
+Hijosdalgos or Chief of the Council of Nobles, in the town of Aviles,
+where Juan was born in 1614. When he was still a boy he accompanied his
+father to Madrid, and made up his mind to be an artist. His father, at
+last acquiescing, placed him with Pedro de las Cuevas, who had also been
+the teacher of José Leonardo and Pereda. Carreño afterwards worked with
+a painter, Bartolomé Roman; but by the time that he was twenty years old
+had so distinguished himself that he was entrusted with several
+important commissions. Velasquez recognised his talent and, thinking he
+should be employed in the King’s service, commissioned him to paint some
+frescoes for the royal palace. These were destroyed in the fire of 1734.</p>
+
+<p>In 1669 Carreño was appointed one of the Court Painters, a post which he
+continued to hold after the succession of the young king, Charles II,
+when the regency was in the hands of the Queen-Mother, Mariana<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span> de
+Austria. In this capacity Carreño executed portraits of the royal family
+which represent his best work.</p>
+
+<p>Meanwhile his popularity was based upon his decorations and
+altar-pieces. His decorative ability, which had been recognised, as we
+have seen, by Velasquez, included a familiarity with the technique of
+fresco painting, a branch of the art which had few representatives among
+Spanish painters. The taste for it had been introduced by the Italians
+summoned to decorate the Escoriál, and perpetuated by other foreigners
+who were employed in decorating the principal churches and convents.
+From them Carreño acquired a knowledge of the process. He seems (for I
+am not acquainted with Carreño’s mural decorations) to have been
+distinguished in his use of it by a combination of Italian decorative
+composition with types and motives characteristically Spanish, and by
+very delicate and spiritual schemes of color.</p>
+
+<p>Perhaps the character and quality of the latter may be discovered in the
+altar-piece by this artist in the Hispanic Museum, New York. It is a
+<i>Conception</i>; the subject being presented in the usual way prescribed by
+the Church. But the composition is looser, if one may say so, than
+Murillo’s in similar pictures, with lines more flowing and masses
+distributed more gaily. It is the arrangement, in fact, of a painter
+accustomed to the liberty of decoration on a large surface. It has a
+sweep and elegance that make it akin to the compositions of Antolinez
+and particularly of Cerezo, whom we briefly discussed in the fourth
+chapter. In its color-scheme also, it favors theirs. All these artists,
+in fact, represent</p>
+
+<p><a name="ill_21" id="ill_21"></a></p>
+
+<div class="figcenter" style="width: 386px;">
+<a href="images/ill_021_lg.jpg">
+<img src="images/ill_021_sml.jpg" width="386" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+CHARLES II
+</td>
+<td class="mlft">
+CARREÑO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p>
+
+<p class="nind">a reaction from the more sober and restricted color-schemes, imposed
+upon Velasquez and other Court painters. At the same time, they are
+characteristic of the decline which had already begun. The coloring of
+this <i>Conception</i> of Carreño’s is distinguishably prettified; pearly
+pinks and blues, soft greys and greens, perilously suggestive of the
+<i>bonboniére</i> style. And the sentiment of the whole is correspondingly
+suave, almost, if not completely, to insipidity. Similarly sentimental
+are this artist’s <i>Magdalen in the Desert</i> in the Academy of San
+Fernando in Madrid, and his <i>San Sebastian</i> of the Prado. The Magdalen
+looks like a matured Ariadne, abandoned by her lover. She is posed upon
+a rocky seat, so that her beautiful arms may be seen to advantage and
+the long line of her graceful figure duly emphasised. Meanwhile she
+lifts her tearful gaze to the sky, at a carefully calculated angle that
+will impress the beauty of her neck upon the sympathetic spectator. As
+for the <i>San Sebastian</i>, it should make a gentle lady weep to behold how
+this tender body has been abused. In fact, the student who has
+discovered the true sources of greatness in the Spanish School of
+painting will not take Carreño very seriously when he is in these moods.
+Fortunately for his present reputation there is a graver and more
+dignified side to his art.</p>
+
+<p>In his portraits, especially those of the members of the royal family,
+Carreño shows himself to have absorbed no little of the influence of
+Velasquez. These portraits of Charles II and his mother, Queen Mariana,
+vary in quality; for he was called upon to repeat them, and the replicas
+display a lack of interest and falling<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span> off in technical distinction.
+Perhaps the handsomest portrait of the King, painted when he was still a
+lad of twelve, is the one in the Kaiser-Friedrich Museum, Berlin. The
+boy, as usual in a black velvet suit, with long blond cavalier locks
+descending over his shoulders, stands resting his left hand on a
+marble-topped table, which is supported on a lion and ball pedestal. His
+face has not yet acquired the expression of settled melancholy and is
+gracious and lovable. The coloring is rich and luminous, and the
+concavity behind the figure, full of atmospheric suggestion. The replica
+of this in the Prado is tighter and drier in treatment, lacking in
+quality of tone and lighting.</p>
+
+<p>Another portrait of this period, showing the figure at half length is
+owned by Señor Beruete. Judged by the photograph of it, reproduced in
+his “School of Madrid,” it is a very superior canvas, distinguished by
+graciousness and dignity. It is a terrible contrast to turn from the
+weak yet winning beauty of the boy to the portrait in which Carreño has
+depicted the man (p. 132). In all the range of portrait-painting can we
+find a face so degenerate as this? The face droops to an inordinate
+length, as if the vacuous brain could no longer hold it in position; the
+mental distortion is reflected in the grotesquely exaggerated features;
+the expression of the pallid mask is one in which hope and joy of life
+are extinguished and reasonless fear is habitually present. Such was the
+last of the proud Hapsburg line of Spanish Sovereigns.</p>
+
+<p>Carreño’s most important work, however, is the <i>Portrait of Queen
+Mariana of Austria</i>, in the Munich Old<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span> Pinakothek, of which there is an
+unsatisfactory replica in the Prado. But the Munich portrait, once seen,
+impresses itself indelibly on the memory. It is a cold, implacable
+indictment. The surly sadness of the girl-wife, painted by Velasquez (p.
+119), who had our sympathy for the cruel grossness of her lot, has
+hardened into callous obstinacy and weak self-indulgence. Her widowhood
+has brought authority without a sense of responsibility, she has
+betrayed her maternal trust in order that through her child’s feebleness
+she may hold on to power; she has dallied between her lover and
+confessor, and is now <i>devote</i>. Clothed in black and white weeds that
+resemble a nun’s garb, she sits squarely at a table, a loveless,
+forbidding woman. Yet strangely haunting because of Carreño’s analysis
+and fearless exposition.<span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p>
+
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX<br /><br />
+<small>RIBERA (LO SPAGNOLETTO)</small></h2>
+
+<p class="nind"><span class="letra">T</span>HOUGH recognised as the leader of the School of Valencia, José or, as
+he is sometimes called, Jusepe de Ribera spent most of his life in
+Naples, where his Spanish pride, combined with his somewhat diminutive
+stature, procured him the sobriquet, <i>Lo Spagnoletto</i>. He was born in
+1588, eleven years senior to Velasquez, in the province of Valencia, in
+the hill-town of Jativa, the cradle of the Borgia family. Hence the
+proud title which he often appended to his signature, “Spaniard of
+Jativa.” His parents, Luis de Ribera and Margarita Gil, took him to
+Valencia that he might study Latin with a view to becoming a man of
+letters. But José, even thus early showed his independence by declaring
+that he would be an artist, and was accordingly placed under the care of
+Francisco Ribalta. The latter, we recall, was the link of transition
+from Italian mannerism to the native naturalistic schools of Valencia
+and Andalusia; at one time producing thinly painted subjects of
+extravagant sentimentality, at another showing himself quite masterful
+in naturalistic representation. This blend of naturalism and sentiment,
+the latter frequently carried too far, distinguishes also the work of
+Ribera and through his influence many artists of the Andalusian School,
+Murillo in<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span> particular. The naturalistic tendency is Spanish, common to
+North and South alike; the sentiment is a bias given to it by the
+Southern temperament.</p>
+
+<p>While still a youth Ribera made his way to Rome, where his handsome face
+and evident ability attracted the notice of a cardinal, who took him
+into his house and would have cared for him that he might pursue his
+studies in comfort. But José, nothing if not independent, found the
+restraint irksome and went back to his rags and poverty, declaring that
+he needed the stimulus of necessity. He made copies of some of the
+Raphaels and the Caraccis in the Farnese palace, and even found means to
+visit Parma and Modena and study the works of Correggio. But the
+pictures which most attracted Ribera were those of Michelangelo
+Caravaggio, who worked in Naples. So to Naples he went, although he had
+to leave his coat behind in Rome to pay his boardbill. Whether Ribera
+actually studied under Caravaggio is uncertain. Anyhow, since the latter
+died in 1609, the association could not have lasted more than a short
+time. Meanwhile, even if Ribera never saw Caravaggio in the flesh, he
+could not escape his spirit. It was a part of the turbulent atmosphere
+of the Naples of that day, into which with a violence, equal to
+Caravaggio’s, the independent young Spaniard was quick to fling himself.
+Fortune favored him, for a rich art dealer gave him some commissions
+and, discovering his ability, determined to attach him to his own
+interests. He offered him his daughter’s hand in marriage, and Ribera,
+having experienced the stimulus of poverty, was now resolved to taste
+the encouragement of wealth and ease,<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span> and accepted it. Soon after his
+marriage he produced a life-sized picture of the <i>Martyrdom of S.
+Bartholomew</i>, who was flayed alive. The ghastly scene was represented
+with such horrible naturalism, that when the picture was exhibited
+outside of the art-dealer’s shop, a crowd gathered about it. This
+attracted, as no doubt it was intended that it should, the notice of the
+Spanish viceroy, the Duke of Ossuna, whose palace window overlooked the
+spot. Having learned the cause of the excitement he sent for the picture
+and was so impressed with it that he bought it, appointed Ribera his
+painter in ordinary, and gave him apartments in the palace. Thus, almost
+at a bound, Ribera found himself upon the topmost rung of the ladder. He
+was rich and now courted by the richest and most powerful, who presumed
+that he had the ear of the viceroy. In artistic circles the young artist
+had taken the place of Caravaggio and invested it with still greater
+honor. He was the recognised leader of the naturalists in their war of
+extinction with the Eclectics.</p>
+
+<p>It is necessary to note the rivalry between these two contemporary
+schools, since it throws a light on an extraordinary episode in Ribera’s
+career. With the death of Tintoretto in 1592 the last of the giants of
+the Renaissance had passed away. They were succeeded by a race of
+pigmies, who strutted in the mantles of Raphael and Michelangelo. They
+are called “Mannerists,” differing, however, from the Mannerists of
+Spain. For while the Spanish imitated the great masters in order to
+acquire the secrets of their greatness, at the same time, as we have
+seen, infusing the result with something of the<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> raciness of the Spanish
+character, the Italian “Mannerists” aped the past in an attempt to
+galvanize it into continued living.</p>
+
+<p>The “Mannerists” soon become obscured by the “Eclectics,” whose
+headquarters were in Bologna, the home of the Caracci. For the school
+grew out of the influence of the five brothers Caracci, especially the
+three, Annibale, Ludovico and Agostino, who led the way in what was to
+be a “revival” of art. Its principle was a catholic eclecticism, which
+should combine the drawing and power of Michelangelo, with the color of
+Titian, the grace and sentiment of Raphael and the soft dreamy
+chiaroscuro of Correggio. The movement spread throughout Italy, being
+variously represented by the Caracci, already mentioned, Domenichino,
+Guido Reni, Guercino, Sassoferrato, Carlo Dolci and others of more or
+less merit. Whatever may be thought of these painters individually, it
+is scarcely to be denied that the principle underlying their art had in
+it nothing of original growth. It was dishing up the past, instead of
+providing meat for the present.</p>
+
+<p>Meanwhile, outside of the “Eclectics,” the spirit of the present was
+asserting itself in a reaction from Classicalism to Naturalism&mdash;to use a
+hackneyed term, in a return to nature. That the stronghold of the
+Naturalists became Naples, which was under Spanish rule is a significant
+fact. It was an instance, by no means single, of the Spanish influence
+reacting upon Italy. The movement however was started by the Italian
+Caravaggio, a man of impetuous temperament and possibly coarse tastes,
+who by way of bringing the Bible story into<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> touch with every day life,
+peopled his sacred scenes with personages drawn from the slums of
+Naples. How great a painter he could be upon occasions is shown in that
+handsome canvas in the Dresden Gallery, <i>The Card Players</i>. However, the
+style usually associated with his work and that of his followers is one
+of violent types and exaggerated dramatic energy. The “Naturalists” were
+also addicted to the use of dark shadows, which gained for them the
+nickname of “Darklings.” Between them and the “Eclectics” there was
+perpetual rivalry, waged with that intensity which only Latin peoples
+can put into an artistic controversy. On the part of the Neapolitan
+naturalists it was war literally to the knife, for they did not scruple
+to employ the bravo and his stiletto in their efforts to hold Naples
+against the enemy. It was to the leadership in a fight of this sort that
+the young Ribera succeeded, and he went into it with an unscrupulous
+ferocity that has left on his memory the blot of a very discreditable
+episode.</p>
+
+<p>The Chapel of St. Januarius in the Cathedral of Naples was to be
+decorated. A cabal was formed between Ribera, a native Neapolitan,
+Giambattista Caracciolo, and a painter of Greek birth, Belisario
+Correnzio. The last named had already made so bitter an attack on
+Annibale Caracci that the latter had been driven out of Naples. The
+three now determined to secure for themselves the decorating of the
+chapel. The commissioners at first assigned the work to one, Cavaliero
+d’Arpino, who had been Correnzio’s teacher. He was assailed with
+persecution, and forced to take refuge in the Benedictine monastery of
+Monte Cassino. Then</p>
+
+<p><a name="ill_22" id="ill_22"></a></p>
+
+<div class="figcenter" style="width: 392px;">
+<a href="images/ill_022_lg.jpg">
+<img src="images/ill_022_sml.jpg" width="392" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+HERMIT SAINT
+</td>
+<td class="mlft">
+RIBERA
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span></p>
+
+<p>Guido was selected. Two hired bravos set upon his servant, thrashed him,
+and ordered him to tell his master that a similar fate was in store for
+himself should he begin the decoration of S. Januarius. Guido fled the
+city; and his pupil, Gessi, was chosen as a substitute. He arrived in
+Naples with two assistants, who were inveigled on board a boat in the
+bay and never seen again. The commissioners now yielded and gave the
+commission to the triumvirate. But a little later they revoked the order
+and offered Domenichino a handsome remuneration, with a promise of
+protection, if he would undertake the work. He consented and became
+immediately the target of an insidious persecution. Threatening letters
+were sent to him; his character was slandered and his ability as a
+painter impugned; the plasterers were bribed to mix ashes with the
+mortar on which his frescoes were to be painted; and finally Ribera
+prevailed on the viceroy to order some pictures of Domenichino. These
+were carried from his studio before they were finished, or retouched and
+ruined before reaching the viceroy. At length, in despair, Domenichino
+fled to Rome; but was induced to return and shortly afterwards died
+under suspicion of having been poisoned. The cabal, however, failed of
+its purpose. The Neapolitan died the same year as Domenichino; the Greek
+two years later and Ribera painted only one altarpiece for the chapel,
+<i>The Martyrdom of S. Januarius</i>. The decorations were executed by one,
+Lanfranco.</p>
+
+<p>For his share in this disgraceful intrigue, and because of his being a
+foreigner, Ribera incurred the hatred of a large number of Neapolitans.
+To this, probably is to<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> be attributed the story which passed into a
+tradition, that Don Juan of Austria, while on a visit to Naples, induced
+Ribera’s daughter to elope with him; and, soon growing tired of his
+victim, placed her in a convent. In consequence of shame and grief,
+Ribera, so the story goes, sank into a profound melancholy, until one
+day he left his home and was never again heard of. This is now believed
+to be a mere fabrication of Neapolitan hatred; the true facts being that
+Ribera settled down to a life of honor and prosperity and finally died
+in Naples in 1656.</p>
+
+<p class="dtts">..........</p>
+
+<p>In the popular imagination Ribera is associated with pictures of martyrs
+and ascetics, with scenes of cruelty and suffering and the portrayal of
+old and wasted bodies. The impression is justified, for the taste of his
+time demanded these revolting subjects, and Ribera’s own temperament
+made him more than acquiesce. He represented them with a zest that
+proves he revelled in his opportunities. But this is only one aspect of
+Ribera, and even in itself not complete, for it is prone to take no
+account of the superb artistry with which he invested the unpleasantness
+of these themes.</p>
+
+<p>Thus, in the example, selected for reproduction here, because it is
+characteristic of Ribera’s best known subjects, the original has a
+beauty which in the reproduction may possibly escape observation. The
+head of this <i>Hermit Saint</i> is of extreme nobility both of technique and
+expression. In the suggestion of the powerful skull, the boldly modeled
+flesh and the clustering masses of grizzled hair and beard, there is an
+unusual feeling<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span> for and realisation of the dignity of human form. It is
+not merely that the artist has selected a model with a fine head, and
+rendered its benign and grave distinction, but he has heightened the
+expression by the expressiveness of the technique. The artist’s
+sympathetic imagination and extraordinary reverence, not for the
+saint-idea in his theme but for humanity in its relation to art, have
+informed the technique with a noble sympathy, grand imagination and a
+sovereign reverence. For the point, difficult to put into words, is that
+technique such as this, while it is magnificent as mere representation,
+achieves the higher quality of expression, and the measure of the latter
+is the quality of the artist’s conception not only of his subject but
+even more of his art, as one of the noble mediums of expression. So, in
+the presence of a work like this, the spectator forgets his dislike of
+the subject and finds his imagination kindled and his capacity of
+abstract appreciation heightened. Even the Saint’s back though you may
+not believe it from the photograph, which has reduced the transparent
+shadows to opacity and robbed the flesh of its glorious luminosity, adds
+its quota to the stimulus of the intellectual-esthetic sense. For, in
+this capacity, not only to delight the sense perception but to stimulate
+also the intellectual conception of beauty in the abstract, Ribera
+belongs in the company of Velasquez. He occupies a lower rank because
+his art, like himself, was less self-centered and controlled; more
+dependent upon subject and at the mercy of his own impetuous
+temperament. In the art of both naturalism was lifted mountain-high;
+but, while Velasquez was the summit,<span class="pagenum"><a name="page_144" id="page_144">{144}</a></span> aloof, unapproachable, Ribera is
+the torrent, racing, often madly, to the valley. Yet in its career there
+are level pools of quiet pause, and it is these that the general
+estimation of Ribera has overlooked.</p>
+
+<p>I am not thinking of his portrayals of the <i>Immaculate Conception</i> or
+his <i>Assumption of the Magdalen</i> in the Academy of San Fernando. These
+are rather examples of the concessions that Ribera was obliged and
+perhaps willing to make in the direction of obvious beauty. They
+satisfied the Spanish taste in female loveliness, but have little
+abstraction of expression; and are inclined to be sentimentally pretty.
+It is rather when you visit the gallery in the Prado devoted to Ribera’s
+works, that you experience a new impression of this artist. With the
+exception of a powerful but ghastly <i>Martyrdom of S. Bartholomew</i>, the
+general suggestion of the gallery is the reverse of the violent and
+sensational. A sense of grave dignity prevails, which one begins to
+discover is largely the result of a fine reserve and frequent subtlety
+in the color schemes. For example, there is a canvas of life-size
+figures, representing the Holy Trinity. On the Father’s knees lies the
+limp form of the Christ. It is grievously disfigured with grossly
+naturalistic blood stains; but one gradually loses the insistence of
+this in admiration of the elevated beauty of the picture as a whole. The
+Father’s head, benign and tranquil, is seen against a sky in which are
+faintly discernible the flocking heads of cherubs. From his shoulders
+floats a silvery plum-colored drapery, while a mantle of pale rose,
+lined with violet, lies over the shadowed lapis-lazuli of the under
+robe. It is a color<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> scheme of choice splendour, full of subtle stimulus
+to the intellectual-esthetic imagination.</p>
+
+<p>A very interesting canvas is the <i>S. John the Baptist in the Desert</i> for
+the feeling of it is pagan, a trait rarely met with in the art of Spain,
+which had so rigorously opposed the Humanistic movement. The figure,
+nude nearly to the waist, is that of a shepherd youth, with large
+smiling mouth and eyes glancing to one side. The face sets one to
+thinking of the so-called <i>S. John the Baptist</i> of the Louvre,
+attributed to Da Vinci. The Ribera has something of the faun-like
+suggestion; only it is less subtle, piqueing less to mystery; the
+suggestion being rather of wild, young animal life, a creature of
+silent, vacant places, not afraid yet watchful. The figure is at the
+foot of a big tree-trunk, a red drapery covering the upper part of the
+legs and the stone on which it is seated. The arms are extended; one
+aloft, holding a staff, the other lowered to feed a lamb; both forming
+pliant loops which increase the suppleness of the whole design. In its
+blend of classical and naturalistic composition and feeling, and the
+character of the thought which prompted it, the canvas is probably
+unique in the Spanish School as an example of the direct influence of
+Humanism.</p>
+
+<p>One turns to a <i>Penitent Magdalen</i> (Prado, 980), not to endorse her very
+lady-like sentiment, but to admire the way in which the beautiful brown
+hair is rendered and the exquisite color and texture of the old-rose
+drapery. A similarly choice treatment of this delicate color, shot with
+silver light and dove-grey shadows, appears in <i>Isaac Blessing Jacob</i>.
+Then for another fine example<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> of color one may note a half length, <i>S.
+Simon</i>. Here again is a head of magnificent character; black hair and
+beard, ruddy features, massive brow, a characterization, generously
+masculine and vigorous. A warm brown drapery hangs over the slightly
+yellow-tinted brown of the robe, which shows below it the collar and
+cuff of a grey shirt; all this placed against a dark olive background.
+The tonality, organised with extreme delicacy, is in its ensemble
+superb. Another choice passage of color occurs in <i>S. Bartholomew</i>,
+where the saint is shown, life size, seated beneath a cliff. He holds
+across his body a white drapery; or such is your first impression of the
+hue. But study reveals a more subtle tissue of smoked ivory and grey,
+woven into the pallor of the white.</p>
+
+<p>However, the finest example of Ribera’s subtle vein of color-expression
+in this gallery is in the <i>Jacob’s Ladder</i>. The sleeping figure reclines
+horizontally across the foreground, a hand supporting the head, while in
+the sky are faint suggestions of ascending and descending angels. The
+foreground consists of slabs of rock out of which, at the back of the
+figure, rises a tree-trunk, with a broken limb. The figure is clothed in
+an olive-greyish-brown habit, resembling a monk’s; the hair and beard
+are black in strong contrast to the pallor of the face, which is
+slightly flushed with warmth and puffed with sleep. The suggestion of
+sleep is, indeed, rendered with extraordinary truth; it seems no idle
+fancy that one hears the breathing and watches the stir of the drapery
+over the rise and fall of the chest. But the dignity of this canvas
+depends upon the color scheme, cold,<span class="pagenum"><a name="page_147" id="page_147">{147}</a></span> severe, constrained; so opposite
+to the sensuous, impassioned or splendid; yet withal so stimulating to
+the imagination. This picture is a grand example of the
+intellectual-esthetic quality in Ribera’s finest work; placing this
+artist far above the estimate popularly formed of him. It is not
+difficult to discover the influence of this large, grave feeling in the
+earlier work of Murillo and in almost all the work of Zurburán.<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span></p>
+
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X<br /><br />
+<small>MURILLO</small></h2>
+
+<p class="nind"><span class="letra">T</span>HE most popular artist of the Spanish School is unquestionably Murillo.
+He was the idol of his contemporaries in Andalusia; most admired by
+connoisseurs and public in the eighteenth century, and, although during
+the nineteenth century artists and connoisseurs have extolled Velasquez
+and more recently Goya and El Greco at his expense, to the popular taste
+Murillo is still in the ascendant.</p>
+
+<p>There must be a good reason both for the depreciation of Murillo on the
+part of artists and for the continuing appreciation of the public;
+therefore one must try to discover them impartially. For, while the
+popular estimation of any particular artist at a given period is apt to
+be wrong&mdash;perhaps more often wrong, than right&mdash;it scarcely can hold its
+own through the chances and changes of over two hundred years without
+having in it some considerable element of right. What then is the
+abiding something in Murillo’s art which makes this perennial appeal?
+For my own part, I believe that, if you can sum it up in a word, it is
+the spirit of Youth.</p>
+
+<p>One imagines Murillo (not without plenty of justification for the idea)
+as a man who, in a psychological sense, never grew old; retaining to the
+end the naiveté and simple faith of a child. He continues, therefore,
+to<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span> appeal to adults who have kept something of their youth with them or
+to those whose study of art has not passed beyond the stage of instinct.
+For, just as it is possible for a man to have matured understanding and
+appreciation of a work of art, and yet be like a child amid the
+intricacies of an electric power-house, wondering, admiring, but without
+capacity to estimate the value of this plant as compared with another;
+so a man may be full of knowledge, even to the length of sophistication,
+and still exhibit the naiveté and unreasoning appreciation of a child in
+the presence of a work of art. Necessity or chance determined that he
+should cultivate his higher mental powers in another direction; art is
+to him only an occasional distraction; his feeling toward it is
+regulated solely by his instinct. As he would say himself, “I know what
+I like.”</p>
+
+<p>To tell such a man that he is wrong would be not only cruel but false.
+From his own standpoint he is not wrong; he is very much in the right,
+if the end of art is the heightening of a man’s nature through
+contemplation of the beautiful. This thing is beautiful to him, and
+through the beauty he sees in it he finds his nature refreshed, purified
+and enlarged. What more could you advise for him at that particular
+stage of his artistic development? It is true to the standpoint of his
+own instinct. Would you have him substitute your standpoint for his? Are
+you sure that your own leads to any better results for you than his for
+him? Anyhow, unless he changes his standpoint through convictions that
+have grown into his mental consciousness and been endorsed by his
+experience, his last state may be<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> worse than the first. He was honest
+and sincere before; now he may be only a glib repeater of borrowed
+preferences.</p>
+
+<p class="dtts">..........</p>
+
+<p>Bartolomé Estéban Murillo was born in Seville in 1618, probably on the
+first day of January. The official catalogue of the Prado begins its
+reference to the artist’s career with the following significant words:</p>
+
+<p>“When this great artist came into the world, his parents, Gaspar Estéban
+Murillo and Maria Perez, were living in a humble house in the Calle de
+las Tiendas. It was but three months since the Virgin Mary, in the
+mystery of her Immaculate Conception, had been proclaimed the patroness
+of the Dominions of Philip IV. Under such happy auspices was born the
+<i>Painter of the Conceptions</i>.”</p>
+
+<p>This dogma of the Conception, which for centuries had occupied the minds
+of theologians and scholars and captivated the imagination of the
+faithful, was nowhere held in greater honor than in Spain, and the
+center of the cult was Seville. Meanwhile, the authority of the Church,
+as expressed in Councils and Bulls, had maintained a neutral attitude
+toward the question. When, however, at the end of 1617, Paul V, yielding
+to the repeated urging of the Crown and Church of Spain, issued a Bull
+which forbade teaching or preaching in opposition of the dogma, the joy
+of the Spanish people was profound. Seville herself celebrated the glad
+tidings in a frenzy of religious rejoicing. A magnificent ceremony was
+performed in the Cathedral and amid the strains of choir and organ,
+salvoes of artillery and a</p>
+
+<p><a name="ill_23" id="ill_23"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_023_lg.jpg">
+<img src="images/ill_023_sml.jpg" width="500" height="452" alt="[Image unavailable.]" /></a>
+
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td style="text-align:left;">
+MIRACLE OF THE LOAVES AND FISHES<br /><br />
+MOSES STRIKING THE ROCK
+</td>
+<td class="mlft">
+MURILLO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+HOSPITAL DE LA CARIDAD, SEVILLE
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span></p>
+
+<p class="nind">pæan of the bells of the cathedral and churches, Archbishop de Castro
+swore to maintain and defend this peculiar tenet of his see. It was
+followed by a splendid entertainment in the bull-ring, where in the
+presence of enormous throngs the nobles appeared, accompanied by
+magnificent retinues, and one in particular, Don Melchior de Alcázar,
+attended by his dwarf and four gigantic negroes, performed prodigies of
+valor and dexterity. It was recognised that a new era had commenced;
+that the old dark days of inquisitorial rigor were passed and love and
+gentleness were to reign henceforth. It was into this atmosphere of
+sweet religious ecstasy that Murillo was born, destined to become the
+artist who best succeeded in expressing it.</p>
+
+<p>Murillo’s only teacher was his uncle, Juan de Castillo, who gave his
+pupil a thorough grounding in drawing, though his own style could not do
+much to help his pupil’s advance in painting. After a time Juan moved to
+Cadiz and his nephew, without father or mother, was left to face life
+alone. He gained a living by painting “bodegones,” or still-life
+subjects, and pictures of saints, which he sold in the <i>feria</i> or weekly
+market. His ambition was to study in Rome and, as a first step, to visit
+Madrid. Having saved a little money, he made his way on foot to the
+capital and presented himself to his fellow townsman, Velasquez. The
+latter received him kindly and obtained permission for the young man to
+paint in the royal galleries. Here Murillo studied and copied the works
+of Titian, Rubens, Van Dyck, Ribera and Velasquez himself, to such
+purpose that the last-named advised him to go to Rome. But Murillo, who
+had now<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> been three years away from Seville, determined to return
+thither. The same independent spirit which had enabled him to shift for
+himself and to leave home and study in wider fields, now assured him
+that he had gained what he needed without further travel. From the
+various influences which he had experienced, he discovered a style for
+himself. He returned to Seville without friends or influence, but
+opportunity presented itself. The monks of the convent of S. Francis
+wished their cloister decorated. Murillo applied to them for the
+commission. They would have preferred a well known artist of the city,
+but, having little money to offer, engaged the young, unknown painter.
+Murillo spent three years on this work, and, when it was completed,
+found himself the most famous painter in Seville. He had taken something
+from the several styles of the artists he had studied and imprinted upon
+it his own individuality. This expressed itself particularly in an
+ability to give reality to his picturing of the story involved in the
+legends of S. Francis. He had proved himself to be a great illustrator.</p>
+
+<p>This term to-day perhaps involves a certain depreciatory significance.
+Men are often illustrators because they cannot find a market for their
+easel-pictures; or, having obtained a reputation as illustrators, are
+ambitious to be painters. The fact is, that illustration to-day is
+confined to books and magazines, and from the publisher’s point of view
+is designed rather to attract attention to the text than to illuminate
+it. But in Murillo’s day, as in Raphael’s, illustration was a noble and
+honored art, the readiest and most efficient way of bringing the<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span> sacred
+truth home to the minds of the unlettered masses, and permitted so grand
+a scope, that it was also a decoration to monumental buildings. Thus the
+value of an illustration at that date, while it incidentally might be
+decorative, depended primarily on the appeal which it made to the hearts
+and understandings of the people. Murillo was a sincere Catholic; he
+could feel his subject in accordance with the Church’s teaching, and
+moreover he had the gift of telling the story in the vernacular;
+depicting it in familiar guise and investing it with those touches of
+everyday life that pique and hold the interest of the simplest mind.</p>
+
+<p>To be indifferent to the genius and value of such a gift is to admit
+oneself a careless student of human nature. It is either that we refuse
+to be interested in what interests the masses, or that we underrate the
+virtue of the latter being thus interested. To-day, in our modern
+experience, there are thousands of illustrators; but if one looks back,
+say, twenty years, how many are there who have been leaders, in the
+sense that they have caught the spirit of the age for the first time and
+given it an expression which the educated and unlearned alike recognise
+as something vital? This is the point. For the thousands who can
+perpetuate a tradition, imitate somebody else, or carry on the accepted
+convention, there will be found but one or two who can synthetise the
+time-spirit into a new expression. And for the worth-while of doing
+this? I repeat that, to-day, illustration is mainly a method of amusing
+vacant minds. But it was not so in the seventeenth century, any more
+than during the early and the great days of the Renaissance. It<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span> was
+something that influenced the lives of millions in their attitude to
+what, then at least, was of supreme moment, religion. Therefore, to
+estimate the genius and value of Murillo’s gift of illustration we must
+not judge it from the standpoint of to-day, but in the light of the
+needs and desires of his contemporaries. Then we shall realise that what
+Murillo did for the simple, religious folk of Seville is akin to
+Raphael’s contribution to the mingled Humanistic and Christian needs of
+Rome. Both were great illustrators, whose subject matter was religion,
+and who told their story in the medium that appealed to the sympathy and
+understanding of the largest number of people of their day. But the very
+freedom from Humanistic influence which characterised Murillo’s art
+encreased its value to the people of Seville. It was essentially Spanish
+in its naturalism and specifically Andalusian in its sentiment.</p>
+
+<p class="dtts">..........</p>
+
+<p>Murillo’s method of painting has been described as exhibiting three
+styles&mdash;cold, warm and vaporous. According to this arrangement, the
+first style (<i>estilo frio</i>) is distinguished by cold coloring and dark
+shadows; the second (<i>estilo calido</i>) by warmth of coloring, stronger
+contrasts of luminous light and shade, and by increased plasticity of
+form; the third, (<i>estilo vaporoso</i>) by the vaporous or misty effects of
+atmosphere, enveloping the whole or part of the composition. But while
+his works show this variety of method, they cannot be distributed into
+periods, definitely characterised by one or another style. Nor will it
+repay the student to try to docket the different pictures according to
+any such pigeon-hole</p>
+
+<p><a name="ill_24" id="ill_24"></a></p>
+
+<div class="figcenter" style="width: 427px;">
+<a href="images/ill_024_lg.jpg">
+<img src="images/ill_024_sml.jpg" width="427" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+SS. JUSTA AND RUFINA
+</td>
+<td class="mlft">
+MURILLO
+</td></tr>
+<tr><td class="cloc" colspan="2">
+PROVINCIAL MUSEUM, SEVILLE
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p>
+
+<p class="nind">system of division. He will rather become aware that, as Murillo
+attained to facility and confidence in his own way of rendering his
+intentions, he perfected his pictorial representation both of the
+naturalistic motive and of the spiritualised conception, which in whole
+or in part for the time being occupied his imagination. In some pictures
+you find the naturalistic motive either predominating or in complete
+control; in others it is combined with the spiritualised motive; while
+again, particularly in the <i>Conceptions</i>, the spiritualised intention is
+exclusively apparent. Whether it satisfies your own spiritual sense is
+another matter.</p>
+
+<p>Nor can these varieties of motive be assigned to special periods of
+Murillo’s career. For example, after he had established his reputation
+as a painter of <i>Conceptions</i>, he executed the series of works for the
+Hospital de La Caridad, in Seville. Two of these are produced on page
+<a href="#page_150">150</a>. They were selected because they redounded to the reputation of
+Murillo in his lifetime, and yet exhibit a weakness which more or less
+is evident in all his works of illustration.</p>
+
+<p>Neither the <i>Miracle of the Loaves and Fishes</i>, nor <i>Moses Striking the
+Rock</i>, contains any spiritual suggestion; for to the modern imagination
+at least the figure of Christ in the one and those of Moses and Aaron in
+the other seem to be invested only with a little symbolical distinction.
+Further, even the significance of the events is not suggested. If you
+take away the Christ, whose importance in the composition is already
+belittled by the group of women on the right, is there anything in the
+action of the figures and the expression of their<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span> faces to indicate
+that they are witnesses of a miracle? The scene becomes nothing more
+than a huge picnic, conducted on an absurdly meagre commissariat. So
+too, in <i>Striking the Rock</i>&mdash;where is the hint of the agony of thirst or
+of high-wrought emotion at the miraculous deliverance? But for the two
+central figures, whose impressiveness, such as it is, is confined to
+themselves, the incident might be simply that of a party of people
+gathered about a spring. To myself a very suggestive indication of the
+shallowness and insincerity of the whole conception is the introduction
+of the small boy on the sleek plump horse. It is a mere studio device
+for getting a spot on which to concentrate the light and for lifting one
+figure above the line of the others.</p>
+
+<p>Another example of this series of Hospital subjects is the very famous
+<i>S. Elizabeth of Hungary</i>, now in the Prado. The scene is being enacted
+in the shadowed arcade of an imposing classical building. The saintly
+Queen, attended by two young ladies, charmingly attired, is washing the
+scalp of an urchin, who leans over a silver basin. A beggar sits on the
+ground removing a bandage from a festering sore, and a boy, with an
+expression on his face of exasperated distress, scratches his head and
+chest. Meanwhile an old woman sits looking up in worshipful gratitude at
+the face of the queen, who possibly returns her gaze. For she is turning
+her head away from the business in which she is engaged, as well as she
+may, since the head she is bathing shows a disgusting sore. Perhaps you
+may say that such details are incidental to a clinic, and may quote the
+example of Rembrandt’s <i>Clinic of Dr. Tulp</i>. But the<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span> latter is frankly
+a naturalistic picture in which the cadaver forms the explanation and
+focus of the group of eager, intellectual heads, absorbed in the
+instruction of the master-surgeon. But Murillo’s is an academically
+disposed composition, involving splendid classical accessories. It is,
+in the manner of its form, idealised according to the Italian tradition,
+while in its details grossly naturalistic. Yet Théophile Gautier, moved
+to a characteristic burst of sentiment, exclaims&mdash;“In his picture of S.
+Elizabeth Murillo takes us into the most thorough-going reality. Instead
+of angels we are here shown lepers. But Christian art, like Christian
+charity, feels no disgust at such a spectacle. Everything which it
+touches becomes pure, elevated and ennobled, and from this revolting
+theme Murillo has created a masterpiece.” This begs the question which
+still remains:&mdash;Is the reality in this case so rendered, that it becomes
+“pure, elevated and ennobled”? The answer will depend upon the
+individual student’s temperament and intellectual attitude.</p>
+
+<p>This picture, indeed, and many others in the Prado arouse a suspicion
+which becomes more pronounced, when we visit the Museum and the Church
+of the Hospital de La Caridad in Seville, that, after all, Murillo was
+not so great a naturalist as he is credited with being. His Street
+urchins, such as appear in the National Gallery, Dulwich Gallery and the
+Munich Pinakothek are vigorous transcripts of nature, racy with
+Sevillian character; but in the <i>Holy Family</i>, called <i>Pajarito</i> (little
+bird) of the Prado, one discovers already a weakening of the
+naturalistic grip. The types are local, and the<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span> scene, as the mother
+stops in the winding of her thread to watch the child playing with a
+dog, while the father holds him tenderly, is such as might be enacted in
+any happy home of the people. But why the voluminous yellow mantle
+spread in graceful folds over Joseph’s knees? It is a recollection of
+Raphael that has inspired this solecism in the everyday naturalness of
+the scene. Similarly, in one picture after another of Murillo’s you can
+find the realities of the scene sacrificed to the picture-making devices
+learned from the Italians. Frequently, as in the <i>Vision of S. Antony of
+Padua</i>, and corresponding subjects, the miraculous nature of the
+incident gives a plausibility to these formal designs, which I venture
+to believe is lacking in the <i>S. Elizabeth</i>, <i>Loaves and Fishes</i> and
+<i>Striking the Rock</i>.</p>
+
+<p>Nor is much of the nobility of the Italian method reproduced in
+Murillo’s use of it. Too frequently its stateliness is invaded by a
+homeliness which borders on the commonplace. One finds little or nothing
+of the aristocrat in Murillo’s equipment. He views his subject with the
+naiveté of an untutored mind and represents it with a simple disregard
+of anything that might lift it above the commonplace. And this is
+practically as true of his technique as of his mental approach. There
+are beautiful passages of color scattered through his works; fine
+rendering of textures, and precious <i>morceaux</i> of still-life. But his
+color-schemes are regulated by temperament rather than by knowledge and
+calculation; his brush-work is rarely distinguished and his chiaroscuro
+frequently has grown blackened with time. It would be impossible to view
+one of his acknowledged master<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span>pieces beside even a work of secondary
+interest by Velasquez, without realising at once the hopelessly
+unbridgeable gulf both of mentality and execution that separates them.</p>
+
+<p>In fact, it is not until one comes to his <i>Conceptions</i>, that Murillo
+acquires distinction. In these he shows an originality of idea, to which
+he has moulded for himself a suitable technique. He has learned to
+preserve the plasticity of form and yet invest it with a suggestion of
+being impalpable, and also buoyant, so that it floats of its own
+lightness. The arrangement of the subject, even to the colors, was
+prescribed by the Church; being founded upon the vision, recorded in
+Revelation XII. 1. “And there appeared a great wonder in Heaven; a woman
+clothed with the sun, and the moon under her feet, and upon her head a
+crown of twelve stars.” It is Murillo’s triumph that he dematerialized
+the concrete suggestion; created about the figure the luminousness of
+unearthly light and, while he took for his model a girl of the people,
+invested herself and her angelic surroundings with the imagined reality
+of a vision. This, it is needless to add, represents a triumph of
+technique. In these subjects Murillo proved himself a superior and
+original painter. As to the quality of feeling expressed in them
+opinions may differ; but it can scarcely be questioned that it is
+emotional rather than spiritual. There is nothing in it of soul ecstasy,
+as in El Greco’s visions; it is the sweet, rapturous sentiment of the
+warm-blooded, emotional South. The <i>Conceptions</i>, in fact, are the most
+characteristic product of the Andalusian School and the highest
+achievement of Murillo.<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p>
+
+<p>In conclusion let me quote the observations of the French critic, C. E.
+Beulé, concerning that portrait of Murillo’s which he painted of himself
+when he was in the flush of youth with all his possibilities before him.
+“We find him brilliant, ardent, fresh-colored, the warm blood flowing
+close under his skin; his eyes black, penetrating, full of fire and
+fuller still of passion; his forehead high, and modeled with those
+slight bosses which show a quick but rather feminine intelligence; the
+lower part of his face (as is frequently the case with his countrymen)
+less finely cut, and marred by a coarse mouth and the heavy outline of
+the chin. The total impression is that of a nature in which ardor serves
+instead of force, a facile but superficial rather than profound
+intelligence, and, as a prime trait, highly mundane and sensual. Are not
+these the very qualities we find written in his works?”</p>
+
+<p>Murillo’s end was brought about by a fall from a scaffold. He lingered
+for a short time, spending his days in contemplation of Campaña’s
+<i>Descent from the Cross</i> in the Church of Santa Cruz. He died on the
+third of April, 1682, and was buried, in accordance with his request,
+beneath this picture.<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p>
+
+<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI<br /><br />
+<small>CANO AND ZURBARÁN</small></h2>
+
+<p class="nind"><span class="letra">A</span>LONZO CANO was born in Granada in 1601. He belongs, however, to the
+School of Andalusia, for he studied in Seville and lived there until his
+thirty-sixth year. His teachers in painting were Juan de Castillo, the
+master a few years later of Murillo, and Francisco Pacheco, in whose
+studio Cano was a fellow-pupil of Velasquez. He also practised
+architecture and sculpture. Indeed, it was in the latter art that he
+particularly excelled and gained his first distinction. His teacher had
+been the celebrated Martinez Montañés, whose instruction was
+supplemented by the opportunities of studying the antique marbles
+collected by the Dukes of Alcalá, in their palace in Seville, the <i>Casa
+de Pilatos</i>. The influence of this training is perceptible in his best
+paintings which are characterised by excessive refinement of drawing and
+expression. Yet Cano’s own nature was inclined to violence and
+lawlessness. Having fought a duel with the painter, Llano y Valdés, and
+wounded him, he found it convenient to leave Seville and settle in
+Madrid.</p>
+
+<p>Cano, now in his thirty-sixth year, was kindly received by Velasquez and
+introduced by him to the Count-Duke Olivares, who employed him in his
+palace of Buen Retiro. Philip IV expressed a wish to see the<span class="pagenum"><a name="page_162" id="page_162">{162}</a></span>
+new-comer’s work and, being favorably impressed with it, gave Cano the
+appointment of drawing-master to the young Prince Baltasar Carlos, and
+later made him one of his own painters in ordinary. After some seven
+years of success Cano’s stay in Madrid was terminated as abruptly as his
+sojourn in Seville. His wife was murdered. According to the artist’s own
+account, he had returned home to find her dead in bed, clutching a lock
+of hair and pierced with many wounds, inflicted, apparently, with a
+pocket-knife. Her jewels were missing and the Italian servant had
+disappeared. Suspicion was at first directed against this man; but when
+it became known that the artist had lived on bad terms with his wife,
+while carrying on an intrigue with another woman, he himself was
+suspected of the crime. Whether guilty or not, Cano was alarmed for his
+safety and, giving out that he had left for Portugal, fled East to
+Valencia. Here he took refuge in a monastery, executing works for many
+of the neighbouring communities. At length, trusting that the affair had
+blown over, he returned to Madrid and sought asylum in the house of his
+friend, the Regidor, Don Rafael Sanguineto. He was, however, arrested
+and condemned to the ordeal. Pleading his profession as a painter, he
+was permitted to submit his left hand to the torture and, passing
+through it without a cry, was adjudged innocent.</p>
+
+<p>Six years later Cano, desiring to settle in his native city, Granada,
+obtained through the King’s influence the post of minor-canon in the
+Cathedral, with the proviso that he should be excused from his choral
+duties if</p>
+
+<p><a name="ill_25" id="ill_25"></a></p>
+
+<div class="figcenter" style="width: 396px;">
+<a href="images/ill_025_lg.jpg">
+<img src="images/ill_025_sml.jpg" width="396" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+APOTHEOSIS OF S. THOMAS AQUINAS
+</td>
+<td class="mlft">
+ZURBARÁN
+</td></tr>
+<tr><td class="cloc" colspan="2">
+PROVINCIAL MUSEUM, SEVILLE
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<p class="nind">he took orders within a year. He endeavored to conciliate the very
+natural objections of the Chapter by executing some sculptural
+embellishments for the Coro. He also worked for the convents of the
+neighborhood and for private patrons, with one of whom he came into
+collision respecting the price to be paid for a statue of <i>S. Antony</i>.
+The man, who held the office of auditor of Granada, had demurred at the
+sum asked for a work which had occupied the artist only twenty-five
+days; whereupon Cano, anticipating Whistler, retorted, “You are a bad
+reckoner; I have been fifty years learning to make such a statue in
+twenty-five days.” Then he dashed the <i>S. Antony</i> to the ground and
+smashed him. This was a sacrilegious offence that might have brought the
+artist under the jurisdiction of the Holy Office, but the auditor,
+instead of reporting the matter to that body prevailed on the Chapter to
+declare Cano’s seat vacant because he had not according to agreement
+taken orders. Cano appealed to the King who obtained for him from the
+Bishop of Salamanca a chaplaincy which entitled the holder to full
+orders, while at the same time the Nuncio consented to grant him
+dispensation from saying Mass. So Cano returned in triumph to Granada,
+but never again would execute any work for the Cathedral. Indeed, it was
+in works of charity that the last years of his life were chiefly spent.
+He was so impoverished by them that, when he was stricken with his last
+sickness, the Chapter voted five hundred reals to “The Canon Cano, being
+sick and very poor and without means to pay the doctor”; and a week
+later added another two hundred reals to buy<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span> him “poultry and
+sweetmeats.” He died on the third of October, 1667.</p>
+
+<p>The Capilla Mayor in the Cathedral of Granada is enriched with
+sculptural works by Cano’s hand and with some paintings. These represent
+the “Seven Joys of Mary,” <i>Annunciation</i>, <i>Conception</i>, <i>Nativity</i>,
+<i>Presentation in the Temple</i>, and <i>Assumption</i>. They are placed so high,
+that from the floor it is very difficult to see them, while, even when
+you view them from the nearer approach of the triforium, the colored
+glass of the windows interferes with their effect. As far as one can
+judge on the spot and with the aid of photographs they are too flimsy in
+character for the monumental structure which they are intended to
+decorate. That this conclusion is correct appears probable when you
+study Cano’s smaller altar-pieces. Some of them are painted so thinly,
+with so little variety of values of hue and so little interest of
+surface, that they seem to be empty. On the other hand, his best works,
+such as the <i>Mother and Child</i> over the Altar of Bethlehem in Seville
+Cathedral, and the <i>S. Agnes</i> of the Berlin Gallery, are so exquisitely
+refined that they need to be seen at close range.</p>
+
+<p>The former is regarded as Cano’s masterpiece. The type of the Virgin is
+of Granada, touched with Moorish warmth, a little more womanly and much
+more refined than Murillo’s. But, like the latter’s and like Raphael’s
+Roman Madonnas, it is beautiful only in a physical and emotional way; it
+has nothing of the spirituality of El Greco’s creations, so absorbed in
+the mystery of their sacred and miraculous estate. Yet among<span class="pagenum"><a name="page_165" id="page_165">{165}</a></span> the
+Madonnas of the Southern artists there is probably none so pure in its
+loveliness and so lovely in its purity as this one of Cano’s. A similar
+quality of exquisitely fragrant maidenhood appears in the S. Agnes. Both
+this and the other canvas represent sentiment, raised to the highest
+pitch of elevated feeling; yet remaining sentiment. I make the point
+because Cano, no more than the other Spanish artists, for all the
+religiosity of their pictures, touched the soul of religion. The only
+artist of the Spanish School to do this was the alien, El Greco.</p>
+
+<p class="dtts">..........</p>
+
+<p>Francisco de Zurbarán was born in 1598 in the little town of Fuente de
+Cantos in the province of Estremadura. His father, a small farmer,
+convinced of his son’s talent for drawing, took him to Seville and
+placed him under the teaching of Roelas. But there is little or no trace
+of this painter’s influence in Zurbarán’s style. In a general way the
+latter came under the spell of Ribera and Caravaggio; indeed, at one
+period of his career Zurbarán in consequence of his dark shadows was
+nicknamed “the Spanish Caravaggio.” But you cannot become acquainted
+with Zurbarán’s various subjects without realising that he owed his
+style chiefly, almost entirely, to himself; that he had shaped it to the
+needs of his own temperament. He was an out and out naturalist; in a
+sense the most conspicuously naturalistic painter of the Spanish School.
+For there is an austerity in his point of view, which separates him from
+the sentiment of Murillo, the passionate virility of Ribera and the
+aristocratic distinction of Velasquez.<span class="pagenum"><a name="page_166" id="page_166">{166}</a></span> Zurbarán consorted with Monks;
+took advantage of occasional opportunities of retiring from the world
+into the quiet of a monastic community; and in the simplicity and
+frugality of his tastes was at heart a monk. The bare walls of a cell or
+refectory, the plain habits of the brethren, and the orderly formality
+of their lives, were more to him than subjects for his brush. They were
+so in tune with his own instincts, that he derived from them inspiration
+for his art; affecting not only his habit of seeing but his technique.
+Both became characterised by largeness and simplicity and by more or
+less severity.</p>
+
+<p>These qualities are represented in the great altarpiece, <i>The Apotheosis
+of S. Thomas Aquinas</i>, executed when Zurbarán was only twenty-seven
+years old and generally considered his masterpiece. It is to be seen
+to-day under very favorable conditions in the Provincial Museum of
+Seville, for it is hung high in a good light and can be viewed from
+various distances. These advantages of placing no doubt count in the
+impression, differing so widely from the usual circumstances under which
+the altar-pieces of Spain are to be studied. But the impression received
+of the <i>S. Thomas</i> is that, with the exception of the <i>Funeral of Count
+Orgaz</i>, it is the noblest ceremonial picture that one has met in Spain.
+It is due to the magnificence of its organic simplicity and bigness,
+which give the composition an emphasis and carrying force. And what is
+true of the large masses, viewed from a distance, is equally true on a
+nearer view of the details. The latter resolve themselves into finely
+treated surfaces of drapery and particularly into the punctuating
+emphasis of keenly</p>
+
+<p><a name="ill_26" id="ill_26"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_026_lg.jpg">
+<img src="images/ill_026_sml.jpg" width="500" height="430" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+MIRACLE OF S. HUGO
+</td>
+<td class="mlft">
+ZURBARÁN
+</td></tr>
+<tr><td class="cloc" colspan="2">
+PROVINCIAL MUSEUM, SEVILLE
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span></p>
+
+<p class="nind">characterised heads. The altar-piece was painted for the Church of the
+College of S. Thomas; whose founder, Archbishop Diego de Deza is
+represented below; kneeling opposite to the Emperor Charles V, who
+presumably had been a patron of the foundation. One has but to look at
+the reproduction of this picture (p. 163) to feel sure that all the
+heads are portraits; that of S. Thomas, “The Angelic Doctor,” being,
+tradition says, a portrait of the Prebendary of Seville in Zurbarán’s
+time. While each head is individualized, it is interesting to note how
+they are assembled into generic groups; the monkish type represented in
+the archbishop and his attendants; the man-of-the-world in the Emperor’s
+group; the type of the thinker and spiritual leader in the four doctors
+of the Church, Gregory, Ambrose, Augustine, Jerome. Nor is there any
+less distinction of character in the S. Paul and S. Dominic, in the
+right upper corner. It is less manifest, however, in the Christ, and
+scarcely to be found in the figure of the Virgin. Two other points may
+be noted, as helping to explain the magistral impression of this canvas.
+In the first place, the effect of wide-openness in the upper part of the
+composition, where the clouds of glory are thronged with cherub heads,
+is carried down into the lower part by the view of the street, seen at a
+distance and dotted with intentionally minute figures, so as not to
+interfere with the emphasis of the groups in the foreground. The result
+of this continuance of lighted space is to create a unity in the
+composition, binding into an ensemble the three tiers of figures. Again,
+it is remarkable with what a comprehension of large, struc<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span>tural
+principles, Zurbarán has distributed the masses, respectively, of the
+plain and of the embellished draperies. The purpose of the whole pageant
+is to glorify S. Thomas and incidentally the Dominican order. The key
+and climax, therefore, of the whole is S. Thomas’s black and white
+habit. To secure its emphasis the cardinal’s red and the rich copes with
+their sumptuously embroidered orphreys have been massed about it.
+Meanwhile a portion of this enrichment is repeated below in the
+archbishop’s robes and the emperor’s cloak, and more faintly in the
+figures in the clouds. Here too S. Dominic supplies an echo of the black
+and white, which in turn are massed in the lower foreground. It is this
+fine ground-work, distribution and climax of black and white, which more
+than anything give this composition so noble a distinction: a certain
+chaste, choice, austere dignity.</p>
+
+<p>Near this picture in the Provincial Museum of Seville hangs another fine
+example of Zurbarán’s originality of composition; <i>The Virgin Blessing
+Various Monks</i>. The white-frocked brothers are kneeling in two groups,
+left and right of the central figure of the Virgin. She stands robed in
+delicate rose, with her arms extended, each hand on the head of a monk.
+Meanwhile her blue mantle, fastened at the throat with a magnificent
+jewel, is held suspended by two cherubs, so that its volume forms a
+canopy of protection over the kneeling groups, and the upper part,
+curving like a bowl, is filled high with angel heads floating in divine
+glory. Here again is architectonic simplicity, allied with grandeur, in
+the distribution of the masses of white, rose, deep blue and<span class="pagenum"><a name="page_169" id="page_169">{169}</a></span> golden
+yellow, and again an extraordinary interest of characterization.</p>
+
+<p>The quality of intense, austere sincerity is represented also in
+<i>Miracle of S. Hugo</i> (p. 166) which is in the same Museum. Indeed, it is
+in Seville that you realise the nobility of Zurbarán’s art. The examples
+in the Prado are by comparison commonplace; except the <i>Portrait of a
+Lady</i> in one of the upper galleries. This introduces us to the character
+of the artist’s work after he settled in Madrid, whither he was sent for
+by the king. Portraits of women of fashion now occupied him. There is a
+good example in the Metropolitan Museum which, in pose and style of
+costume and low toned harmony, resembles the one in the Prado. In the
+latter, however, the silk fall of the drapery is drawn forward over the
+skirt by the lady’s hand, so that its folds are more voluminous, and the
+whole figure, in consequence, is freer in design than the one in New
+York. As for the other picture in the Metropolitan Museum, <i>S. Michael
+the Archangel</i>, it is very hard to credit its attribution to Zurbarán.
+Where else among the artist’s works can you find so palpable an attempt
+to imitate Raphael? It has nothing of the originality, breadth and
+determined naturalism that distinguish Zurbarán. If the latter really
+painted it, he must have done so in his student days with Roelas.</p>
+
+<p>Zurbarán died in Madrid, probably in 1662. He is held in high estimation
+by the Spanish, but scarcely appreciated at his true worth by
+foreigners. To see him at his best, alongside of Murillo’s work, as you
+can in Seville, is to be disposed to question the latter’s claim<span class="pagenum"><a name="page_170" id="page_170">{170}</a></span> to be
+considered the greatest artist of the Sevillian School. Certainly, as
+compared with Murillo, Zurbarán was more unequivocally the naturalist;
+he was at least as good a painter; a better, one may even think; and the
+qualities of his mind were superior. He had not the popular trait of
+sentiment and passion; but the higher gift of intellectuality and the
+rarer one of cold, dispassionate vision.</p>
+
+<p><a name="ill_27" id="ill_27"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_027_lg.jpg">
+<img src="images/ill_027_sml.jpg" width="500" height="416" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+CHARLES IV AND THE ROYAL FAMILY
+</td>
+<td class="mlft">
+GOYA
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span></p>
+
+<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII<br /><br />
+<small>GOYA</small></h2>
+
+<p class="nind"><span class="letra">F</span>ROM the death of Velasquez, in 1661, more than a hundred years had
+elapsed when Goya made his début in Madrid. He is the unexpected
+phenomenon of the Spanish School; coming as a surprise and even more
+surprising in the character of his art, since it anticipated by a
+hundred years an art-motive of our own times. Goya was the prophet of
+modern impressionism, and arrived upon the stage when the drama of
+Spanish painting seemed to have been played out.</p>
+
+<p>For the great names of the seventeenth century had been succeeded by
+painters of inferior ability and the positions of favor at court were
+held by foreigners. The decline of painting had kept pace with national
+decline. Spain under the Bourbon dynasty reaped the whirlwind that had
+been sown by the Hapsburg. Trade and commerce had been reduced to
+nothing; and while a few noble families had grown rich the country was
+poor, even the Court being impoverished. The Church had sunk from its
+high estate, and, devoted to worldly ambitions, had lost the respect of
+the community. The national character was demoralised. The lower classes
+had become brutalised, while society was callous and the Court openly
+profligate. When Goya entered on his<span class="pagenum"><a name="page_172" id="page_172">{172}</a></span> prime, the impotence of the King,
+Charles IV, had permitted the government to slip into the hands of the
+Queen’s favorite, the ex-guardsman, Manuel Godoy. He had been raised to
+the rank of Duke of Alcudia and made prime minister of the realm. For
+bringing to conclusion a war with France in which he had needlessly
+engaged, he ostentatiously assumed the title of the “Prince of Peace.”
+It has been related in a previous chapter how he ratted to Napoleon and
+favored the design to place Joseph Bonaparte on the throne of Spain,
+thereby subjecting Spain to the horrors of a French invasion under Murat
+and to the prolonged distress of the Peninsular war.</p>
+
+<p>Symptomatic of the moral atmosphere of the Court is an anecdote
+mentioned in Doblado’s Letters. The King, surrounded by members of his
+household, was gazing from a window of the palace, when Mallo, who
+happened to be then first favorite with the Queen, drove by, handling a
+fine team of horses. “I wonder,” said the King, “how the fellow can
+afford to keep better horses than I can?” “The scandal goes, Sir,”
+replied Godoy, “that he is himself kept by an ugly old woman whose name
+I have forgotten.”</p>
+
+<p class="dtts">..........</p>
+
+<p>On to the stage of this shabby comedy of court life, set with the
+scenery of a nation’s humiliation, Goya entered and made an immediate
+hit. A man of violent passions, without conscience or scruples, he
+played his part as if all the characteristics of his contemporaries were
+represented in himself. He has left a self-portrait, painted some seven
+years after his appearance on<span class="pagenum"><a name="page_173" id="page_173">{173}</a></span> the scene. It now hangs in the Prado and
+might be mistaken for the portrait of a bull-fighter. Indeed, it reminds
+us that at one period of his young days Goya became efficient in the
+bull-ring. The neck is short and thick; the mouth fleshy and sensual;
+the nose broad; the cheeks large and heavily modeled; the cushioned
+brows indicate a hot, quick sensibility; there is a general suggestion
+of abounding animal force. Only the eyes, deep set and brilliant,
+proclaim the man’s mentality. It is the face of a peasant, which in his
+origin Goya had been.</p>
+
+<p>His father was a small farmer in the village of Fuentedetodos in Aragón,
+where Goya was born in 1746. Bred hardily and possessed of great
+physical strength, the boy asserted his independence early and,
+determining to be an artist, sought instruction from a painter in
+Zaragoza. Here he soon gained notoriety for his escapades and was
+distinguished among his fellow students for his daring and his skill in
+the use of rapier and dagger. Finally he was wounded in some broil and
+hidden away by his friends to escape the clutches of the Inquisition,
+whose attention had been called to the affair. Accordingly, after his
+recovery Goya found it convenient to leave Zaragoza. He made his way to
+Rome, where he stayed for several years, indulging his appetite for
+adventure and intrigue on a larger scale. He again fell foul of the
+Inquisition, through an attempt to remove a young lady from a convent
+and would have fared ill, but for the intervention of the Spanish
+ambassador, who promised to see that the offending artist returned to
+Spain. So in 1769 Goya arrived in Madrid. Shortly after his appearance
+in the capital Goya married the<span class="pagenum"><a name="page_174" id="page_174">{174}</a></span> daughter of the painter, Francisco
+Bayeu. She must have been a lady of exceptional forbearance, since she
+remained true to him notwithstanding his frequent amours and presented
+him with twenty children.</p>
+
+<p>Bayeu introduced his son-in-law to Raphael Mengs, who was in the height
+of favor at Court. This German painter, who had been invited to Spain by
+Charles III, owed his European reputation to his servile imitation of
+his namesake, Raphael. He was a facile, academic mannerist; drawing
+inspiration for his subjects from the Classics and rendering them with a
+purity of style that was absolutely bloodless. He was, however,
+sufficiently large-minded to discover value in the young Goya. The King
+had requested his Court painter to make an effort to revive the Royal
+Tapestry Works of Santa Barbara, and Mengs was engaging painters to
+execute designs. He gave a series to Goya, who prepared the cartoons
+which are now in the Prado. Some of them were executed in the weave and
+can be seen in a room of the Escoriál, adjoining another, decorated with
+tapestries after designs by Teniers. The latter’s example may have
+influenced Goya in his choice of subjects, for he took the theme of
+popular pastimes and treated them naturalistically. The significance of
+this lies in its contrast to the conditions then existing. For the
+tapestries which were <i>à la mode</i> at that time both in France and Spain
+were the Boucher designs, in which little court gentlemen and ladies
+play at being shepherds and milkmaids, and indulge in pretty travesties
+of country life, under conditions of an impossible and ridiculous age of
+innocence. As we come to know Goya we are not</p>
+
+<p><a name="ill_28" id="ill_28"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_028_lg.jpg">
+<img src="images/ill_028_sml.jpg" width="500" height="259" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+MAIA, NUDE
+</td>
+<td class="mlft">
+GOYA
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<p class="nind">surprised that this view of art had no interest for him. We find him to
+have been from boyhood an eager liver, interested to the full in life;
+so we do not now share the surprise that his contemporaries must have
+felt when they saw these cartoons. To a society accustomed to an art of
+academic imitation and rococo lackadaisicalness, they may well have been
+a shock. They seem also to have come as a welcome relief, for they made
+Goya popular; moreover they established for him a character of being
+independent, of which he subsequently took full advantage.</p>
+
+<p>The color schemes of these designs are noteworthy. While the Teniers
+tapestries are based on a very naive use of the primary colors, red,
+blue and yellow, and the Boucher on a subtle use of the same, in which
+the sharpness of the hues is silvered down to demi-tints, the Goya
+introduce the secondary colors. They involve the red, yellow and blue,
+but merely as flashes of brilliance in a groundwork of plum-color,
+purple, dull brown-red, deep orange and blue, and rich greens, enlivened
+with white and velvety black. The schemes are intricate, varied, and
+above all, positive; the work of an artist with an original, if still
+unmatured, sense of color. Goya, indeed, proclaimed in this early work
+the fact that he was a colorist; although, as yet, there is little
+suggestion of the kind of colorist he was going to prove himself.</p>
+
+<p>Following these cartoons came several commissions to provide decorative
+paintings for churches. Goya executed them in the spirit of popular
+genre that inspired the cartoons. Not only had he no religious feeling;
+he was bitterly and openly opposed to the Church, and in<span class="pagenum"><a name="page_176" id="page_176">{176}</a></span> these pictures
+of saintly legends was at no pains to simulate a reverence that he did
+not feel. To this period also belongs the <i>Portrait of Charles III</i> of
+the Prado, which shows him in the costume of a huntsman, an angular
+figure with a genial but homely face. It is painted with uncompromising
+naturalness; the contours as hard and bold as the coloring; a picture
+separated from the Goya that we later know by a wide gap. The fact seems
+to be that in this portrait Goya was painting simply what he saw; and
+since the original was a man of commonplace exterior and Goya himself
+viewed him in a perfectly commonplace way he produced this astonishingly
+common-looking picture. It was necessary for Goya to discover some
+refinement in his own point of view, before he could develop his best
+artistic possibilities. The gradual steps by which he reached this goal
+I do not profess to know; but a few years later, when he had been
+established as Court painter to the new king, Charles IV, the true Goya
+is discovered. His new style, the result of a new way of viewing his
+subject, is fully developed in the group portrait of <i>Charles IV and the
+Royal Family</i>.</p>
+
+<p>We will postpone consideration of Goya’s mental attitude toward these
+royal puppets. That is part of his general outlook upon life, as a
+satirist and castigator of follies. It is his attitude toward his art
+which concerns us for the moment. The reproduction of this picture (p.
+171) gives little but a limited idea of its artistic beauty, but it
+brings out the lack of human interest in, at least, the principal
+personages and the necessary stiffness of this arrangement of the
+figures. It will be<span class="pagenum"><a name="page_177" id="page_177">{177}</a></span> noticed, however, that Goya has drawn the
+straggling items into some degree of unity by enveloping the lower part
+of the end groups in half-shadow. The eye is thus led to concentrate on
+the center of the composition. Here for an instant our attention may be
+occupied by the ungainly attitude of the Queen, and the forbidding
+expression of her face, turned, as in her other portraits by Goya, in
+one direction, while her eyes seek another. But it is only for an
+instant. Then we are attracted by the jewels in her dark hair and on her
+bosom, and by the exquisiteness of the costume&mdash;a fall of Chinese silk,
+mandarin blue, embroidered in white and gold, over a white lace skirt.
+Next our gaze may wander to the similar dresses worn by the princesses
+on her right, which however represent subtle variations of effect
+through the more or less of shadow in which they are veiled; and then to
+the king’s rose-embroidered vest, the pale blue and white watered silk
+ribbon, and the stars and jewels which cluster on the plum-colored
+velvet coat. So gradually one becomes conscious of the loveliness of
+color that permeates the whole group, a bouquet of mingled quietude and
+brilliance, of low tones and sparkling keys, which one can enjoy with as
+complete a detachment from any thought of the figures, as if they were a
+parterre of flowers.</p>
+
+<p>In fact, there is revealed here a colorist of extraordinary refinement
+and subtlety; and of an imagination that is rare among painters. Goya’s
+original fondness for varied and positive colors has matured into a
+mastery over a few hues, treated with exquisite nuances. And the secret
+of this marvelous color-expression is the artis<span class="pagenum"><a name="page_178" id="page_178">{178}</a></span>t’s new way of looking
+at his subject. He has become an impressionist in the modern sense. He
+stands forth, indeed, as the first of modern impressionists, the
+forerunner by nearly a hundred years of the principal art-motive of the
+nineteenth century.</p>
+
+<p class="dtts">..........</p>
+
+<p>Goya used to say that his only teachers had been Velasquez, Rembrandt
+and Nature. It was from the first named that he learned to paint, not
+the subject in front of him but the impression he had formed of it; and
+in this he may have been assisted by Rembrandt’s use of chiaroscuro to
+eliminate by shadow the unessentials and to heighten the saliencies by
+light. Yet it is difficult to understand how Goya could have had many
+opportunities of studying Rembrandt, since there is only a single
+example in the Prado, and the Dutch masters were not favored in Spain.
+Accordingly one is disposed to give Goya fuller credit for discovering
+his own way of rendering his impressions. As it is exhibited in this
+portrait group, it reveals an imagination that heightens the suggestion
+of beauty in the thing recorded, and an extraordinary gift of
+improvisation in handling passages of intricate detail and rendering the
+effect of an ensemble. There is no such maze of luxuriant loveliness as
+this in any picture by Velasquez; the nearest approach to it being,
+perhaps, the breast of the little Don Carlos on horseback. The Goya
+represents a more feminine sensitiveness; it is impregnated with
+temperament. This is the quality of Goya’s impressionism which makes it
+modern. Velasquez’s is impersonally objective; modern impressionism,
+like Goya’s, is naturalism viewed through<span class="pagenum"><a name="page_179" id="page_179">{179}</a></span> temperament; it shapes and
+colors the record to the artist’s mood.</p>
+
+<p>This is at once its weakness and its strength; a source of power when
+the mood is high and spontaneous, of weakness when the mood is slack or
+directly unsympathetic. Under the latter conditions Goya not
+infrequently turned out pictures in which spontaneity and imagination
+are absent, and the result is wooden, ineffective. Still oftener his
+faces are lacking in expression and in subtlety of modeling; while his
+hands, though one has heard them praised, are seldom expressive in
+modeling or in gesture. It was the <i>tout-ensemble</i> that interested him
+and in this the costumes play a very important part and are usually
+handled with incomparable mastery.</p>
+
+<p>Two beautiful examples of his ability to encompass the spirit of a
+subject are the pair of canvases, representing a <i>Maia</i>, or girl of the
+people, in the one case nude, in the other clothed. In both the sofa is
+upholstered in green velvet, spread with silvery white draperies and
+cushions. But, in the case of the nude, the green is cool and bluish; in
+the other, a warmer apple-green to harmonise with the costume. The
+latter consists of a bolero jacket of mustard color with black and white
+lace trimmings, a white gown, shaded with tones of dove-grey and
+lavender, a sash of silvery hue, suffused with claret, and yellow
+Turkish slippers. The black network is laid on crisply and roughly, thus
+helping to set off the smoothness of the technique in the face, which
+has warm red cheeks and brown eyes. On the other hand, in the <i>Maia
+Nude</i>, the coloring throughout<span class="pagenum"><a name="page_180" id="page_180">{180}</a></span> is cooler; a more delicate rose in the
+face, a faintly oxidised silver shadow under the chin and over the
+bosom; and similar shadows of inexpressible subtlety over other portions
+of the body. The flesh is cream with the faintest suggestion of rose;
+and yet not cream, for it seems to be veritable flesh. But, although
+this nude is painted with a naturalism that could scarcely be exceeded,
+the web of evanescent shadow in which it is clothed invests the nudity
+with a veil of idealism. These shadows, absolutely indescribable in
+their delicacy, are the result of a most perfect sense of values and of
+a technique as sure as it is facile. They are the despair of painters
+who try to copy the picture. Goya, in fact, in these two canvases,
+particularly in the nude, has caught the volatile essence of young
+femininity; has succeeded, as it were, in painting the fragrance of the
+flower.</p>
+
+<p>Another kind of femininity, more matured, he has represented in the
+Andalusian beauty, <i>Doña Isabel Corbo de Porcel</i>, of the National
+Gallery. Here the technique, as befits the impression, is more brusque
+and vivacious. But in another example in the same Gallery, <i>Portrait of
+Dr. Péral</i>, Goya has adapted to the refinement of his subject a
+color-scheme and technique of unsurpassable delicacy. The features, pale
+pink, shaded with grey, are set in a frame of long whitish yellow hair;
+the coat is greyish drab, the vest pearly grey with green sprigs, the
+figure being placed against a dark olive-black background. The
+expression of the whole is of a man of rare cultivation and fine mental
+poise. The scheme of color recalls the <i>Portrait of Francisco<span class="pagenum"><a name="page_181" id="page_181">{181}</a></span> Bayeu</i>,
+in the Prado, except that, in the latter, silvery blue is substituted
+for the green; this note of color appearing in the sash.</p>
+
+<p>By the time that Goya reached his maturity the range of his palette was
+reduced to very restricted limits: blue, white, black, vermilion, some
+of the ochres and burnt sienna. And his tools were correspondingly
+meagre. Brushes of the rudest make served his purpose; or he would use a
+sponge or stick, securing some of his subtlest effects with the ball of
+his thumb. From several unfinished bust-portraits in the Prado it
+appears that he worked over an under-surface of orange-red; which no
+doubt accounts for the warmth and fulness of his greys. On the other
+hand, the subtlety which he succeeded in giving to all his local colors,
+laid on as they were in simple flat tones, is the result of a profoundly
+sensitive feeling for values. Goya’s rendering of the varying qualities
+of light, as they affect the hue of a surface, is different from
+Velasquez’s. With the latter, if one may state it briefly, it is rather
+the product of observation; with Goya, of feeling. Therefore, it is
+largely influenced by temperament, which makes it akin to the modern
+handling of values. In this, as in the character of his impression, Goya
+is a modern of the moderns.</p>
+
+<p>It is interesting to compare Goya’s equestrian portraits with those of
+Velasquez. Goya’s best, in the Prado, are those of the King and Queen.
+Perhaps the most noticeable difference appears in the treatment of the
+horses. Velasquez, as we have seen, gave to each of his animals an
+individual character and action, suitable<span class="pagenum"><a name="page_182" id="page_182">{182}</a></span> also to the character and
+psychology of the rider. A spirited small creature bears the little Don
+Carlos; a showy, powerful brute the swaggering Olivares; a beast,
+trained in stately menage, the proud and reserved king. With Goya,
+however, there is little apparent study of the structure or character of
+the animal; it is felt for its value as a handsome mass. And the rider’s
+figure seems to have been felt in the same way; as if by emphasising its
+mass the artist could evade the inevitable commonplace of the face.
+Accordingly, in the case of the Queen, the impression we receive is of a
+black beaver hat with scarlet cockade, scarlet revers and silver braid
+on a black habit; black trousers against the deep green and gold of the
+pummel and saddle-cloth, and of a red-bay horse with darker tail; the
+whole forming a striking silhouette against a dull drab sky that deepens
+to slaty grey on the right, and a tawny, pale green landscape fading
+toward the horizon to silver buffs and olive. Similarly, the King’s
+portrait suggests the effect of a handsome silhouette, which culminates
+in a blaze of splendor amid the decorations that cover the rider’s
+breast. This is artfully balanced by the brilliantly white chest of the
+horse and by a paler white light in one part of the sky. Both these
+portraits, in fact, are primarily color-impressions. It is as if Goya
+had taken refuge in this point of view, in order to get over the
+difficulty of adjusting two such undignified personages to the
+monumental feeling of a large equestrian portrait. It was a case in
+which he tried to keep in control his feelings as a satirist.</p>
+
+<p class="dtts">..........</p>
+
+<p><a name="ill_29" id="ill_29"></a></p>
+
+<div class="figcenter" style="width: 421px;">
+<a href="images/ill_029_lg.jpg">
+<img src="images/ill_029_sml.jpg" width="421" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+QUEEN MARIA LUISA ON HORSEBACK
+</td>
+<td class="mlft">
+GOYA
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<p>For Goya’s role at Court was that of an audacious satirist, censor and
+chastiser of the follies and iniquities of his day. He was allowed a
+free hand, for his gallantry endeared him to the ladies and his prowess
+as a fighter made him feared by the men, while all, except the immediate
+victim, could enjoy the adroitness and daring of his humor. His
+particular <i>bête noir</i> was Godoy, whom he mercilessly satirised. He
+would amuse the idle moments of the Court by sprinkling the contents of
+a sandbox on the writing table, and drawing with his finger caricatures
+of the minister. On one occasion he appeared at some function during a
+period of Court mourning and was refused admission by the ushers,
+because he was wearing white stockings. He retired to an ante-room and
+with pen and ink relieved their whiteness with funereal caricatures of
+Godoy. Among the amours in which he indulged was one with the young
+Duchess of Alba, who returned his passion. Their liaison aroused the
+jealousy of the Queen, who banished the Duchess to her country home.
+When Goya learned of it he pursued his inamorata in hot haste and caught
+her up on the road, for an axle of her carriage had broken. There being
+no smithy near, he himself lit a fire and repaired the damage. The
+exertion was succeeded by a chill, which induced the first symptoms of
+the deafness that in later life became complete. Meanwhile, the Court
+could not do without its Goya, and as he would not return without his
+Duchess, she too was recalled.</p>
+
+<p>But Goya was far from being a mere buffoon and galliard. Although his
+passionate nature with its streak<span class="pagenum"><a name="page_184" id="page_184">{184}</a></span> of coarseness made him at home in the
+petty intrigues of the court, he was a part of the wide-spread
+revolutionary spirit of his day. While Europe, and particularly France,
+was seething with the yeast of unrest, this solitary figure, far off in
+Spain, was already in revolt. In his denunciation of the hypocrisy and
+vice of his age, as exhibited alike in the Church, Society and the
+middle and lower classes, he was a Voltaire and Robespierre in one,
+brandishing the torch that subsequently kindled the French revolution.
+In this, as in his technique, he was ahead of his age. Meanwhile, the
+mental attitude which inspired him was characteristically Spanish: by
+turns grim and gay, humorous and deadly serious, coarse, sensual and
+cruel. In two series of etchings, <i>Caprichos</i> (Whims) and <i>Proverbios</i>
+(Proverbs), the scourge of his satire bit into the plates with a
+virulence of scorn and nakedness of exposure that have never been
+surpassed and, before his day, had never been attempted by an artist. In
+one of his etchings, a dead man has returned to life and is writing with
+his finger on the wall <i>nada&mdash;nothing</i>. Goya was a nihilist, bitter
+therefore against quacks and empirics, whether priests, doctors or
+lawyers. Also he laid bare the emptiness and horror of passion, a
+hashish that beguiles forgetfulness and leads to impotence and
+nothingness.</p>
+
+<p>This idea of the nothingness of life in general, and of passion in
+particular is expressed with Goya’s characteristic ferocity and lust of
+the horrible in <i>The Fates</i> (p. 182). Midway between earth and sky three
+female figures are floating, their lower limbs entwined so as to form a
+cradle, on which, with hands bound behind his</p>
+
+<p><a name="ill_30" id="ill_30"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_030_lg.jpg">
+<img src="images/ill_030_sml.jpg" width="500" height="240" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+THE FATES
+</td>
+<td class="mlft">
+GOYA
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<p class="nind">back and his legs screwed up to maintain a precarious balance, sits Man.
+Meanwhile, the crone on the left, a harridan of the slums, clenches in
+her fist a pigmy figure, whose hands are stretched in vain supplication
+to a darkened sky. Such is the beginning of Man’s destiny; to discover
+the development of which another crone is peering through a spy-glass.
+The third Fate, nude, younger and of opulent form, turns her face to a
+lurid glare in the sky. Watching till the light fades, she holds the
+scissors which will cut the thread and precipitate Man, sated with
+passion, into the waters below.</p>
+
+<p>This colossal travesty of life, as nothing but inchoate, chaotic, brute
+nature, swayed by elemental lust, is painted with such amazing
+brutality, that the pigments seem as if they might have been laid on
+with a trowel. The crudity is intentional, producing a texture that fits
+the monstrous irony of the conception. Moreover, before this picture one
+loses sense of color, as consisting of specific hues. It is, in fact, an
+apt illustration of Goya’s own paradox, that color does not exist, that
+everything is light and shade of varying values. While one may discover
+the application of this principle in the meagre range of color,
+manipulated with nuances of value, which distinguishes all the canvases
+of Goya’s maturity, it is particularly evident in his subjects of
+grotesque and violent imagination such as <i>The Fates</i>. Another example,
+selected for reproduction here (p. 189), is <i>The Scene of May 3, 1808</i>.
+The citizens captured by Murat’s troops, in the riot of the previous
+night, are being shot down in batches; the incident taking place in the
+grounds of the palace of the “Prince of Peace<span class="pagenum"><a name="page_186" id="page_186">{186}</a></span>”! The dull drab grey of
+early morning hangs over the scene and seems to have impregnated the
+uniforms of the soldiers and the clothes of their scared, hopeless
+victims. But the dead monotony is rent with a shriek, shrilling out in
+the clear, cold notes of the white shirt of the poor wretch whose arms
+are raised, in the yellow breeches and the crimson pool of blood. It is
+a remarkable example of color used solely for the purpose of expression;
+a use most characteristic of Goya, to which we will return later.</p>
+
+<p class="dtts">..........</p>
+
+<p>In the troubles which overtook Spain, Goya proved himself neither
+patriot nor hero. He swore allegiance to Joseph Bonaparte and utilised
+the sufferings of his country for a series of etchings, <i>The Disasters
+of War</i>, in which the horrors of the military invasion are depicted with
+unexampled force and naturalism. After Wellington had expelled the
+French, Goya again played the part of opportunist and pledged his fealty
+to Ferdinand VII. The King, remarking that Goya’s conduct deserved
+hanging but that he was a great artist and should be forgiven, restored
+him to his position of Court Painter. Goya, however, was beginning to
+decline. His deafness had grown upon him and with it a moroseness and
+irritability of temper, which made him shun society and bury himself in
+his country house. His deafness even denied him the solace of his
+favorite amusement, playing on the piano. His wife was dead, and the
+sole object of the old man’s affection was his little grandson, Mariano,
+whose face he has commemo<span class="pagenum"><a name="page_187" id="page_187">{187}</a></span>rated in the portrait, now owned in Madrid by
+the Marqués de Alcañices.</p>
+
+<p>Goya at length obtained the King’s permission to visit France. He spent
+some time in Paris, where he was welcomed by Delacroix and the younger
+spirits of the French romantic movement. He then settled in Bordeaux,
+tended and cared for by an old friend, Madame Weiss. During this period
+he executed a few portraits and the lithographs, <i>Les Taureaux de
+Bordeaux</i>, in which his old time vigor is displayed. When the term of
+his leave of absence had expired, he revisited Madrid and was received
+by the King and people with marks of the highest respect and
+consideration. Goya was now in his eighty-second year, and returned to
+Bordeaux, where he lingered a few months and died in the Spring of 1828.
+Seventy-one years later his remains were removed from the cemetery of
+Bordeaux and interred with honors in Madrid. For by this time Goya’s
+reputation had become world-wide, and his influence upon modern art
+thoroughly recognised.</p>
+
+<p class="dtts">..........</p>
+
+<p>Goya’s gift to the modern world is twofold: impressionism and, if one
+may coin a word, expressionism. To the former we have already alluded in
+comparing his kind of impressionism with that of Velasquez. While the
+earlier artist with his objective vision realised an impression of
+observation: Goya, influenced by temperament, recorded an impression of
+feeling. This attitude toward art naturally made him welcome to the
+French Romanticists, and through them brings him in touch with the
+general modern tendency toward self-expres<span class="pagenum"><a name="page_188" id="page_188">{188}</a></span>sion. For the modern artist
+learned from Velasquez the principles of impressionistic painting, as a
+foundation of technique, but later derived from Goya the secret of
+impressionism for the purpose of expressing the emotion with which the
+subject inspired him. To the temperamental impressionist, therefore,
+Goya seems to represent the last word in technical distinction.</p>
+
+<p>But to-day the impressionist himself is on trial. The world is beginning
+to question the worth-whileness of his art, except as a necessary
+transition-stage to something more fundamentally vital that is in
+process of evolution. What this will prove to be is at present in
+suspense; but we are vaguely discerning that it will be something at
+once more organically basic than impressionism and more spiritualised in
+motive. It may have been inevitable for the artist to depend on
+temperament in an age, such as the late century has been, of religious,
+mental and moral upheaval, during which the old academic, dogmatic forms
+of religion and art were toppling down, the hard old conventions that
+shackled social and mental betterment were being gradually
+disintegrated, and old values were being reduced to a flux in the
+melting pot of scientific analysis. But, as order has begun to emerge
+from this confusion, the need of a new constructive faith is taking hold
+of men’s minds; the need of a new consciousness of some spiritual
+relation with the universe of matter. If the art of the future is to
+keep pace with progress outside itself, it must shape new motives to
+this need; and already there are signs that it is doing so.</p>
+
+<p>It is here that Goya’s second gift to posterity appears.</p>
+
+<p><a name="ill_31" id="ill_31"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/ill_031_lg.jpg">
+<img src="images/ill_031_sml.jpg" width="500" height="379" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+SCENE OF MAY 3, 1808
+</td>
+<td class="mlft">
+GOYA
+</td></tr>
+<tr><td class="cloc" colspan="2">
+THE PRADO
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p>
+
+<p>His influence has been working in the direction of expression, as the
+painter’s goal, rather than representation. For a while, in the middle
+of the nineteenth century, Velasquez’s inimitable faculty of recording a
+visual impression fascinated artists. Consciously or otherwise, these
+men were a part of the material and scientific tendency of the time, and
+material representation seemed to them the Ultima Thule of artistic
+achievement. Hence the thousands of canvases by men of all countries
+which in their point of view are neither more nor less than
+photographic. Their authors remained content to vie with the camera; and
+then, because they had superior opportunities in color, were proud and
+scornful when they beat the camera at its own game. Meanwhile, there
+were painters who began to wish to play a game of their own; to rid
+painting of the obsession in the matter of representation, and to make
+their pictures more expressive of their own abstract sense of beauty. To
+these men Goya came as a revelation. Through his impressionism of
+feeling they learned principles of expression, not discoverable in
+Velasquez.</p>
+
+<p>It is true that the influence of Goya has tended for some time toward
+solely temperamental and emotional expression. That was because the
+tendency of the age ran in this direction. To-day, however, it is
+pointed in a new direction, facing the actual realities of existence.
+Impressionism is melting away before a new dawn of Realism. Thinking
+people are beginning to re-establish themselves upon the facts of life;
+not the old conventions that passed as facts, but the facts, as they are
+presenting themselves to a newly awakened realisation<span class="pagenum"><a name="page_190" id="page_190">{190}</a></span> of an
+encompassing environment of spiritual facts. They are Realists, who
+would study the facts of life in their spiritual relation to the
+universe.</p>
+
+<p>Behind this still uncertain momentum of modern thought art is groping.
+If one ventures to hazard a conjecture of the outcome, it may be that
+the painter will get back to a more disciplined and scientific use of
+form and color, using them organically, but not, however, to the sole or
+even the main end of representation. He will appeal as directly and
+exclusively as possible to man’s purely esthetic perceptions, and
+correlate these to his conception of universal beauty. Painting thus may
+become once more, but in a new religious sense, a spiritualized
+expression.</p>
+
+<p>Following this train of thought one comes upon a curious analogy between
+Goya and El Greco. It was no accident of changing whim that has made the
+progressive artist of to-day turn from Velasquez to Goya, and has drawn
+so many besides artists to admiration of El Greco. It is because both
+tender to the needs of to-day. Both are artists of expression. They
+share with Rembrandt the distinction of being the greatest artists of
+expression that any school can show. Though Goya’s genius is confined to
+a lower level of expression, it points in principle to the spiritual
+altitude of El Greco’s. Both are models of suggestion for the artist of
+to-day, if he is alive to the esthetic and spiritual needs of his age
+and is striving to express them.</p>
+
+<p>That, after its own period of greatness, it should be thus refertilizing
+modern art, is the proud distinction of the Spanish School.</p>
+
+<p><a name="ill_32" id="ill_32"></a></p>
+
+<div class="figcenter" style="width: 323px;">
+<a href="images/ill_032_lg.jpg">
+<img src="images/ill_032_sml.jpg" width="323" height="500" alt="[Image unavailable.]" /></a>
+<br />
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+class="tablcap">
+<tr valign="top"><td>
+IN THE BALCONY
+</td>
+<td class="mlft">
+GOYA
+</td></tr>
+<tr><td class="cloc" colspan="2">
+COLLECTION OF THE DUKE OF MARCHENA, PARIS
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<h2><a name="A_POSTSCRIPT" id="A_POSTSCRIPT"></a>A POSTSCRIPT</h2>
+
+<p class="nind"><span class="letra">V</span>ERY suggestive of the force and persistence of the Spanish character is
+the fact that the only Spanish artists of recent years who have become
+notably distinguished are those who have remained true to the traditions
+of their School. Academic encouragement has been given to the production
+of historical pictures, which cover large quantities of canvas but
+excite little interest. On the other hand, those painters who have
+acquired a European and American reputation have all based their art on
+naturalism.</p>
+
+<p>The first of these in order of time was Mariano Fortuny, whose <i>La
+Vicaria</i>, better known in America as <i>The Spanish Marriage</i>, when it
+made its first appearance in Paris in 1870, created a sensation. The
+scene, it will be remembered, is a sacristy, profusely embellished with
+rococo decorations. The costumes of the figures are those of Goya’s day;
+the actions and gestures piquantly natural and the characterization of
+each happily individualized. But the chief charm of the picture lies in
+the marvelous treatment of the light. Fortuny, after pursuing the
+academic routine and capturing the <i>Prix de Rome</i>, obtained an
+engagement to accompany the Spanish troops in a little war with Morocco.
+The splendor of Southern coloring opened his eyes to the magic of light.
+Henceforth his pictures became mir<span class="pagenum"><a name="page_192" id="page_192">{192}</a></span>acles of luminosity. The most
+powerful were <i>La Vicaria</i>, <i>Choosing the Model</i> and <i>The Rehearsal</i>;
+all rococo subjects in which the light is splintered into a myriad tiny
+reflections. But the finer work, in an artistic sense, is to be found in
+his water-colors. These are executed with extraordinary fluency and
+expression, marvels of naturalistic characterization, flooded broadly
+with glowing luminosity. Fortuny lived only five years after his
+remarkable début, dying in 1874 at the age of thirty-six.</p>
+
+<p>Among those who were influenced by him, the most notable in imitating
+his virtuosity were Edoardo Zamacois, Antonio Casanova y Estorach and
+Fortuny’s brother-in-law, Raimundo de Madrazo. On the other hand, the
+artist who has been most happy in uniting virtuosity with a gift of
+naturalism is Francisco Pradilla. He has painted decorations full of
+<i>joie de vivre</i> and the spirit of romance: popular merry-makings,
+camp-life and scenes along the sea-shore; spontaneous in execution,
+abounding with zest and aglow with color. Joaquin Sorolla y Bastida has
+followed in his footsteps, with a longer stride and heavier tread. His
+works have the zest of Pradilla’s, but neither the refinement of
+virtuosity nor the versatility and subtlety of color. His naturalism is
+of the obvious type.</p>
+
+<p>In contrast to him is Ignacio Zuloaga, an artist in whom has been
+re-incarnated much of the diablerie and subtlety of Goya. Since the
+latter no other has dipped so deeply into the grotesqueries of Spanish
+life, while in a thoroughly modern vein he explores the psychology of
+his subjects. These include a diversity of types of<span class="pagenum"><a name="page_193" id="page_193">{193}</a></span> femininity, subtly
+analysed and interpreted by means, particularly, of expressive
+color-schemes. Zuloaga, to-day, is not only the most characteristically
+Spanish of the artists of Spain, but the most advanced of them in his
+feeling for expression and in his faculty of rendering it.<span class="pagenum"><a name="page_195" id="page_195">{195}</a></span><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p><p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p>
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+<p class="c"><a href="#A">A</a>,
+<a href="#B">B</a>,
+<a href="#C">C</a>,
+<a href="#D">D</a>,
+<a href="#E">E</a>,
+<a href="#F">F</a>,
+<a href="#G">G</a>,
+<a href="#H">H</a>,
+<a href="#I">I</a>,
+<a href="#J">J</a>,
+<a href="#L">L</a>,
+<a href="#M">M</a>,
+<a href="#N">N</a>,
+<a href="#O">O</a>,
+<a href="#P">P</a>,
+<a href="#R">R</a>,
+<a href="#S">S</a>,
+<a href="#T">T</a>,
+<a href="#U">U</a>,
+<a href="#V">V</a>,
+<a href="#W">W</a>,
+<a href="#X">X</a>,
+<a href="#Z">Z</a></p>
+
+<p class="nind"><a name="A" id="A"><span class="lettre">A</span></a><br />
+Abd-er-Rahman, <a href="#page_9">9</a><br />
+
+Abencerrages, tribe of, <a href="#page_11">11</a><br />
+
+<i>Adoration of the Kings, The</i> [Velasquez], <a href="#page_88">88</a>, <a href="#page_104">104</a>, <a href="#page_107">107</a><br />
+
+<i>Adoration of the Shepherds, The</i> [Velasquez], <a href="#page_104">104</a>, <a href="#page_107">107</a><br />
+
+<i>Æsopus</i> [Velasquez], <a href="#page_115">115</a><br />
+
+<i>Agnes, S.</i> [Cano], <a href="#page_164">164</a>, <a href="#page_165">165</a><br />
+
+Alba, Duchess of, <a href="#page_183">183</a><br />
+
+Alcade de los Hijosdalgos, <a href="#page_131">131</a><br />
+
+Alcalá, Duke of, <a href="#page_161">161</a><br />
+
+Alcalá de Henares, University of, <a href="#page_13">13</a><br />
+
+Alcañices, Marquis of, <a href="#page_187">187</a><br />
+
+Alcántara, bridge of, <a href="#page_73">73</a><br />
+
+Alcázar, <a href="#page_73">73</a>, <a href="#page_111">111</a><br />
+
+Alcázar, Don Melchior de, <a href="#page_151">151</a><br />
+
+Alcudia, Duke of. See <i>Godoy</i><br />
+
+Alexander VI, Pope, <a href="#page_13">13</a><br />
+
+Alfonso I, <a href="#page_10">10</a><br />
+
+Alfonso IV, <a href="#page_10">10</a><br />
+
+Alhambra, <a href="#page_11">11</a>, <a href="#page_30">30</a>, <a href="#page_34">34</a>;<br />
+<span style="margin-left: 1em;">impressions of, <a href="#page_35">35-37</a>;</span><br />
+<span style="margin-left: 1em;">motive of decoration, <a href="#page_38">38</a></span><br />
+
+Almohades, sect of, <a href="#page_10">10</a>.<br />
+
+Almoravides, tribe of, <a href="#page_10">10</a><br />
+
+Alva, Duke of, <a href="#page_17">17</a><br />
+
+Andalusia, <a href="#page_41">41</a>;<br />
+<span style="margin-left: 1em;">school of, study of Raphael, <a href="#page_46">46</a>;</span><br />
+<span style="margin-left: 1em;">influence of Pedro Campaña, <a href="#page_47">47</a>;</span><br />
+<span style="margin-left: 1em;">school of Murillo, <a href="#page_54">54</a>;</span><br />
+<span style="margin-left: 1em;">in the seventeenth century, <a href="#page_64">64</a>, <a href="#page_65">65</a>;</span><br />
+<span style="margin-left: 1em;">return to naturalism, <a href="#page_102">102</a>;</span><br />
+<span style="margin-left: 1em;">Ribera, <a href="#page_136">136</a>;</span><br />
+<span style="margin-left: 1em;">Murillo, <a href="#page_148">148</a>, <a href="#page_154">154</a>, <a href="#page_157">157</a></span><br />
+
+<i>Annunciation, The</i> [Cano], <a href="#page_164">164</a><br />
+
+<i>Annunciation, The</i> [El Greco], <a href="#page_88">88</a><br />
+
+Antigua, Capella de la, <a href="#page_42">42</a><br />
+
+Antolinez, José, <a href="#page_62">62</a>, <a href="#page_132">132</a>;<br />
+<span style="margin-left: 1em;"><i>The Assumption</i>, <a href="#page_62">62</a>;</span><br />
+<span style="margin-left: 1em;"><i>Glorification of the Virgin</i>, <a href="#page_62">62</a>;</span><br />
+<span style="margin-left: 1em;"><i>Ecstasy of the Magdalen</i>, <a href="#page_62">62</a></span><br />
+
+<i>Antony Visiting S. Paul, S.</i> [Velasquez], <a href="#page_105">105</a>, <a href="#page_126">126</a><br />
+
+<i>Apocalypse, The</i> [El Greco], <a href="#page_89">89</a><br />
+
+<i>Apotheosis of S. Thomas Aquinas</i> [Zurbarán], <a href="#page_166">166</a><br />
+
+<i>Apparition of the Virgin to a Community of Bernardine Monks During a Ceremony of Exorcism</i> [Pedro Berruguete?], <a href="#page_44">44</a><br />
+
+Aragón, kingdom and province of, <a href="#page_3">3</a>, <a href="#page_40">40</a>, <a href="#page_41">41</a>, <a href="#page_173">173</a><br />
+
+Argensola, Bartolomé, <a href="#page_18">18</a><br />
+
+Arian controversy, <a href="#page_8">8</a><br />
+
+Arpino, Cavaliero d’, <a href="#page_140">140</a><br />
+
+<i>Assumption, The</i> [Antolinez], <a href="#page_62">62</a><br />
+
+<i>Assumption, The</i> [Cano], <a href="#page_164">164</a><br />
+
+<i>Assumption of the Magdalen</i> [Ribera], <a href="#page_144">144</a><br />
+
+<i>Assumption of the Virgin</i> [Cerezo], <a href="#page_62">62</a><br />
+
+<i>Assumption of the Virgin</i> [El Greco], <a href="#page_69">69</a><br />
+
+Asturias, kingdom of, <a href="#page_9">9</a>, <a href="#page_10">10</a>, <a href="#page_131">131</a><br />
+
+Auto-da-fé, depicted by Francisco Rizi, <a href="#page_62">62</a><br />
+
+<br />
+<a name="B" id="B"></a><span class="lettre">B</span><br />
+
+Badajoz, <a href="#page_48">48</a><br />
+
+Balearic Isles, <a href="#page_23">23</a><br />
+
+Baltasar Carlos, Prince, <a href="#page_162">162</a><br />
+
+<i>Baltasar Carlos, Equestrian Portrait</i> [Velasquez], <a href="#page_105">105</a>, <a href="#page_108">108</a><br />
+
+<i>Baltasar Carlos, Portrait of</i> [Mazo], <a href="#page_124">124</a><br />
+
+<i>Baltasar Carlos, Portrait of</i> [Velasquez], <a href="#page_98">98</a>, <a href="#page_178">178</a>, <a href="#page_182">182</a>, <a href="#page_186">186</a><br />
+
+<i>Baltasar Carlos, Sportsman Portrait</i> [Velasquez], <a href="#page_105">105</a><br />
+
+<i>Baptism of Christ, The</i> [El Greco], <a href="#page_85">85</a><br />
+
+Barbara, Santa. See <i>Tapestry works</i><br />
+
+<i>Bartholomew, S.</i> [El Greco], <a href="#page_79">79</a><br />
+
+Bavaria, Elector of, <a href="#page_21">21</a><br />
+
+Bayeu, Francisco, <a href="#page_174">174</a><br />
+
+<i>Bayeu, Portrait of</i> [Goya], <a href="#page_180">180</a><br />
+
+<i>Benedict Celebrating Mass, S.</i> [Rizi], <a href="#page_61">61</a><br />
+
+Berlin, Kaiser Friedrich Museum, <a href="#page_134">134</a>, <a href="#page_164">164</a><br />
+
+Bermudez, Cean, “Dictionary of Painters,” <a href="#page_23">23</a><br />
+
+Berruguete, Pedro, <a href="#page_44">44</a>;<br />
+<span style="margin-left: 1em;"><i>Apparition of the Virgin to a Community of Bernardine Monks During a Ceremony of Exorcism</i>, <a href="#page_44">44</a></span><br />
+
+Beruete y Moret, critic, <a href="#page_106">106</a>, <a href="#page_108">108</a>, <a href="#page_122">122</a>, <a href="#page_123">123</a>, <a href="#page_134">134</a><br />
+
+Beulé, C. E., French critic, <a href="#page_160">160</a><br />
+
+Boabdil, Caliph, <a href="#page_11">11</a><br />
+
+Bonaparte, Joseph, <a href="#page_23">23</a>, <a href="#page_172">172</a>, <a href="#page_186">186</a><br />
+
+Bonaparte, Napoleon. See <i>Napoleon</i><br />
+
+<i>Borbón, Portrait of Doña Isabel de</i> [Juan Pantoja de la Cruz], <a href="#page_55">55</a><br />
+
+Bordeaux, Goya retires to, <a href="#page_187">187</a><br />
+
+Borgia family, <a href="#page_136">136</a><br />
+
+Borgoña, Juan de, <a href="#page_44">44</a><br />
+
+<i>Borrachos, Los</i> [Velasquez], <a href="#page_104">104</a>, <a href="#page_107">107</a><br />
+
+Bosch, Hieronymus, <a href="#page_43">43</a><br />
+
+Boucher tapestries, <a href="#page_174">174</a><br />
+
+Bourbon, Constable of, <a href="#page_16">16</a><br />
+
+Bourbon family, <a href="#page_21">21</a>, <a href="#page_171">171</a><br />
+
+Bouts, Dierick, <a href="#page_42">42</a><br />
+
+Brueghel, Pieter, <a href="#page_43">43</a><br />
+
+Buddhistic art, <a href="#page_85">85</a>, <a href="#page_91">91</a><br />
+
+Buen Retiro, <a href="#page_19">19</a>;<br />
+<span style="margin-left: 1em;">presented to the king by Count Olivares, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;">paintings in, <a href="#page_60">60</a>, <a href="#page_61">61</a>, <a href="#page_105">105</a>, <a href="#page_161">161</a></span><br />
+
+Burgos, city of, <a href="#page_10">10</a><br />
+
+<i>Burning Bush</i> [Collantes], <a href="#page_60">60</a><br />
+
+<span class="pagenum"><a name="page_198" id="page_198">{198}</a></span>Byzantine art, <a href="#page_85">85</a>, <a href="#page_91">91</a><br />
+
+<br />
+<a name="C" id="C"></a><span class="lettre">C</span><br />
+
+Cadiz, <a href="#page_151">151</a><br />
+
+Calderon, dramatist, <a href="#page_18">18</a><br />
+
+<i>Calle de la Reina de Aranjuez</i> [Mazo], <a href="#page_128">128</a>, <a href="#page_129">129</a><br />
+
+Calvert, Albert F., <a href="#page_70">70</a><br />
+
+Campaña, Pedro, <a href="#page_47">47</a>;<br />
+<span style="margin-left: 1em;"><i>Descent from the Cross</i>, <a href="#page_47">47</a>, <a href="#page_160">160</a></span><br />
+
+Canaletto, <a href="#page_127">127</a><br />
+
+Cano, Alonzo, <a href="#page_65">65</a>;<br />
+<span style="margin-left: 1em;">chapter on, <a href="#page_161">161</a>;</span><br />
+<span style="margin-left: 1em;">early years, <a href="#page_161">161</a>;</span><br />
+<span style="margin-left: 1em;">death of his wife, <a href="#page_163">163</a>;</span><br />
+<span style="margin-left: 1em;">dispute with chapter of cathedral, <a href="#page_163">163</a>;</span><br />
+<span style="margin-left: 1em;">death, <a href="#page_164">164</a>;</span><br />
+<span style="margin-left: 1em;"><i>Annunciation, Conception, Nativity, Presentation, Assumption</i>, <a href="#page_164">164</a>;</span><br />
+<span style="margin-left: 1em;"><i>Mother and Child</i>, <a href="#page_164">164</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Agnes</i>, <a href="#page_164">164</a></span><br />
+
+Cantabria, province of, <a href="#page_10">10</a><br />
+
+Capella Mayor, decorations of the, <a href="#page_28">28</a><br />
+
+<i>Caprichos</i> [Goya], <a href="#page_184">184</a><br />
+
+Caracci, Annibale, <a href="#page_140">140</a><br />
+
+Caracci, the, <a href="#page_63">63</a>, <a href="#page_137">137</a>, <a href="#page_139">139</a><br />
+
+Caracciolo, Giambattista, <a href="#page_140">140</a><br />
+
+Caravaggio, Michelangelo, <a href="#page_137">137</a>, <a href="#page_138">138</a>, <a href="#page_139">139</a>, <a href="#page_165">165</a><br />
+
+Caravaggio, the Spanish, <a href="#page_165">165</a><br />
+
+<i>Card Players, The</i> [Caravaggio], <a href="#page_140">140</a><br />
+
+Carducho, Bartolomeo, <a href="#page_52">52</a>, <a href="#page_55">55</a>, <a href="#page_61">61</a><br />
+
+Carducho, Vicente, <a href="#page_55">55</a>, <a href="#page_59">59</a><br />
+
+Caridad, Hospital de la, <a href="#page_155">155</a>, <a href="#page_157">157</a><br />
+
+Carreño, Juan, <a href="#page_57">57</a>, <a href="#page_62">62</a>;<br />
+<span style="margin-left: 1em;">chapter on, <a href="#page_131">131</a>;</span><br />
+<span style="margin-left: 1em;">portraits of the royal family, <a href="#page_132">132</a>;</span><br />
+<span style="margin-left: 1em;">fresco paintings, <a href="#page_132">132</a>;</span><br />
+<span style="margin-left: 1em;"><i>Portrait of Charles II</i>, <a href="#page_20">20</a>, <a href="#page_134">134</a>;</span><br />
+<span style="margin-left: 1em;"><i>Portrait of Queen Mariana</i>, <a href="#page_133">133</a>;</span><br />
+<span style="margin-left: 1em;"><i>The Conception</i>, <a href="#page_132">132</a>;</span><br />
+<span style="margin-left: 1em;"><i>Magdalen in the Desert</i>, <a href="#page_133">133</a>;</span><br />
+<span style="margin-left: 1em;"><i>San Sebastian</i>, <a href="#page_133">133</a></span><br />
+
+Casa de Pilatos, <a href="#page_161">161</a><br />
+
+Casanova y Estorach, Antonio, <a href="#page_192">192</a><br />
+
+Cassel Gallery, the, <a href="#page_62">62</a><br />
+
+Castile, province of, <a href="#page_3">3</a>, <a href="#page_10">10</a>, <a href="#page_40">40</a>, <a href="#page_41">41</a>, <a href="#page_42">42</a>, <a href="#page_74">74</a><br />
+
+Castile, school of, <a href="#page_41">41-43</a>, <a href="#page_50">50</a>;<br />
+<span style="margin-left: 1em;">Moro’s influence, <a href="#page_53">53</a>;</span><br />
+<span style="margin-left: 1em;">review of seventeenth century, <a href="#page_54">54-63</a></span><br />
+
+Castillo, Juan de, <a href="#page_151">151</a>, <a href="#page_161">161</a><br />
+
+Castillon de la Plana, <a href="#page_63">63</a><br />
+
+Castro, Archbishop de, <a href="#page_151">151</a><br />
+
+Catalonia, province of, <a href="#page_41">41</a><br />
+
+Catholic sovereigns, <a href="#page_3">3</a>, <a href="#page_8">8</a>, <a href="#page_11">11</a>, <a href="#page_14">14</a>, <a href="#page_16">16</a>, <a href="#page_18">18</a>, <a href="#page_31">31</a><br />
+
+<i>Catholic Sovereigns at Prayer with their Families before the Virgin</i>, <a href="#page_43">43</a><br />
+
+Caxés, Eugenio, <a href="#page_55">55</a><br />
+
+Caxés, Patricio, <a href="#page_52">52</a>, <a href="#page_55">55</a><br />
+
+Celtiberians, <a href="#page_6">6</a><br />
+
+Cerezo, Mateo, <a href="#page_62">62</a>;<br />
+<span style="margin-left: 1em;"><i>Penitent Magdalen</i>, <a href="#page_62">62</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. John the Baptist</i>, <a href="#page_62">62</a>;</span><br />
+<span style="margin-left: 1em;"><i>Assumption of the Virgin</i>, <a href="#page_62">62</a></span><br />
+
+Cervantes, novelist, <a href="#page_17">17</a>, <a href="#page_75">75</a><br />
+
+Cézanne, Paul, <a href="#page_90">90</a><br />
+
+Charles I of Spain, V of Germany, <a href="#page_15">15</a>, <a href="#page_19">19</a>, <a href="#page_31">31</a>, <a href="#page_52">52</a>, <a href="#page_167">167</a><br />
+
+Charles II, reign of, <a href="#page_20">20</a>, <a href="#page_131">131</a><br />
+
+<i>Charles II, Portrait of</i> [Carreño], <a href="#page_20">20</a><br />
+
+<i>Charles II, Portrait of</i> [Claudio Coello], <a href="#page_19">19</a><br />
+
+Charles III, reign of, <a href="#page_22">22</a>, <a href="#page_23">23</a>, <a href="#page_174">174</a>;<br />
+<span style="margin-left: 1em;">portrait of, <a href="#page_176">176</a></span><br />
+
+Charles IV, reign of, <a href="#page_23">23</a>, <a href="#page_24">24</a>, <a href="#page_172">172</a>, <a href="#page_176">176</a><br />
+
+<i>Charles IV, Equestrian Portrait of</i> [Goya], <a href="#page_182">182</a><br />
+
+<i>Charles IV and Family, Portrait of</i> [Goya], <a href="#page_176">176</a><br />
+
+Chicago Art Institute, <a href="#page_78">78</a><br />
+
+<i>Christ at the Pillar</i> [Velasquez], <a href="#page_105">105</a><br />
+
+Church in Spain, the, <a href="#page_25">25</a>, <a href="#page_30">30</a>, <a href="#page_73">73</a>, <a href="#page_125">125</a>, <a href="#page_150">150</a>, <a href="#page_153">153</a>, <a href="#page_154">154</a>, <a href="#page_171">171</a><br />
+
+Churrigueresque, <a href="#page_28">28</a><br />
+
+Classicism, <a href="#page_139">139</a><br />
+
+<i>Clinic of Dr. Tulp</i> [Rembrandt], <a href="#page_156">156</a><br />
+
+Clovio, Julio, <a href="#page_69">69</a><br />
+
+Coello, Alonso Sánchez, <a href="#page_53">53</a>, <a href="#page_54">54</a><br />
+
+Coello, Claudio, <a href="#page_19">19</a>, <a href="#page_63">63</a>;<br />
+<span style="margin-left: 1em;"><i>La Santa Forma</i>, <a href="#page_63">63</a></span><br />
+
+Collantes, Francisco, <a href="#page_58">58</a>, <a href="#page_59">59</a>;<br />
+<span style="margin-left: 1em;"><i>Vision of Ezekiel</i>, <a href="#page_59">59</a></span><br />
+
+Colonial possessions, <a href="#page_13">13</a>, <a href="#page_15">15</a>, <a href="#page_18">18</a><br />
+
+Columbus, <a href="#page_3">3</a><br />
+
+Comedies of Cape and Sword, <a href="#page_18">18</a><br />
+
+<i>Coming of the Holy Ghost, The</i> [El Greco], <a href="#page_89">89</a><br />
+
+<i>Conception, The</i> [Cano], <a href="#page_164">164</a><br />
+
+<i>Conception, The</i> [Carreño], <a href="#page_132">132</a><br />
+
+<i>Conceptions</i> [Murillo], <a href="#page_154">154</a><br />
+
+Cordova, University of, <a href="#page_9">9</a><br />
+
+Coro, decorations of the, <a href="#page_28">28</a>, <a href="#page_148">148</a><br />
+
+<i>Coronation of the Virgin</i> [unknown], <a href="#page_43">43</a><br />
+
+<i>Coronation of the Virgin</i> [El Greco], <a href="#page_87">87</a>, <a href="#page_90">90</a><br />
+
+Corot, <a href="#page_128">128</a><br />
+
+Corpus Christi, Church of, <a href="#page_63">63</a><br />
+
+Correggio, <a href="#page_137">137</a>, <a href="#page_139">139</a><br />
+
+Correnzio, Belisario, <a href="#page_140">140</a><br />
+
+Cortes, the first, <a href="#page_10">10</a><br />
+
+Cota, dramatist, <a href="#page_13">13</a><br />
+
+Counter-Reformation, <a href="#page_80">80</a><br />
+
+Court of the Lions, <a href="#page_37">37</a><br />
+
+<i>Crucifixion, The</i> [El Greco], <a href="#page_76">76</a>, <a href="#page_85">85</a>, <a href="#page_87">87</a><br />
+
+Cruz, Church of Santa, <a href="#page_47">47</a>, <a href="#page_160">160</a><br />
+
+Cuevas, Pedro de las, <a href="#page_131">131</a><br />
+
+Cuyp, <a href="#page_125">125</a><br />
+
+<br />
+<a name="D" id="D"></a><span class="lettre">D</span><br />
+
+“Darklings,” <a href="#page_140">140</a><br />
+
+<i>Death of Laocoön and his Sons</i>, <a href="#page_87">87</a><br />
+
+Delacroix, <a href="#page_187">187</a><br />
+
+<i>Descent from the Cross</i> [Campaña], <a href="#page_47">47</a>, <a href="#page_160">160</a><br />
+
+Diego de Deza, Archbishop, <a href="#page_167">167</a><br />
+
+Doblado’s letters, <a href="#page_172">172</a><br />
+
+Dolci, Carlo, <a href="#page_139">139</a><br />
+
+Domenichino, <a href="#page_139">139-141</a><br />
+
+Dominican order, <a href="#page_168">168</a><br />
+
+Doria Gallery, <a href="#page_105">105</a><br />
+
+<i>Dream of Life, The</i> [Pereda], <a href="#page_58">58</a><br />
+
+<i>Dream of Philip II, The</i> [El Greco], <a href="#page_86">86</a><br />
+
+Dresden Gallery, <a href="#page_140">140</a><br />
+
+Dulwich Gallery, <a href="#page_157">157</a><br />
+
+Dupré, Jules, <a href="#page_129">129</a><br />
+
+<br />
+<a name="E" id="E"></a><span class="lettre">E</span><br />
+
+<i>Ecce Homo</i> [Morales], <a href="#page_50">50</a><br />
+
+<i>Ecce Homo</i> [Pereda], <a href="#page_59">59</a><br />
+
+Eclectics, <a href="#page_138">138</a><br />
+
+<i>Ecstasy of the Magdalen</i> [Antolinez], <a href="#page_62">62</a><br />
+
+<i>El Expolio</i> [El Greco], <a href="#page_70">70</a><br />
+
+<i>Elizabeth of Hungary</i> [Murillo], <a href="#page_156">156</a><br />
+
+England, wars with, <a href="#page_15">15</a>, <a href="#page_17">17</a>, <a href="#page_22">22</a>, <a href="#page_23">23</a><br />
+
+<i>Erasmus</i> [Holbein], <a href="#page_95">95</a><br />
+
+Escoriál, the: impressions of, <a href="#page_30">30-34</a>;<br />
+<span style="margin-left: 1em;">visited by Rubens, <a href="#page_103">103</a>;</span><br />
+<span style="margin-left: 1em;">paintings in, <a href="#page_52">52</a>;</span><br />
+<span style="margin-left: 1em;">Caxés and Carducho, <a href="#page_55">55</a>;</span><br />
+<span class="pagenum"><a name="page_199" id="page_199">{199}</a></span><span style="margin-left: 1em;">Coello, <a href="#page_63">63</a>;</span><br />
+<span style="margin-left: 1em;">El Greco, <a href="#page_71">71</a>, <a href="#page_86">86</a>;</span><br />
+<span style="margin-left: 1em;">frescoes by Carreño, <a href="#page_132">132</a>;</span><br />
+<span style="margin-left: 1em;">tapestries, <a href="#page_174">174</a></span><br />
+
+Estilo frio, calido, vaporoso (Murillo), <a href="#page_154">154</a><br />
+
+Estremadura, province of, <a href="#page_165">165</a><br />
+
+Expression, <a href="#page_68">68</a>, <a href="#page_90">90</a>, <a href="#page_188">188</a>, <a href="#page_189">189</a><br />
+
+<i>Expulsion of the Morescoes</i> [Velasquez], <a href="#page_111">111</a><br />
+
+<br />
+<a name="F" id="F"></a><span class="lettre">F</span><br />
+
+Farnese, Cardinal Nepote, <a href="#page_69">69</a><br />
+
+Farnese Palace, <a href="#page_137">137</a><br />
+
+<i>Fates, The</i> [Goya], <a href="#page_184">184</a><br />
+
+Ferdinand VI, <a href="#page_22">22</a><br />
+
+Ferdinand VII, <a href="#page_186">186</a><br />
+
+Ferdinand and Isabella, <a href="#page_3">3</a>, <a href="#page_11">11</a>, <a href="#page_15">15</a>, <a href="#page_18">18</a>, <a href="#page_40">40</a><br />
+
+Ferdinand of Germany, <a href="#page_16">16</a><br />
+
+Fernando, Academy of San, <a href="#page_22">22</a>;<br />
+<span style="margin-left: 1em;">pictures by Morales, <a href="#page_49">49</a>;</span><br />
+<span style="margin-left: 1em;">Pereda, <a href="#page_58">58</a>;</span><br />
+<span style="margin-left: 1em;">Mayno, <a href="#page_61">61</a>;</span><br />
+<span style="margin-left: 1em;">Carreño, <a href="#page_133">133</a></span><br />
+
+<i>Fernando de Austria, Don</i> [Velasquez], <a href="#page_105">105</a>, <a href="#page_113">113</a><br />
+
+<i>Fernando Nino de Guevara, Portrait of Don</i> [El Greco], <a href="#page_90">90</a><br />
+
+Fire of 1734, <a href="#page_131">131</a><br />
+
+Flanders, art drawn from, <a href="#page_13">13</a><br />
+
+Flemish School, influence of, <a href="#page_42">42</a>, <a href="#page_47">47</a>, <a href="#page_52">52</a><br />
+
+Florentines, <a href="#page_45">45</a><br />
+
+<i>Forge of Vulcan</i> [Velasquez], <a href="#page_103">103</a>, <a href="#page_108">108</a>, <a href="#page_116">116</a><br />
+
+Fortuny, Mariano, <a href="#page_65">65</a>, <a href="#page_191">191</a>;<br />
+<span style="margin-left: 1em;"><i>La Vicaria</i>, <a href="#page_191">191</a>;</span><br />
+<span style="margin-left: 1em;"><i>Choosing the Model</i>, <a href="#page_192">192</a>;</span><br />
+<span style="margin-left: 1em;"><i>The Rehearsal</i>, <a href="#page_192">192</a></span><br />
+
+<i>Fountain of the Tritons</i> [Mazo], <a href="#page_128">128</a><br />
+
+France, wars with, <a href="#page_23">23</a>, <a href="#page_172">172</a>;<br />
+<span style="margin-left: 1em;">alliance with, <a href="#page_23">23</a>, <a href="#page_186">186</a></span><br />
+
+Francis, Convent of S., <a href="#page_152">152</a><br />
+
+Francis I of France, <a href="#page_15">15</a><br />
+
+<i>Francis d’Assisi, S.</i> [Ribalta], <a href="#page_64">64</a><br />
+
+Fuente de Cantos, <a href="#page_165">165</a><br />
+
+Fuentedetodos, <a href="#page_173">173</a><br />
+
+<i>Funeral of Count Orgaz</i> [El Greco], <a href="#page_166">166</a><br />
+
+<br />
+<a name="G" id="G"></a><span class="lettre">G</span><br />
+
+Galicia, province of, <a href="#page_10">10</a><br />
+
+Gautier, Théophile, <a href="#page_157">157</a><br />
+
+<i>George Gyze, Portrait of</i> [Holbein], <a href="#page_95">95</a><br />
+
+Gil, Margarita, <a href="#page_136">136</a><br />
+
+Giordano, Luca, <a href="#page_32">32</a>, <a href="#page_65">65</a><br />
+
+Giotto, <a href="#page_91">91</a><br />
+
+<i>Gloria</i> [Titian], <a href="#page_16">16</a><br />
+
+<i>Glorification of the Virgin</i> [Antolinez], <a href="#page_62">62</a><br />
+
+Godoy, Manuel, <a href="#page_23">23</a>, <a href="#page_172">172</a>, <a href="#page_185">185</a>;<br />
+<span style="margin-left: 1em;">satirized by Goya, <a href="#page_183">183</a></span><br />
+
+Golden Age of Moorish civilization, <a href="#page_11">11</a><br />
+
+Golden Age of Spanish literature and art, <a href="#page_18">18</a>, <a href="#page_54">54</a><br />
+
+Gongora, Luis de, poet, <a href="#page_18">18</a><br />
+
+Gonsalvo de Cordova, <a href="#page_13">13</a><br />
+
+Gonzáles, Bartolomé, <a href="#page_55">55</a>;<br />
+<span style="margin-left: 1em;"><i>Portrait of Philip III and Wife</i>, <a href="#page_55">55</a>;</span><br />
+<span style="margin-left: 1em;"><i>Doña Margarita of Austria</i>, <a href="#page_55">55</a>;</span><br />
+<span style="margin-left: 1em;"><i>Doña Isabel de Borbón</i>, <a href="#page_55">55</a></span><br />
+
+Gothic invasion, <a href="#page_7">7</a><br />
+
+Goya, Francisco, <a href="#page_23">23</a>, <a href="#page_65">65</a>, <a href="#page_67">67</a>, <a href="#page_120">120</a>;<br />
+<span style="margin-left: 1em;">chapter on, <a href="#page_171">171</a>;</span><br />
+<span style="margin-left: 1em;">appearance in court, <a href="#page_172">172</a>;</span><br />
+<span style="margin-left: 1em;">early life, <a href="#page_173">173</a>;</span><br />
+<span style="margin-left: 1em;">tapestry designs, <a href="#page_174">174</a>;</span><br />
+<span style="margin-left: 1em;">color, <a href="#page_175">175</a>, <a href="#page_177">177</a>;</span><br />
+<span style="margin-left: 1em;">church commissions, <a href="#page_175">175</a>;</span><br />
+<span style="margin-left: 1em;">point of view, <a href="#page_178">178</a>;</span><br />
+<span style="margin-left: 1em;">methods, <a href="#page_181">181</a>;</span><br />
+<span style="margin-left: 1em;">compared with Velasquez, <a href="#page_181">181</a>;</span><br />
+<span style="margin-left: 1em;">rôle at court, <a href="#page_183">183</a>;</span><br />
+<span style="margin-left: 1em;">old age, <a href="#page_186">186</a>; death, <a href="#page_187">187</a>;</span><br />
+<span style="margin-left: 1em;">compared with El Greco, <a href="#page_190">190</a>;</span><br />
+<span style="margin-left: 1em;"><i>Portrait of Charles III</i>, <a href="#page_22">22</a>, <a href="#page_176">176</a>;</span><br />
+<span style="margin-left: 1em;"><i>Self-Portrait</i>, <a href="#page_172">172</a>;</span><br />
+<span style="margin-left: 1em;"><i>Charles IV and Royal Family</i>, <a href="#page_176">176</a>;</span><br />
+<span style="margin-left: 1em;"><i>Doña Isabel Corbo de Porcel</i>, <a href="#page_180">180</a>;</span><br />
+<span style="margin-left: 1em;"><i>Dr. Péral</i>, <a href="#page_180">180</a>;</span><br />
+<span style="margin-left: 1em;"><i>Equestrian Portraits of the King and the Queen</i>, <a href="#page_184">184</a>;</span><br />
+<span style="margin-left: 1em;"><i>The Fates</i>, <a href="#page_184">184</a>;</span><br />
+<span style="margin-left: 1em;"><i>Scene of May <a href="#page_3">3</a>, 1808</i>, <a href="#page_185">185</a>;</span><br />
+<span style="margin-left: 1em;"><i>Disasters of War</i>, <a href="#page_186">186</a>;</span><br />
+<span style="margin-left: 1em;"><i>Taureaux de Bordeaux</i>, <a href="#page_187">187</a>;</span><br />
+<span style="margin-left: 1em;"><i>Proverbios</i>, <a href="#page_184">184</a>;</span><br />
+<span style="margin-left: 1em;"><i>Caprichos</i>, <a href="#page_184">184</a>;</span><br />
+<span style="margin-left: 1em;"><i>Maia</i>, <a href="#page_179">179</a></span><br />
+
+Goya, Mariano, <a href="#page_186">186</a><br />
+
+Granada, <a href="#page_3">3</a>, <a href="#page_10">10</a>, <a href="#page_11">11</a>, <a href="#page_34">34</a>, <a href="#page_123">123</a>, <a href="#page_161">161</a>;<br />
+<span style="margin-left: 1em;">cathedral of, <a href="#page_163">163</a>, <a href="#page_164">164</a></span><br />
+
+Granvilla, Cardinal, <a href="#page_52">52</a><br />
+
+Greco, Domenico Theotocopuli, El, <a href="#page_17">17</a>, <a href="#page_45">45</a>, <a href="#page_51">51</a>, <a href="#page_56">56</a>, <a href="#page_148">148</a>, <a href="#page_164">164</a>, <a href="#page_190">190</a>;<br />
+<span style="margin-left: 1em;">chapter on, <a href="#page_66">66-91</a>;</span><br />
+<span style="margin-left: 1em;">relations with the Church, <a href="#page_66">66</a>;</span><br />
+<span style="margin-left: 1em;">with Philip II, <a href="#page_67">67</a>;</span><br />
+<span style="margin-left: 1em;">point of view, <a href="#page_67">67</a>, <a href="#page_88">88</a>, <a href="#page_92">92</a>;</span><br />
+<span style="margin-left: 1em;">letter describing, <a href="#page_72">72</a>;</span><br />
+<span style="margin-left: 1em;">types, <a href="#page_74">74</a>;</span><br />
+<span style="margin-left: 1em;">spiritual expression, <a href="#page_77">77</a>;</span><br />
+<span style="margin-left: 1em;">house now museum, <a href="#page_79">79</a>;</span><br />
+<span style="margin-left: 1em;">kinship with Oriental art, <a href="#page_85">85</a>, <a href="#page_91">91</a>;</span><br />
+<span style="margin-left: 1em;"><i>The Assumption of the Virgin</i>, <a href="#page_69">69</a>, <a href="#page_78">78</a>, <a href="#page_81">81</a>;</span><br />
+<span style="margin-left: 1em;"><i>El Expolio</i>, <a href="#page_70">70</a>;</span><br />
+<span style="margin-left: 1em;"><i>San Mauricio and his Theban Legion</i>, <a href="#page_71">71</a>, <a href="#page_81">81</a>, <a href="#page_87">87</a>;</span><br />
+<span style="margin-left: 1em;"><i>San Martin</i>, <a href="#page_71">71</a>, <a href="#page_89">89</a>;</span><br />
+<span style="margin-left: 1em;"><i>Vista of Toledo</i>, <a href="#page_71">71</a>, <a href="#page_73">73</a>;</span><br />
+<span style="margin-left: 1em;"><i>Funeral of Count Orgaz</i>, <a href="#page_71">71</a>, <a href="#page_82">82</a>;</span><br />
+<span style="margin-left: 1em;"><i>Self-Portrait of the Artist</i>, <a href="#page_71">71</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Jerome</i>, <a href="#page_75">75</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Paul</i>, <a href="#page_75">75</a>;</span><br />
+<span style="margin-left: 1em;"><i>The Crucifixion</i>, <a href="#page_76">76</a>, <a href="#page_85">85</a>, <a href="#page_87">87</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Bartholomew</i>, <a href="#page_79">79</a>;</span><br />
+<span style="margin-left: 1em;"><i>Baptism of Christ</i>, <a href="#page_85">85</a>;</span><br />
+<span style="margin-left: 1em;"><i>The Resurrection</i>, <a href="#page_85">85</a>, <a href="#page_86">86</a>;</span><br />
+<span style="margin-left: 1em;"><i>Dream of Philip II</i>, <a href="#page_86">86</a>;</span><br />
+<span style="margin-left: 1em;"><i>Virgin and Saints</i>, <a href="#page_87">87</a>;</span><br />
+<span style="margin-left: 1em;"><i>Coronation of the Virgin</i>, <a href="#page_87">87</a>;</span><br />
+<span style="margin-left: 1em;"><i>Annunciations, Holy Family</i>, <a href="#page_88">88</a>;</span><br />
+<span style="margin-left: 1em;"><i>Nativity</i>, <a href="#page_88">88</a>;</span><br />
+<span style="margin-left: 1em;"><i>Coming of the Holy Ghost</i>, <a href="#page_89">89</a>;</span><br />
+<span style="margin-left: 1em;"><i>Death of Laocoön and his Sons</i>, <a href="#page_89">89</a>;</span><br />
+<span style="margin-left: 1em;"><i>Apocalypse</i>, <a href="#page_89">89</a>;</span><br />
+<span style="margin-left: 1em;"><i>Sacred and Profane Love</i>, <a href="#page_89">89</a>;</span><br />
+<span style="margin-left: 1em;"><i>Don Fernando Nino de Guevara</i>, <a href="#page_90">90</a></span><br />
+
+<i>Gregory Saying Mass</i> [unknown], <a href="#page_45">45</a><br />
+
+Guadarrama, Sierra, <a href="#page_31">31</a><br />
+
+Guercino, <a href="#page_139">139</a><br />
+
+Guevara, Velez de, <a href="#page_18">18</a><br />
+
+Guido. See <i>Reni</i><br />
+
+<br />
+<a name="H" id="H"></a><span class="lettre">H</span><br />
+
+Hague, Gallery of the, <a href="#page_62">62</a>, <a href="#page_126">126</a><br />
+
+Hall of the Kings, Buen Retiro, <a href="#page_60">60</a><br />
+
+Hals, <a href="#page_94">94</a>, <a href="#page_99">99</a><br />
+
+Hapsburg family, <a href="#page_15">15</a>, <a href="#page_19">19</a>, <a href="#page_21">21</a>, <a href="#page_134">134</a>, <a href="#page_171">171</a><br />
+
+Hartley, E. Gasquoine, <a href="#page_70">70</a><br />
+
+<i>Hermit Saint</i> [Ribera], <a href="#page_142">142</a><br />
+
+Herrera, Francisco, <a href="#page_64">64</a>, <a href="#page_102">102</a><br />
+
+<i>Hilanderas, Las</i> [Velasquez], <a href="#page_105">105-116</a><br />
+
+Hispanic Museum, New York, <a href="#page_44">44</a>, <a href="#page_50">50</a>, <a href="#page_88">88</a>, <a href="#page_132">132</a><br />
+
+Hobbema, <a href="#page_125">125</a><br />
+
+Holbein, <a href="#page_95">95</a>, <a href="#page_99">99</a>, <a href="#page_100">100</a>, <a href="#page_101">101</a><br />
+
+Holland, art of, <a href="#page_26">26</a>, <a href="#page_54">54</a>, <a href="#page_125">125</a>;<br />
+<span style="margin-left: 1em;">rivalry with, <a href="#page_15">15</a>, <a href="#page_17">17</a>, <a href="#page_18">18</a>, <a href="#page_122">122</a></span><br />
+
+<i>Holy Family</i> [El Greco], <a href="#page_88">88</a><br />
+
+<i>Holy Family</i> (<i>Pajarito</i>) [Murillo], <a href="#page_157">157</a><br />
+
+Hospital de la Caridad, <a href="#page_155">155</a><br />
+
+<i>Hugo, Miracle of S.</i> [Zurbarán], <a href="#page_169">169</a><br />
+
+Humanistic movement, <a href="#page_145">145</a>, <a href="#page_154">154</a><br />
+
+<br />
+<a name="I" id="I"></a><span class="lettre">I</span><br />
+
+Iberians, <a href="#page_6">6</a><br />
+
+<span class="pagenum"><a name="page_200" id="page_200">{200}</a></span>Ildefonso, picture in Church of San, <a href="#page_42">42</a><br />
+
+Illustration, <a href="#page_152">152</a><br />
+
+Immaculate Conception, dogma proclaimed, <a href="#page_150">150</a><br />
+
+<i>Immaculate Conception</i> [Ribera], <a href="#page_144">144</a><br />
+
+Impressionism, <a href="#page_100">100</a>, <a href="#page_114">114</a>, <a href="#page_128">128</a>, <a href="#page_171">171</a>, <a href="#page_187">187</a>, <a href="#page_188">188</a><br />
+
+<i>Innocent X, Portrait of</i> [Velasquez], <a href="#page_90">90</a>, <a href="#page_93">93</a>, <a href="#page_105">105</a>, <a href="#page_123">123</a><br />
+
+Inquisition, the, <a href="#page_14">14</a>, <a href="#page_16">16</a>, <a href="#page_173">173</a><br />
+
+<i>Interrio, El</i> [El Greco], See <i>Funeral of Count Orgaz</i><br />
+
+<i>Isaac Blessing Jacob</i> [Ribera], <a href="#page_145">145</a><br />
+
+<i>Isabel Corbo de Porcel, Portrait of Doña</i> [Goya], <a href="#page_180">180</a><br />
+
+Isabella, Queen, <a href="#page_3">3</a>, <a href="#page_11">11</a>, <a href="#page_13">13</a>, <a href="#page_15">15</a>, <a href="#page_40">40</a><br />
+
+Italy, art of, <a href="#page_42">42</a>, <a href="#page_44">44</a>, <a href="#page_45">45</a>, <a href="#page_47">47</a>, <a href="#page_52">52</a>, <a href="#page_63">63</a>, <a href="#page_125">125</a>, <a href="#page_138">138</a>, <a href="#page_140">140</a>, <a href="#page_156">156</a><br />
+
+<br />
+<a name="J" id="J"></a><span class="lettre">J</span><br />
+
+<i>Jacob’s Ladder</i> [Ribera], <a href="#page_146">146</a><br />
+
+Januarius, Chapel of S., <a href="#page_140">140</a><br />
+
+Jativa, <a href="#page_136">136</a><br />
+
+<i>Jean Arnolfini and Wife</i> [Van Eyck], <a href="#page_95">95</a><br />
+
+<i>Jerome, S.</i> [El Greco], <a href="#page_75">75</a><br />
+
+<i>Jerome, S.</i> [Pereda], <a href="#page_59">59</a><br />
+
+Jews, expelled, <a href="#page_14">14</a><br />
+
+Joanna of Austria, <a href="#page_15">15</a><br />
+
+<i>John the Baptist</i> [Cerezo], <a href="#page_62">62</a><br />
+
+<i>John the Baptist</i> [Da Vinci, Ribera], <a href="#page_145">145</a><br />
+
+<i>John the Baptist in the Desert</i> [Ribera], <a href="#page_145">145</a><br />
+
+José, Church of San, Toledo, <a href="#page_86">86</a><br />
+
+Joseph Bonaparte. See <i>Bonaparte</i><br />
+
+<i>Joseph’s Coat</i> [Velasquez], <a href="#page_103">103</a><br />
+
+Juan of Austria, Don, <a href="#page_20">20</a><br />
+
+<i>Juan de Austria, Don</i> [Velasquez], <a href="#page_105">105</a>, <a href="#page_114">114</a><br />
+
+Juan de Juanes, <a href="#page_46">46</a>, <a href="#page_63">63</a>;<br />
+<span style="margin-left: 1em;"><i>S. Stephen Conducted to Martyrdom</i>, <a href="#page_46">46</a></span><br />
+
+Juan II of Castile, <a href="#page_42">42</a><br />
+
+Julius Cæsar, <a href="#page_6">6</a><br />
+
+Juste, Monastery of San, <a href="#page_16">16</a><br />
+
+Justi, Carl, <a href="#page_44">44</a><br />
+
+<br />
+<a name="L" id="L"></a><span class="lettre">L</span><br />
+
+<i>Lady with the Fan</i> [Velasquez], <a href="#page_164">164</a><br />
+
+Lanfranco, <a href="#page_141">141</a><br />
+
+León, province of, <a href="#page_3">3</a>, <a href="#page_10">10</a>, <a href="#page_42">42</a><br />
+
+Leonardo, José, <a href="#page_58">58</a>, <a href="#page_60">60</a>;<br />
+<span style="margin-left: 1em;"><i>The Surrender of Breda</i>, <a href="#page_60">60</a>, <a href="#page_131">131</a>;</span><br />
+<span style="margin-left: 1em;"><i>Taking of Acqui</i>, <a href="#page_60">60</a></span><br />
+
+Leopold, Emperor of Germany, <a href="#page_21">21</a><br />
+
+Llano y Valdés, <a href="#page_161">161</a><br />
+
+Lope de Vega, dramatist, <a href="#page_17">17</a>, <a href="#page_18">18</a><br />
+
+Lorenzo, picture in Church of San, <a href="#page_42">42</a><br />
+
+Lorrain, Claude, <a href="#page_129">129</a>, <a href="#page_130">130</a><br />
+
+Louis XIV of France, <a href="#page_21">21</a>, <a href="#page_106">106</a><br />
+
+Louvre, the: pictures by Collantes, <a href="#page_60">60</a>;<br />
+<span style="margin-left: 1em;">El Greco, <a href="#page_76">76</a>, <a href="#page_87">87</a>;</span><br />
+<span style="margin-left: 1em;">Mazo, <a href="#page_122">122</a>;</span><br />
+<span style="margin-left: 1em;">Da Vinci, <a href="#page_145">145</a></span><br />
+
+Lucena, battle of, <a href="#page_11">11</a><br />
+
+<br />
+<a name="M" id="M"></a><span class="lettre">M</span><br />
+
+Mabuse, <a href="#page_42">42</a><br />
+
+Madrazo, Raimundo, <a href="#page_192">192</a><br />
+
+Madrid, <a href="#page_41">41</a>, <a href="#page_48">48</a>, <a href="#page_49">49</a>, <a href="#page_57">57</a>, <a href="#page_60">60</a>, <a href="#page_61">61</a>, <a href="#page_62">62</a>, <a href="#page_102">102</a>, <a href="#page_106">106</a>, <a href="#page_121">121</a>, <a href="#page_133">133</a>, <a href="#page_151">151</a>, <a href="#page_162">162</a>, <a href="#page_169">169</a>, <a href="#page_171">171</a>, <a href="#page_173">173</a><br />
+
+Madrid, school of, <a href="#page_41">41</a>, <a href="#page_131">131</a><br />
+
+<i>Magdalen in the Desert</i> [Carreño], <a href="#page_133">133</a><br />
+
+<i>Maia, The, Clothed, The Maia Nude</i> [Goya], <a href="#page_179">179</a><br />
+
+Manet, <a href="#page_120">120</a><br />
+
+“Mannerists,” <a href="#page_138">138</a>, <a href="#page_139">139</a><br />
+
+<i>Margarita Maria, Portrait of</i> [Velasquez], <a href="#page_105">105</a><br />
+
+<i>Margarita of Austria, Doña</i> [Gonzáles], <a href="#page_55">55</a><br />
+
+Maria Luisa, Queen, <a href="#page_23">23</a><br />
+
+<i>Maria Luisa, Equestrian Portrait of</i> [Goya], <a href="#page_182">182</a><br />
+
+Maria Teresa, <a href="#page_21">21</a>, <a href="#page_106">106</a><br />
+
+<i>Maria Teresa, Portrait of</i> [Velasquez], <a href="#page_105">105</a>, <a href="#page_114">114</a><br />
+
+<i>Mariana, Portrait of Queen</i> [Velasquez], <a href="#page_105">105</a><br />
+
+Mariana de Austria, <a href="#page_105">105</a>, <a href="#page_131">131</a>, <a href="#page_134">134</a>, <a href="#page_135">135</a><br />
+
+<i>Mariana de Austria, Portrait of Doña</i> [Mazo], <a href="#page_123">123</a>;<br />
+<span style="margin-left: 1em;">[Carreño], <a href="#page_134">134</a>;</span><br />
+<span style="margin-left: 1em;">[Velasquez], <a href="#page_103">103</a></span><br />
+
+<i>Martin, San</i> [El Greco], <a href="#page_71">71</a><br />
+
+Martinez, Guiseppe, “Practical Letters on the Art of Painting,” <a href="#page_72">72</a><br />
+
+<i>Martyrdom of S. Bartholomew</i> [Ribera], <a href="#page_138">138</a><br />
+
+Mauretania, <a href="#page_9">9</a><br />
+
+<i>Mauricio and his Theban Legion, San</i> [El Greco], <a href="#page_71">71</a>, <a href="#page_87">87</a><br />
+
+Maximilian, Emperor of Germany, <a href="#page_15">15</a><br />
+
+Mayno, Fray Juan Bautista, <a href="#page_56">56</a>, <a href="#page_61">61</a>;<br />
+<span style="margin-left: 1em;"><i>Pacification of the States of Flanders</i>, <a href="#page_56">56</a></span><br />
+
+Mazarin, Cardinal, <a href="#page_106">106</a><br />
+
+Mazo, Juan Bautista del, <a href="#page_55">55</a>, <a href="#page_57">57</a>, <a href="#page_61">61</a>, <a href="#page_102">102</a>, <a href="#page_106">106</a>;<br />
+<span style="margin-left: 1em;">chapter on, <a href="#page_121">121</a>;</span><br />
+<span style="margin-left: 1em;">life, <a href="#page_121">121</a>;</span><br />
+<span style="margin-left: 1em;">copies of Velasquez’s works, <a href="#page_122">122</a>;</span><br />
+<span style="margin-left: 1em;">original works, <a href="#page_123">123</a>;</span><br />
+<span style="margin-left: 1em;">landscapes, <a href="#page_125">125</a>;</span><br />
+<span style="margin-left: 1em;">technique, <a href="#page_128">128</a></span><br />
+
+Memlinc, <a href="#page_42">42</a>, <a href="#page_43">43</a><br />
+
+Mengs, Raphael, <a href="#page_23">23</a>, <a href="#page_65">65</a>, <a href="#page_174">174</a><br />
+
+<i>Meniñas, Las</i> [Velasquez], <a href="#page_95">95</a>, <a href="#page_105">105</a>, <a href="#page_108">108</a>, <a href="#page_116">116-119</a><br />
+
+Metropolitan Museum, New York:<br />
+<span style="margin-left: 1em;">El Greco, <a href="#page_88">88</a>;</span><br />
+<span style="margin-left: 1em;">Velasquez, <a href="#page_98">98</a>, <a href="#page_115">115</a>;</span><br />
+<span style="margin-left: 1em;">Zurbarán, <a href="#page_191">191</a></span><br />
+
+<i>Michael the Archangel</i> [Zurbarán], <a href="#page_169">169</a><br />
+
+Michelangelo, <a href="#page_45">45</a>, <a href="#page_48">48</a>, <a href="#page_91">91</a>, <a href="#page_103">103</a>, <a href="#page_108">108</a>, <a href="#page_138">138</a>, <a href="#page_139">139</a><br />
+
+<i>Miracle of S. Hugo</i> [Zurbarán], <a href="#page_169">169</a><br />
+
+<i>Miracle of the Loaves and Fishes</i> [Murillo], <a href="#page_155">155</a><br />
+
+Modena, <a href="#page_137">137</a><br />
+
+<i>Mœnippus</i> [Velasquez], <a href="#page_95">95</a>, <a href="#page_106">106</a>, <a href="#page_115">115</a><br />
+
+Mohammed, <a href="#page_18">18</a><br />
+
+<i>Mona Lisa</i> [Da Vinci], <a href="#page_99">99</a><br />
+
+Montañés, Martinez, <a href="#page_161">161</a><br />
+
+<i>Montañés, Portrait of the Sculptor</i> [Velasquez], <a href="#page_105">105</a><br />
+
+Monte Cassino, <a href="#page_140">140</a><br />
+
+Moorish dominion, <a href="#page_3">3</a>, <a href="#page_8">8</a>, <a href="#page_74">74</a><br />
+
+Mor, or Moro, Antony, <a href="#page_52">52</a><br />
+
+Morales, Luis de, <a href="#page_48">48</a>, <a href="#page_51">51</a>;<br />
+<span style="margin-left: 1em;"><i>Pietá</i>, <a href="#page_49">49</a>;</span><br />
+<span style="margin-left: 1em;"><i>Virgin Caressing the Infant Jesus</i>, <a href="#page_50">50</a>;</span><br />
+<span style="margin-left: 1em;"><i>Ecce Homo</i>, <a href="#page_50">50</a>;</span><br />
+<span style="margin-left: 1em;"><i>Presentation of the Infant Jesus in the Temple</i>, <a href="#page_50">50</a></span><br />
+
+Morescoes, expelled, <a href="#page_14">14</a>, <a href="#page_17">17</a><br />
+
+Morocco, <a href="#page_191">191</a><br />
+
+<i>Moses Striking the Rock</i> [Murillo], <a href="#page_155">155</a><br />
+
+<i>Mother and Child</i> [Cano], <a href="#page_164">164</a><br />
+
+Munich Pinakothek, <a href="#page_62">62</a>, <a href="#page_134">134</a>, <a href="#page_157">157</a><br />
+
+Murillo, Bartolomé Estéban, <a href="#page_47">47</a>, <a href="#page_54">54</a>, <a href="#page_65">65</a>, <a href="#page_88">88</a>, <a href="#page_132">132</a>, <a href="#page_146">146</a>, <a href="#page_164">164</a>, <a href="#page_165">165</a>, <a href="#page_169">169</a>;<br />
+<span style="margin-left: 1em;">chapter on, <a href="#page_148">148</a>;</span><br />
+<span style="margin-left: 1em;">estimated, <a href="#page_148">148</a>, <a href="#page_149">149</a>;</span><br />
+<span class="pagenum"><a name="page_201" id="page_201">{201}</a></span><span style="margin-left: 1em;">life, <a href="#page_150">150</a>;</span><br />
+<span style="margin-left: 1em;">training, <a href="#page_151">151</a>;</span><br />
+<span style="margin-left: 1em;">motive, <a href="#page_153">153</a>;</span><br />
+<span style="margin-left: 1em;">death, <a href="#page_160">160</a>;</span><br />
+<span style="margin-left: 1em;"><i>Miracle of the Loaves and Fishes</i>, <a href="#page_155">155</a>;</span><br />
+<span style="margin-left: 1em;"><i>Moses Striking the Rock</i>, <a href="#page_155">155</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Elizabeth of Hungary</i>, <a href="#page_156">156</a>;</span><br />
+<span style="margin-left: 1em;"><i>Holy Family</i> (<i>Pajarito</i>), <a href="#page_157">157</a>;</span><br />
+<span style="margin-left: 1em;"><i>Self-Portrait</i>, <a href="#page_160">160</a>;</span><br />
+<span style="margin-left: 1em;"><i>Conceptions</i>, <a href="#page_159">159</a></span><br />
+
+Murillo, Gaspar Estéban, <a href="#page_150">150</a><br />
+
+Musa, <a href="#page_8">8</a><br />
+
+<br />
+<a name="N" id="N"></a><span class="lettre">N</span><br />
+
+Naples, <a href="#page_13">13</a>, <a href="#page_136">136</a>, <a href="#page_137">137</a>, <a href="#page_139">139</a>, <a href="#page_140">140</a>, <a href="#page_141">141</a>;<br />
+<span style="margin-left: 1em;">cathedral of, <a href="#page_140">140</a></span><br />
+
+Napoleon Bonaparte, <a href="#page_23">23</a>, <a href="#page_172">172</a><br />
+
+Nasride dynasty, <a href="#page_11">11</a><br />
+
+National Gallery: El Greco, <a href="#page_71">71</a>, <a href="#page_75">75</a>;<br />
+<span style="margin-left: 1em;">Velasquez, <a href="#page_97">97</a>, <a href="#page_104">104</a>, <a href="#page_105">105</a>, <a href="#page_107">107</a>, <a href="#page_114">114</a>, <a href="#page_116">116</a>, <a href="#page_122">122</a>, <a href="#page_123">123</a>;</span><br />
+<span style="margin-left: 1em;">Mazo, <a href="#page_122">122</a>;</span><br />
+<span style="margin-left: 1em;">Murillo, <a href="#page_157">157</a>;</span><br />
+<span style="margin-left: 1em;">Goya, <a href="#page_180">180</a></span><br />
+
+<i>Nativity, The</i> [Cano], <a href="#page_164">164</a><br />
+
+<i>Nativity, The</i> [El Greco], <a href="#page_88">88</a><br />
+
+Naturalism, <a href="#page_65">65</a>, <a href="#page_67">67</a>, <a href="#page_80">80</a>, <a href="#page_88">88</a>, <a href="#page_92">92</a>, <a href="#page_94">94</a>, <a href="#page_102">102</a>, <a href="#page_136">136</a>, <a href="#page_138">138</a>, <a href="#page_139">139</a>, <a href="#page_143">143</a>, <a href="#page_157">157</a>, <a href="#page_165">165</a>, <a href="#page_170">170</a>, <a href="#page_176">176</a>, <a href="#page_178">178</a>, <a href="#page_191">191</a><br />
+
+Navas de Tolosa, Las, <a href="#page_10">10</a><br />
+
+Netherlands, under Spanish rule, <a href="#page_16">16</a>, <a href="#page_17">17</a>;<br />
+<span style="margin-left: 1em;">influence of, in art, <a href="#page_44">44</a></span><br />
+
+<br />
+<a name="O" id="O"></a><span class="lettre">O</span><br />
+
+Olivares, Count-Duke of, <a href="#page_18">18</a>, <a href="#page_60">60</a>, <a href="#page_102">102</a>, <a href="#page_105">105</a><br />
+
+<i>Olivares, Count-Duke of, Portrait of</i> [Velasquez], <a href="#page_105">105</a>, <a href="#page_108">108</a>, <a href="#page_109">109</a><br />
+
+Omayyad caliphate, <a href="#page_8">8</a><br />
+
+Oriental idea, <a href="#page_34">34-38</a><br />
+
+Ossuna, Duke of, <a href="#page_138">138</a><br />
+
+<br />
+<a name="P" id="P"></a><span class="lettre">P</span><br />
+
+Pacheco, Francisco, <a href="#page_102">102</a>, <a href="#page_107">107</a>, <a href="#page_161">161</a><br />
+
+Pacheco, Juana, Velasquez’s wife, <a href="#page_102">102</a><br />
+
+<i>Pacification of the States of Flanders</i> [Fray Juan Bautista Mayno], <a href="#page_56">56</a><br />
+
+<i>Pajarito</i> (<i>Holy Family</i>) [Murillo], <a href="#page_157">157</a><br />
+
+Palomino, quoted, <a href="#page_121">121</a><br />
+
+Pantoja de la Cruz, Juan, <a href="#page_54">54</a>;<br />
+<span style="margin-left: 1em;"><i>Portrait of Doña Isabel de Borbón</i>, <a href="#page_55">55</a></span><br />
+
+Pareja, Juan de, <a href="#page_57">57</a>;<br />
+<span style="margin-left: 1em;"><i>Vocation of S. Matthew</i>, <a href="#page_58">58</a></span><br />
+
+Parma, <a href="#page_137">137</a><br />
+
+Patinir, <a href="#page_42">42</a><br />
+
+<i>Paul, S.</i> [El Greco], <a href="#page_75">75</a><br />
+
+Paul V, Pope, <a href="#page_150">150</a><br />
+
+Pavia, battle of, <a href="#page_16">16</a><br />
+
+Peninsular War, <a href="#page_23">23</a><br />
+
+<i>Penitent Magdalen</i> [Cerezo], <a href="#page_62">62</a><br />
+
+<i>Penitent Magdalen</i> [Ribera], <a href="#page_145">145</a><br />
+
+Pereda, Antonio, <a href="#page_58">58</a>, <a href="#page_131">131</a>;<br />
+<span style="margin-left: 1em;"><i>The Dream of Life</i>, <a href="#page_58">58</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Jerome</i>, <a href="#page_58">58</a>;</span><br />
+<span style="margin-left: 1em;"><i>Ecce Homo</i>, <a href="#page_58">58</a></span><br />
+
+Perez, Maria, <a href="#page_150">150</a><br />
+
+Pheasants, Isle of, <a href="#page_106">106</a><br />
+
+Philip, Archduke of Austria, <a href="#page_15">15</a><br />
+
+Philip II:<br />
+<span style="margin-left: 1em;">reign of, <a href="#page_17">17</a>;</span><br />
+<span style="margin-left: 1em;">builds Escoriál, <a href="#page_30">30</a>;</span><br />
+<span style="margin-left: 1em;">relations with Morales, <a href="#page_48">48</a>;</span><br />
+<span style="margin-left: 1em;">with Rizi, <a href="#page_60">60</a>;</span><br />
+<span style="margin-left: 1em;">with El Greco, <a href="#page_67">67</a>;</span><br />
+<span style="margin-left: 1em;">removes Court to Madrid, <a href="#page_73">73</a></span><br />
+
+<i>Philip II, Portrait of</i> [Titian], <a href="#page_19">19</a><br />
+
+Philip III: reign of, <a href="#page_17">17</a>;<br />
+<span style="margin-left: 1em;">decorates Escoriál, <a href="#page_32">32</a>;</span><br />
+<span style="margin-left: 1em;">visited by Rubens, <a href="#page_56">56</a></span><br />
+
+<i>Philip III, Portrait of</i> [Coello], <a href="#page_20">20</a>, <a href="#page_55">55</a><br />
+
+Philip IV: reign of, <a href="#page_18">18</a>;<br />
+<span style="margin-left: 1em;">visited by Rubens, <a href="#page_57">57</a>;</span><br />
+<span style="margin-left: 1em;">friendship with Velasquez, <a href="#page_103">103</a>;</span><br />
+<span style="margin-left: 1em;">marriage, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;">decorates Escoriál, <a href="#page_56">56</a>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;">proclaims Virgin Mary patroness of dominion, <a href="#page_150">150</a>;</span><br />
+<span style="margin-left: 1em;">patron of Cano, <a href="#page_161">161</a>;</span><br />
+<span style="margin-left: 1em;">portraits of, <a href="#page_20">20</a></span><br />
+
+<i>Philip IV</i>: portraits by Velasquez: <i>Bust</i>, <a href="#page_95">95</a>, <a href="#page_97">97</a>;<br />
+<span style="margin-left: 2em;"><i>Young</i>, <a href="#page_104">104</a>;</span><br />
+<span style="margin-left: 2em;"><i>Equestrian</i>, <a href="#page_105">105</a>, <a href="#page_108">108</a>;</span><br />
+<span style="margin-left: 2em;"><i>Sportsman</i>, <a href="#page_105">105</a>, <a href="#page_113">113</a>, <a href="#page_122">122</a>;</span><br />
+<span style="margin-left: 2em;"><i>Old</i>, <a href="#page_105">105</a>, <a href="#page_114">114</a>, <a href="#page_123">123</a>.</span><br />
+<span style="margin-left: 1em;">Probably by Mazo:</span><br />
+<span style="margin-left: 2em;"><i>In Hunting Costume</i>, <a href="#page_107">107</a></span><br />
+
+Philip V, reign of, <a href="#page_22">22</a><br />
+
+<i>Pietá</i> [Morales], <a href="#page_49">49</a><br />
+
+Pinakothek Museum. See <i>Munich</i><br />
+
+Piombo, Sebastian del, <a href="#page_63">63</a><br />
+
+Pompey the Great, <a href="#page_6">6</a><br />
+
+Poussin, Nicholas, <a href="#page_129">129</a>, <a href="#page_130">130</a><br />
+
+Pradilla, Francisco, <a href="#page_65">65</a>, <a href="#page_192">192</a><br />
+
+Prado, the, <a href="#page_23">23</a>, <a href="#page_40">40</a>, <a href="#page_42">42</a>, <a href="#page_55">55</a>, <a href="#page_129">129</a>;<br />
+<span style="margin-left: 1em;">director of the, <a href="#page_126">126</a>, <a href="#page_128">128</a>;</span><br />
+<span style="margin-left: 1em;">pictures in: Titian, <a href="#page_19">19</a>, <a href="#page_52">52</a>;</span><br />
+<span style="margin-left: 2em;">Juanes, <a href="#page_46">46</a>;</span><br />
+<span style="margin-left: 2em;">Morales, <a href="#page_49">49</a>, <a href="#page_50">50</a>;</span><br />
+<span style="margin-left: 2em;">Caxés, <a href="#page_55">55</a>;</span><br />
+<span style="margin-left: 2em;">Carducho, <a href="#page_55">55</a>;</span><br />
+<span style="margin-left: 2em;">Mayno, <a href="#page_56">56</a>;</span><br />
+<span style="margin-left: 2em;">Rubens, <a href="#page_56">56</a>;</span><br />
+<span style="margin-left: 2em;">Pareja, <a href="#page_58">58</a>;</span><br />
+<span style="margin-left: 2em;">Collantes, <a href="#page_59">59</a>;</span><br />
+<span style="margin-left: 2em;">Pereda, <a href="#page_59">59</a>;</span><br />
+<span style="margin-left: 2em;">Leonardo, <a href="#page_60">60</a>;</span><br />
+<span style="margin-left: 2em;">Rizi, <a href="#page_61">61</a>;</span><br />
+<span style="margin-left: 2em;">Antolinez, <a href="#page_62">62</a>;</span><br />
+<span style="margin-left: 2em;">Cerezo, <a href="#page_62">62</a>;</span><br />
+<span style="margin-left: 2em;">Ribalta, <a href="#page_64">64</a>;</span><br />
+<span style="margin-left: 2em;">El Greco, <a href="#page_75">75</a>, <a href="#page_76">76</a>, <a href="#page_79">79</a>, <a href="#page_85">85</a>, <a href="#page_86">86</a>, <a href="#page_87">87</a>, <a href="#page_88">88</a>, <a href="#page_89">89</a>;</span><br />
+<span style="margin-left: 2em;">Velasquez, <a href="#page_95">95</a>, <a href="#page_104">104</a>, <a href="#page_105">105</a>, <a href="#page_106">106</a>, <a href="#page_117">117</a>, <a href="#page_122">122</a>, <a href="#page_124">124</a>;</span><br />
+<span style="margin-left: 2em;">Mazo, <a href="#page_127">127</a>, <a href="#page_128">128</a>;</span><br />
+<span style="margin-left: 2em;">Carreño, <a href="#page_133">133</a>, <a href="#page_134">134</a>, <a href="#page_135">135</a>;</span><br />
+<span style="margin-left: 2em;">Ribera, <a href="#page_144">144</a>, <a href="#page_145">145</a>, <a href="#page_146">146</a>;</span><br />
+<span style="margin-left: 2em;">Murillo, <a href="#page_156">156</a>, <a href="#page_157">157</a>;</span><br />
+<span style="margin-left: 2em;">Goya, <a href="#page_173">173</a>, <a href="#page_174">174</a>, <a href="#page_176">176</a>, <a href="#page_180">180</a>, <a href="#page_181">181</a>, <a href="#page_182">182</a></span><br />
+
+Prado catalogue, <a href="#page_55">55</a>, <a href="#page_66">66</a>, <a href="#page_124">124</a>, <a href="#page_126">126</a>, <a href="#page_150">150</a><br />
+
+<i>Presentation in the Temple</i> [Cano], <a href="#page_164">164</a><br />
+
+<i>Presentation of the Infant Jesus in the Temple</i> [Morales], <a href="#page_50">50</a><br />
+
+“Prince of Peace,” <a href="#page_172">172</a>, <a href="#page_185">185</a><br />
+
+<i>Proverbios</i> [Goya], <a href="#page_184">184</a><br />
+
+Province, the, <a href="#page_7">7</a><br />
+
+Provincial Museum, Seville: El Greco, <a href="#page_79">79</a>;<br />
+<span style="margin-left: 1em;">Zurbarán, <a href="#page_166">166</a>, <a href="#page_168">168</a>, <a href="#page_169">169</a></span><br />
+
+Pulgar, historian, <a href="#page_13">13</a><br />
+
+<i>Pulido-Pareja, Admiral</i>, <a href="#page_107">107</a>, <a href="#page_122">122</a><br />
+
+Puvis de Chavannes, <a href="#page_56">56</a><br />
+
+<br />
+<a name="R" id="R"></a><span class="lettre">R</span><br />
+
+Raeburn, <a href="#page_94">94</a><br />
+
+Raphael, <a href="#page_45">45</a>, <a href="#page_46">46</a>, <a href="#page_62">62</a>, <a href="#page_137">137</a>, <a href="#page_138">138</a>, <a href="#page_139">139</a>, <a href="#page_152">152</a>, <a href="#page_157">157</a>, <a href="#page_164">164</a>, <a href="#page_174">174</a><br />
+
+Realism, <a href="#page_80">80</a>, <a href="#page_92">92</a>, <a href="#page_189">189</a><br />
+
+Reccared, King, <a href="#page_8">8</a><br />
+
+Reformation, Protestant, <a href="#page_80">80</a><br />
+
+Rembrandt, <a href="#page_94">94</a>, <a href="#page_121">121</a>, <a href="#page_156">156</a>, <a href="#page_157">157</a>, <a href="#page_178">178</a>, <a href="#page_190">190</a><br />
+
+Reni, Guido, <a href="#page_139">139</a><br />
+
+<i>Resurrection, The</i> [El Greco], <a href="#page_85">85</a><br />
+
+Ribalta, Francisco, <a href="#page_63">63</a>, <a href="#page_136">136</a>;<br />
+<span style="margin-left: 1em;"><i>Last Supper</i>, <a href="#page_63">63</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Francis d’Assisi</i>, <a href="#page_64">64</a></span><br />
+
+Ribera, José (Lo Spagnoletto), <a href="#page_54">54</a>, <a href="#page_59">59</a>, <a href="#page_63">63</a>, <a href="#page_64">64</a>, <a href="#page_65">65</a>, <a href="#page_151">151</a>, <a href="#page_165">165</a>;<br />
+<span style="margin-left: 1em;">chapter on, <a href="#page_136">136</a>;</span><br />
+<span style="margin-left: 1em;">life, <a href="#page_136">136</a>, <a href="#page_137">137</a>;</span><br />
+<span style="margin-left: 1em;">Italian influence, <a href="#page_139">139</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Januarius</i> scandal, <a href="#page_140">140</a>;</span><br />
+<span style="margin-left: 1em;">stories associated with, <a href="#page_142">142</a>;</span><br />
+<span style="margin-left: 1em;">point of view, <a href="#page_143">143</a>;</span><br />
+<span style="margin-left: 1em;"><i>Hermits and Ascetics</i>, <a href="#page_142">142</a>;</span><br />
+<span style="margin-left: 1em;"><i>Martyrdom of S. Bartholomew</i>, <a href="#page_138">138</a>, <a href="#page_144">144</a>;</span><br />
+<span style="margin-left: 1em;"><i>Martyrdom of S. Januarius</i>, <a href="#page_141">141</a>;</span><br />
+<span style="margin-left: 1em;"><i>Hermit Saint</i>, <a href="#page_142">142</a>;</span><br />
+<span style="margin-left: 1em;"><i>Immaculate Conception</i>, <a href="#page_144">144</a>;</span><br />
+<span style="margin-left: 1em;"><i>Assumption of the Magdalen</i>, <a href="#page_144">144</a>;</span><br />
+<span style="margin-left: 1em;"><i>Holy Trinity</i>, <a href="#page_144">144</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. John the Baptist in the Desert</i>, <a href="#page_145">145</a>;</span><br />
+<span style="margin-left: 1em;"><i>Penitent Magdalen</i>, <a href="#page_145">145</a>;</span><br />
+<span class="pagenum"><a name="page_202" id="page_202">{202}</a></span><span style="margin-left: 1em;"><i>Isaac Blessing Jacob</i>, <a href="#page_145">145</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Simon</i>, <a href="#page_146">146</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Bartholomew</i>, <a href="#page_146">146</a>;</span><br />
+<span style="margin-left: 1em;"><i>Jacob’s Ladder</i>, <a href="#page_146">146</a></span><br />
+
+Ribera, Luis, <a href="#page_136">136</a><br />
+
+Rincon, <a href="#page_13">13</a><br />
+
+Rizi, Antonio, <a href="#page_60">60</a><br />
+
+Rizi, Francisco, <a href="#page_61">61</a>;<br />
+<span style="margin-left: 1em;">auto-da-fé depicted, <a href="#page_62">62</a></span><br />
+
+Rizi, Fray Juan, <a href="#page_61">61</a>;<br />
+<span style="margin-left: 1em;"><i>Portrait of Don Tiburcio de Redin</i>, <a href="#page_61">61</a>;</span><br />
+<span style="margin-left: 1em;"><i>S. Benedict Celebrating Mass</i>, <a href="#page_61">61</a></span><br />
+
+Roelas, Juan de las, <a href="#page_64">64</a>, <a href="#page_165">165</a>, <a href="#page_169">169</a><br />
+
+Roman, Bartolomé, <a href="#page_131">131</a><br />
+
+Romanticists, <a href="#page_187">187</a><br />
+
+Rome, <a href="#page_6">6</a>, <a href="#page_173">173</a><br />
+
+Rome, influence of school of, <a href="#page_47">47</a>, <a href="#page_51">51</a>, <a href="#page_66">66</a>, <a href="#page_137">137</a>, <a href="#page_151">151</a><br />
+
+“Room of the Two Sisters,” <a href="#page_36">36</a><br />
+
+Rubens, <a href="#page_56">56</a>, <a href="#page_103">103</a>, <a href="#page_121">121</a>, <a href="#page_151">151</a><br />
+
+Ruisdael, <a href="#page_125">125</a><br />
+
+Ryks Museum, <a href="#page_62">62</a><br />
+
+<br />
+<a name="S" id="S"></a><span class="lettre">S</span><br />
+
+Salamanca, <a href="#page_13">13</a><br />
+
+Sanguineto, Don Rafael, <a href="#page_162">162</a><br />
+
+<i>Santa Forma, La</i> [Coello], <a href="#page_63">63</a><br />
+
+<i>Santiago</i> [El Greco], <a href="#page_88">88</a><br />
+
+Santos Cruz, <a href="#page_44">44</a><br />
+
+Sardinia, <a href="#page_41">41</a><br />
+
+Sassoferrato, <a href="#page_139">139</a><br />
+
+<i>Scene of May <a href="#page_3">3</a>, 1808</i> [Goya], <a href="#page_185">185</a><br />
+
+“School of Madrid,” <a href="#page_106">106</a>, <a href="#page_123">123</a>, <a href="#page_134">134</a><br />
+
+Scipio the Younger, <a href="#page_6">6</a><br />
+
+<i>Sebastian, S.</i> [Carreño], <a href="#page_133">133</a><br />
+
+<i>Self-Portrait</i> [Murillo], <a href="#page_160">160</a><br />
+
+<i>Seven Joys of Mary, The</i> [Cano], <a href="#page_164">164</a><br />
+
+Seville, <a href="#page_42">42</a>, <a href="#page_47">47</a>, <a href="#page_62">62</a>, <a href="#page_65">65</a>, <a href="#page_89">89</a>, <a href="#page_102">102</a>, <a href="#page_150">150</a>, <a href="#page_151">151</a>, <a href="#page_152">152</a>, <a href="#page_162">162</a>, <a href="#page_164">164</a>, <a href="#page_165">165</a>, <a href="#page_169">169</a><br />
+
+Sicily, <a href="#page_22">22</a>, <a href="#page_41">41</a><br />
+
+Siguenza, Father, <a href="#page_71">71</a><br />
+
+Silva, Juan Rodriguez de, father of Velasquez, <a href="#page_102">102</a><br />
+
+<i>Simon, S.</i> [Ribera], <a href="#page_146">146</a><br />
+
+Solis, Antonio de, poet, historian, dramatist, <a href="#page_18">18</a><br />
+
+Sorolla (Joaquin Sorolla y Bastida), <a href="#page_65">65</a>, <a href="#page_192">192</a><br />
+
+Soult, Marshal, <a href="#page_23">23</a><br />
+
+Spagnoletto, Lo. See <i>Ribera</i><br />
+
+Spain, historical sketch of, <a href="#page_3">3-24</a>;<br />
+<span style="margin-left: 1em;">decline of, <a href="#page_171">171</a>, <a href="#page_184">184</a>;</span><br />
+<span style="margin-left: 1em;">character of art of, <a href="#page_4">4</a>, <a href="#page_8">8</a>, <a href="#page_25">25</a>, <a href="#page_38">38</a>, <a href="#page_39">39</a>, <a href="#page_125">125</a>, <a href="#page_133">133</a>, <a href="#page_137">137</a>, <a href="#page_145">145</a>, <a href="#page_165">165</a>, <a href="#page_171">171</a>, <a href="#page_190">190</a>;</span><br />
+<span style="margin-left: 1em;">source of, <a href="#page_41">41</a>, <a href="#page_46">46</a>;</span><br />
+<span style="margin-left: 1em;">geographical description of, <a href="#page_4">4</a>, <a href="#page_5">5</a>, <a href="#page_41">41</a>, <a href="#page_129">129</a></span><br />
+
+“Spaniard of Jativa,” <a href="#page_136">136</a><br />
+
+Spanish character, <a href="#page_5">5</a>, <a href="#page_11">11</a>, <a href="#page_14">14</a>, <a href="#page_27">27</a>, <a href="#page_30">30</a>, <a href="#page_47">47</a>, <a href="#page_66">66</a>, <a href="#page_87">87</a>;<br />
+<span style="margin-left: 1em;">demoralization of, <a href="#page_171">171</a>, <a href="#page_191">191</a></span><br />
+
+Spanish Succession, War of the, <a href="#page_22">22</a><br />
+
+Spinola, Marquis of, <a href="#page_103">103</a>, <a href="#page_112">112</a><br />
+
+<i>Stephen Conducted to Martyrdom, S.</i> [Juanes], <a href="#page_46">46</a><br />
+
+Stevenson, R. A. M., <a href="#page_110">110</a><br />
+
+Stirling-Maxwell, Sir John, <a href="#page_71">71</a><br />
+
+Suetonius, <a href="#page_6">6</a><br />
+
+<i>Surrender of Breda</i> [Leonardo], <a href="#page_60">60</a><br />
+
+<i>Surrender of Breda</i> [Velasquez], <a href="#page_56">56</a>, <a href="#page_103">103</a>, <a href="#page_111">111</a>, <a href="#page_126">126</a><br />
+
+<br />
+<a name="T" id="T"></a><span class="lettre">T</span><br />
+
+Tagus, the, <a href="#page_73">73</a><br />
+
+<i>Taking of Acqui</i> [Leonardo], <a href="#page_60">60</a><br />
+
+Tapestry works, royal, <a href="#page_174">174</a><br />
+
+<i>Taureaux de Bordeaux</i> [Goya], <a href="#page_187">187</a><br />
+
+Telmo, San, <a href="#page_89">89</a><br />
+
+<i>Temptation of Adam and Eve</i> [Titian], <a href="#page_56">56</a><br />
+
+<i>Temptation of S. Antony</i> [unknown], <a href="#page_43">43</a><br />
+
+Teniers, <a href="#page_174">174</a><br />
+
+Theotocopuli, Domenico. See <i>Greco</i><br />
+
+Theotocopuli, George Manuel, <a href="#page_71">71</a>, <a href="#page_87">87</a>, <a href="#page_89">89</a><br />
+
+<i>Thomas, Apotheosis of S.</i> [Zurbarán], <a href="#page_166">166</a><br />
+
+Thomas, S., Church of, <a href="#page_167">167</a><br />
+
+Tibaldi, Pelegrino, <a href="#page_52">52</a><br />
+
+<i>Tiburcio de Redin, Portrait of</i> [Rizi], <a href="#page_61">61</a><br />
+
+Tiepolo, <a href="#page_23">23</a>, <a href="#page_65">65</a><br />
+
+Tintoretto, <a href="#page_66">66</a>, <a href="#page_71">71</a>, <a href="#page_103">103</a>, <a href="#page_108">108</a>, <a href="#page_111">111</a>, <a href="#page_138">138</a><br />
+
+Titian, <a href="#page_19">19</a>, <a href="#page_52">52</a>, <a href="#page_53">53</a>, <a href="#page_56">56</a>, <a href="#page_66">66</a>, <a href="#page_67">67</a>, <a href="#page_78">78</a>, <a href="#page_89">89</a>, <a href="#page_111">111</a>, <a href="#page_121">121</a>, <a href="#page_126">126</a>, <a href="#page_139">139</a>, <a href="#page_151">151</a>;<br />
+<span style="margin-left: 1em;"><i>Gloria</i>, <a href="#page_16">16</a>;</span><br />
+<span style="margin-left: 1em;"><i>Portraits of Charles I</i>, <a href="#page_19">19</a>;</span><br />
+<span style="margin-left: 1em;"><i>Philip II</i>, <a href="#page_19">19</a>, <a href="#page_20">20</a></span><br />
+
+Toledo, <a href="#page_10">10</a>, <a href="#page_13">13</a>, <a href="#page_42">42</a>, <a href="#page_51">51</a>, <a href="#page_56">56</a>, <a href="#page_61">61</a>, <a href="#page_66">66</a>, <a href="#page_69">69</a>, <a href="#page_70">70</a>, <a href="#page_71">71</a>, <a href="#page_74">74</a>, <a href="#page_86">86</a>, <a href="#page_87">87</a><br />
+
+Tomé, Church of San, <a href="#page_82">82</a><br />
+
+<i>Trinity, Holy</i> [Ribera], <a href="#page_144">144</a><br />
+
+Tristan, Luis, <a href="#page_89">89</a><br />
+
+“Truth not painting,” <a href="#page_95">95</a>, <a href="#page_101">101</a>, <a href="#page_108">108</a>, <a href="#page_120">120</a><br />
+
+Truth of appearances, <a href="#page_67">67</a>, <a href="#page_119">119</a><br />
+
+Truth of representation, <a href="#page_92">92</a><br />
+
+Turner, <a href="#page_130">130</a><br />
+
+<br />
+<a name="U" id="U"></a><span class="lettre">U</span><br />
+
+<i>Ursula</i>, S., <a href="#page_43">43</a><br />
+
+Utrecht, treaty of, <a href="#page_22">22</a><br />
+
+<br />
+<a name="V" id="V"></a><span class="lettre">V</span><br />
+
+Valencia, province of, <a href="#page_10">10</a>, <a href="#page_41">41</a>;<br />
+<span style="margin-left: 1em;">school of, <a href="#page_41">41</a>, <a href="#page_46">46</a>, <a href="#page_54">54</a>, <a href="#page_63">63</a>, <a href="#page_64">64</a>, <a href="#page_136">136</a>, <a href="#page_162">162</a></span><br />
+
+Valladolid, <a href="#page_58">58</a><br />
+
+Van Dyke, <a href="#page_62">62</a>, <a href="#page_151">151</a><br />
+
+Van Eyck, Jan, <a href="#page_94">94</a>, <a href="#page_99">99</a><br />
+
+Van Goyen, <a href="#page_125">125</a><br />
+
+Van Loo, <a href="#page_22">22</a><br />
+
+Velasquez, Don Diego Rodriguez de Silva y, <a href="#page_19">19</a>, <a href="#page_54">54</a>, <a href="#page_55">55</a>, <a href="#page_56">56</a>, <a href="#page_57">57</a>, <a href="#page_60">60</a>, <a href="#page_61">61</a>, <a href="#page_65">65</a>, <a href="#page_67">67</a>, <a href="#page_143">143</a>, <a href="#page_148">148</a>, <a href="#page_151">151</a>, <a href="#page_157">157</a>, <a href="#page_161">161</a>, <a href="#page_165">165</a>, <a href="#page_171">171</a>, <a href="#page_178">178</a>, <a href="#page_187">187</a>, <a href="#page_189">189</a>;<br />
+<span style="margin-left: 1em;">chapter on, <a href="#page_92">92-120</a>;</span><br />
+<span style="margin-left: 1em;">point of view, <a href="#page_93">93</a>;</span><br />
+<span style="margin-left: 1em;">“truth not painting,” <a href="#page_95">95</a>;</span><br />
+<span style="margin-left: 1em;">artist’s vision, <a href="#page_96">96</a>;</span><br />
+<span style="margin-left: 1em;">color, <a href="#page_97">97</a>, <a href="#page_98">98</a>;</span><br />
+<span style="margin-left: 1em;">impressionism, <a href="#page_100">100</a>;</span><br />
+<span style="margin-left: 1em;">study of light, <a href="#page_100">100</a>;</span><br />
+<span style="margin-left: 1em;">early life, <a href="#page_101">101</a>, <a href="#page_102">102</a>;</span><br />
+<span style="margin-left: 1em;">friendship with king, <a href="#page_103">103</a>;</span><br />
+<span style="margin-left: 1em;">first visit to Italy, <a href="#page_103">103</a>;</span><br />
+<span style="margin-left: 1em;">first period, <a href="#page_103">103</a>, <a href="#page_104">104</a>;</span><br />
+<span style="margin-left: 1em;">Aposentador Mayor, <a href="#page_104">104</a>;</span><br />
+<span style="margin-left: 1em;">second period, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;">second visit to Italy, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;">Marshal of the Palace, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;">third period, <a href="#page_105">105</a>, <a href="#page_106">106</a>;</span><br />
+<span style="margin-left: 1em;">death, <a href="#page_106">106</a>;</span><br />
+<span style="margin-left: 1em;">alteration of canvases, <a href="#page_110">110</a>;</span><br />
+<span style="margin-left: 1em;">neglect of, <a href="#page_120">120</a>, <a href="#page_121">121</a>;</span><br />
+<span style="margin-left: 1em;">pictures copied by Mazo, <a href="#page_122">122</a>;</span><br />
+<span style="margin-left: 1em;">interest in landscape, <a href="#page_126">126</a>;</span><br />
+<span style="margin-left: 1em;">compared with Goya, <a href="#page_181">181</a>;</span><br />
+<span style="margin-left: 1em;">pictures by&mdash;first period:</span><br />
+<span style="margin-left: 1em;"><i>Surrender of Breda</i>, <a href="#page_103">103</a>, <a href="#page_104">104</a>, <a href="#page_111">111</a>;</span><br />
+<span style="margin-left: 1em;"><i>Forge of Vulcan</i>, <a href="#page_103">103</a>, <a href="#page_108">108</a>;</span><br />
+<span style="margin-left: 1em;"><i>Joseph’s Coat</i>, <a href="#page_103">103</a>;</span><br />
+<span style="margin-left: 1em;"><i>Villa Medici</i>, <a href="#page_103">103</a>;</span><br />
+<span style="margin-left: 1em;"><i>Adoration of the Shepherds</i>, <a href="#page_107">107</a>;</span><br />
+<span style="margin-left: 1em;"><i>Adoration of the Kings</i>, <a href="#page_107">107</a>;</span><br />
+<span style="margin-left: 1em;"><i>Lady with the Fan</i>, <a href="#page_107">107</a>;</span><br />
+<span style="margin-left: 1em;"><i>Los Borrachos</i>, <a href="#page_107">107</a>;</span><br />
+<span style="margin-left: 1em;"><i>Expulsion of the Morescoes</i>, <a href="#page_111">111</a>;</span><br />
+<span style="margin-left: 1em;"><i>Doña Maria</i>, <a href="#page_103">103</a>;</span><br />
+<span style="margin-left: 1em;"><i>Philip IV, Young</i>, <a href="#page_107">107</a>. Second period:</span><br />
+<span style="margin-left: 1em;"><i>Christ at the Pillar</i>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;"><i>Sculptor Montañés</i>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;"><i>Don Juan de Austria</i>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 1em;"><i>Don Baltasar Carlos</i>, <a href="#page_98">98</a>;</span><br />
+<span class="pagenum"><a name="page_203" id="page_203">{203}</a></span><span style="margin-left: 1em;"><i>Equestrian Portraits of Philip IV</i>, <a href="#page_105">105</a>, <a href="#page_109">109</a>;</span><br />
+<span style="margin-left: 2em;"><i>Don Baltasar Carlos</i>, <a href="#page_105">105</a>, <a href="#page_109">109</a>;</span><br />
+<span style="margin-left: 2em;"><i>Count Olivares</i>, <a href="#page_105">105</a>, <a href="#page_108">108</a>, <a href="#page_109">109</a>;</span><br />
+<span style="margin-left: 2em;"><i>Sportsman Portraits of Philip IV</i>, <a href="#page_105">105</a>, <a href="#page_113">113</a>, <a href="#page_122">122</a>;</span><br />
+<span style="margin-left: 2em;"><i>Don Baltasar Carlos</i>, <a href="#page_105">105</a>, <a href="#page_113">113</a>;</span><br />
+<span style="margin-left: 2em;"><i>Don Fernando de Austria</i>, <a href="#page_105">105</a>, <a href="#page_113">113</a>.</span><br />
+<span style="margin-left: 1em;">Third Period:</span><br />
+<span style="margin-left: 2em;"><i>S. Antony Visiting S. Paul</i>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 2em;"><i>Las Hilanderas</i>, <a href="#page_105">105</a>, <a href="#page_116">116</a>;</span><br />
+<span style="margin-left: 2em;"><i>Venus</i>, <a href="#page_116">116</a>;</span><br />
+<span style="margin-left: 2em;"><i>Æsopus</i>, <a href="#page_106">106</a>;</span><br />
+<span style="margin-left: 2em;"><i>Mœnippus</i>, <a href="#page_106">106</a>;</span><br />
+<span style="margin-left: 2em;"><i>The God Mars</i>, <a href="#page_106">106</a>;</span><br />
+<span style="margin-left: 2em;"><i>The Dwarf Antonio El Inglese</i>, <a href="#page_106">106</a>;</span><br />
+<span style="margin-left: 2em;"><i>Las Meniñas</i>, <a href="#page_95">95</a>, <a href="#page_105">105</a>, <a href="#page_108">108</a>, <a href="#page_116">116</a>, <a href="#page_119">119</a>;</span><br />
+<span style="margin-left: 2em;"><i>Pope Innocent X</i>, <a href="#page_93">93</a>, <a href="#page_105">105</a>, <a href="#page_123">123</a>;</span><br />
+<span style="margin-left: 2em;"><i>Queen Mariana</i>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 2em;"><i>Doña Maria Teresa</i>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 2em;"><i>La Infanta Doña Margarita Maria</i>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 2em;"><i>Philip IV, Old</i>, <a href="#page_97">97</a>, <a href="#page_105">105</a>;</span><br />
+<span style="margin-left: 2em;"><i>Cristobal de Pernía</i>, <a href="#page_106">106</a></span><br />
+
+Velasquez, Geronimo, <a href="#page_102">102</a><br />
+
+Velasquez, Ignacia and Francisca, <a href="#page_102">102</a>, <a href="#page_121">121</a><br />
+
+Velez de Guevara, <a href="#page_18">18</a><br />
+
+Venice, <a href="#page_51">51</a>, <a href="#page_66">66</a>, <a href="#page_74">74</a><br />
+
+<i>Venus</i> [Velasquez], <a href="#page_105">105</a>, <a href="#page_116">116</a><br />
+
+Vermeer, Jan, <a href="#page_126">126</a><br />
+
+Veronese, <a href="#page_121">121</a><br />
+
+<i>View of Buen Retiro</i> [Mazo], <a href="#page_128">128</a><br />
+
+<i>View of Delft</i> [Vermeer], <a href="#page_126">126</a><br />
+
+<i>View of the Arch of Titus</i> [Mazo], <a href="#page_126">126</a><br />
+
+<i>View of Zaragoza</i> [Mazo], <a href="#page_127">127</a><br />
+
+<i>Villa Medici</i> [Velasquez], <a href="#page_103">103</a>, <a href="#page_126">126</a><br />
+
+Vinci, Da, <a href="#page_45">45</a>, <a href="#page_49">49</a>, <a href="#page_99">99</a><br />
+
+<i>Virgin and Saints, The</i> [El Greco], <a href="#page_87">87</a><br />
+
+<i>Virgin Blessing Various Monks, The</i> [Zurbarán], <a href="#page_168">168</a><br />
+
+<i>Virgin Caressing the Infant Jesus</i> [Morales], <a href="#page_50">50</a><br />
+
+Visigoths, <a href="#page_8">8</a><br />
+
+<i>Vision of Ezekiel</i> [Collantes], <a href="#page_59">59</a><br />
+
+<i>Vista of Toledo</i> [El Greco], <a href="#page_71">71</a><br />
+
+<i>Vocation of S. Matthew</i> [Pareja], <a href="#page_58">58</a><br />
+
+<br />
+<a name="W" id="W"></a><span class="lettre">W</span><br />
+
+Wallace collection, <a href="#page_104">104</a><br />
+
+<i>Weavers, The</i>, <a href="#page_105">105</a>, <a href="#page_116">116</a><br />
+
+Weiss, Madame, <a href="#page_187">187</a><br />
+
+Wellington, Duke of, <a href="#page_23">23</a>, <a href="#page_186">186</a><br />
+
+Weyden, Roger van der, <a href="#page_42">42</a><br />
+
+Whistler, <a href="#page_120">120</a><br />
+
+<br />
+<a name="X" id="X"></a><span class="lettre">X</span><br />
+
+Ximenes de Cisneros, Cardinal, <a href="#page_13">13</a><br />
+
+<br />
+<a name="Z" id="Z"></a><span class="lettre">Z</span><br />
+
+Zamacois, Edoardo, <a href="#page_192">192</a><br />
+
+Zaragoza, <a href="#page_173">173</a><br />
+
+Zegri, <a href="#page_11">11</a><br />
+
+Zucchero, Frederico, <a href="#page_52">52</a><br />
+
+Zuloaga, Ignacio, <a href="#page_65">65</a>, <a href="#page_89">89</a>, <a href="#page_192">192</a><br />
+
+Zurbarán, Francisco de, <a href="#page_44">44</a>, <a href="#page_65">65</a>, <a href="#page_146">146</a>;<br />
+<span style="margin-left: 1em;">life, <a href="#page_165">165</a>;</span><br />
+<span style="margin-left: 1em;">sympathy with monastic life, <a href="#page_166">166</a>;</span><br />
+<span style="margin-left: 1em;">death, <a href="#page_169">169</a>;</span><br />
+<span style="margin-left: 1em;">pictures by:</span><br />
+<span style="margin-left: 2em;"><i>Apotheosis of S. Thomas Aquinas</i>, <a href="#page_166">166</a>;</span><br />
+<span style="margin-left: 2em;"><i>Virgin Blessing Various Monks</i>, <a href="#page_168">168</a>;</span><br />
+<span style="margin-left: 2em;"><i>Miracle of S. Hugo</i>, <a href="#page_169">169</a></span><br />
+</p>
+
+<div class="figcenter">
+<img src="images/back.jpg" alt="" />
+</div>
+
+<hr class="full" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Story of Spanish Painting, by Charles H. Caffin
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+</body>
+</html>
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author	nfenwick <nfenwick@pglaf.org>	2025-02-09 13:50:41 -0800
committer	nfenwick <nfenwick@pglaf.org>	2025-02-09 13:50:41 -0800
commit	f326fc1cb2fd41a724d6ba8d8146ba4dba0959dc (patch)
tree	9472574ec410f90292193fe1bd89ccd7423735f4